Enter the estuary of Lipeng Lake.
Southern and Northern Dynasties: Xie Lingyun
I am tired of the water day after day, because the wind is changeable and unpredictable.
Waves and rapids rushed into the island, immediately split in two, one suddenly turned sharply, and crashed into cliffs, snow waves and waves, more condensed and rushing down.
Along the way, sometimes by moonlight night, listen to the sad apes, wet dew, and enjoy the fragrant grass; Sometimes in the early morning, it's near spring and wild, green and vast, far and high, and white clouds gather.
I want to rely on the quiet scene at night to participate in this meditation.
But day and night, Chao Si thought about it and was still puzzled.
Because he couldn't stand meditation, he climbed the cliff and climbed to Shijingshan. The radish in the garden has grown to the top.
Visiting UFOs, overlooking, but three rivers and nine streams, the record of ancient sages, has become a difficult story to follow; The vicissitudes of nature and the truth of nature are even more difficult to study.
Now strange people cherish their treasures and the spirit of their treasures; The warm and moist golden paste has destroyed its brightness and brightness and lost its stream temperature.
I played "Qian" for this earth-shaking and not ignorant thing.
Suddenly, a voice came, and all was silent, only the endless melancholy echoed in Jiangtian.
Introduction to the ancient poem "Into the Hukou of Peng Li"
Entering the Lake Mouth is a landscape poem by Xie Lingyun, a poet in Jin and Song Dynasties. This poem was written on the way to Linchuan when the Yangtze River entered Lipeng Lake. This poem describes in detail the process of entering the mouth of Lipeng Lake and the scenery you see. Facing Li Peng Lake, the poet saw that the supernatural was not obvious, and different people were hidden, which was a metaphor for the reason why sages were hidden. Therefore, he finally sighed that "the strings have never missed Milton". The artistic conception of the whole poem is broad and lofty, the brushwork tends to jump, the allusions do not show traces, and the scene and reason are integrated, which shows the historical process of landscape poetry getting rid of the influence of metaphysical poetry.
Translation of "Into the Lake Mouth of Peng Li"
I'm tired of staying on the water day after day, because the trend is changeable, unpredictable and dangerous. Li Peng's waves are turbulent, and sometimes when he meets an island, he immediately splits into two strands, plummets, slams together, and collides with the cliff on the shore, making the snowy waves collapse, more cohesive and rushing down. Along the way, I sometimes go for a night tour for a month, listen to the plaintive ape, walk in the wet dew and enjoy the fragrance of the grass; Sometimes in the morning, from a distance, the fields in late spring nearby are beautiful and endless in green. In the distance, pale rocks are towering and white clouds are gathering. I want to understand this mystery by talking to the quiet scene in the early morning at night. However, day and night, I am confused, puzzled, or puzzled. Unable to stand meditation, I climbed the cliff and climbed Shijingshan. Pull Laura to pull the leaves and enter the top of the pine door. Visiting different places to explore the secret, climbing high and looking far, but the records of Sanjiang Nine Schools and sages have become hard to find; Things have changed, and this ever-changing natural principle is even more difficult to study. Nowadays, different people have cherished their wealth and kept their spiritual secrets; The golden frost fairy medicine, moist as jade, has already extinguished its bright light and stopped its flowing temperature. For all this upside down, I played the song "Farewell to a Crane in a Thousand Miles". Suddenly, there was a broken string, and all was silent, only the endless sorrow echoed in Jiangtian.
Matters needing attention in entering the mouth of Lipeng Lake
① Li Peng Lake: Poyang Lake in Jiangxi today. Hukou, Peng Li: This is the hukou of Poyang Lake. The Yangtze River and Poyang Lake meet near Jiujiang.
⑵ Tired: Tired. Waterhouse: A boat that lives in the water. Tired of long-distance travel on water.
(3) Theory: detailed description.
(4) sudden illness. Circle: polymerization; Come and see me. The wind and waves are beating on the island. Qí bank: a winding bank. Collapse: Water rushes to the river bank.
(ò u): Long-tailed ape.
[6] (y): wet. Fu (Fu): Strong aroma. Sun Fang: The name of vanilla. Dewdrops on the leaves of Sun Fang give off a strong fragrance.
(7) hey: get together.
A thousand words: all kinds of feelings are entangled in my heart day and night.
(9) Shijing and Songmen: the name of the mountain, and they are all near the mouth of Poyang Lake. Shan Li's Notes on Selected Works quoted a monk, Zhang Jian's Xunyang Collection, saying, "There are boulders in the east of Shijingshan, and the cliffs are clean, and people can see their shapes." He also quoted Gu's "Geography" as saying: "Since I entered the lake for 330 miles, I was poor in Songmen. Things are forty miles, and Song Qing is on both sides. "
⑽ Sanjiang Shangshu Gong Yu: "Sanjiang has entered." Zheng Xuan's Note: "The Three Rivers divide into three holes in Lipeng and enter the sea eastward."
⑾ Nine schools: Xunyang is another name. That is, Jiujiang, Jiangxi Province, the last two sentences say that the old saying about the Nine Schools of Sanjiang has become a thing of the past, among which Hyunri has no way of knowing.
⑿ Lingwu: a rare wonder. Selfish and strange: I cherish its strange appearance.
[13] Secret Spirit: Hide its spiritual soul. There are many miraculous things in the Jianghu, but none of them have appeared.
[14] Golden ointment: an elixir of Taoist legend. Turn off the glare: hide the light without displaying it.
⒂ Shuibi: A kind of jade, also called jasper. Shan Hai Jing: "The ploughed mountain is full of water." Drop out of school: stop. Flow temperature: refers to wet jade. In a word, there are gold paste and aquamarine in this river, but they all put out their bright light and stopped their warmth.
[14] Song of a Thousand Miles: the title of the song, that is, a thousand miles to bid farewell to a crane. Cai Yong's Cao Qin: "The shepherd in Shang Ling has been married for five years, but he has no children. Father and brother want to change their marriage, and the shepherd helps the piano and drums and sighs goodbye to the crane to relieve their anger. Therefore, it is called "Farewell to Crane Fuck". A crane travels thousands of miles, hence the name "don't be a crane for thousands of miles."
⒄ Strings: the end of the song. Shan Li's Notes on Selected Works said: "It's a pity to play a collection of songs with words, but it's too much to read. Therefore,' acts' are also. "
Appreciation of "Into the Lake Mouth of Peng Li"
The Creative Background of "Into the Lake Mouth of Peng Li"
This poem was written in the late spring of the eighth year of Yuan Jia (43 1), on the way from Jiankang, the capital, to Linchuan (now Nanchang, Jiangxi). Prior to this, Meng Ke, the prefect of Huiji, falsely accused Xie Lingyun of gathering people in Zhejiang to plot evil deeds, and Xie Lingyun went to Beijing to prosecute himself. Finally, Wendi "forgave me" and left him in Beijing. Releasing the tiger to Jiangxi a year later is actually driving it away from the mountain, which has broken its fundamental significance. Xie Lingyun is clear about this method of using it openly and secretly. This second seclusion made him feel sad and resentful. This time, he was subject to Luo Zhi, which naturally increased resentment. Therefore, since he left Shishou City, he compared himself with Qu Zi who was exiled. Once he entered Peng Li's hukou, his mood fluctuated with the wind and waves, so he used it as a pen.
The mouth of Lipeng Lake (Poyang Lake) is Jiangzhou (now Jiujiang, Jiangxi), where Peng Li and the Yangtze River meet. Since Shangshu Gong Yu, ancient books have recorded the water potential at the mouth of the lake, such as "Three Rivers Entering" and "Jiujiang Empty Drinking". Because of the change of landform, it is a waste of time to say that three is nine, but what it refers to is even more inconclusive. So all kinds of legends came into being. This book takes advantage of people's nostalgia for the past. There is a lot of water, complicated waterways and spectacular scenery here, which prompted the poet to recite it thousands of times. Xie Ke's poems are one of the earliest and best chapters.
Literary Appreciation of Entering Peng Li Hukou
"Tourists are tired of staying in the water, and this trend is hard to talk about." The two sentences suddenly rose, and the general outline of the poem was established. The words "tired" and "difficult" are the most chewy, laying the main vein throughout. The poet is tired of staying in the water day after day. Because the trend is difficult to explain one by one; In other words, it is unpredictable, unpredictable and dangerous. This means that the impression of this trip, by extension, is the summary of many years' journey; In-depth study, but also vaguely feel that being an official, right and wrong, the official sea storm cast a shadow in the poet's heart.
"The island suddenly rounded up and the shore collapsed again and again." The water potential written in Cheng's "Difficult Theory": the waves are rough, sometimes they meet the island, then they split in two, and suddenly they meet and collide with the shore cliffs, making the heavy snow waves collapse and pour down. This dangerous water potential is a footnote of "difficulty", and it also conveys the poet's uneven voice that plagues ups and downs.
In five or six sentences, the pen suddenly opened a clear scene, saying that along the way, sometimes walking in the wet dew, listening to the plaintive ape, enjoying the fragrance of grass; Sometimes when I get up in the morning, I can see the wild scenery in late spring nearby, and the green is endless. In the distance, pale rocks are towering and white clouds are blossoming, which seems to converge at the summit. A vague time, seemingly two quiet and beautiful scenery, is actually not. Seven or eight sentences have removed the connotation.
"Thousands of thoughts gather day and night, and all feelings are full of ambiguity." It turned out that Jingjing did not show the poet's peace of mind. He just wants to understand the mystery of this "difficult theory" through the dialogue with Jingjing in the early hours of the evening. However, day and night, it is still just a puzzling "difficult theory". So he is full of emotions, and he no longer resists meditation. He climbed the cliff and climbed the Shijingshan Mountain in the east of Lushan Mountain next to Xunyang City. Pulling Luo to pull the leaves, she passed through the pine trees sandwiched in forty miles and entered the top of Songmen Mountain in the 330-mile lake. Go to different places to explore, climb high and look far, hoping that the traces of spirit can illuminate the problems in his heart, and going to Donghe can enlighten his chaotic' reason'. The records of the nine schools in Sanjiang and the sages have become hard to trace stories; It is even more difficult to seriously study why there are such ever-changing natural principles. Guo Jingchun's "Fu Jiang" once said that the Yangtze River is "hidden and true, which is very different from the human spirit", and Jiang Shen's residence is "happy ever after, with Yao Zhu and strange stones showing its appearance". However, nowadays, different people have cherished their wealth and kept their spiritual secrets; The golden frost fairy medicine, which moistens water and jade, has already extinguished its bright light and stopped its flowing temperature. "Heaven and earth are one, sages hide but don't show", and the poet is no longer "tired" of all these upside-down searches, so he plays the guqin music of "a thousand miles away". "Although the Yellow Crane is far away, it's time to make a permanent decision, but a little affection in my heart really won't disappear." The surge of emotion urged him to play quickly, hoping that the sound of the piano would wash away his troubles. Suddenly, the string broke, and everything was silent, only the endless sorrow echoed in Jiangtian.
"Into the Lake Mouth" shows the new entrance of Daxie's poetry. Looking at Xie Ji again, probably before Yongjia was thirty-eight years old in the third year (422), his poems were rarely preserved, and his style was more in line with the style of An (such as Shu Zude's poems) and Taikang (such as Song Gong's riding platform on the ninth day), and had not yet formed an obvious unique style. In the nearly ten years from Yongjia's relegation to his second seclusion, he established the lofty position of the originator of landscape poetry with the feelings of resentment and harmony. He is good at vaguely conveying the change of feelings in the alternation of objects and images in the Qing Dynasty, which means that the meaning is connected and the face is distorted, while the hammer is precise, profound and delicate. However, the needle technique is too thin and the object is too precise, which makes the code too straight and has too many languages, which makes it feel sluggish to read and lacks the boldness of Du Fu and Han Yu. This weakness was broken in some chapters of the second seclusion, but it was not big. At this point, poetry can already be regarded as the forerunner of Du Fu's and Han's poetry, which has three forms of expression:
One is that the gap tends to widen. Xie Lingyun wrote this poem first, and the journey is very narrow. Although he has already broken through the barriers of the Han people, he always uses the scenery of one place to express his anguish and explore the mystery, but after all, the margin is narrow and the atmosphere is insufficient. This poem, with twenty sentences, covers more than 300 miles of scenery in the lake, with less and more, and its breadth is unprecedented, so it is more spacious and noble than the previous work.
Secondly, the pen is easy to jump; This is not only because of the big landscape; And because the stitching in the previous poem was cancelled. The abrupt and vivid connection between "Spring Festival Evening" and "Baiyun" fully shows this progress. It not only breaks the pattern of one scene and one emotion, but also has several emotional levels in a scene writing, and achieves the effect of alternating dynamic and static, alternating shades and relaxation. This leap is combined with its inherent rigor. The whole poem is tired and difficult, then it begins with "difficulty" and finally returns to a deeper level of "fatigue", showing the anger in fatigue. In this main line, the combination of "thousand thoughts and feelings" with the Three Rivers and Nine Schools, a reverse connection and a smooth turning point, made two bundles, and then perfectly combined the jumping pen with rigorous organization, which is the most important move in the poetry structure of Du Fu and Han Yu.
Third, the more formal integration of scenery language, emotional language and rational language: the rational language in Xie Shi is by no means the "Hyunri tail" that people often say. His theories are born with feelings in the landscape, which has been mentioned many times in previous appreciation. Under the historical conditions at that time, there is nothing wrong, but it is also a. The reason of this poem is more harmonious. In fact, the whole poem is about the "difficult theory" of reasoning, but it was not until "Nine Schools of Reasoning Empty" that this point was made clear. Then, I wrote the following sentences by Jiang Jing. Every sentence in the scene is full of emotion and reason, but what you see is what you get, with no trace. The last sentence "I miss Milton on the string" is far-sighted and tastes sour and salty. If we say that most of the previous thank-you poems are attributed to rationality, then this poem is reversed, and rationality becomes the foil of situational expression, showing a process of further escaping from the influence of metaphysical words in landscape poems.
It is often said that Xie Tiao, who lived between the poems of the Six Dynasties and Qi Liang, began to tease Tang Yin. In fact, Xie Tiao's influence on the Tang people was more short-lived, mainly affecting Wang Wei and Meng Haoran. As for the various artistic means, poking fun at Tang Yin is the first one, just like Du Fu and Han School.
A Brief Introduction to the Author of "Walking into Peng Li Hukou"
Xie Lingyun (385-433), whose original name was a kind word, was praised by people. Outstanding poets, writers and travelers in the Southern and Northern Dynasties.
Xie Lingyun was born in the Xie family of Chen County, and his ancestral home was Yang Xia of Chen County (now Taikang County, Henan Province). He was born in Huiji (now Sanjie Town, Shengzhou City, Shaoxing City) Shining. He is the grandson of Xie Xuan, a famous Eastern Jin Dynasty star, and the son of Xie Cheng, a minister. In the Eastern Jin Dynasty, he was hereditary, and the world praised him. Once served as Fu's marching army, Fu's general's paperwork joined the army, and Qiu's army. After Jin entered the Song Dynasty, Liu was named Hou, and served as Yongjia magistrate, secretary supervisor and Linchuan secretariat. Yuanjia was killed by Song Wendi Liu Yilong in 433 for "treason" at the age of 49.
Xie Lingyun is studious, well-read and good at writing articles. In order to get rid of political troubles, I often roam the mountains and explore wonders. Most poems describe the places he has been, such as Yongjia, Huiji and Peng Li. Among them, there is no lack of natural freshness, which depicts natural scenery from different angles and gives people beautiful enjoyment. Most of his poems are about scenery and metaphysics, and there are still the tails of metaphysical poems. Nevertheless, Xie Lingyun enriched and opened up the realm of poetry with his creation, making the description of landscape independent from metaphysical poetry, thus reversing the style of metaphysical poetry since the Eastern Jin Dynasty and establishing the status of landscape poetry. His poems are as famous as Yan Yanzhi's, and are called "Xie Yan", which initiated the school of landscape poetry in the history of China literature. He is also proficient in history and good at calligraphy. He has translated foreign Buddhist scriptures and written The Book of Jin. Le Kang Collection compiled by Ming Metabolism.