People who are good at ancient poetry and prose come in and have a look.

This article was written in Yongzhou. The author's famous prose "Eight Stories of Yongzhou" not only expresses his feelings for mountains and rivers, but also contains a little loneliness and resentment of political frustration. The same meaning also exists in his landscape poems. The "Western Rock" in the first sentence of this poem refers to the Western Hills in Travel Notes at the Beginning of the Western Hills Banquet, while the "Fisherman" in the poem, who delivers songs by himself and walks alone in the green mountains and green waters, contains a sense of his own situation. The protagonist, alone, shows a feeling of narcissism, and words such as "not seeing anyone" and "looking back at the sky" all reveal a bit of loneliness. In art, this poem particularly attracts the attention of later generations. Su Dongpo said appreciatively: "Poetry delights in strangeness and abnormal harmony. It is interesting to know this poem. " (Hui Hong's "Cold Zhai Ye Hua" is quoted from the volume "Continuation of the Whole Tang Poetry") The word "curiosity" really captures the main artistic features of this poem. The first sentence begins with "night", and "an old fisherman spent the night here, under the western cliff" is still very common; But the second sentence is strange when it is written at dawn. It was common to get up early to draw water and make a fire. However, the statements of "catching up with Hunan" and "burning Chu bamboo books" are novel and unheard of by readers. The fact is that the Xiangjiang River draws water with a sieve, and the dead bamboo pays the bill. Instead of burning "salary" with "water", the meaning in the poem is different from that of "Qing Xiang" and "Chu Zhu". Just like "cooking gold and wearing jade" gives people the feeling of being expensive, "painting Hunan clearly" and "burning bamboo incense" have extraordinary feelings, which seem to symbolize the lonely character of the people in the poem. It can be seen that the "abnormality" of coinage can show a special taste, which is called "harmony". At dawn at night, readers know that there is a fisherman under Xiyan from the sound of pumping water and the light of burning bamboo. In three or four sentences, I wrote "Work at sunrise and rest at sunset". It is "abnormal" that people should meet readers at this time, but instead "see no one". However, with the "sunrise of cigarette sales". Green water and green hills are the same. Suddenly, I heard the paddle creak. Although no one is seen, it is only in the mountains and rivers. This is another kind of "harmony", and the word formation here is also very strange: "smoke sells sunrise" and "landscape green" are mutually causal, and have nothing to do with "not seeing people"; And "landscape green" has nothing to do with "one nai one" This poem says with prejudice that "then, at sunrise, he walked through the fog, leaving only the creak of his oars in the green of mountains and rivers", which is particularly "abnormal". But the words "cooked taste" and "then, at sunrise, he walked through the fog" can convey a feeling of surprise; In the green mountains and green waters, it's especially pleasant to hear the sound of OARS and OARS. The mountains and rivers seem greener and more lovely. Through such curiosity, the author wrote a somewhat mysterious realm, vaguely conveying his lonely mood. So it is not for fun. The last two sentences are the echo of the whole poem. The fisherman has gone down the river by boat. At this time, he "looked back at the sky" and saw white clouds hovering on the rocks, as if following his fishing boat. Here, I borrowed the meaning of "a cloud comes out unintentionally" in Tao Qian's farewell speech. Only "unintentional" white clouds "chase each other", and their loneliness is unknown. Regarding these last two sentences, Dongpo thinks "no need." This casual criticism has caused controversy for hundreds of years. Yan Yu and Hu Yinglin in Ming Dynasty, Wang Shizhen and Shen Deqian in Qing Dynasty all agreed with Dongpo's view that these two sentences should be deleted. In the Southern Song Dynasty, Liu Chenweng, Li Ming, Dongyang people, Wang Shizhen and others thought it should not be deleted. Liu Chenweng's poem "Don't be like the Late Tang Dynasty" relies on the last two sentences (six are quoted from Poem Internal Compilation), and Li Dongyang also said, "If you stop using the first four sentences, what is the difference with the Late Tang Dynasty?" The root of the differences between the two factions mainly lies in their different views on "curiosity". Su Dongpo appreciates this poem's "focusing on curiosity" and deletes the last two sentences, so that the poem ends with a strange sentence of "only the creaking of his oars, in the verdant mountains and rivers", which not only makes this poem "endless" (unique in Tang poetry), but also makes it more interesting. Liu Chenweng and Li Dongyang's humble "Late Tang" poems have a remarkable feature, that is, strangeness. Delete the end of this poem, which is relatively dull and leisurely, making the first four sentences particularly interesting. "What's the difference between it and the late Tang Dynasty?" Weighing the two, it is not difficult to see that the reason for the latter statement is quite inadequate. The "Late Tang" poetry was not as curious as the people who were in the heyday at the beginning, and some of them were unexpected but not made. Can they be completely erased? The strangeness of this kind of poetry is conducive to expressing poetry, which is the advantage. Although it declined at the end of the Tang Dynasty, what harm did it have? Isn't "Poetry will flourish in the Tang Dynasty" one of the fundamental reasons for the decline of Ming poetry? Su Dongpo, without prejudice, makes an argument about poetry, which is more insightful. Naturally, the selected works should keep their original appearance and cannot be changed at will; But as far as art is concerned, it is better to give up what you love.