Compassion on Earth

Author: Mo Luo
Publisher:
Publishing Date: 2006-05-01
Features: "To see the sunlight, I came into the world." This line by Balmont has been almost never forgotten since I first read it. It embodies the purity, light, and warmth of the human heart. The poet sings of the earth, sunlight, and the bustling, noisy world with sincerity, joy, and tranquility, as if untouched by any harm. In Mo Luo's writings, fragments of suffering, happiness, repentance, shame, and compassion are often found:
Fragment: Voicing One's Own Voice
In 1958, after the Swedish Academy announced Pasternak as the winner of the Nobel Prize in Literature, the Soviet authorities immediately decided to launch a harsh critique of the writer. Evtushenko called the authorities to protest. Naturally, his protest was ignored. A meeting was held, and the chairperson confidently announced to the world: "The meeting has unanimously decided to purge Pasternak from the ranks of Soviet writers." Just as the routine, endless applause was about to begin, a female voice suddenly rose from the audience. The writer Aliyevich shouted, "How can it be said that it was unanimous? I raise my hand to oppose!" Her opposition was futile, but she refused to let authority steal her dignity. The so-called "unanimous decision" suppressed all differing opinions. In this context, the right to defend dignity is the right to defend one's own differing opinions. Refusing to add that "unanimous" and persisting in voicing one's own voice is not about being opportunistic but an expression of inner dignity and personal strength. Aliyevich's voice protested on two levels: first, against the persecution of a writer by authority; second, against the arbitrary inclusion of her in the force that persecutes conscience. Everyone knew that pretending to be ignorant and participating in such persecution could bring safety and even greater benefits. Refusing to participate, however, meant the risk of being labeled an enemy and becoming a new victim. At this moment, what guided Aliyevich's choice was not self-interest but inner conviction. Her conviction and conscience compelled her to voice her protest.
Fragment: The Greatness of Fineness
In his essay collection The Agitated Tongue, Wang Kaiping quoted a custom mentioned in Herzen's memoirs. Herzen deeply said that in some parts of Siberia, out of concern for exiled people, a custom had formed: they would leave bread, milk, or the refreshing drink "kvass" on window sills at night. If an exile passed by, hungry and exhausted, but too afraid to knock on doors, they could help themselves to survive. Wang Kaiping then praised: "How great is this attention to detail!" Recently, while reading Zhang Yuguang's The Moon of Lhasa, I learned that in the past, every New Year in Lhasa had an indispensable tradition: going to the streets to give alms to the poor. The poor stood in rows, and many alms-givers distributed small amounts of money along the way. The narrator, "I," had distributed most of his money and began to pick only those beggars he found pleasing, while skipping those he disliked. At this moment, his Tibetan university student companion, Dawaa, pulled him aside and warned him not to be so selective, as it would hurt those who were left out. Only by following the custom of giving alms and ending it afterward was considered right. After Dawaa finished speaking, she looked at "I" seriously, confirming that he understood her meaning and had not been harmed by it, only then did she continue giving alms. I was deeply moved by this passage. I couldn't help but remark: "A heart of such fineness. The heart often becomes great through fineness." It is rare to read such beautiful words in Chinese literature, because our lives have become increasingly coarse, and so has our hearts—becoming more selfish and indifferent. The people of Siberia and Lhasa both possess such great kindness. In France, there is a volunteer-initiated festival called "Street Sleepout Week." This group of well-meaning people encourages people who live comfortably to spend a week sleeping on the streets to experience the hardships and suffering of the homeless, thus inspiring great compassion and brainstorming rescue measures. All of these reflect the society's care and concern for the downcast and the weak. They do not scold or bully the weak but show great kindness in helping them. Other members of society actively offer care. This demonstrates the warmth still present in the human heart. Why is fineness often great? Because fineness embodies great love and kindness, reflecting inner conscience and dignity.
Afterword: Mo Luo: Compassion on Earth / Liu Nian
Critique: Why Mo Luo Moves People
Lianzi: Mo Luo's newly published book seems to have spread a rumor that he felt happy and cried because of it. Liu Nian: This is indeed a comforting message. For someone who often experiences happiness and crying, crying because of happiness is normal. But for Mo Luo, it is a meaningful event. Mo Luo writes in his book that if a person cannot experience the unique joy, honor, and solemnity of being human, where does the motivation to endure suffering and hardship come from?
Lianzi: Mo Luo began to grow happiness on the foundation of enduring suffering, which seems different from Lu Xun. Lu Xun always held a knife, pressing toward his opponents, himself, and nothingness. Lu Xun only saw blood and did not notice the red flowers by the roadside or the red leaves. A hundred years later, Lu Xun's pulse, numb from injury, finally showed signs of recovery.
Liu Nian: In fact, Mo Luo has always been searching for this awareness. As a critic, his critiques are harsh, yet many are deeply moved by them. He is so harsh, yet people are moved by him—why?
Lianzi: When critiquing humanities and politics, he also critiques himself.
Liu Nian: The darkness of society is his darkness; the vulgarity and shamelessness of society are his vulgarity and shamelessness. He is a representative of society, his blood flows with the blood of society. Whether in moments of compassion or critique, he does not spare himself.
Lianzi: Many critiques do not move people because they always blame others, as if all the guilt belongs to others. After finishing their critiques, they hide behind the mask of a critic, enjoying the glory of being one.
Liu Nian: Mo Luo's critiques do not just address phenomena; they ultimately return to the essence of humanity. From the world and Chinese people, back to the individual self. A person should at least have independent character and live healthily. But people often lack independence, dignity, and health. Why? Mo Luo reflects on himself. He writes that he can have no favor, no status, no fame, no laurel wreath, but he cannot have no independent character. When a person shouts like this, it is because he has already lost his independent character. He has not spared himself his lack of character. Many of us have lost our independent character, yet we have not realized it. When he speaks like this, it feels very real—it is the reality of the situation! Because it is real, it moves you.
Lianzi: In his letter To Mr. Guo Tiecheng, he talks beautifully about the compassion in the soul. His compassion is not one of superiority but a very equal feeling. As a member of the nation and a compatriot, he feels responsible for all the vulgarity and shame. When he asks others to repent, he first repents himself, without imposing pressure. He not only shows compassion for those who are oppressed but also for those who harm others. And he says that those who harm him include himself. Every person living in this culture harms others. His compassion and sense of equality are like the equality in Buddhism—giving alms and help to others, as if he is you, and what he presents is your true self. This equality is also deeply moving.
Liu Nian: He also says, "I am not only without dignity but utterly empty, yet I dare not face it. I even lack the right to face my emptiness—we are like lazy dogs, timidly walking in hostile lanes—our efforts to cover up various sins only awaken new ones—Chinese people, how many sins of the world must accumulate on our coarse nerves before they sink to the level of conscience? How much blood must wash us before a hint of compassion arises? Because of this accurate self-awareness, his critiques of the entire nation and humanity feel very real and sincere.
Lianzi: Yes, you won't think he is talking in vain. He is not crudely condemning his 'enemies.' He believes this guilt is inescapable. If there is a trial, the first to be tried should be him. If he is to repent, he must first repent. If he is to take responsibility, he must first take it.
Liu Nian: This kind of realism is not because he had a premonition or a preconceived notion but because he experienced it and then took responsibility. He is completely like others. In his writings, we see Mo Luo as a very vulnerable person. He has experienced suffering and feels he must remove it. He has experienced a bit of shame and feels he must remove it. He has no dignity and feels he must have it. Thus, his sense of responsibility is very real and close to human feelings.
Lianzi: Mahatma Gandhi was also like this. He didn't have the grand ideals of many political leaders. He was once a timid person. When he went to Africa, he suffered injustice, and he saw many Indians suffer injustice. He wanted to eliminate this injustice, but he refused to use the same methods as the rulers to do so. Instead, he used a transcendent approach, making both rulers and the ruled realize their limitations. He said, "An eye for an eye will make everyone blind." He first saw the goal and set the direction, and in the process, he grew. His success was entirely due to his ordinary personal charm. So, he was very real and moving.
Liu Nian: Mo Luo knows how human suffering and vulgarity arise. Although he critiques these phenomena thoroughly, he holds the same compassion for both the victims and the perpetrators. He does not critique or take responsibility for the sake of it. Some people with grand ideals aim to bear the suffering of humanity, but they overlook the dignity of each individual. Mo Luo, however, seeks to live healthily—this requirement is low, almost instinctual.
Lianzi: In fact, this is also the highest dignity of humanity.
Nihilism: Why Mo Luo Did Not Give Up Compassion
Liu Nian: Mo Luo is a very sensitive person. He understands the suffering caused by society and the suffering of people in social relationships very clearly. He is sensitive to even a little injustice or loss of dignity. The same event that might elicit a sense of one in others might deepen his feelings hundreds of times. Such a personality or fate has already placed great pressure on him. This is the pressure of the world. In this situation, he takes on responsibility, resists, expresses, and comforts. In many critiques of Mo Luo, they only talk about this, only talk about how small and insignificant people are in this humanistic and political environment. If this environment changes, people might not be so small. If we regain dignity, we might live better. Mo Luo has actually gone further. While reflecting on social and political issues, he has always questioned the meaning of life itself. Mo Luo says, "Life and nihilism were born at the same time. The weight of nihilism greatly exceeds what any life can bear. Nihilism is the destiny of every life." He also says, "What we possess is nihilism, not life. We come from nothingness and return to nothingness—this is undeniable."
Lianzi: What is nihilism for Mo Luo?
Liu Nian: A complete negation of the meaning of life. No matter how glorious or successful life may be, it ultimately turns to nothing.
Lianzi: It seems as if no amount of critique or repentance is meaningful.
Liu Nian: He says, "There are three ways for people to deal with nihilism. The first is to eliminate nihilism, first by eliminating the body. The second is to achieve greatness to eliminate nihilism. The third is to return to the original state through art to avoid thinking about nihilism." This feeling of nihilism is very heavy for Mo Luo. It reminds me of Lu Xun. Lu Xun feared seeing the darkness, and even feared that the darkness itself felt nihilistic. Any resistance force would be nihilistic. In a letter to Xu Guangping, Lu Xun said, "You are all people seeking light, while I am just stirring up the darkness." In this state of despair, he struggled and wandered, fighting every person who had lost dignity. He did not spare any evil he perceived. In fact, he was fighting in deep despair.
Lianzi: Lu Xun sought the essence of life but found it meaningless, and he became despaired.
Liu Nian: He fought in nihilism, knowing it was futile but still doing it.
Lianzi: Three years ago, in his writings, Mo Luo said he was a scoundrel, relying on nothing spiritually. There was nothing left to rely on. This was a deep despair.
Liu Nian: I often think, for Mo Luo, the suffering of the world has tortured him so much, the essence of life has weighed so heavily on him, and he himself is so weak and hurt. Why does he still bear so much and care for others, comforting them gently? Thinking about this question makes my heart ache. Lu Xun was the same. So, Lu Xun's struggle was more tragic. If a hopeful person struggles, he has the strength to do so. But an despairing person struggles even more bravely. If he were a completely powerful person, a completely superhuman person, doing so would be natural. Today, when we talk about Jesus Christ, if we don't see him as a human being, he doesn't move us. If he is the son of God, he has power, he is stronger than humans, and it doesn't matter if you nail him to the cross—he moves people because he is just a son of man!
Lianzi: From his ultimate perspective, even comforting and helping others is nihilistic.
Liu Nian: He saw nihilism but couldn't avoid it.
Lianzi: He didn't think deeply about what he saw but couldn't avoid doing.
Liu Nian: This is their true value, something of humanity.
Lianzi: If he is to find a way out of nihilism in this world, why not start from here?
Liu Nian: This itself is a way out. When comforting others, he is also comforting himself. Mutual comfort between the scoundrels can make us a little less scoundrels, and give life a little value. He understands this, and so he does this. Mo Luo also wants to find a transcendent value here. He has been searching for it. So, he is deeply moved by even a little bit of sunlight and quickly extracts it.
Mo Luo's Religion: Compassion on Earth
Lianzi: Yes. Now, Mo Luo notices many things, like the elderly beggars who adopted several children. He is deeply moved and immediately connects it to himself, saying he couldn't do it himself, but discovering such greatness moved him.
Liu Nian: In my interactions with him, I am often moved. When Mo Luo chats with friends at home, he sits on the sofa, holding a cushion in both hands, looking innocent and helpless, like a child. He laughs and talks, as if comforting himself, supporting himself, and playing with himself. Seeing him like this, I think, such a weak life still worries about the nation, grieves for humanity, and supports the nihilism of life. I think of Kafka. That little insect was always worried. He couldn't store food here or there, just to find security, which makes people heartbroken. Thinking about this, I think Mo Luo's suffering is also about finding security. What is his security? At the very least, it is independence, truly living as a human being. A bit broader, he wants to find value in the survival and individual lives of humanity. Can this value be found through reasoning? He hasn't found it, not even through religion, which he hasn't fully entered. He sees his own humility and fragility, sees that everyone is like this, that those who are harmed and those who harm others are all like this. He can only use his limited strength to help and comfort others.
Lianzi: From Mo Luo's writings, we can feel that he is a very perceptive person. He understands what a person should be like, but in reality, people are not like that. His words seem to flow from his own blood and tears. It seems as if he has stretched his capillaries to others, very long and fine, extending to places and returning to his heart, and then flowing out from his heart. His relationship with the world is like this—a network of capillaries.
Liu Nian: A scholar named Wang Dongcheng said that Mo Luo's writings have a religious sense. This religion is not the religion in churches but a religion on earth.
Lianzi: If we can use the word "religion," then Mo Luo's religion has its originality. This originality lies in his ability to keenly observe the current state of the earth. Mo Luo grew up from this. What the earth has, he seems to experience it. What sunlight the earth has, he seems to accept it.
Liu Nian: The religion of the earth is actually like this. It doesn't talk about transcendence or the other shore; it talks about real life. Real life is small and humble, and being harmed is certain. Not only today but at any time in life, one may be harmed. But at the same time, one must repent, and at the same time, one must pity others. If every person who is harmed can repent while pitying others, humanity might be saved. The light and warmth I feel from Mo Luo come from this repentance. He knows very well that this harm is endless, and repentance is endless.
Lianzi: This is a sense of destiny.
Liu Nian: When I introduce Mo Luo's writings to others, I usually introduce To Mr. Guo Tiecheng, The Second Birth, and Chinese People, How Can You Skip Over the Page of the Cultural Revolution? But personally, the details scattered throughout his writings are closest to me. When Mo Luo was teaching in the county, he bought bananas for his parents on his way home. His parents ate the bananas and said it was strange, unpleasant, and they shouldn't buy it again. Later, when he studied at East China Normal University, he bought his father shoes. His father said the shoes were uncomfortable and he shouldn't waste money on them again. Later, when his family was a bit better off, his younger siblings bought bananas, and his parents ate them with great enjoyment. His father actually liked those shoes, but he still told his younger sister not to tell his brother they liked them, so he wouldn't buy them again in the future, as his studies were difficult. This kind of humanistic tenderness and consideration was captured by Mo Luo. Another detail is when he studied at East China Normal University, the school's allowance was very low, about 100 yuan per month. It was hard to live on this. Mo Luo thought of joining others in writing a letter to demand a raise. Later, when he went home for vacation, he passed by Jingdezhen and saw that his aunt's whole family had been laid off and their lives were very difficult. He thought that if the allowance was raised, the money would have to come from people like his aunt at the bottom of society, making their lives even harder, so he gave up the idea of writing the letter. There is also the detail he wrote about him slowly crossing a threshold, which deeply moved me. Mo Luo has experienced and grasped these small things, so any principle he expresses does not feel hollow. It all comes from the heart. This is the religion of the earth, with many capillaries. This kind of detailed grasp is rare among Chinese writers. It is truly a real person speaking. When such a real heart gains power, it is real power.
Lianzi: Mo Luo has overcome many hardships but still manages to create and live. I think this compassion has nourished him greatly.
Joy: Mo Luo Cried Because of Happiness
Liu Nian: I often see Mo Luo writing reflections on other writers, such as his critique of Wang Kaiping, who was deeply moved by a young, vibrant writer. Recently, when talking about Liu Liangcheng from Xinjiang, his sincere praise was truly moving. When Mo Luo talks about these things, he doesn't feel like he is a writer himself. He doesn't think about where his position would be if he pushed others too high. Mo Luo doesn't consider this at all. He is very innocent, completely immersed in this state, completely wanting to bring others forward. In reality, the writers Mo Luo recommends, I have read, and personally, I feel that from a spiritual perspective, Mo Luo is heavier than them. Maybe others' strengths are irreplaceable, but what goes deeper into the heart is still his own. But Mo Luo's innocence is also very good. He is completely infected and enters the hearts of others completely.
Lianzi: So, Mo Luo has written a book that，，，，，，。，，，，，，。
Liu Nian: This book's compilation is called .
Lianzi: He seems to have broken through from the very bottom. In that piece, he held the poem by Hai Zi in his hands and repeatedly murmured, "Happiness, happiness..." This is a voice from the heart, truly moving, and no one is not moved by this joy. He shouts like this so sincerely that no one is not moved by this joy.
Liu Nian: In reality, Mo Luo has always been moving in this direction. His path is very real. His repentance, his critique, his resistance are all to find happiness, to find true love.
Lianzi: He has opened his eyes to discover love and happiness. A man at the dinner table continuously adding dishes to his daughter made him feel a man of the most love and gentleness.
Liu Nian: Mo Luo's initial state was to chew on shame, the second state was to chew on shame while bearing the suffering of humanity, which brought him desolation and coldness. He took a step forward from this. We just said that the suffering in the human world and the nihilism of the spirit were very heavy, and at this moment, he sought love in the way of humble individuals comforting each other. At this moment, his search for love had a passive feeling, and he showed more tragedy and power, that was despairing love. Now, love born from despair has hope. This is a shift from passive to active. He says, "Peace and simplicity, composure and kindness, compassion and comfort, should not only be the poet's momentary experience but also the life state of every one of us, becoming our gaze and expression, our gestures and voices."
Lianzi: He demands this in life, and in literature, he is more tolerant——a person who learns to discover love and loves becomes more tolerant. In this book, he says, one should pity with compassion, illuminate with light, and rescue the darkness of human selfishness and the filth of intrigue and the bloodshed of violence. He says, "We need such writers."
Liu Nian: When Mo Luo speaks of these things, he doesn't seem to compromise, as some say. This isn't false optimism, as if he can't see the darkness anymore. In this tolerance, he completely acknowledges the existence of darkness and evil. He has never turned away from them but looks at them more directly. His gaze is no longer as harsh or opposing as before. He gradually tries to wrap them in kindness. He is moving in this direction. I think this is Mo Luo's growth, and also a hope that Chinese literati see. For the disease of Chinese literati with a sense of worry, sunk in worry and unable to extricate themselves, Mo Luo shows a possibility of overcoming this disease.
Lianzi: From Mo Luo, we can see that Chinese cultural figures and artists are breaking themselves free from opposition and confrontation, liberating themselves from grief and anger, facing the future with a heart full of love and hope. The future of the heart can only be more inclusive and vast.
Mo Luo, in his ，。？，？，，。，。
Liu Nian: Lu Xun said at the end of his life, "I will not forgive a single person." So, Lu Xun's later state was still in the state of fighting in critique. While Mo Luo has entered another posture, that is, he is searching for beauty and love. Mo Luo is taking a step beyond Lu Xun. But this doesn't mean Mo Luo has already found happiness or felt good. He is yearning to open his heart more, to be more proactive and powerful in caring for society and life.
Mo Luo talks about Jesus and Sakyamuni as two very despairing people, people who despair of humanity. Because of this despair, they created a god, a Buddha, to comfort the people. He thinks that both the Buddha and the god are human creations. Humans want to find something to save themselves because humans cannot save themselves. Mo Luo's setting still believes that nihilism is absolute. People's various efforts are to forget nihilism, to cover it up, and to fight against it, including culture, love, and religion. He considers both Sakyamuni and Jesus as tragic heroes. If Mo Luo's setting is true, then they are indeed tragic heroes, like Sisyphus, knowing it is futile but still doing it. But is there another possibility? They truly transcended human nihilism? They truly discovered the ultimate meaning? I think there is such a possibility. From this perspective, I think we should actively explore this question and not take the past setting as the only setting.
Lianzi: You talk about Mo Luo, or us, how is it possible to get happiness? How can we stand on a solid foundation of happiness？
Liu Nian: I think it is to open the heart to the greatest extent, to approach some greater minds, such as truly experiencing the spiritual world and spiritual significance of Jesus, Sakyamuni, and Gandhi. Jesus and the Buddha are relatively far from us, can we think more carefully about Gandhi? Can we consider Gandhi as a tragic hero? If Gandhi was also struggling nonviolently and refusing cooperation in a tragic manner, then Gandhi was also a tragic hero. But Gandhi was not like this. He was calm, composed, and very happily and confidently doing this thing. Even when he was shot, he was very confident. If Mo Luo admires these people, he could more deeply enter their hearts, perhaps see another landscape.