"Going Back" is composed for later generations to follow Tao Yuanming's words. Its scores were first seen in "Xie Lin Taigu Relics", and later also in "Huang Shida Taigu Remains", "Feng Xuan Xuanpin", "Inventing the Piano Score", "The True Story of the Piano Score", "Five-tone Piano Score", "Fengxuan Xuanpin". Reconstructing the True Biography, "Wenhuitang Piano Score", "Yang Huan Taigu Remaining Notes", "Taigu Zhengyin", "Rational Yuanya", "Lexian Piano Score", "Hewen Notes", "Huiyan Secret Order" ", "Chun Caotang piano score", "Ziyuantang piano score", "Liluxuan piano score", "Qin Xueyuan", "Zhang Jutian piano score" (for the return), "Introduction to Qin Studies", "Xishaoge Piano Score", "Green Qi Qingyun", "Xishaoge Qin and Se Synthesis", "Qin Study Book", "Shanxi Yucai Museum Yale Lecture Notes". and many other collections. The "Civilization of Returning" included in the album "Liu Yunyue Hidden" was composed by Mr. Mani Tianhong according to "Feng Xuan Xuan Pin", and was later included in "Xing Xin Qin Score".

In the "Xingxin Qin Pu", the title of "Returning and Lai" says: "Yu Yan in the late Song Dynasty and early Yuan Dynasty composed a piece of music based on Tao Yuanming's words. When Liu Yuchan was in the Jin Dynasty, he was Peng Zeling. It is a shame that the two surnames are not the five fights. Mi folded his waist, abandoned his official position and went into seclusion. He made a speech when he returned to clarify his aspirations. Later generations admired his high style and splendid style, and his words were incorporated into the rhythm, that is, when the qin and tunes returned, he came back."

In the "Xing Xin Qin Pu", it is written after the "Returning Ci": "The Xishao Pavilion Qin and Se He Pu said that this piece was composed by Tao Yuanming, but he did not say this in any of his scores, but only called the ci written by Qian. The tune has a distinct style in the Ming Dynasty. "Re-cultivation Zhenzhuan" also said: 'Tao Yuanming did not bow his waist and retreated from Linquan by fighting millet, pretending to be a resignation to express his ambition. Now it is the rhythm of entry, and his dust regards the crown The mind, the ingeniousness of the machine and the good fortune, are enough to teach hundreds of generations.' "The Rotten Talk on the Banquet" and "Suzhou Chronicle" contain Yu Yan, a qin master at the end of the Song Dynasty and the beginning of the Yuan Dynasty. There are more than forty scores. This is the forerunner of the qin score with characters in the Ming Dynasty. "Returning to the Return" is also one of them. Therefore, this piece should be the first composition by Yu Yan, and it flourished in the Ming Dynasty. , only "Second Table of Apprenticeship". There are no articles in Jin, only "Civilization of Returning". If there is no fruit, there is no such thing as a festival of loyalty, not carving ears. The original text of "Civilization of Returning", the so-called: ' When I go back, the pastoral general will not return. Since I take my heart as a form of service, I feel melancholy and only sad. I realize that the past is not admonished, and I know that those who come can be chased. No. The boat is swaying lightly, the wind flutters and blows the clothes. Ask the husband about the road ahead, hate the faintness of the morning light. I look at the house and run with the heart. The servants are welcome, the children are waiting for the door. The three paths are deserted, Songju It still exists. Bring the young into the room, and there are wine bottles. Bring the pot to drink for yourself, and hope that the court will make a beautiful face. Lean on the south window to express pride and judge the ease of the knees. .Ce Fu old to rest, when the head is tilted and look at. Yun Wuxin is out of Xiu, and birds are tired and fly back. Never travel. The world is left with me, and I want to ask for it again. The love words of relatives, the music of the qin and the book to relieve worries. The farmers report to the spring, and there will be something to do in Xichou. .It is slender to search for ravines, and it is also rugged and through hills. Mu Xinxin is prosperous, and the springs begin to flow. When the good things are obtained, I feel that the journey of my life is over. It's over! Whether the heart is left or not, Hu Weihu has nothing to do with it. Wealth is not without desire, and the emperor's hometown is unpredictable. Huailiangchen will go alone, or plant a stick and cultivate the forehead. Climb Donggao to Shu Xiao, Lin Qingliu and write poetry. Chat After multiplying and transforming to the end, Le Fu's destiny will return to doubt. Sigh how much life can be!'"

This piece was composed by Yu Yan at the end of the Song Dynasty and the beginning of the Yuan Dynasty, and it became popular in the Ming Dynasty. In the Ming Dynasty, the Songjiang School advocated playing and singing against the sound, that is, one word and one sound, featuring qin songs. Due to the limitation of the sound, many of the qin pieces have become music for singing, which reduces the appeal of the qin itself to a certain extent. Although this piece is an antiphonal qin piece, it still enters the rhythm according to the rhythm of returning to the home and the melody. It is also a good work. When Mr. Tianhong wrote this piece, he did not include the words in the score, in order to reduce the limitation of one word and one sound on the rhythm of the qin piece, and advocated that it should be square and smooth, and aim at being open-minded. Therefore, only the original text of his words is recorded in the postscript to clarify the meaning of the qin music.