Meng Haoran was a famous poet in Tang Dynasty. "Five-character poems are beautiful in the world." (Wang Shiyuan's Preface to Meng Haoran's Collection) Among them, the achievements of the five laws are relatively high, and this article happens to be a masterpiece of the five laws. However, at first glance, the benefits of his works are often not obvious. If poetry should be mellow wine, Meng Haoran's works may be said to be like a clear spring. To taste its color and fragrance, you need to make greater efforts to recite it. This has a lot to do with Meng Haoran's "lightness" in style.
Passing through an old friend village is not necessarily the lightest of Meng's poems, but it is described in plain language, with almost no exaggerated sentences and exciting words, and it can be regarded as "easy to see poetry" (Meng Haoran of Wen Yiduo). So, where is its poetry?
"The language is light and the taste is not light." (Shen Deqian's Tang Poems) When reading Meng Haoran's poems, we should appreciate their inner charm through their faint appearances.
"Prepare chicken and rice for me, old friend. You entertain me on your farm." This beginning is like a note in a diary. The old friend "invited" and I "arrived". There is no rendering in the text, it is simple and casual. This is just a possible form between friends who don't need to be polite. The invitation of "chicken and millet" not only shows the unique flavor of Tianjia, but also shows the simplicity of hospitality. This kind of "chicken and millet" banquet is still the most cordial way to entertain guests in rural areas of China. It is this kind of hospitality without ceremony and ostentation and extravagance that makes the hearts of friends more open to each other. This beginning is calm and natural, but it is an excellent introduction to the content of life to be developed, showing the characteristics of the atmosphere, which needs to be further enriched and developed below.
"We look at the green trees around your village and the pale blue of the distant mountains." It is a fresh and pleasant feeling to walk into the village and look around. These two sentences, the last one is close to the border and surrounded by green trees, which is unique and unique; The next sentence is light, accompanied by green hills abroad, which makes the village not lonely and shows a broad prospect. The village is located in Pingchou, far away from Qingshan, which makes people feel light and quiet, and never indifferent and aloof. Ma Zhiyuan, a Yuan Dynasty man, may have dug up a Sanqu from here: "The world of mortals doesn't mess with doors, green trees should build corners, and green hills are filling the gaps in walls, which is more comparable to the bamboo fence thatched cottage." Melody is rich in dew, and its content is often picked on the tip of bamboo pole for people to see, but we can further explore the connotation of Meng Haoran's two poems with the help of this dew, because it is a bit like showing the muddy artistic conception of Meng Hao-Ran's poems in a film "split shot". However, Meng Haoran and Ma Zhiyuan lived in different times after all. Ma Zhiyuan was in the Yuan Dynasty where ethnic contradictions and class contradictions were unprecedentedly sharp. Through the realm he described, he showed his boredom and evasive attitude towards the world of mortals. Meng Shi, on the other hand, didn't take "don't provoke the world of mortals" seriously, but painted battlements to set off the "old village". This is because in the prosperous Tang Dynasty, things around were kind and beautiful in people's minds.
It is precisely because the "old friend village" appeared in such a natural and social environment that the host and guest raised their glasses at the window: "We opened your window, crossed the garden and fields, and talked about mulberry and hemp with cups in our hands", which was particularly enjoyable. For these two sentences, people pay more attention to "talking about Sang Ma" and think that it is "caring for each other without miscellaneous words" and indifferent to farming, which is really good. But there are threshing floors and vegetable gardens in front of the entrance window, surrounded by green shade, giving people a spacious and stretched feeling. If you say Sang Ma, you will feel more idyllic, which will arouse your concern about farming and share the joy of harvest. Therefore, we can not only appreciate the stronger local flavor, the flavor of labor production, but also smell the soil flavor on the nursery, see the growth and harvest of crops, and even feel the characteristics of regions and seasons. With the combination of these two sentences and the first two sentences, green trees, green hills, cottages, nurseries and Sang Ma blend together harmoniously, forming a beautiful and quiet pastoral landscape, while the laughter of the host and guest and the words about Sang Ma seem to linger in our ears. It is different from the almost fantastic Peach Blossom Garden, but it is more realistic in the prosperous Tang society. The artistic beauty he described seems to be getting closer to life and can arouse people's good memories of the countryside. It is in this world that poets who once lamented that "the Lord of the realm is harsh on us, and the people who handle affairs are not like us" not only forgot the setbacks encountered in political pursuit, but also forgot the gains and losses of fame and fortune, even the lonely and depressed mood in seclusion. It seems not hard to imagine that his thoughts are relaxed, and even his actions are flexible, from his view of mountains and rivers, from his * * * words about wine with friends in Sang Ma. The environment and atmosphere of the farm show its conquering power here. "I was exiled by a wise ruler because I made a mistake. I have been ill for so long that I can't see a friend." Meng Haoran had to retire because he was disappointed in seeking an official position. Although living in an environment of "thatched doors, pine and cypress trails, isolation and seclusion", the contradiction between being an official and living in seclusion has been entangled in his thoughts. Now this kind of farm life in the "old village" seems to have freed him for a while, and it has also made him convert.
"When I have a holiday in the mountains, I will come back at chrysanthemum time." Meng Haoran's performance was like this. When he left, he bluntly announced that he would come again soon. This frank expression is a touching language from generate, a soul that has been baptized by a healthy life and almost recovered its innocence. The poet came at the invitation of an old friend, but when he went, he was not worried about his master's loss and made an appointment to start again. In contrast, the attraction of the world to him, the enthusiasm of old friends, the pleasure of being a guest, and the cordial harmony between the host and the guest are all on the paper. This can't help but remind people of Du Fu's idea that "the meaning of drunkenness is not in the mud of abundance, but words are sincere". "When the moon rises, I stay, but I still ask for help." Du's father supports people, and he is in a hurry; Montessori made an appointment with an old friend again to soften his words. The difference between Meng's calmness and Meng's calmness may give us some enlightenment.
An ordinary farm, an ordinary dinner of chicken and millet is so poetic. Describe the prospect of eyes, in spoken language, the level of description is completely natural, and the pen and pen are very easy; Even the form of metrical poems is free and flexible. You only think that this faint approachable style is in harmony with the simple peasant countryside he described, which shows that the form and content are highly adapted, but it is not shallow and boring. Plain contains deep affection. On the one hand, although there is almost no trace of strenuous exercise in every sentence, on the other hand, there has never been weakness in every sentence. For example, the first two sentences of the poem only write the invitation of friends, but they can show the simple peasant atmosphere; Three or four sentences only write green trees and green mountains, but you can see a new world; Five or six sentences only write wine gossip, but they can show the comfortable fit between mood and environment; Seven or eight sentences only say that Chongyang will come again, but naturally they show their attachment to this village and their old friends. These sentences are balanced and even, and together with * * *, they form a complete artistic conception, which combines quiet and beautiful pastoral scenery with simple and sincere friendship. This is the so-called "wonderful writing, no grammar." (Shen Deqian's "Tang Poetry" is not strange ... If the public loses, it will be a coincidence and misfortune. " (Pi Rixiu's Yunzhou Meng Ting Ji) He deeply integrated the artistic beauty into the flesh and blood of the whole poem, which seemed natural and natural. This kind is not dazzling, does not show off skills, and does not rely on one or two carefully crafted sentences to prop up the facade. It is the embodiment of superb artistic level. Wang Shizhen said it was mysterious, thinking that it was "the hue is empty, like a gazelle, and there is no trace to be found". In fact, it is Meng Haoran's artistic effect not to carve the form and words deliberately, but there are still his "traces". Some of his poems similar to this one can bring you into a poetic realm and let you see the image and feel the charm, but it is not enough to attribute its poetic realm, image and charm to one or two well-written sentences, or to say that it is due to the performance of a single skill. For example, a beautiful woman, her beauty is perfect, not because a certain part is particularly touching. Instead of putting on airs, she was amazed by a natural color and charm. It is precisely because of the true reflection that the words are scattered and pure, which makes the whole poem show its charm from "light touch" without "heavy makeup"
Meng Haoran's works indicate that Tang poetry has reached a mature stage through the efforts of four outstanding poets, Shen Song and Chen Ziang. It formed a complete artistic style of poetry in the prosperous Tang Dynasty. The further development is that the poems of Li Bai, Wang Wei and Du Fu are full of literary talent, profound artistic conception and even magnificent charm under the premise of harmony and unity. In form, others do not copy Meng Haoran's "lightness", but the profound, meaningful, simple and natural characteristics contained in Meng's poems are absorbed and developed by them.
. Buddhist retreat after the broken mountain temple.
Chang Jian's Zen Realm after Broken Mountain Temple has a unique conception. It is written closely around the meditation room behind the broken mountain temple, depicting the unique quiet interest in this specific realm.
The first couplet is "In the pure morning, near the ancient temple, the early sunshine points to the treetops", which sets out to outline the environment around the meditation room in the morning. In the early morning, the red sun rising in Ran Ran sprinkled golden sunlight on the temples and trees in Yushan, making the temples more beautiful and bright, and the towering mountains more green and lush, which made people feel relaxed and happy. Here, a word "Ru" depicts the remote beauty of the ancient temple, and a word "Zhao" engraves the vitality of the rising sun to the extreme, revealing the poet's happy mood. The first couplet is the vision of the Zen Temple, which lays the foundation for the following close-up description.
The couplet "My road twists and turns through a sheltered valley, branches and flowers to a Buddhist retreat" points out the word "Houdian" in the title and describes the secluded and charming road leading to Houdian and its scenery. The monk's room is deeply hidden among flowers and trees, with a strong aroma. Song Ouyang Xiu once praised it with emotion: "I often like to recite Chang Jian's poem:' My road is tortuous, through a sheltered valley, branches and flowers, to a Buddhist retreat'. Therefore, imitating its language as a couplet is not available for a long time, but it is difficult for those who know how to create meaning to work. " The beauty of this couplet is not only reflected in the accurate and vivid description of the scenery, but also in the profound ideological connotation. Buddhism advocates the purity of eyes, ears, nose, tongue, body and mind, and asceticism. However, the flowers and trees in Buddhist temples are lush and fragrant, which shows the monks' warm yearning and persistent pursuit of beauty in a subtle and tortuous way.
Appreciation of poetry and prose
Visiting the mountain temple in the morning, I saw quiet bamboo forests, clear pools, shining green hills, birds singing, and the sound of bells disappearing from time to time. Such a quiet environment makes the poet suddenly enlightened. Although the whole poem sings about Zen Temple, it actually expresses the feelings of mountains and rivers and seclusion.
Simple language and profound image; Conception works create meaning, beauty lies in words, and attract people to enter the scenic spot among the people.
First, reward:
In the morning, the poet strolled to the Broken Mountain Temple. At this time, the rising sun shone brightly on a towering old tree like an arrow. Singing softly along the winding and deep tree-lined path is really fast. Graceful bamboo, lush green, pleasing to the eye, lingering. Unconsciously, it has been transferred to Houchan Temple. The neat and elegant meditation room is bright and clean, simple and solemn, and has far-reaching Zen meaning. See here lush vegetation, complement each other, impressive; The fragrance is overflowing, refreshing and refreshing. Looking around, beautiful scenery, floating gas field, all things brilliant, feather birds singing freely; Standing on the clear water, the clear water trickles, showing that the world and its own figure are in the water, and Zhan Ran is ethereal and bright. Everything makes birds and people happy, as if all kinds of vulgar distractions in the world were washed away. Nature is so quiet, in a trance, only the sound of bells rings in the whole mountain temple, and the lingering sound is scattered thousands of miles, giving people an ethereal, quiet and refined realm.
This poem was written by Chang Jian, a poet in the Tang Dynasty. This paper describes the unique quiet scenery of the Buddhist temple after the broken mountain temple and the poet's special feelings in this scenery. It seems to be a landscape travel book, but in fact it mainly shows a strong tendency of Zen seclusion. Poetry abandons the traditional line drawing technique, advances layer by layer, and gradually wins the scenery among the people until the soul is purified and converted. The first couplet "In the pure morning, near the old temple, the early sunshine points to the treetops" directly breaks the theme, points out the time and place, and describes a common natural scenery. Although there are no surprises, they are all handy, but they have a special purpose: to hang out readers' feelings about adventure victory and pave the way for the following. The couplet "My road twists and turns, through a sheltered valley, branches and flowers, to a Buddhist retreat" is a famous sentence, which has been sung through the ages because of its neat antithesis, ingenious craftsmanship, close attention to the theme and fascinating association. The theme of this poem should be "Birds are singing and mountains are shining here, and people's hearts are quiet", which is a harmonious and perfect symphony. Wang Anshi's famous phrase "Spring Breeze and Green Jiang Nanan" has been praised by people for its good use of the word "green". However, the usage of "Yue" and "Kong" in these two poems is the same as that of "Qing", both of which move as adjectives, and both "Yue" and "Kong" have Buddhist ideas, so the beauty of these two sentences is even better than that of Wang Anshi. As for the couplet "There is no sound here, but there are bells", it seems contradictory, because since all sounds in nature are silent, where are the bells? Even so, when we understand the previous poems, we can know that the poet has washed away the vulgar dust, and his heart is empty, and he has completely escaped into the embrace of the quiet and beautiful world where heaven and man are one, which will naturally lead to the illusion that "everything is silent here." More importantly, Zhong Qing's voice reflects that the silent Buddhist temple is more empty, making this solemn world more solemn and making this moment eternal. There is a poem saying: "cicadas make the forest quiet, and the sound palace mountain is more secluded." The two can be said to be the same as different songs! In a word, this poem is seamless, without suspicion of piling up words, and it is fascinating to say.
theme
"After the Broken Mountain Temple, the Zen State" is an inscribed poem, which describes the beautiful scenery of the Buddhist temple in the early morning behind the temple and expresses the author's seclusion feelings towards the mountains and rivers.
Thinking structure
A meditation practice behind the broken mountain temple runs through the poem with the route of visiting the temple from the outside to the inside. The first couplet begins with "Entering the Ancient Temple" and "Seeing Gao Lin", pointing out the time of visiting the temple, setting off the deep atmosphere, and writing couplets to walk into the meditation room, grasping the unique scenery of the mountain temple and depicting the deep scenery of the mountain temple; The necklace points out the theme of the whole poem, and all kinds of scenery are described around "while the human mind touches peace in a pool of water"; The tail couplet gently echoed with Zhong Qing's voice, setting off a quiet atmosphere. They have shaped a quiet and lofty realm in an orderly way.
Bo Qinhuai
Qinhuai River has been a scenic spot in Jinling (now Nanjing) since ancient times: karaoke bars and dance pavilions are row upon row; Draw boats and yachts, from south to north. The poet stayed here for the night, saw the lantern banquet, smelled the obscene songs and touched the scenery, wrote this poem, and passed it down through the ages.
The first sentence of the poem, "The smoke cage is cold, Shui Han, the moon is full of sand". The two figures "cages" combine smoke, moon, water and sand, vividly sketching the hazy and elegant scene on both sides of Qinhuai River and creating a cold and quiet atmosphere.
In the second sentence, "Night berthing near Qinhuai Restaurant", the poet's boat berthed near Qinhuai River Restaurant. Sleeping at Qinhuai at night points out the time and place for the scenery in the previous sentence, and also takes care of the poem. Close to the Restaurant opens the next chapter. Being close to a restaurant leads to "merchant girl", "national subjugation" and "backyard flower", which also touches the poet's feelings. It can be seen that these seven words are a connecting link and have a complete structure.
"Strong women in business don't know how to hate the country, and they also sing" backyard flowers "across the river." "backyard flower" is said to have been written by Chen Houzhu in the southern dynasties, and is called "the voice of national subjugation" by later generations. "Across the River" inherits a story of "national subjugation and hatred for the rich", which means that the Sui soldier Chen Shijiang was in Jiangbei, and the small court in the Southern Dynasties was in danger across the river, while Chen Houzhu was still addicted to singing, and finally he was captured and died. Literally, these two poems seem to criticize the singer, but in fact, the poet feels the decline of state affairs and the decline of the world in the late Tang Dynasty, criticizing those rulers who are addicted to singing and dancing and "don't know" that the country will die. The word "still singing" is meaningful, which skillfully links history, reality and imagined future, and shows the poet's concern and anxiety about the fate of the country.
This poem was written by what the poet saw, heard and felt. The language is fresh and natural, and the conception is exquisite and meticulous. The whole collection of poems consists of scenery, events, feelings and meanings in one furnace, and the scenery is set for the feelings, and the feelings follow the scenery. Chen Houzhu's debauchery and subjugation satirized the rulers of the late Tang Dynasty, and implicitly expressed the poet's deep thinking on history and deep concern for reality. With deep feelings and profound implications, it is known as a masterpiece in the quatrains of the Tang Dynasty.
Some people say that it is rare to write a poem (Yan Yu's Pale Shi Lang Dialect). The first sentence of this poem is extraordinary, and the word "cage" is eye-catching. Smoke, water, moon and sand are harmoniously combined by the word "cage", depicting an extremely elegant night by the water. It is so soft and quiet, but it also implies a slightly erratic state of mind. Pen and ink is so light, but it is so ethereal and cold. The "moonlight and water moon" in the first sentence is related to the "staying at Qinhuai" in the second sentence, so after reading the first sentence, it is naturally "staying at Qinhuai near the restaurant". However, as far as the poet's activities are concerned, you must have a "night berth at Qinhuai" before you can see the scenery of "a cage of misty water and cold moon sand", but if you really look down, you will find that the flat plate is tasteless. The advantages of this writing method now are: firstly, it creates a very distinctive environmental atmosphere, which gives people a strong attraction and creates an artistic effect that affects the whole body and meets the requirements of artistic expression. Secondly, one or two sentences are treated like this, just like the relationship between the picture and the inscription of a painting. When people appreciate a painting, they usually pay attention to the wonderful picture first (this is like "a cage of cold water and moon sand"), and then look at the inscription in the corner (this is "Sleeping at Qinhuai Edge"). Therefore, the poet's writing style is quite in line with people's artistic appreciation habits.
"Sleeping near Qinhuai Restaurant at night" seems dull, but it is worth pondering. There is a strong logical relationship in this poem. Because "staying in Qinhuai", it is "close to the restaurant". But the first four words point out the time and place for the scenery of the previous sentence, making it more personalized and typical, and taking care of poetry; The last three words set a precedent for the following, because "near the restaurant" led to "merchant girl", "national subjugation hate" and "flowers in the back garden", which also touched the poet's feelings. Therefore, judging from the development of poetry and the expression of emotion, the word "near the restaurant" is like opening the floodgate, and the river will gurgle out and gush out. These seven words are a link between the preceding and the following. The whole network and the poet's meticulous and ingenious ideas can be seen here.
A businesswoman is a singer who waits on others. What they sing depends on the taste of the audience. It can be seen that the poem's saying that "business women don't know the national subjugation and hate" is a kind of ballad, and the real "national subjugation and hate" is the appreciators in that building-feudal nobles, bureaucrats and gentry. The "backyard flower", namely "yushu backyard flower", is said to have been made by Chen Houzhu, a dissolute and wrong country in the Southern Dynasties. This decadent voice has made the Chen Dynasty perish. However, in this declining era, some people use this voice of national subjugation for fun instead of thinking about national affairs. How can this not make the poet worry that history will repeat itself? The word "across the river" is inherited from the story of "national subjugation and hatred for the rich", which means that the Sui soldier Chen Shijiang was in Hebei, while the small court in the Southern Dynasties was in danger across the river, while Chen Houzhu was still indulging in debauchery. The word "still singing" skillfully and naturally connects history, reality and imagined future into a line, which is meaningful. "Businessmen don't know how to hate their country, but still sing" backyard flowers "across the river. They are called "swan songs" because of their beautiful and brisk style, showing bitter satire, deep sorrow and infinite emotion. These two sentences express sober feudal intellectuals' worries about state affairs, and also reflect that bureaucrats and nobles are filling their decadent and empty souls with singing and dancing, leading a drunken life, which is a portrayal of two different aspects in the real life of the decline of the late Tang Dynasty. (Zhao)
The first sentence of the poem describes the scenery, fog, misty moon and sand, and the picture is extremely beautiful. In order to express the theme, the artistic conception and sad atmosphere are rendered. The second sentence is a connecting link. Sleeping at Qinhuai at night is a continuation, which points out the time and place for the scenery in the previous sentence, makes it more personalized and typical, and also takes care of poetry. "Near the restaurant", specify a place to spend the night. This sentence expressively points out the connection between Qinhuai River and "wine", which naturally reminds people of the life of singing and dancing and being intoxicated by money along Qinhuai River. Structurally, it is also the hub of this poem, because the song "Flowers in the Back Garden" sung by "merchant girl" can only be heard near the restaurant, which attracts the poet to express his feelings and comments, thus shifting the focus of the whole poem to three or four sentences and turning to the exploration and expression of the theme. Three or four sentences about "near the restaurant" talk about lyric, which is the theme of the whole poem. "Businesswoman" doesn't know the hate of national subjugation. Literally, she accused the singer. In essence, she alluded to the feudal rulers at that time with the historical facts of Chen Houzhu's debauchery, and expressed the poet's anxiety and indignation about state affairs. The word "still singing" at the end of the sentence skillfully and naturally links history, reality and imagined future, and contains infinite grief and bitter irony.
The whole poem is ingenious in conception, exquisite in language and vivid in expression. The word "cage" in the first sentence, the word "near" in the second sentence, the word "don't know" in the third sentence and the word "you" in the last sentence are all used very aptly and profoundly, which makes the poetry highly concentrated and can be said to be one of the representative works of Du Mu's quatrains.