Five thought poems (4)
Yuan Zhen [Tang Dynasty]
Once I tasted the vast sea, I felt that the water in other places was pale; Once you have experienced the clouds in Wushan, you feel that the clouds elsewhere are eclipsed.
Hurried through the flowers, lazy to look back; This reason is partly because of the ascetic monk, and partly because of who you used to be.
Then, let's look at the translation:
After the magnificent sea, the water elsewhere is not worth seeing. I am intoxicated in the dream of sex and rain in Wushan, and the scenery elsewhere is not called sex and rain.
Even among the flowers, I am too lazy to look back; This reason is partly due to the abstinence of monks and partly because you have had it.
Here are some words that I think are more important. Let me explain them to you separately:
Once: once arrived. Meridian: passing by.
Difficult: it means "not enough to see" and "not worth seeing"
Get rid of: except, leave. In contrast, clouds in other places are not called clouds except Wushan. This sentence and the last sentence are metaphors of a relationship I have been in contact with.
Hurry up: hurry, hurry, whatever. This is the appearance of "passing by in a hurry", "passing by in a hurry" or "passing by casually" and should not be interpreted as "walking in order" For example, the Song Dynasty's "Autumn and Summer Nights Prosperous" says: "Call a child to open a vine and paper candle, and clear poetry takes second place." Zhu Yuan Yu Ting's "Green Apricot Farewell" song: "Heartbroken place, hurry to leave."
Flowers: This refers not to flowers in nature, but to places where there are many beautiful women, implying brothels and prostitutes' homes.
Half fate: this means "half because …".
Cultivation: refers to the cultivation of Taoism. What is clarified here is that monks pay attention to abstinence.
Jun: This refers to the lover I once liked.
If you only read the article, it may be difficult to understand the meaning, so you have to interpret it in combination with the creative background of the article at that time:
This poem was written in the fifth year of Yuanhe (8 10), and Cao, the satrap of Jiangling, was demoted to the army. It is said that the author wrote this poem because he missed his young lover Cui Yingying. On the other hand, this poem was written by the author in memory of his wife Wei Cong.
Having said that, let's appreciate and comment on this article together:
The most prominent feature of this poem is to express the hero's deep love for his lost sweetheart in a clever way. It uses water, clouds and flowers in succession, and it is written in a tortuous and euphemistic way, with far-reaching artistic conception and intriguing.
There are only four sentences in the whole poem, that is, three sentences are used figuratively. A sentence or two, from a surprise, is so figurative that it is almost impossible to understand the author's intention. In the past, it was difficult for seawater to touch water. It is beyond Mencius' "He who looks at the sea looks at the water" and Mencius' dedication article. On the surface, the poem says that if you have seen the vast sea, you can't see the stream. It compares the sea with rivers. The sea is vast and magnificent. This river is just a trickle, you can see through it by raising your eyes. The artistic conception is profound and meaningful. However, this is only superficial, and it also contains profound thoughts. The second sentence uses the allusion of "Wushan Yu Yun" in Song Yu's Gao Tang Mi. "Gao Xu" said: During the Warring States Period, the "former king" of King Xiang of Chu swam to the platform of Gaotang, "sleeping in the daytime, dreaming of a woman ... willing to recommend pillows, Wang Xing". This woman is the "daughter of Wushan". When she left the king of Chu, she said, "My concubine is in the sun of Wushan, but she is blocked by high hills. Dan is facing the clouds, it is raining at dusk, under the balcony. " When the king of Chu saw it, it was as he said, so he set up a temple name for her and wrote "Chaoyun". Obviously, Song Yu's so-called "Cloud of Wushan Mountain"-"Chaoyun" is just the incarnation of a goddess. On the surface, Yuan Zhen's so-called "eternal amber" said: Except for the colorful clouds on Wushan Mountain, other clouds are not worth observing. In fact, he skillfully used the allusion of "Chaoyun" and compared it to a beloved woman, fully expressing his sincere feelings for that woman. The poet shows that no other woman, even a beautiful woman, can touch his heart and win his favor and admiration. Only that woman can make him fall in love. Write enthusiastically and implicitly.
The third sentence, "looking back at flowers lazily", is to compare flowers with people. In other words, even if I walked into the blooming flowers, I didn't pay attention to the past and didn't bother to look back. And the reason why he doesn't want to see the blooming flowers printed in his eyes, the fourth sentence "half-married gentleman" answers. The implication is that he saw through the world and went to the monastery, which is one of the reasons. Secondly, because of the loss of her beloved, he never wants to see other "flowers" again. Looking at the whole poem, it is not difficult to see that the reason for "picking flowers and looking back" is still because of the loss of "Jun". The theory of "half-edge monasticism" is just a kind of speech that avoids the important and takes the light.
In this poem, the author uses various metaphors to express his deep affection for the female companion who once fell in love. The first three sentences are closely related to the theme, step by step, and the last sentence reveals the theme with the finishing touch. This writing is focused, clear and visible, and there is little emotional beating. Unlike some works in classical poetry, the emotion beats too much, like a montage of movies, which is almost invisible. For example. Xin Qiji's "Nian Nujiao" (Tang Ye Hua Luo) describes the complex feelings of nostalgia and yearning for the singer, and the emotional jump is particularly great. It suddenly wrote the "light farewell" of the past; Suddenly wrote today's "revisiting the old place", and the building was empty. Things are different, and suddenly he wrote a fantasy of the Ming Dynasty, "Respect only when you see it again, but it is difficult to fold flowers in the mirror." Among them, many connections are omitted, which makes people look forward to it. Of course, this does not mean that the size of emotional jump can be used as a standard to evaluate the quality of a work. Xin Qiji is also a well-known masterpiece with high aesthetic value.
In the classical poems describing love, there are many well-known masterpieces, which have always been loved and admired by people. For example, Wang Wei's "Acacia" poem: "When those red berries come in spring, they will appear on the branches of your southern country, and I advise you to collect more as a symbol of our love." It uses bright red beans to symbolize beautiful and faithful love. Li Shangyin's poem "Spring silkworms will weave until they die, and tears will be exhausted every night" ("Untitled") expresses his heartfelt feelings for love with a persistent spirit, which will never change. The phrase "the sea is difficult for water, but amber lasts forever" is different from Wang and Li's love poems. This is a vivid metaphor of absolute affirmation and negation. To express sincere and single-minded love. It is precisely because it is different that it can arouse the strong sense of * * * of those who have lost their loved ones for various reasons. Someone wrote these two poems in literary works. Some people write letters to express their infatuation with each other. This fully shows that Yuan Zhen's poems have great influence and artistic appeal.
Finally, I believe everyone is familiar with the author Yuan Zhen. Here I will briefly introduce:
Yuan Zhen (779-83 1 year, or from the 14th year of Dali in Tang Daizong to the 5th year of Daiwa in Wenzong) was born in Luoyang (now Luoyang, Henan) in the Tang Dynasty. Father Yuan Kuan, mother Zheng. He is a descendant of Tuoba, a Xianbei nationality in the Northern Wei Dynasty, and the 14th grandson of Shi Yigui. In his early years, he advocated "New Yuefu" with Bai Juyi. People often call him and Bai Juyi "Bai Yuan".