"The exotic mountains and rivers, the same day of wind and moon" in the communication between Chinese and Japanese literature

"This peace of mind is my hometown." No matter whether it is the truth from Japan, or Chao Heng who is old in China, they all have two hometowns of "mountain and exotic land, the same wind and moon". The value of their lives is due to the contribution made in Sino-Japanese cultural exchanges. Glittering.

Over the past few months, the people of China and Japan have been moved by the poems on the materials to jointly fight the new coronary pneumonia. Japan ’s anti-epidemic materials for China ’s aid are written as "Mountain and exotic land, wind and moon on the same day", "Qi Yue without clothes, and children with the same clothes", "Qingshan together with the rain and clouds, and the moon and moon were two townships" ... China gave it to Japan Disaster relief materials are also printed with "Knowing Fusang East, Ming Dynasty Bathing Sunny Day", "Green Mountains Together, Sharing the Wind and Rain", "Where is Kyushu far, and thousands of miles away by air" ... These elegant Chinese poems The best support and wishes of the people passed on to the other party. "The mountains and rivers are different, and the wind and the moon are the same day" are deeply rooted in the literary traditions and literary exchanges between China and Japan.

The common ground in Tang poetry

The reason why the Japanese like to use Chinese poetry to express their care is deeply related to the Chinese literary tradition. China is a country of poetry, and ancient poetry expressing similar emotions is extremely rich. "Qi Yue without clothes, with the same child" comes from "The Book of Songs", "Qingshan together with the rain, why the moon was two towns" from Wang Changling's "Send Firewood Servant". In Chinese poems, there are similar ones: "Everyone has funerals, prostrate to save", "Friends in the sea, neighbors in the world", "There is no distance between each other", "I live in the neighbourhood with my sorrow" "Yelangxi", "My heart follows the moonlight, write in the center of the king's court", "Let the same qi branch, cherish the spring breeze", "I wish people will live forever, thousands of miles will bloom together", "If you know that all the seas are brothers, where can you meet each other?" Poems such as "Old Friend", "The rooftop is unrelenting, and one tree blossoms in two places" expresses the love and support of the common people.

The era with the most close connection between Chinese and Japanese literature was the Tang Dynasty. Japan has sent 19 Chinese embassies successively, each time the number of people in China is more than one hundred. The Tang Dynasty is a prosperous age of poetry, poetry and fu are an important part of the imperial examination, and poetry and poetry have become a necessary humanistic quality of the Tang people. Japan sent Tang ambassadors to continuously import the culture of the Tang Dynasty into Japan. Nara, the capital of Japan in the Nara era, was modeled after Changan, and Han poetry has become a popular singing style among the Japanese royal family, nobles, senior monks, and upper class literati. Before the Edo period (1603-1868), Japanese Chinese was basically in the hands of the upper class, and there was a strong correlation between Chinese writing and social status.

"The mountains and rivers are different, the wind and the moon are the same day" comes from the long house king of Japan. "Biography of the Tang Dynasty and the Eastward Expedition" contains: "The king of Japan, the King of the House, respects the Dharma, (makes) thousands of cassocks, (comes) the great monks of this country, and his robes (edge) are embroidered with four sentences saying: mountains and rivers exotic , Fengyue on the same day. Send all the buddhas together to form a bond. "I hope that Chinese monks can go to Japan to teach Buddhism. "The General Chronicles of Longxing Buddhist Chronicles" records: "Jian Zhen received his clothes, lamenting that foreigners have the buddha nature, and he wants to be transformed." Jian Zhen began his eastward journey in 743, failed five times, and finally arrived in Japan in 753 ,lead to uproar. He was blind in his eyes, but he still promoted Buddhism and Chinese culture in Japan for ten years. In 763, he died in Tangzhao Temple and was respected as "the father of culture" and "the ancestor of Luzong". After Jian Zhen passed away, the Japanese wrote poems in mourning. Shishang Zhaiji lamented in "The Five Words and Same Injury in the Great Harmony": "Invite Zen and rest in the grass, the orphanage feels empty. The life and death are sad and hateful, really like happiness or not." After Jian Zhen passed away, the flowers and plants in Tangzhao Temple seemed to die. However, although the life and death of the world is hateful, the cultural heritage left by the old people is endless. Japanese monk Yuan Kai also missed Jianzhen with gratitude in his poems: "I am a ignorant person, and I have a lot of fans. I am tempted and hold the dust." Yan Jianzhen uses Dharma although he is blind. Allowing this person who was originally "unintelligent" to gain "brightness", he was well-instructed by his extraordinary traits, so he was deeply taught. Fujiwara ’s "Five Words Injury to the Great Harmony" contains two sentences, "Landscapes of Light, Fragrances from Far and Far", which is a tribute to Jian Zhen who has come to Japan to promote the Fa, leaving a sweet fragrance for all ages. Today, the Qionghua of Yangzhou, the hometown of Jianzhen, is still planted in Tang Zhaoti Temple, which is another expression of "the mountains and rivers are different, the wind and the moon are the same day".

After the Japanese sent the Tang ambassador to China, they also paid more for singing poetry with Chinese poets. Abe Nakamaro (698-770) is one of the outstanding ones. In 716, Abe Nakamaro came to China as a Tang student and changed his name to Chao Heng. He admired the Chinese style, and became a scholar and scholar in Datang. He won the appreciation of Tang Xuanzong, granted Zuo Buque and other important positions, lived in China for more than 30 years, and eventually grew up in Chang'an. He had contacts with famous Tang poets such as Li Bai and Wang Wei, leaving many moving poems. In 751, he asked Tang Xuanzong for permission to return home. Before leaving, Wang Wei presented a poem "Send Secretary Chao Jian to Return to Japan". The poem contains the words "outside the township and mulberry, in the island of the host", which can be said to be heartfelt. It literally means: the trees in the hometown are on the land of the hibiscus country, and the owner's home is in the isolated island. Chao Heng has been in Chang'an for many years, and Chang'an has been his second hometown. If it is not "and recognize another country as hometown", how can Chao Heng return to Chang'an again? Wang Wei knew his intentions, so he comforted him with "Taiwan Trees and Fusangwai": If you miss China and look at Japanese trees, isn't it the same as China?

Chao Heng was also full of nostalgia for Datang in his heart, and wrote the poem "Return to the Country", in which two sentences "Penglai Township is far away, Ruomu's old garden" echoes Wang Wei's "outside the village tree and hibiscus, in the master's island". "Penglai" is an overseas fairy mountain in Chinese mythology, referring to Japan. "Fusang" and "Ruomu" are the god trees recorded in "Shan Hai Jing". There is hibiscus in the east and Ruomu in the west. China is to the west of Japan. "Wakagi's Old Garden" has Chang'an as the hometown, expressing its attachment to China.

Li Bai and Chao Heng are also friends. Chao Heng presented clothes to Li Bai, and Tai Bai had a poem saying, "Wearing Japanese fur, hiding the dust", the excitement is beyond words. In 753, Chang An misrepresented that Chao Heng was killed at sea. Li Bai wept bitterly for this and wrote the poem "Cry Chao Heng". Among them, the sentence "Mingyue does not return to Shen Bihai, Baiyun is full of grief and grief" is especially sincere. In Li Bai's heart, Chao Heng is a bright moon. His departure is like the moon sinking into the blue sea; he is a cloud, full of sorrow and sorrow. Fortunately, this is just a misrepresentation. Chao Heng read Li Bai's poems after returning home safely, and also mixed feelings, writing the poem "Wang Xiang". Writing "Wang Xiang" in Japan puts nostalgia for China, the second hometown. In the poem, "a piece of nostalgia, pay all the water", the two countries bring China and Japan with their clothes, their close neighbors, and their true love for China.

"This peace of mind is my hometown." No matter whether it is the truth from Japan, or Chao Heng who is old in China, they all have two hometowns of "mountain and exotic land, the same wind and moon". The value of their lives is due to the contribution made in Sino-Japanese cultural exchange Glittering. Whether it is in the Japanese scholar's nostalgia for the Chinese monk Jianzhen, or in the deep friendship between the Chinese literati and the Japanese embassy Tang Heng, Chinese poetry plays an important role. Jian Zhen and Chao Heng, two giants in the history of Sino-Japanese cultural exchanges, also added brilliance to the Sino-Japanese poetry exchanges.

Chinese Poetry Tradition in Japanese Novels

The tradition of Chinese poetry in Japanese literature has a long history. In addition to "the mountains and rivers are different, the wind and the moon are the same day", there are many Chinese people who express similar care in Japanese literature, such as "self-proclaimed brothers all over the world, no worries about the country and mountains", "more pity to go to the hometown, and the sea to seek for good" poetry. It is precisely because of the appearance of these Chinese poems that the Chinese who experienced the vernacular Chinese movement were surprised by the gradual alienation of the classical Chinese. In fact, more Japanese writers may be more familiar with classical Chinese than vernacular Chinese. Japanese sinologists who study Chinese language classics usually use poems such as "Selected Works of Zhaoming", "Bai's Changqing Collection", "The Analects", "Mencius" and "Zhuangzi" as textbooks. Many famous Japanese sinologists can write high-level Chinese poems in classical Chinese, but they cannot speak everyday Chinese. For more Japanese who have not learned Chinese, Chinese poetry, as a long-standing cultural tradition, has become a deeply embedded Chinese complex and cultural symbol. Although the influence of later China on Japan gradually weakened, Chinese poetry still holds an important position in Japanese literature.

There are many dynasties in Japanese history, and the position of the ruler in each era is different,

The attitude towards China is also different. Whether in a period of tension or peace between the two countries, the implicit or obvious Chinese literature is part of the interest of Japanese literature. Chinese literature, especially poetry, forms the core of Japanese Chinese image. Japanese literati absorbed a lot of Chinese literary essence, and Japanese Sinology was also formed on this basis. The Chinese literacy of Chinese poetry is the most prominent expression of Chinese taste and Chinese complex.

After the Edo period, Chinese education began to spread, and the creation of Chinese literature showed a trend of diversification and civilianization, and a group of Chinese novel authors also appeared. Japanese literati like to imitate Chinese novels to insert poems, cite Chinese poetry, or write Chinese poems in their novels. For example, the novelist Chuan He Zhongxiang cited dozens of Chinese poems in his Chinese novel "The Fiction of the Dynasty". The novel itself does not have a high level of Chinese language, but when citing Chinese poetry, it is copied from the original text without any words, and he wants to show what he thinks is the essence of Chinese poetry through novel creation. As another example, the famous political novel "The Adventures of a Beautiful Lady" (Originally by Chai Shiro, translated by Liang Qichao as "The Adventures of a Beautiful Lady") is a Japanese novel, and poetry is often inserted in the middle. . Chai Shiro's own level of Chinese poetry is also very high, such as "the moon is wide and the sky is long, the wind is shaking and the golden wave is far away. The night is full of hope, the bow is so tonight", such a beautiful Chinese poem is in the Meiji literati Widely praised, De Fu Lu Hua often recites alone under the moon night.

Japanese novels often describe plots in which Chinese poetry sings harmony between literati and men and women, showing a high quality of Chinese poetry. For example, in Misaki's novel "Love in the Sky", the actor Liu Cuilang and his friends sang Chinese poems while visiting Tokyo. Cui Lang wrote a poem "Xi'er Hu Jingou, should know Jingluo fight", Mr. Xuejiang wrote a poem "Guan Ying is more beautiful than the old, and the bird is now a deputy name", and Mr. Luzhou wrote a poem "March Li Jingxin, the capital of the east, wins on the riverside. " Although the form is a Chinese poem, it depicts the spring scenery of Tokyo: the cherry blossoms on the riverside are in full bloom, and the birds chirp. "Jingluo" doesn't really refer to China's Chang'an and Luoyang, but it makes people think of the Chinese literary tradition, blowing the wind of China for this Dongying Shengjing.

Chinese poems are not only the elegance and love among friends of the same sex in Japan, but also the key to revealing your heart to the opposite sex and even promoting the progress of love. In the novel "Beauty Encounter", when the Japanese mentor, Tokai Sankai, met Western beauties, he quoted the poems in the "Book of Songs" to express his mind: "There are beautiful women, Qingyangwanxi, encounters, it is my wish." (From "The Book of Songs: Wild and Wild", the original text is "There is a beautiful person, Qingyang Wanxi") Although it is slightly different from the original text, it also shows that the author's Chai Shiro has a high level of Sinology and can recite the verses in the Book of Songs. The beautiful lady listened, "covering half of the smile with a willow branch", the heart secretly promised. Sanmu Zhenyi's Chinese novel "New Bridge and Eight Scenes" also used Chinese poems very well. The novel begins with a seven-character poem of its own creation. The first couplet is "The Prosperity of the First Crown of the Eastern Capital, and the House of Prostitutes Next to the Talented Scholars." Hangzhou is compared to the prosperity of Tokyo in the Southern Song Dynasty. When the hero and heroine are separated in the novel, the author quotes Wang Changling's "Girls' Grievance" and said: "I suddenly saw Motou Yangliu, and my husband's son-in-law looking for a seal." Although the novel happened in Japan, both heroes and heroines are proficient in Chinese poetry. Familiar with Chinese allusions. The leading actor Mei Xuecao bids farewell to her lover Xiaohong, worrying that she will be "green leaves into yin and full branches" when she meets next time (speaking of Du Mu's "Poem"), Xiao Hong replied: "Wen Jun did not sing as soon as possible, Jie Yu Xianqiu ’s fan has been inscribed. ”Two Chinese allusions are used here. Zhuo Wenjun ’s“ Baitouyin ”expresses the persistence of“ willing to be one-hearted, and whiteheads are not separated ”. Ban Jieyu ’s“ Fan Fan Poetry ”chants himself It seems that the autumn fan was forgotten by the king. Just 14 words, but expressed a double meaning: his inner loyalty, and worry about his lover. Sanmu Zhenyi used Tibetan poems even more in "Love in the Sky". The male lead Liu Cuilang found the gold hairpin of the female lead Lian Xiangyu. When Cuilang returned the gold hairpin, a Tibetan poem was attached. Xiang Yu knew that it was a Tibetan head poem on first reading, and also wrote a Tibetan head poem in reply. The Tibetan word is "non-relentless". There are many other examples of the development of Japanese novel plots with Chinese poetry like this.

Inserting poems in novels is a common expression method in Chinese Ming and Qing novels. In Chinese operas and Zhanghui novels, there are often the last poem, the next poem, the final poem, the midfield poem, etc. The characters dialogue and like to insert poems in the plot. Japanese novels have also borrowed from this tradition to a certain extent, and this is also the same style of Chinese and Japanese novels.

"Wind Moon and Same Day" in Chinese and Japanese Literature

The reason why "the mountains and rivers are different, the wind and the moon are the same day" touches us is that it depicts a true feeling of honor and shame related to the common, the same and the same. Both China and Japan are suffering countries and share the heritage of Han culture and Confucian civilization. Cultural similarity is the connection between people's hearts, and it is not uncommon to express this theme in Chinese and Japanese literature.

Many Japanese literary works portray the image of kind, honest and brave Chinese people. The people of China and Japan support each other and walk side by side to overcome difficulties. Gang Ming Guan Shan's (1674-1729) Chinese novel "De Rong Xing Xing Shi You Bao" tells such a story. Li Derong, a Yangzhou native, is a wealthy child and is admired by everyone. Because I heard that Nagasaki in Japan has beautiful scenery, I engaged in Sino-Japanese business and lived in Nagasaki. A Japanese beauty, Feng Niang, was willing to "become a concubine to save her parents' difficulties." Li Derong came to the beauty's house and found that "the home was empty." His father was a samurai, and his mother had been ill for many months. "I want to change my medicine and save my crisis." Upon seeing this, Li Derong felt compassionate and treated him with courtesy. Although Feng Niang is a beautiful beauty of the country, Li Derong is also "spiritual and can't restrain himself", but he did not take advantage of the danger, but became a righteous brother and sister with Feng Niang. Three hundred and two silvers, since then often give Qianmi. After a few months, Li Derong personally married again, married Feng Niang to a wealthy son, and prepared all the wedding clothes, bedding, cabinet jewelry, thick and thin guys, barrels, pots and dishes for him. This deed was spread by the Nagasaki people as a good talk, and people sometimes praised it: "Dong Rong Rong de marry, will marry Feng Niang married to the rich. It is good to see Zhu Chen and the two, the guests are comforting. "That year Li Derong's business was also very prosperous and profitable. When returning home, Li Derong's merchant ship suffered a hurricane, but he was blessed by Mazu for his good deeds and saved his life.

The story of "De Rong does good and rewards" happened in the Edo period. The Edo period was the era of samurai, and the samurai class, which accounted for only 10% of the total population, was in a dominant position and controlled most of Japan ’s land and wealth. From 1633 to 1639, the Tokugawa Shogunate promulgated the lock-up order five times, cracking down on Christianity and also on the trade between Japan and foreign countries. Under the lock-in policy, only Chinese and Dutch businessmen can trade in Nagasaki, which also allowed Chinese literature to flow into Japan. Chinese merchant ships are almost the only way for Japanese people to learn about foreign territories, and Chinese literature has also enriched the spiritual world of Japanese readers. Judging from "De Rong doing good and having good news", the Sino-Japanese commerce was unimpeded at that time, the people were similar, and the language was not hindered. The Chinese people's heroism in Japan is ultimately good and rewarding, and it is full of the glory of human nature. From the evaluation of the Nagasaki people, we can see that a chivalrous and virtuous Chinese like Li Derong was not an exception during the Edo period. Blessing and sharing, and difficulties, have always been the common values ​​held by the people of China and Japan.

After the 19th century, China and Japan were successively challenged by Western powers, experienced similar modernization paths, and shared the common "nostalgia" for the cultural tradition of Eastern Confucianism. Fukuzawa Yukichi, the vanguard of the "departure from Asia and Europe" in the Meiji Restoration, once expressed this view: "The Japanese were originally cultivated by Confucianism .... The revolution after Wang Zhengwei's revolution is a tremendous change , ... so it is like taking away the spirit and ignoring him, forced by the general trend of civilization and having to follow, but at the same time there are still the embers of ancientism in the depths of the heart, all stealing with reluctance Love. "This is not only the common feeling of the Japanese after the Meiji Restoration, but also the common feeling of the Chinese in the late Qing Dynasty. Between the Confucian tradition and modernization based on Western Europe, how to choose between the new and the old has become a common test faced by modern Chinese and Japanese cultural people. In Japanese modern literature, we can often see the struggle of Japanese writers in modernity, which is concentrated in the struggle between Chinese Confucianism and Western thought. Is it necessary for a nation to be strong enough to leave Asia and enter Europe?

Chai Shiro's novel "The Adventures of Beautiful Women" provides us with another way of thinking. The novel depicts a loyal, filial, and wise and intelligent Chinese fan, Fan Qing, who, together with Japanese mentors from the East China Sea, the Spanish female Jielan, and the Irish female Jielian, struggled side by side in pursuit of national independence and freedom. Use the children of a weak country to seek the future of national rejuvenation. " They are all displaced guests from other countries, and they share the sadness of the history of the national sports family hatred and national humiliation, and they are cited as friends. Fan Qing and Donghai Sanshi shared the same spirit and talked about current affairs generously, "to swear that he will work hard together for the sake of Xingya." They are all saddened by the "frustration" that China has suffered over the years, hoping to ban opium and revitalize the national spirit. Fan Qing said to the Sanshi of the East China Sea: "It's a servant's ambition, and he has unprecedented accumulation in his chest, and he is in harmony with the monarch. Shit! Does the world have no dragons and phoenixes?" He compared himself with Sanshi to Zhuge Liang and Pang Tong who were equally famous during the Three Kingdoms period. The two were separated for several years, and their lives and deaths were unclear. Sanshi missed Fan Qing and wrote a poem: "The building ship breaks the waves and the whale, Peng wing is empty and empty. Whose language is the lofty ambition? Bai Yunshan recalls Fan Qing." Poetry, pinning his ambitions on Fan Qing's concerns. "The Adventures of a Beautiful Woman" shows us that even in the modern China-Japan relations, the friendship between the two peoples across nationalities and races is still alive. The reason why Fan Qing and Donghai Sanshi can become foreign confidants not only stems from their common ambitions, the common crisis faced by China and Japan in modern times, but also from their shared Han culture. They respect and support each other and maintain friendly two-way communication, which has also become a moving page in Sino-Japanese literary exchanges.

"The mountains and rivers are different, the wind and the moon are the same day" is not a unilateral feeling of Japanese scholars, and it has a similar performance in Chinese literature. In the late 19th and early 20th centuries, batches of Chinese students and literati came to Japan, eager to learn from Japan's modernization. Their literary works also express their true feelings in this historical process.

Liu Shipei, who went to Japan in 1907, wrote "Tokyo Mount Fuji in Japan": Zhu Ming returned to Xilu and Ximu Kuanglu Chong. Surprised the alpine area, moved Takigi East. Pang Boyan Yan Jun, rising Qi Peijing peak. The ice liquid freezes the summer strips, the snow dust springs the bushes. He spit the dragon's thighs, and the feathers of the birds are feathered. Okazuka grass is green, and sullen cherry is red. Look at the tour side by side and enjoy the trip. Quite suspicious Ying Yingchen, Ying Ying Peng. There are bad hills in Xianshi, and there is no trace of Xianlian. I heard about Zhu Ganlin, and Qiguang opened his eyes.

The tone of Liu Shipei's poetry is usually sad and sad, but this poem shows a rare lightness. He said goodbye to his homeland, stayed away from party disputes, and looked forward to Japan's new life. Mt. Fuji in his paintings is like a fairy mountain. The two sentences of "Quiet Ying Ying, Ying Ying Peng" link the legend of Xu Fu Dongdu in the Qin Shihuang period, showing a sense of closeness to the Japanese nation. Although Mt. Fuji is written, it is almost an image of China. It links Mt. Fuji with China's Lushan and Taoist Xianshan Weiyu Mountain, and there is no cultural barrier. The phrase "Ximu Kuang Lu Chong" is written on the surface of Lushan, but in fact expresses its yearning for Japan. The white snow and the blooming cherry blossoms complement each other, which is extremely novel in the eyes of Liu Shipei who first arrived in Japan. He looked forward to discovering the relics of Xu Fu's east crossing on Mount Fuji, but unfortunately there were no traces. He left China and came to Japan. On the surface, he seemed to be away from home; coupled with the language barrier, he should have a foreign feeling. However, this is not the case in this poem. He looks forward to getting rid of the rule of Manchu and coming to a land deeply immersed in Han culture to pursue the cause of national rejuvenation. Compared to Manchu, Japan is more intimate for Liu Shipei. This is also a poetic expression of "the mountains and rivers are different, the wind and the moon are the same day".

In addition to poetry, Lu Xun's essay "Mr. Fujino" also depicts an honest and friendly Japanese teacher. Lu Xun said: "Among what I think of my teacher, he is the one that I am most grateful for and encourage me. Sometimes I often think: his enthusiastic hope for me, tireless teaching, in a small way It is for China, that is, hope that China has new medicine; in a word, it is for academics, that is, it is hoped that new medicine will spread to China. " Caring for the outside is also a kind of caring for the same boat together.

The foreign country is a mirror, and all cultures are established in comparison with other cultures. One culture usually has three attitudes towards another culture: a different culture is absolutely superior to the local culture and shows a fanatical mentality, but this kind of recognition is usually an illusion. A culture that treats different cultures as low and negative and has an aversion to it, thus reflecting the height of the local culture. The third attitude is based on mutual respect and recognition, and treats different cultures and local cultures as positive and equal existence. The dialogue between the two cultures shows a friendly attitude. Friendliness is the only true two-way exchange, and it is also a continuous dialogue. In the exchange of Chinese and Japanese literature, there is no lack of good-willed two-way exchanges such as "mountain and foreign land, wind and moon on the same day"; the long-standing friendship between China and Japan is also long-lasting in these sincere and enduring Chinese literature.

Di Xiachen

(The author is an assistant researcher at the Literature Institute of Shanghai Academy of Social Sciences)