Jiang Xue Liu Zongyuan _ Jiang Xue's Ancient Poetry

Author: Liu Zongyuan

There are no birds flying over those mountains, and there are no traces of people in those paths.

A boat, a bamboo cloak, fishing alone in the cold snow.

Precautions:

1. This is a poem written by Liu Zongyuan after he was demoted to Yongzhou. He used a fisherman fishing in the Han River to express his loneliness and depression.

2. Absolutely: None left.

3. Birds fly away: There are no birds in the sky.

4. Diameter: path.

5. Trace: Trace. Nobody was there, nobody was there.

6. Suoli (Su L): Suoyi.

Translation:

There are no bird tracks in Wanling, Qian Shan, and no pedestrian tracks in thousands of roads. On a lonely boat, a fisherman wearing hemp fiber and hat silently fished in the snow.

Appreciate:

This five-character quatrain was written by the poet when he was exiled to Yongzhou. After Liu Zongyuan was demoted to Yongzhou, his spirit was greatly hit and his mood was low. This poem is to express his lofty aloofness and his political frustration and depression by praising the hermit fisherman. The seclusion of the objective realm in the poem can better reflect the author's lonely mood. In simple and delicate language, the poem depicts a picture of fishing in the snowy area of the Han River: there are no birds in Qian Shan, and only lonely fishermen are fishing in Jiang Xue. The vast and lonely background space highlights the solitary boat fishing. The poet painted a clean and beautiful world with faint pen and ink.

Jiang Xue's poetics

Jiang Xue's poetics

Jiang Xue.

Author: Liu Zongyuan

Original text:

There are no birds flying over those mountains, and there are no traces of people in those paths.

A boat on the river, a fisherman wearing his webworm moth; Fishing alone is not afraid of snow and ice.

Precautions:

1, absolutely: no, no.

2, 10,000 roads: virtual refers to thousands of roads.

3. Footprints: human footprints.

4. Loneliness: Loneliness.

5. Dai Li: Dai Li and Dai Li: hats made of bamboo strips. (Guns, clothes used for rain protection in ancient times; Dai Li, an ancient hat used for rain protection. )

6. independence: loneliness.

Poetic:

Birds and mountains are all extinct;

All the roads, no sign of anyone.

Alone on the river, fisherman Dai Li;

Fishing alone is not afraid of ice and snow.

Appreciate:

In Yongzhenyuan, Liu Zongyuan participated in the political reform movement headed by Wang. Because of the joint counterattack of conservative forces and eunuchs, the innovation failed. As a result, Liu Zongyuan was demoted to Yongzhou, which is known as the southern wasteland. His name was Sima when he was in office, but he was actually a criminal with no real power and was watched by local officials. There was no place for him in the official residence, so he had to settle down in the west wing of longxing temple, a monk temple.

Since Liu Zongyuan was demoted to Yongzhou, he has been greatly stimulated and depressed mentally. By describing the scenery of mountains and rivers and praising the fishermen who live in seclusion between mountains and rivers, he expressed his lofty and aloof feelings and his anguish and distress in political frustration. So, with a bitter mood, he wrote this famous poem "Jiang Xue".

The landscape poems written by Liu Zongyuan have a remarkable feature, that is, the objective realm is relatively quiet, while the poet's subjective state of mind is relatively lonely, sometimes even too lonely, too cold and cheerless, without any human fireworks. This song "Jiang Xue" is like this. The poet painted a quiet and cold picture in only 20 words: on the snowy river, a boat and an old fisherman were fishing alone on the cold river. What the poet shows his readers is this: the world is so pure and silent, spotless and silent; The fisherman's life is so noble, and his character is so aloof.

In fact, this is an imaginary realm created by Liu Zongyuan because he hated the declining society of the Tang Dynasty at that time. Compared with the characters in Tao Yuanming's Peach Blossom Garden, I'm afraid they are still illusory and far away from the world. What the poet wants to describe in detail is very simple, but it is just a boat, an old fisherman wearing hemp fiber and Li hat, fishing on the snowy river, and that's all. However, in order to highlight the main description object, the poet did not hesitate to use half of the space to describe its background, and made the background as broad as possible, almost to an infinite extent. The wider the background, the more prominent the main description object. First of all, the poet used the words "Qian Shan" and "Wan Jing" to set off the following two pictures of solitary boat and fishing. Without the words "thousand" and "ten thousand", the words "solitary" and "unique" behind them are unremarkable and uninspiring. Secondly, birds flying on the mountain and people walking on the road are very common things and the most general image.

But the poet put them under Qianshan and Wanjing, and added a unique word and a word, which suddenly turned the most common and summarized dynamic into extreme silence and absolute silence, forming an unusual scene. So the following two sentences used to be static descriptions. Because they are exquisite, lively and active in this absolutely silent background. It can also be said that the first two sentences were originally a foil. According to the general understanding, it is enough to outline the outline, and there is no need to make great efforts to carve it. However, poets just don't handle it this way.

It's like making a movie. How many close-ups are used to explain and reflect every corner of the background? The more specific and detailed you write, the more exaggerated you are. The last two sentences, originally the object of the poet's intentional description, turned into a long-distance lens, which was reduced many times, giving readers an ethereal feeling, visible and intangible. Only by writing in this way can we express the lofty and detached thoughts and feelings that the author is eager to show to readers. As for the formation of this sense of remoteness, it is mainly the effect that the author adds a word snow at the end of the whole poem and connects it with the word Jiang.

In this poem, snow covers everything, mountains are covered with snow, roads are covered with snow, and Qian Shan scenery is covered with snow, which makes birds fly away and people disappear. Even the awning and fisherman's hat are covered with snow. However, the author did not explicitly associate these scenes with snow. On the contrary, in this painting, there is only Jiang and only Rulu. Of course, the river will not store snow, and it will not be covered by snow. Even if it falls into the river, it will immediately become water. However, the author only uses the word "cold Jiang Xue" to connect the two images with the farthest relationship, giving people a vague, distant and narrow feeling and forming a long-distance shot. This makes the main object described in the poem more concentrated, dexterous and prominent.

Because even the river seems to be covered with snow, even the places where there is no snow are covered with snow, which completely describes the dense and thick snow and completely sets off the atmosphere of water and sky. As for using a cold word on it, it is of course to point out the climate; But the poet's subjective intention is to write the fisherman's spiritual world quietly. Imagine, in such a cold and quiet environment, the old fisherman is not afraid of the cold and the snow, forgetting everything and devoting himself to fishing. Although his body is lonely, his personality is lofty and aloof, even a little awe-inspiring. This illuminated and beautified image of the fisherman is actually the sustenance and portrayal of Liu Zongyuan's own thoughts and feelings. It can be seen that the word "Han Jiangxue" is the finishing touch, which organically links the two parts of the whole poem, not only forming a concise and general picture, but also shaping a complete and prominent fisherman image.

Describe the background in a concrete and meticulous way, and depict the subject image in a long-distance picture; Fine and extremely exaggerated generalizations are intricately unified in a poem, which is the unique artistic feature of this landscape poem.

Poems sung by Mujiang

Poems sung by Mujiang

Mujiangsong

Tang Bai Juyi

A sunset gradually sank into the river, half green and half green.

On the third night of September, the dew is like a pearl and the moon is like a bow.

Precautions:

1, sunset: the sun will set.

2, rustling: green.

3, pity: cute.

4. Zhu Zhen: That is, pearls.

5, the moon is like a bow: the third day of the ninth lunar month, the first quarter of the moon, bent like a bow.

Translation:

A touch of afterglow sprinkled on the river, shining in the sun. Half is dark blue and the other half is red. What is even more loving is that on the first moonlit night in September, the cool dew falls. Dewdrops are like pearls, and crescent moons are like delicate bows.

Appreciate:

Mu Jiang Yin is one of Bai Juyi's miscellaneous poems. The characteristic of these poems is that they recite one thing one by one and sing their true and natural feelings one by one.

The beauty of the whole poem lies in taking two beautiful pictures of nature and combining them. One is the gorgeous scene of the sunset reflected on the river, and the other is the hazy night when the crescent moon rises and the dew is crystal clear. Both of them have their own beautiful scenery, and reading together is even more wonderful. Because this poem permeated the relaxed and happy liberation mood and personality of the poet after he was forced to stay away from the imperial court, the whole poem became the artistic carrier of the poet's aesthetic psychological function in a specific situation.

The first two sentences are about the river at sunset. A sunset was sprinkled in the water and shone on the river. It's not taking pictures, it's spreading. This is because the sunset is close to the horizon and almost shines on the ground. It's really like laying on a river, very vivid. This word shop is also gentle, writing the softness of the autumn sunset, giving people a cordial and leisurely feeling. Half the river is rustling and half the river is red, the weather is clear and windless, the river flows slowly, and the river wrinkles into tiny ripples. The part that receives more light shows red; Where there is little light, there is dark blue. The poet grasped the two colors on the river, but showed the scene that the river was sparkling at dusk and the color changed rapidly in the sunset. The poet was intoxicated and put his happiness in the description of the scenery.

The last two sentences are about the night scene when the new moon rises. The poet lingered until the early moon rose, the cool dew fell and a better realm appeared in front of him. The poet leaned over and looked at it: Hehe, the grass by the river is covered with crystal dew. Dewdrops on the green grass look like pearls embedded in it! Using real pearls as a metaphor, not only the roundness of dew is written, but also the luster of dew shining under the new moon. Look up again: a crescent moon rises, just like hanging a delicate bow in the blue sky! The poet condensed two scenes in heaven and earth into a poem-dewdrops like pearls and the moon like a bow. From the crescent moon bent like a bow, the author remembered that it was the night of the third day of September, and could not help but blurt out his lovely praise for it, expressing his feelings directly, pushing his feelings to a climax and causing waves in his poems.

What a harmonious and peaceful artistic conception the poet created by describing the visual image of dew and the moon! With such a novel and ingenious metaphor, it is amazing to describe and color nature in detail. There seems to be a lack of time connection between describing Mujiang River and praising the moon dew, but the night on the third day of September virtually connects time, with the dusk above and the dewdrop moon below, which means that the poet enjoys the moon from dusk until it is exposed, which contains the poet's joy and love for nature.

Mr. Zong Baihua said: Artistic conception is not the natural reproduction of a single plane, but the deep creation of a realm. ("The Birth of China's Artistic Conception") If we say that in Xie Tiao's "Going to the Three Mountains in the Evening and Returning to Wangjing Town" in the Southern Dynasties, we wrote a famous sentence about the sunset scenery along the Chunjiang River: Yu Xia dispersed into magnificence, and Chengjiang was as quiet as practice, which was purely the accumulation and externalization of the literary thoughts of that era (Zhong Rong's Poems) in Xie Tiao's aesthetic consciousness; It only describes a concentrated moment at sunset, like a faint sketch by the river; Then, Bai Juyi's literary trend of thought (in Wang Changling, see "Tang Yin Gui Qian" Volume II) is the artistic conception created by Bai Juyi's works, which is based on the aesthetic connection since the prosperous Tang Dynasty. It artistically shows a process of moving in time and space, which is not only a magnificent watercolor painting, but also a set of shots in a color film. Therefore, with the passage of a long shot, our aesthetic consciousness quickly shifts to the combination of long and short shots. Dewdrops are like real pearls and bows.

Hegel said: Poetry is not limited to a certain moment in a certain space or plot like painting, which makes it possible to express it according to the inner depth of the object written and the breadth of its development in time. ("Aesthetics" Volume III, page 6) Among them, it depends on the heartfelt poem "Poor Third Night in September" as the adhesive of inner feelings. It is this unique aesthetic feeling under the consciousness of specific time and space that makes the two lens systems of half river, half river, half river, dewdrop pearl and moon as a bow and creates a dynamic artistic whole. Eisenstein said: The opposite of two montage shots is not the sum of two numbers, but more like the product of two numbers. This can be understood as an artistic structure with multi-dimensional intersection and two-way feedback of any artistic style, and its artistic implication will be more mellow, rich and three-dimensional, which often brings people a vague and complicated mixed emotion. You see, when the setting sun is reflected, the Shasha River spreading in the sunset disappears into the poet's field of vision unpredictably, and another beautiful and quiet montage lens is gently shaken and stretched out in front of the poet. Looking up, the curved crescent moon hangs and floats in the vast blue sky; Looking down, the crystal dew is condensed and shining on the flowers and plants by the river. This is really a pearl in spring, and it is also a painting. Every word is different. The poet couldn't help blurting out his praise: what a lovely night! This is surprise and intoxication. The poet's incomparable joy and faint artistic conception, his yearning for detachment from things and his quiet interest are clean but very subtle, which makes people ponder and comprehend endlessly. Here, we can witness Wen Yiduo's praise of A Moonlit Night on a Spring River: a more exclusive cosmic consciousness, a deeper, broader and quieter realm. In the face of magical eternity, the author has only consternation, no longing and no sadness. What he got seemed to be a more mysterious, elegant and upright smile. He is more confused, but also very satisfied. (Palace Poetry Redemption) Isn't it? When we read such a poem today, we can't help but have a mythical reverie: Are the crescent moon in the mysterious blue sky really those little angels flying in the sky? The little fairy opened the open bow. Are those dewdrops small balls that they shot into the blue sky and scattered on the earth in the game? This is really a wonderful realm.

Jiangcun village

Dufujiang village

The clear river winds around the village, and everything in the village looks elegant in the long summer.

Since I left, I have come to Liang, and I am very close to seagulls in the water.

The old lady is using a chessboard, and the younger son is making a hook with an injection.

As long as some old friends give me some money, what do I ask?

Translation and annotation

The clear river winds through the village, and everything in the village looks elegant in the long summer. Swallows on the beam fly freely, and seagulls in the water chase each other and kiss each other. The wife drew a chessboard on the paper, and the child made a hook with a light needle. I am old, and all my sick body needs is medicine to treat the disease. Besides, what can I expect?

1, hug: left and right. 2. Long summer: midsummer. 3, micro-body: micro-body, the poet refers to himself.

Make an appreciative comment

This poem was written in the first year of Shangyuan in Tang Suzong (760). A few months ago, after four years in exile, the poet came from Tongzhou to Mianzhou, a prosperous hometown in the southwest of China, located in the suburb of Chengdu, undisturbed by the war, and kept quiet for the time being. With the support of relatives and friends, the thatched cottage he worked so hard to run has begun to take shape; The poet, who has gone through the hardships of leaving his hometown, is ready to drift from place to place and finally has a temporary shelter. It's early summer. On the banks of Huanhua River, the river twists and turns, while Tsinghua in Shui Mu is a quiet and elegant pastoral scenery. As you can imagine, the poet picked up the title of the poem "Jiangcun" and began to chant his feelings.

The second sentence of the first couplet of this poem has the word "everything is quiet", which means that the whole poem closes its pen and makes a will. In the middle four sentences, stick to everything and talk all the way. Liang Zhongyan, come and go freely; Bai Ou on the river is neck and neck. From the poet's eyes, both swallows and seagulls have an interest in forgetting their planes, which is suitable for music groups. Things are so quiet, and the interest in personnel especially makes the poet happy: his wife's infatuation and naive drawing paper for chess are amiable at first sight; It's so cute that children knock on needles to make hooks. Chess is most suitable for summer, Qingjiang is just fishing, and the village is happy and everything goes well. How can a poet not feel happy and satisfied when he meets again after a long separation? But an old friend provides rice, what else can I ask for? Although it is a happy word on the surface, there is a lot of sadness in the bones. If there is, there is no guarantee that there will be; What else do you want? It just means you got what you wanted. Du Fu didn't forget that his leisurely life in front of him was based on the contributions of his old friends to Mi Lu. This is a very sensitive sensitive point. Once there is a problem with the distribution of rice, nothing can be said. Therefore, we can say that the last two sentences are bitter feelings rather than lucky words. A generation of poets living in poverty and relying on others, while living temporarily and Du Fu was able to settle down, revealed such sad words, which was really a strong accusation against the feudal ruling class for destroying talents.

In the four sentences of Zhonglian, the quiet things in Jiangcun are written enough from the aspects of material state and human feelings. Then at the end of the sentence, I asked for more, and everything was calm. I collected a theme, which was the simplest and most secure.

The poem Jiangcun is unique in artistic treatment:

First, compound words do not repeat. In the first two sentences of this poem, Jiang and Cun both appear. According to the general rules of metrical poetry, compound words are forbidden to be associated with the chin and neck, and the loose sentences of the first and second couplets are not so strict, but they should be avoided as far as possible. Now using a pair of compound words has a light and elegant feeling, and I don't think it is a crime. This situation is very similar to that in legal sentences. Difficult sentences must be saved by difficult sentences, and compound words must be supplemented by compound words. Besides, the second sentence also contains two other overlapping words, so that the first two poems have no support at all.

Second, the whole poem is coherent and compact. Lianggui Village, Gulls in the Water Belong to the River: The chess game is at the top of summer, and the hook hides in Qingjiang River. Zhuan Xu came to Liang after he left, and became intimate with seagulls in the water. The words "two characters" and "two characters" are correct when the sentence is self-correcting: it is coming and it is near. Self-righting and mutual righting, reading is light and erratic. The drawing and typing of the necklace are ready-made. Moreover, both sentences are plain tone, which can best express the artistic conception that husband and wife grow old together, respect each other as guests, and their children are ignorant.

Third, the end of the sentence suddenly turns to sadness, which is a great feature of Du Fu's poems. Du Fu has two poems that describe the joys and sorrows in his poems, saying that the sorrows and sorrows are based on poems, and the poems turn bleak (after the end). This poem was originally written in a leisurely mood, but when he wrote it, he couldn't help but reveal his loneliness and unhappiness at the end, which made people feel disappointed. Almost all Du Fu's impromptu poems are like this. The predecessors said that Du Fu's poems were gloomy, which was probably the turning point.