Tian Fuhe arrived, hoeing, and talked to each other. ——Tang Dynasty·Wang Wei's "Weichuan Tianjia" The husband of the field came to hoe, and they met each other and talked to each other. The setting sun shines on the countryside, and the cattle and sheep return home in the back alleys. (Part 1 of "Slanting Sun": Slanting Light)
The old man in the wild misses the shepherd boy and leans on his stick to wait for the thorn tree.
There are pheasants and wheat seedlings, and silkworms are sleeping on the mulberry leaves.
Tianfu came to hoe, and we met each other and talked to each other.
This is the time when I am envious and leisurely, and my sadness fades away. Three Hundred Tang Poems, Retreating to the Countryside Translation and Commentary
Translation
Everywhere in the village is covered with the afterglow of the setting sun, and cattle and sheep return one after another along the deep alleys.
The old man misses his grandson who is grazing, and his stick and stick are waiting for him at the firewood gate of his house.
The pheasants are crowing, the wheat is about to ear, the silkworms are sleeping, and the mulberry leaves are already thin.
The farmers returned to the village with their hoes in hand, laughing and loving each other.
Why don’t I envy such comfort? I couldn't help but chant "The Decline" sadly. Appreciation
The poet depicts a picture of the Tian family returning home at dusk, enjoying themselves. Although they are ordinary things, they show the poet's superb scene description skills. The whole poem uses simple line drawing techniques to describe the scene of people and things returning home, reflecting the poet's mood, expressing the poet's desire to return home, envying the peaceful and leisurely pastoral life, and revealing the poet's official career. Lonely and depressed.
As the sun sets and night approaches, the afterglow of the setting sun shines on the village (rural), and the returning cattle and sheep pour into the village lanes. The old man was thinking about his grandson who had gone to graze, and he was leaning on crutches outside the firewood gate to watch his return. Amidst the crowing of pheasants, the ears of wheat are already showing, and the silkworms that have eaten enough mulberry leaves are beginning to go dormant. With a good harvest in sight, farmers returning from their hoeing days met each other and chatted passionately about their daily routines. This beautiful scene reminded the poet of the disgusting infighting in the officialdom, and felt how quiet and comfortable it would be to live in seclusion in such a rural area. While melancholy, he couldn't help but recite the words in the "Book of Songs" "In decline, decline, Hu will not return?" (meaning: It's getting dark, it's getting dark, why haven't you gone home yet?), which expresses his interest in retreating to the countryside. Wang Wei was proficient in music, painting, and calligraphy, and had profound artistic accomplishment; Su Dongpo commented that there were paintings in his poems and poems in his paintings. The poem above can be said to be a pastoral painting. Creation background This poem was written in the late Kaiyuan period (713-741 AD of Emperor Xuanzong of the Tang Dynasty) and describes rural life on both sides of the Weishui River. Wang Wei (701-761, some say 699-761), courtesy name Mojie, Han nationality, was born in Puzhou, Hedong (now Yuncheng, Shanxi), his ancestral home is Qixian County, Shanxi, a poet of the Tang Dynasty, known as the "Buddha of Poetry" . Su Shi commented on him: "When you taste Mojie's poems, there are paintings in the poems; when you look at Mojie's paintings, there are poems in the paintings." In the ninth year of Kaiyuan (721), he was promoted to Jinshi, Tai Lecheng. Wang Wei is a representative poet of the prosperous Tang Dynasty. He has more than 400 poems in existence today. His important poems include "Lovesickness" and "Dwelling in the Mountains in the Twilight of Autumn". Wang Wei was proficient in Buddhism and was greatly influenced by Zen Buddhism. There is a Buddhist "Vimalakīrti Sutra", which is the origin of Wang Wei's name. Wang Wei is famous for his poetry, calligraphy and painting. He is very versatile and proficient in music. Together with Meng Haoran, they are collectively known as "Wang Meng".
Wang Wei is a young man who has no vulgar charm and loves hills and mountains by nature. The rice roots are like blocks, and the water in the field is one foot wide this year. There are no silkworms to weave mulberry trees in summer to fill the village, and the fields are useless to plow calves in spring to work for the army. The fields are small with sparse fences and winding paths. The cloud trees bloom at dawn. At the end of the year, people are hoeing and plowing in an empty room, and calling their children to climb mountains to harvest acorns. The mountains are desolate, but the fields are small, and money is easy to handle. The threads of the green carpet draw early rice, and the green nepotism shows the new crop. The water surrounds the field, the bamboo surrounds the fence, and all the elm money has fallen, and the hibiscus flowers are sparse. An old friend brought chicken and millet and invited me to Tian's house. Egrets fly in the desert paddy fields, and orioles sing in the overcast summer trees. The west wind blows in August and September, and the ground is covered with yellow autumn clouds. To the north of the village and to the south of the village, it was only during the Grain Rain that all the land was plowed. Show the wheat, the hills, the mulberry leaves and the cheap. The fragrance of rice flowers means a good harvest. Listen to the sound of frogs. The plums are golden, the apricots are fat, the wheat flowers are white and the cauliflowers are sparse. The spring water in Noda is as green as the mirror, and the silhouettes of people crossing the water are unfazed by the gulls.