This song "Tian Jing Sha·Autumn Thoughts" juxtaposes a variety of scenery to form an autumn sunset picture, allowing a wanderer from the end of the world to ride a skinny horse and appear on a desolate background. It has a sad mood, which expresses the sorrow and sorrow of a wanderer who misses his hometown in autumn and is tired of wandering. The following is a collection and appreciation of Ma Zhiyuan's "Autumn Thoughts on a Pure Sky", I hope it will be helpful to everyone! Appreciation of Ma Zhiyuan's "Autumn Thoughts on a Pure Sky"
"Autumn Thoughts on a Pure Sky" by Ma Zhiyuan
p>Withered vines and old trees, dim crows,
People’s houses with small bridges and flowing water.
The west wind carries the thin horse on the ancient road,
The sun sets in the west, and the heartbroken man is at the end of the world.
Appreciation of Works
This poem is very short, with only five sentences and twenty-eight characters in one sentence. There is not a single word "Autumn" in the whole song, but it depicts a beautiful picture. It is a desolate and moving picture of the sunset in the autumn suburbs, and it accurately conveys the miserable mood of the traveler. This successful composition, praised as the ancestor of Qiu Si, embodies the artistic characteristics of Chinese classical poetry in many aspects.
1. Use the scenery to express feelings, embody feelings in the scenery, and form a desolate and tragic artistic conception in the blending of scenery and scenery.
Chinese classical poetry pays great attention to the creation of artistic conception. Artistic conception is an important category in the aesthetics of Chinese classical poetry. Its essential characteristics are the blending of scenes and the unity of mind and matter. Whether emotion and scenery can be combined wonderfully becomes the key to forming an artistic conception. Wang Fuzhi of the Qing Dynasty said in "Xuanzhai Poetry Talk": "Scenery is called two things, but they are inseparable. God is in the poet, and the wonderful combination is boundless." Wang Guowei's "Removed Manuscripts of Human Words" said: "All scenery words are love words." The first four sentences of Ma Zhiyuan's poem are all about scenery. These scenery words are all love words. Words such as "withered", "old", "faint" and "thin" make the rich autumn colors contain an infinite desolate and tragic mood. The last sentence "The heartbroken man is at the end of the world" is the finishing touch of the song, making the scenery described in the first four sentences an environment for human activities and a trigger for the sad emotions in the heartbroken man at the end of the world. The scenery on the song is what Ma Zhiyuan saw during his journey, and it is what he sees. But at the same time, it is the carrier of emotions and the object in the heart. There is emotion in the scenery in the whole song, scenery in the emotion, and the scenes are wonderfully combined, forming a moving artistic realm.
2. Use numerous dense images to express the author’s pain of traveling and sorrow of autumn, making the work full of rich poetic sentiment.
Image refers to the artistic image that appears in poetry to convey the author's emotions and embody the author's thoughts. Chinese classical poetry is often characterized by the use of complex and dense imagery. Many poets in ancient China often arranged numerous images closely in their poems to express their ideas. Ma Zhiyuan's song clearly reflects this feature. There are ten images arranged in the short twenty-eight characters. These images are not only the real environment of the heartbroken man's life, but also the carrier of the heavy sorrow and sadness in his heart. Without these images, the song would cease to exist.
Coexisting with the complexity of the image is the singleness of its meaning. In the same work, the status of different images is relatively balanced, and there is no deliberately prominent individual. Their emotional directions tend to be consistent, that is, many images often convey the same emotional tone of the author at the same time. So is this song. In order to express his melancholy and sentimental feelings, the author chooses many objects to put into the poem. These objects can convey the author's inner emotions, and the combination of emotion and scenery makes the emotional direction of the images in the work consistent and single. Many images are connected by the author's same emotional thread to form a complete picture.
The combination of complexity and simplicity of imagery is an important reason for the profound meaning, harmonious realm and strong poetic flavor of Chinese classical poetry.
The arrangement of images in classical poetry is often characterized by being numerous but not chaotic, with clear layers. This orderliness is due to the author's habit of arranging images in the normal order of time and space.
Some people call Ma Zhiyuan's "Tian Jing Sha·Autumn Thoughts" a "parallel image combination". In fact, the juxtaposition still reflects a certain order. There are ten images in the whole song, and the first nine are naturally divided into three groups. The vines twine around the trees, and the crows fall on the trees. The first group is arranged from bottom to top; the bridge, the water under the bridge, and the houses by the water are arranged from near to far; the ancient post road, the west wind thin horse on the road, the third group The groups are arranged from far away to the present, with slight changes in between.
Because the "west wind" is inserted in the middle to describe the touch, the description angle is changed, thus increasing the jumping feeling of the image, but this jumping is still local and does not exceed the scope of the autumn scenery. The last image, "the sunset", is the background of the whole song. It unifies all the first nine images, creating a scene of both space and time. Since it is also the product of looking far away, the work as a whole also shows a spatial arrangement sequence from near to far. From old trees to flowing water, to ancient roads, and then to the sunset, the author's vision expands step by step. This is also one of the manifestations of the orderliness of imagery.
Third, he is good at processing and refining, and uses extremely concise line drawing techniques to outline a picture of a wanderer's journey in late autumn.
The images appearing in the small order of Ma Zhiyuan's "Tian Jing Sha·Autumn Thoughts" are not new. Among them, the word "ancient road" first appeared in the poem "Recalling Qin'e·Xiao Shengyan" signed by Li Bai, "I enjoy traveling to the original Qingqiu Festival, and the sound of Xianyang's ancient road is excruciating". Zhang Yan of the Song Dynasty also wrote in the poem "Heaven in the Hug: Yangbao Wanli" that "the old Liuguan River is an ancient road in the setting sun, and the waves are still straight even when the wind is calm."
There is a song in Dong Jieyuan's "The Romance of the West Chamber": "When the sun sets, the forest is noisy with the crows, the wind sleeves are fluttering on the thin horse, once you enter the end of the world, the desolate ancient shore, withered grass and frost slippery. A glimpse There is a lonely forest at the end of the painting, with grasshoppers falling on the sand, an old man fishing for shrimps, and a hut reflected in the flowing water. "Six of these images appear in Ma Qu.
There is also an unknown Xiao Ling from the Yuan Dynasty called "Drunken Zhongtian" (see "New Sound of Yuefu"): "The old trees are hung with vines, and the setting sun reflects the remaining clouds. The flat forest is faintly noisy with crows. The mountains in the area are picturesque. , Lazy setting up a whip to make the horse thin. The sunset, the bamboo fence and thatched house." There are also six images that are the same as the horse song.
It is very obvious that "Drunken Heaven" is derived from "When Viewing Flowers", and traces of simulation are still there. Although the images appearing in the second song have many similarities with Ma Qu, but In comparison, none of them are as simple, natural and concise as "Tianjingsha·Autumn Thoughts".
There is no doubt that Ma Zhiyuan was influenced and inspired by Dong Qu when he created "Tianjingsha·Autumn Thoughts", but he did not just imitate it blindly, but remade it based on his own life experience and aesthetic vision. creation. In the selection of scenery, in order to highlight and intensify the desolate and miserable emotions, he selected ten images that best reflected the desolate and depressing scenery of autumn and the lonely and melancholy feelings of the travelers, and put them into the song, condensing his emotions into these Among the ten images, the theme of the whole song is finally revealed with a clear stroke. He deleted some scenes that, although beautiful, did not fit the emotion expressed. For example, the thatched cottage reflects the flowers, the sunset reflects the clouds, and the mountains in the area are picturesque, which makes the image of the whole song unified in expressing emotions.
Ma Zhiyuan fully demonstrated his talent in refining words and sentences. Among the eighteen characters in the first three sentences, they are all nouns and adjectives, without any verbs. The relationship between various scenes and their respective dynamics and shape, it all depends on the reader to grasp according to the organization and order of the images and their own life experience. This wonderful way of using calligraphy is really rare in ancient times. In Wen Tingyun's "Morning Journey to Shangshan", "The sound of chickens in that cottage and the moon, and the traces of people in Banqiao frost" is similar to Ma Qu's use of calligraphy, but its capacity is still not as good as that of Ma Qu. big. The conciseness of Ma Qu's wording has reached an irreducible level, using the fewest words to express rich emotions. This is one of the reasons for the artistic success of the song "Tian Jing Sha·Qiu Si".
Fourth, use the aesthetic emotional experience method of "Sad Autumn" to express the tragic feelings of the wandering children, so that personal emotions can gain universal social significance.
Autumn sadness is a sad and melancholy emotional experience that people have when facing autumn scenery. Because autumn scenery (especially late autumn) is mostly desolate, bleak, and gloomy, it is often associated with dusk, setting sun, fallen leaves, Accompanied by dead branches, it has become a symbol of the decline of all things. Therefore, on the one hand, autumn scenery can indeed give people a physical sense of coldness, and on the other hand, it can trigger all kinds of inherent sadness in people's hearts. Song Yu was the first Chinese sentimentalist literature to use sadness in autumn as the main form of aesthetic experience. By describing the bleak scene of "vegetations falling and decaying" in autumn, he expressed his frustration with his career in life, and he faced himself The desolate and desolate mood caused by the autumn scenery is described as being like traveling on a long journey, "It's desolate, as if you were traveling far away", "It's lonely and empty, you're traveling without friends". This shows that the emotional experiences of Bei Qiu and Bei Yuan Xing are similar. After Song Yu, sadness in autumn gradually became one of the most common forms of aesthetic experience among Chinese literati, and sadness in autumn was closely linked to the sigh of life experience. Du Fu's "A Thousand Miles of Sad Autumn" is an example.
The same is true for Ma Zhiyuan's little order. Although the imagery in the song is not new and the emotions expressed are not new, because it uses refined artistic expression to express a traditional emotional experience of Chinese literati, it has gained immortal vitality and can arouse future generations. The cries of the literati.
Through the above analysis, it can be seen that "Tianjingsha·Autumn Thoughts" is one of the most mature works of Chinese classical poetry. Although it is a Yuan song (qu style), it actually embodies the artistic characteristics of Chinese classical poetry in many aspects.
Comments by famous artists
Previous people who discussed music all praised this little order. Zhou Deqing's "Central Plains Rhythm·Xiaoling Dingge" said this song is "the ancestor of Qiu Si". Wang Guowei, who has a high artistic vision, listed it as the "best" among the Xiaolings of the Yuan Dynasty, and commented: "The Xiaoling of "Tian Jingsha" is pure nature, just like the quatrains of the Tang Dynasty ("Song and Yuan Opera Research·Yuan") "Articles on Drama"), "Watching the Wonderful Land of Tang Dynasty Quatrains" and "Human Words".