1. 沔阳民歌形式多样，其气氛以灯歌最为热烈这是城乡人民在节日中玩灯所唱的歌沔阳人民有在逢年过节时都有玩灯的习惯，特别是阴历正月初一到正月十五，歌舞盛行，历年不衰。到处都是采莲般、蚌壳精、打莲湘、海马、狮子、龙灯、地花鼓等。有的还扮作一台一台的“故事”，如“八仙过海”、“老背少”、“孙悟空三打白骨精”之类，形式众多，因此灯歌也特别丰富。这类民歌的特点是歌词多数为吉祥的内容，有祝福庆贺之意；曲调欢快活泼，气氛喜庆。渲唱时一般带有各种道具，着艳丽的服装，载歌载舞，并有锣鼓、唢呐或丝弦伴奏，是广大农村最吸引人的节日文化活动。 有《士豪湖霸两重天》、《武装暴动歌》、《土牛歌》、<<少年先锋队歌》、《妇女解放歌》、《告白军士兵歌》、《水灾歌》、《当兵就要当红军》等。

1. The folk songs of Miyang are diverse in form, with the most lively atmosphere being found in lantern songs, which are songs sung by urban and rural people during festivals to play with lanterns. The people of Miyang have the custom of playing with lanterns during holidays, especially from the first day of the lunar New Year to the 15th day of the first month, when singing and dancing are prevalent and have never waned. There are everywhere activities like picking lotus flowers, playing with clam shells, hitting the lotus rattle, sea horses, lions, dragon lanterns, and earth drumming. Some even dress up in "stories" such as "The Eight Immortals Crossing the Sea," "The Old Man Carrying the Young," and "Sun Wukong Defeating the White Bone Demon," among others, with numerous forms, thus making lantern songs particularly rich. The characteristic of these folk songs is that the lyrics are mostly auspicious content, with the intention of blessing and celebrating; the melody is cheerful and lively, and the atmosphere is festive. When performed, they usually involve various props, colorful costumes, singing and dancing, and are accompanied by drums, suona (a Chinese double-reeded horn), or string instruments, making them the most attractive cultural activities during festivals in rural areas. There are songs like "The Two Worlds of the Landlord and the Peasant," "Song of the Armed Uprising," "Song of the Earth Bull," "Song of the Young Pioneers," "Song of Women's Liberation," "Song to the Soldiers," "Song of the Flood," and "To Be a Soldier, Be a Red Army Soldier."

2. 沔阳号子尤以打硪号子最为普遍。沔阳位于江汉平原中带，境内有东荆河、通顺河、通州河、西流河、排湖（古时叫沔阳河）、沙湖、鲫鱼湖、芦林湖等大小湖泊十多个。由于地势低洼，湖多河多，因此常常出现十年九水，给人民带来深重灾难。民众为了生计，经常和洪水作斗争，年年修堤筑坝。在艰苦的劳动中，沔阳人民创造了无数的打硪号子，沔阳硪歌因此应运而生。

2. The Mianyang labor songs are especially well-known for their "pounding stone" songs. Mianyang is located in the middle of the Jianghan Plain, with more than a dozen lakes such as the Dongjing River, Tongshun River, Tongzhou River, Xiliu River, Paihu (formerly known as the Mianyang River), Shahu, Jiliu Lake, Lulin Lake, and others. Due to its low-lying terrain with many lakes and rivers, it often experiences "nine years of water" every ten years, bringing severe disasters to the people. To make a living, the people often struggle against floods, repairing dykes and building embankments year after year. In the arduous labor, the people of Mianyang have created countless pounding stone songs, leading to the birth of the Mianyang stone pounding songs.

3. 歌词多即兴创作，也有唱历史故事的，曲调常吸收当地小调。沔阳硪歌的演唱形式为一唱众合。领唱者有唱词，合唱者起衬托作用，没有实际内容，只唱一些感叹词，如嗨、呀、杨、花等等。领唱者都是喊号子的高手，声音洪亮，方圆数里都可听得非常清楚。听到的人真的是如雷灌耳，精神为之一振。有一人领唱的，也有两人对领的，还有一种《抛球硪歌》，要求更高，一副硪八个人轮流领唱，边打边唱，饶有兴趣。

3. The lyrics are often spontaneously created, and there are also songs that tell historical stories. The melody often absorbs local folk tunes. The singing form of Enyang Baoges is "one singing and many harmonizing." The lead singer has the lyrics, while the chorus acts as a complement, without actual content, only singing some interjections, such as "huh," "ya," "yang," "hua," and so on. The lead singers are all masters of shouting labor songs, with loud voices that can be heard clearly for several miles around. Those who hear it are truly overwhelmed by the sound, feeling a surge of spirit. There are songs with one lead singer, as well as those with two lead singers in duet. There is also a "Throwing Ball Baoge," which requires a higher level of skill. In this, eight people take turns leading the singing while playing the Baoge, which is very interesting.

4. 曲调既具有山歌的抒情性，又有小调的优美性。用连枷打场所唱的打麦歌，一般有男女数人，面对面边打连枷边演唱。歌声高亢有力，节奏协调一致，气氛十分热烈，众人和唱的号子都是衬词，无具体内容，而领唱则有一定的故事情节，内容与当地花鼓或唱词相同，亦有即兴创作。 亦称小曲。一般是农村妇女在室内绣花做鞋时轻声低唱，也有在田头小憩或夏夜乘凉时唱小调的习惯。小调反映的生活面宽，爱情题材居多，常以四季(如四季相思、四季美人、四季歌、四季位、叹四季）、五更(如劝五更、叹五更、阔五更、叫五更）、十(如十辑、十想、十恨、十送、十杯酒、十把扇子）、十二（如十二月望郎、十二月看姐、十二月不得闲。（十二时辰）以及花鸟鱼虫为题，采用比兴手法表达情感。唱词通俗生动，顺口易记，曲调优美细腻，婉转动听，主要有十绣调、绣荷包调等。沔阳花鼓戏的曲牌，大多数由小调发展而成。 旧时，沔阳小调在灾荒之年，常伴随着配上丝弦的三棒鼓、敲碟子流向外地，成为人们卖艺谋生的一种手段。并得到了发展，显示了顽强的生命力。

4. The melody combines the lyrical quality of mountain songs with the elegance of minor tunes. The threshing songs sung while using a flail in the threshing ground are typically performed by a few men and women, facing each other while hitting the flail and singing. The singing is loud and forceful, with a coordinated rhythm, creating a very lively atmosphere. The chorus sung by the crowd consists of mere fillers without specific content, while the lead singer has a certain story plot, with content similar to local huagudu (drum dance) or lyrics, and also includes improvisation. They are also known as minor tunes. Generally, rural women sing these tunes softly while embroidering or making shoes indoors, or have the habit of singing them while resting by the fields or enjoying the cool evening in summer. The minor tunes reflect a wide range of life, with love themes being predominant. They often use themes like the four seasons (such as "Yearning for the Four Seasons," "Four Seasons Beauty," "Four Seasons Song," "Four Seasons Positions," "Mourning the Four Seasons"), the "Five O'Clock" (such as "Advise the Five O'Clock," "Mourn the Five O'Clock," "Widen the Five O'Clock," "Call the Five O'Clock"), the number ten (such as "Ten Collections," "Ten Thoughts," "Ten Resentments," "Ten Send-offs," "Ten Cups of Wine," "Ten Fans"), the number twelve (such as "Looking for My郎 in December," "Looking at My姐 in December," "Being Busy in December" [the twelve zhi (hours)]), and themes of flowers, birds, fish, and insects. They express emotions using the metaphorical technique. The lyrics are easy to understand and memorize, with beautiful and delicate melodies that are melodious and moving, mainly including the "Ten Embroidery Tunes," "Embroidery Pouch Tunes," and so on. The tunes of the Enyang huagudai drama are mostly developed from minor tunes. In the past, during years of disaster and famine, the Enyang minor tunes often accompanied the sanbangu (a three-beat drum) and the clinking of plates as they traveled to other places, becoming a means for people to make a living through performing. They have also been developed, showing their tenacious vitality.

5. 沔阳新民歌是诞生在1958年，代表作是由仙桃钱沟村农民刘同兴作词、省群艺馆音乐家何良佑根据沔阳小曲改编的《哪有闲空回娘家》，唱的是因为集体生产很忙，“栽秧割麦两头忙，我哪有闲空回娘家”，还有个代表作是《喜坏我的妈妈也》，由沔阳人王玉珍演唱，唱的是生产队送喜报上门来了。总的说来就是反映“人民公社化”、“大跃进”那个时代的工作与生产、生活。

5. The new folk songs of Miyang were born in 1958. One of their representative works is "Where is There Time to Go Back to My Mother's House," which was written by Liu Tongxing, a farmer from Qiankou Village in Xianyang, and adapted by He Liangyou, a musician from the Provincial Art and Culture Pavilion, based on the Miyang folk tune. The song sings about how busy collective production is, "Sowing and harvesting are both busy, where is there time for me to go back to my mother's house." Another representative work is "My Mother is Also Overjoyed," sung by Wang Yuzhen, a resident of Miyang, which describes the production team delivering good news to the door. In general, these songs reflect the work and production, as well as life, of the era of "People's Communes" and the "Great Leap Forward."

6. 第三种是木硪。木硪有两种，一种是方柱形的，一种是圆柱形的，只需要一个人、最多两个人就能提打。

6. The third type is the wooden mortar. There are two types of wooden mortars: one is square-shaped, and the other is cylindrical. It only requires one person, or at most two people, to lift and operate it.

7. 又称彩调，是配合民间舞蹈采莲船、狮子等演唱的民歌。歌词多含恭贺吉庆、视福道喜之意。曲调欢快活泼，气氛热烈，伴以锣鼓助兴，为广大群众喜闻乐见。

7. Also known as Cai Diao, it is a folk song sung in coordination with folk dances such as the Peony Boat Dance and Lion Dance. The lyrics are often filled with greetings and wishes for joy and prosperity. The melody is cheerful and lively, with a lively atmosphere, enhanced by the sound of drums and cymbals, and is popular among the general public.

8. 车水号子为劳动号子的一种，流行于长江流域栽种水稻各省。车水的形式多样，如脚踏水车、手推水车、风车、牛拉水车等。号子的曲调也有多种，也有数首曲子联在一起，构成一个较大的多段曲式。节奏有的自由，有的较规整，音乐比较粗犷。如果在田中急着等水栽秧时，节奏更为急促，歌声更为热烈。歌词多即兴创作，比较固定的有“数麻雀”、“数猫”、“数蛤蟆”、“数水筹”等。也有全曲只唱衬词的，演唱形式为一领众和，并常用锣鼓伴奏。

8. The water-pulling song is a type of labor song, popular in the provinces along the Yangtze River that cultivate rice. The methods of water-pulling are diverse, including foot-powered water wheels, hand-pushed water wheels, windmills, and ox-drawn water wheels, among others. The tunes of the songs also vary, with some songs combining several tunes to form a larger, multi-section musical form. The rhythms are either free or more regular, and the music is relatively rough and rugged. When in a hurry in the fields waiting for water to plant rice, the rhythm becomes more urgent, and the singing becomes more passionate. The lyrics are often improvised, with some more fixed ones like "counting magpies," "counting cats," "counting toads," and "counting reeds." There are also songs that consist solely of fillers. The performance style is usually one leader and many followers, often accompanied by drums and cymbals.

9. “欺山莫欺水，欺老莫欺少”，这句话更深远的意思，我觉得应该还是在做人的格局、姿态上，不懂的事情不要先入为主的进行片面的评判。

9. "Don't cheat the mountains but do cheat the water, don't cheat the old but do cheat the young." I think the deeper meaning of this saying lies in the breadth of one's character and demeanor. Don't make hasty, one-sided judgments about things you don't understand.

10. “欺老莫欺少”，意思说可以小瞧老人但是不可以小看年轻人，虽然有点势利眼的感觉，但是这话也是从未来的可能，成就来说的，老年人的一生能努力的时间已经过去，成就已成定局，而年轻人可能现在家里穷，条件不好，只要努力是可以改写命运的。

10. "Don't disdain the elderly, but don't disdain the young," which means it is permissible to look down upon the elderly but not to underestimate the young. Although it sounds a bit snobbish, this saying also takes into account the future potential and achievements. The elderly have already used up the time they can work hard in their lives, and their achievements are settled. On the other hand, young people may currently come from poor families with bad conditions, but as long as they strive, they can rewrite their destiny.

11. 沔阳硪歌所唱的内容十分广泛，有取材于历史故事、民间传说的，也有通俗唱词和诗词小品，更多来自于沔阳花鼓戏的脚本唱词，如《站花墙》、《白扇记》、《秦香莲》、《劝姑》、《吵嫁》等。还有一种更考验领唱人的水平，完全是即兴创作，随唱随编，看到什么唱什么，想到哪里唱到哪里，语言朴实搞笑，生活气息十分浓郁。曲调有慢硪调、急硪调、郎当调、海扬花、也嗬也、咳哟嗬等10多种。根据打硪的速度可分为最慢的“四平调”；慢速的“高腔”；中速的“四块皮”；快速的“海扬花”、“郎当调”；最快的“划龙船调”等，其中以中速的用得最多。 1962年，省音协对沔阳硪歌进行搜集整理，在《湖北民间歌曲》上刊出。

11. The songs sung in the Miyang pounding drum are very diverse, including those based on historical stories and folk legends, popular lyrics and poems, and many more derived from the scripts and lyrics of the Miyang Flower Drum Opera, such as "Standing on the Flower Wall", "The White Fan", "Qin Xianglian", "Admonishing the Aunt", and "Quarrelling about Marriage". There is also a type that tests the lead singer's skills even more, which is completely improvised, made up as it is sung. It sings whatever it sees and wherever it thinks, with plain and humorous language, and a strong sense of life. The melodies include slow pounding drum tunes, fast pounding drum tunes, Langdang tune, Haiyanghua, Yeheye, and Heyoh, among more than 10 types. According to the speed of pounding, they can be divided into the slowest "Si Ping Tune", the slower "Gao腔", the moderate "Si Pieces", the fast "Haiyanghua" and "Langdang Tune", and the fastest "Dragon Boat Pounding Tune", among which the moderate speed is used the most. In 1962, the Provincial Music Association collected and organized the Miyang pounding drum songs and published them in the "Hubei Folk Songs".

12. 第二种是片硪，又称方石硪或飞硪。它是由一块重百余斤的大方石，四角凿有孔绳，由八人持绳抛打，时高时低，起落如飞，情绪高昂，场面壮观。

12. The second type is called "pie shi" or "fangshi shi" (square stone hammer) or "fei shi" (flying stone hammer). It is made of a large square stone weighing over a hundred jin, with holes drilled at the four corners for ropes. It is thrown and struck by eight people holding the ropes, moving up and down like a flying bird, with high spirits and a spectacular scene.

13. 亦称劳动号子。先秦《吕氏春秋·审应览》：“今举大木者，前呼舆讠雩，后亦应之。”便是劳动号子的最早记载。宋代高承《事物经原》：“今人举重出力者，一人倡则为号头，众皆和之曰打号”，说明号子是一人领唱，众人齐声应和。起着指挥劳动、协调动作、鼓舞劳动热情、解除疲劳的作用。多种多样的生产劳动，产生多种多样的劳动号子。如农事劳动有栽秧号子、车水号子、打场号子等；建筑劳动有打夯号子、打硪号子等；搬运劳动有装卸号子、挑担号子等；水上劳动有摇撸号子、拉纤号子、捕鱼号子等；作坊劳动有榨油号子榨油号子等。

13. Also known as labor songs. In the pre-Qin era, from the "Lüshi Chunqiu" (The Spring and Autumn Annals of Lü), it is recorded: "Now, when lifting a large tree, the person in front shouts 'Yú,' and the person behind responds to it." This is the earliest recorded instance of labor songs. In the Song Dynasty, Gao Cheng's "Things Originated from the Book of Changes" states: "Nowadays, when someone is exerting effort to lift heavy objects, one person leads the singing as the 'leader of the song,' and everyone else joins in by saying 'beat the song'." This shows that the labor song is led by one person singing, with the rest of the group responding in unison. It serves the functions of commanding labor, coordinating movements, inspiring labor enthusiasm, and alleviating fatigue. Various types of productive labor generate a variety of labor songs. For example, agricultural labor has songs such as the transplanting rice song, water-pulling song, and threshing song; construction labor has songs like the ramming song and tamping song; transportation labor has songs such as the loading and unloading song and carrying pole song; water-based labor has songs like the oar-swinging song, towline pulling song, and fishing song; and workshop labor has oil-pressing songs, among others.

14. 为什么可以小瞧山但是不能低看水呢？山的高耸、威严、陡峻，抬头就可以看到，可以观察是否能攀登，而水却不能用眼睛来测量深度，不可以因为水清澈见底，就觉得水不深。

14. Why can one belittle mountains but not look down upon water? The towering, majestic, and steep nature of mountains can be seen at a glance, and one can observe whether they can be climbed. However, water cannot be measured by the eye in terms of depth, and one cannot conclude that water is not deep just because it is clear and the bottom can be seen.

15. 这些红色歌谣带有强烈的时代色影，有鲜明的阶级捶识和阶级感情。1977年，由黄孝林、康大德搜集编写的《湘鄂西革命历史民歌》(杨雾青等编曲) ，参加省文艺会演，获创作演出等奖， 1982年，南国唱片社灌片发行。 它是反映人民群众新思想、新生活，新风尚的民歌。《哪有闲空回娘家》、《六姐爱的万能人》、《姑娘喜开机滚船》、《妹妹插秧我抛秧孙》、《想起我的哥》、《订亲只要歌一担》、《采莲要到九月八》等。但多出自业余作者之手。

15. These red folk songs are strongly marked by the characteristics of their era, with distinct class recognition and sentiments. In 1977, "The Revolutionary Folk Songs of Hunan and Hubei-West" (compiled and edited by Huang Xiaolin and Kang Dade, with music arranged by Yang Yuting et al.) participated in the provincial arts and literature performance competition, winning awards for composition and performance. In 1982, it was recorded and released by the Southern Records Company. These songs reflect the new thoughts, new lives, and new trends among the people. Examples include "Where Is There Time to Go Back to My Mother's House," "The Universal Man Loved by Sister Liu," "The Girl Hopes to Operate the Steamboat," "While Sister Sows I Throw Rice Seedlings for My Grandson," "Thinking of My Brother," "Engagement Requires Only a Cartload of Songs," and "Picking Lotus Flowers Until the 8th Day of the Ninth Month." However, most of them were written by amateur authors.

16. 打硪号子亦称硪歌，声调高亢，节奏性强，一唱众和，边打边唱，群众在修堤筑坝时，用以协调动作，缓解疲劳。句式一般是七字、十字，也有用五字句的。建筑工地打硪时唱，与打夯号子近似。打硪又有抬硪与飞硪之分。打硪用四人、八人、十人不等，领唱时不打硪，众唱时打硪。

16. The "Da Baozi" song, also known as the "Baozi Song," is characterized by its high pitch and strong rhythm, with a practice of group singing in response to a soloist, singing while striking the ground. It is used by the crowd during the construction of embankments and dams to coordinate movements and alleviate fatigue. The sentence structure is generally in seven-character or ten-character lines, with some also using five-character lines. The "Da Baozi" song is sung during construction sites while striking the ground, similar to the "Da Hong" song. There are two types of "Da Baozi": lifting and flying. The number of people involved ranges from four to ten, with the lead singer not striking the ground while the rest sing.

17. 榨油号子为劳动号子的一种，亦名打油号子、打榨号子，是油坊工人在榨植物油时喊唱的号子。一般有三种不同的榨油方法：“撞榨”、“压榨”和“锤榨”，号子也因榨法与地区而异。“撞榨号子”，撞榨时，悬一根长约两丈的粗大撞木，由数人推动撞击油筒中的大木楔而榨油。撞一次喊一次号子，撞榨的步伐、动作均以号子作统一指挥，情绪比较紧张。“板绞号子”，以螺旋形板绞压榨油，数人操作板绞榨油机，动作要齐，边喊边操作。“锤榨号子”，一般由二人操作，锤打木楔榨油。二人对唱号子，边操作边唱。

17. The oil-pressing song is a type of labor song, also known as the oil-pressing song or the oil-pressing call, which is a song chanted by oil mill workers during the process of pressing vegetable oil. Generally, there are three different methods of oil pressing: "bumping pressing," "squeezing pressing," and "hammer pressing," and the songs also vary according to the pressing method and region. The "bumping pressing song" involves suspending a thick, long wooden beam about two meters in length during the bumping pressing process, where several people push and collide it against a large wooden wedge in the oil cylinder to extract oil. A call is chanted each time a bump is made, and the steps and movements of the bumping pressing are unified by the call, creating a relatively tense atmosphere. The "screw pressing song" involves using a spiral plate to squeeze the oil, with several people operating the screw pressing machine, ensuring synchronized actions while shouting and operating. The "hammer pressing song" is typically performed by two people, who hammer on wooden wedges to extract oil. They sing in unison while operating and singing.

18. 随着时代的进步，修筑堤坝都由机械代替，优美动听的打硪歌再也听不到了。沔阳硪歌作为一项珍贵的民间文化遗产，储藏在传统的民间艺术宝库中。 为栽秧、扯秧、车水、薅草、打麦等田间耕作中唱的田歌。沔阳田歌种类较多，既有在水田耕作时所唱的秧田歌'等，又有在旱地耕作所唱的薅草歌，还有在禾场劳动时唱的打麦歌等。以薅草歌最有影响，主要流行在毛嘴、郑场、剅河、三伏潭等旱田较多的地区。薅草歌曲主腔和号子两种组成，演唱时有领有和，领唱的曲牌有高腔、悲腔、平腔和其他小调，众人和唱的号子有刮个阴阳火、么妹子笑嘻嘻、拗驴子过桥。流行在张沟一带的有簧声、赶字、引声、也声等。

18. With the progress of the times, the construction of embankments has been replaced by machinery, and the melodious and moving sound of the pile-driving songs can no longer be heard. The Enyang pile-driving song, as a precious intangible cultural heritage, is stored in the traditional folk art treasure trove. It is a field song sung during various agricultural activities such as transplanting rice seedlings, harvesting seedlings, irrigation, weeding, and threshing wheat. Enyang field songs come in many varieties, including the seedling field songs sung during rice field cultivation, the weeding songs sung during dry field cultivation, and the threshing wheat songs sung during labor in the threshing ground. The weeding songs have the most influence, mainly popular in areas with more dry fields such as Maozui, Zhengchang, Diaohe, and Sanfutang. The weeding songs consist of two main parts: the main melody and the call-and-response. The leading melody includes high pitch, sad pitch, flat pitch, and other minor tunes, while the call-and-response is sung by the chorus, with songs like "Scorch the yin and yang fire," "The young girl laughs cheerfully," and "The stubborn donkey crosses the bridge." Popular in the Zhanggou area are the sounds of huang (reed instrument), gai (rushing), yin (leading), and ye (following).

19. 第一种为是石磙硪。它是农家在禾场上压谷子用的石磙，绑上四根木杠，由八人提打。

19. The first type is the stone roller. It is a stone roller used by farmers on the rice field to press grains, with four wooden bars tied to it, which is lifted and struck by eight people.

20. “欺山莫欺水，欺老莫欺少”，农村的很多话都凝结了几辈人的智慧，在我的理解力，这里的“欺”不是欺负的意思，应该是“小瞧、小看、低看”的意思。

20. "Don't mock the mountains, don't mock the water; don't mock the elderly, don't mock the young." Many sayings in the countryside are condensed wisdom of several generations. In my understanding, the word "mock" here does not mean "bullying," but rather "to undervalue, to look down upon, or to underestimate."

21. 我觉得有的农村俗语是他们在长期的实践生活中总结出来的精华语言的一种表达。像本题里说的“欺山莫欺水，欺老莫欺少”就有一定的道理。我个人认为你欺山最多就是砍伐树木，乱挖，这样造成的危害不会很大。但水就大不一样了，你不善待它，不管理好它，不充分利用它，人们的生活，农作物生长会受到很大的负面影响。尤其是洪水泛滥的时候，吞噬着人民的生命财产毫不留情，所以，后来国家的重视，人民群众自己的努力想方设法植树造林，修堤筑坝，修建水库，引水渠等，都是为了防范洪水泛滥，当然也是为农作物蓄水源。至于“欺老不欺少”这里的老字应该是指大人，真正的老人是不能欺负的。有句话说“童叟无欺”嘛，其他我也不想多说了，这句话我们在生活中都在自觉遵守，理由是：当你家的老大与老二吵架时，你们都会说：你大些，让着点……

21. I believe that some rural proverbs are a kind of expression of the essence of language that they have summarized through long-term practical life. For example, the saying "Don't cheat the mountains, don't cheat the water, don't cheat the old, don't cheat the young" has a certain logic. Personally, I think the most you can cheat the mountains is by cutting down trees and digging recklessly, which won't cause too much harm. However, water is a completely different matter. If you don't treat it well, don't manage it properly, and don't make full use of it, people's lives and the growth of crops will be greatly negatively affected. Especially during times of flooding, it mercilessly swallows the lives and properties of the people, so, later, the state's attention, and the people's own efforts to think of ways to plant trees and forests, build embankments and dams, construct reservoirs, and build irrigation channels, are all to prevent floods from overflowing, of course, also to store water for crops. As for "don't cheat the old and cheat the young," the word "old" here should refer to adults, and the real old people cannot be bullied. There's a saying "Don't cheat children or the elderly," so I don't want to say more. This saying is something we all consciously abide by in our daily lives, the reason being: when your oldest child and the second child fight, you will all say: You're older, give in a bit...