Taohuawu Taohuaan,
Peach Fairy under Taohua Temple.
Peach fairies compete for peach trees,
Pick peach blossoms to drink.
When you wake up, you just sit in front of the flowers.
Come to bed when you are drunk.
Half drunk and half awake, day after day,
Flowers bloom every year.
I hope the old dead flower wine room,
Don't want to bow in front of the horse.
This is the problem of car dust and horseshoes.
The fate of the hermit with wine lamp and flower branches.
If you compare a saint to a hermit,
One is on the ground and the other is in the sky.
If we compare Hua San to chariots and horses,
I can't be idle no matter how busy I am.
People laugh at me for being crazy,
I laugh at people who can't see through it.
I didn't see one of the five graves,
No flowers, no wine, no hoe.
"Taohuawu Taohuaan, Taohuaan Taohuaxian. The peach fairy breeds peach trees and picks them for drinking. " The first four lines, like a long "push" lens, suddenly present the fairy in a painting to the readers from far and near. In just four lines, six "peach blossoms" are used repeatedly, stacked repeatedly, linked back and forth, and colorful, and soon a world of flowers is piled up, which makes people fall into their own situation. The unhurried tone and speed of speech increase the reader's intimacy and curiosity: what kind of fairy life does this peach blossom fairy lead? In the next four lines, a beautiful picture of "drunken lying in the greenhouse" is unfolded: "When you wake up, you just sit in front of the flowers, and when you are drunk, you will come to sleep under the flowers. Half awake and half drunk day after day, flowers bloom every year. " You see how carefree and happy the Peach Blossom Fairy is. She enjoys flowers in drunkenness every year. Here, flowers and wine are not completely foreign things that poets are worried about, but just a part of their lives, or they have become independent individuals, and flowers, wine and people are integrated into a harmonious whole. The above words can be described as the author's own situation, vivid, vivid and meaningful. Tang Yin, a student who once fantasized about "Tian Shelang at dusk, the emperor's palace" (the brilliant Pipa Story), disappeared, and so did the romantic genius who led a drunken life in the fireworks Liuxiang. After several years of debauchery, Tang Yin finally chose to escape from downtown, chose this paradise for himself, married Shen Shi, and began a relatively peaceful seclusion. Although there is no way to enter the official career, after all, I have something to support and live up to my prime of life. The beautiful scenery is easy to imagine, and I can sing a poem.
"I hope I die of old age. I don't want to bow in front of the car." This sentence, which connects the preceding with the following, expresses the poet's interest: it is better to be happy and carefree in the wine room than to work hard for prosperity. "Cars, dust, Ma Gui, wine and flowers are poor." If you compare wealth with the poor, one is in peace and the other is in heaven. ""Car dust trail "is only the taste of the rich, while flowers and wine are destined to become attached to the poor. If measured by money and material things, the lives of these two kinds of people are very different, but from another angle, those rich people have to be nervous all the time and walk on thin ice carefully, while the so-called poor people can have more leisure and fun, but live more naturally, truly, easily and happily. The above six lines are all comparative descriptions, and the feelings are unfolding in a fierce collision. In each sentence, because of rhyme, the former is tight and the latter is loose, which fully shows the poet's arrogant personality and his detachment and liberation from being born in the world.
However, the real meaning is not understood by everyone. Don't you see "people laugh at me for being crazy"? And "I", however, disagreed: "I laughed at others and I can't see it." Don't you see that kings and princes who used to be all-powerful and rich are now? Not only is the body gone, but the situation has also fallen. Even the flowers and wine they despised before their death can't be counted on, and even the tombs are not guaranteed. If they know it in heaven, they can only watch the farmers plow the fields where they are buried. "I don't look at Hao Jie's tomb in Wuling. There are no flowers, no wine and no hoes!" A word came to an abrupt end, and the aftertaste remained.
The whole poem has distinct levels, simple and euphemistic language, and is almost a folk monologue. However, it is this kind of monologue that contains infinite artistic tension and gives people endless aesthetic enjoyment and strong sense of identity. It deserves to be the best in Tang Yin's poems. This also coincides with Han Yu's "the voice of peace is weak, and the voice of sorrow and joy is wonderful;" Happy words are hard to write, and poor words are easy to write well "("net talk about singing and poem preface ").
The two most prominent and impressive images in this poem are "flowers" and "wine". Peach Blossom was first seen in literary works, and Yao Tao, originally written in The Book of Songs Nan Zhou, was intended to express a free and unrestrained emotion. As soon as Tao Yuanming's Peach Blossom Garden came out, peach blossoms were more used to express their secluded feelings. In ancient times, peach also had the meaning of exorcising ghosts and evil spirits. "Peach" is homophonic with "escape" because of its meaning of avoiding the world. In Tang Yin's poems, the image of "peach blossom" appears frequently.