Song Min from the Sea

In the second year of Xiangxing, the naval battle at Yashan came to an end and the Song Dynasty overturned. Unable to return to their homeland, the Yuan army on the shore was pressing forward step by step. A group of ordinary Song people boarded a leaky and mottled fortune ship and sailed towards the unknown South Sea. The young man Chen Ahe tightly protects the taro seeds left by his mother in his arms, the fisherman Lin Sanniang is familiar with the wind and waves, the honest and honest Niu Dalang guards a broken pot, the down-and-out gentle old scholar carries half a volume of broken books in his arms, and all kinds of refugees are crowded in the small cabin. There are constant turmoils at sea: an encounter with a giant whale leads to a ridiculous misunderstanding, a raging storm almost destroys the ship and kills everyone, there is a shortage of water and food, and humans and rats compete for food. The hardships of life and death are always mixed with fireworks and jokes that make people happy. Fortunately, he drifted to the north coast of Borneo, but his ordeal was not over. The hot and humid rainforest is full of poisonous insects, separated by language barriers, surrounded by indigenous tribes and pirates. They have no grand plan to restore the country and become kings, and they are not obsessed with the glory of the old dynasty. All they want is a land where they can settle down and survive. Everyone put aside their past estrangements, reclaimed wasteland, and got along with each other. Starting with a fire in the stove, porridge and rice as the root, from a boatload of refugees fleeing in all directions, they slowly condensed into a village where they cook and defend together. The village regulations did not come from temple laws, but were born among the stoves, wells and taro fields. The waves are thousands of miles away, and my homeland is far away. This group of wandering Song people will rekindle their own human fireworks on the wild island with their own hands. Concept: The earliest idea for this work came from a very simple question: After the death of the Song Dynasty, where did those people who survived go? What is written in the history books is "One hundred thousand soldiers and civilians in Yashan died for the country", "Lu Xiufu betrayed the emperor and entered the sea", and "Wen Tianxiang calmly went to justice". These are all true, all are important, and all should be remembered. But there is more to it than these. There are also those who did not die, those who climbed ashore from the sea, and those who floated to the South Seas with planks in their arms. They did not die for their country, they still wanted to live. They wanted to live, so they ran away. Escape to the sea, to the island, to the edge of the rainforest. They built wooden houses, opened up wasteland, dried salt, planted taro, traded things with the natives, fought guerrillas with pirates, and made friends with orangutans. They did not restore the country, did not become kings, and left no earth-shattering achievements. But they left behind a village, a village journal, and a big tree. Their names are buried under the tree. Five hundred years later, when someone digs up that tree, they will see the words - "Live, take root, have laughter, pass it on." Of course, this is still the artistic processing method of some literary and artistic works. Maybe nothing will be left in the end. The prosperity will disappear, everything will be empty, and the wind will blow, and the earth will be white and clean. Honggu represents the Nanyang rainforest itself - wild, loyal, silent and powerful. The relationship between Niu Dalang and Hong Gu is essentially the relationship between people and this land. He changed from adaptability to acceptance, from fear to protection. But "survive, take root, have laughter, pass it on", these eight words are the story I want to write.