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A relatively complete image of the fisherman was first seen in Zhuangzi and Songs of the South. According to previous scholars' research, the authors of "Zhuangzi Fisherman" and "Songs of Chu Fisherman" are probably Chu people who lived in the Warring States Period, Zhuangzi and Qu Yuan, so Chu cultural factors have penetrated into their veins and are deeply rooted. Although their academic views and principles of life are not the same, the images they created are the same, and their similarities mainly appear as life inducers.
The fisherman in Zhuangzi is supposed to be induced by Confucius, while the fisherman in Chuci is supposed to be induced by Qu Yuan himself. This hypothetical dialogue between subject and object is commonly used in Zhuangzi and Chu Ci, and it was also a popular style of writing at that time. Liu Zhiji's Shi Tong Zashuo Xia: "Since the Warring States period, poets have been literary, pretending to be subject and object, pretending to answer." That explains this phenomenon.
The identity of the fisherman in Zhuangzi and the fisherman in Chuci are undoubtedly hermits, and they both criticize the hypothetical induced object's active entry into the WTO, showing the ideological tendency of the Taoist school. Sima Qian's Biography of Lao Zi Han Fei says: Zhuangzi wrote Fisherman, Stealing Foot, and Jacket to scorn Confucius and to show Lao Zi's skill. There is some truth in this statement. "Zhuangzi Fisherman" mainly describes how the fisherman disciplined Confucius. Through the dialogue between the fisherman and Confucius and his disciples, he criticized Confucius for endangering his true nature and staying away from the supreme way: "Benevolence is benevolence, and I am afraid that I will not be able to avoid my body, so I will take pains to endanger my integrity. Wu Hu is far away! It is divided into Tao. " Confucius is the object that hermits often criticize and persuade. For example, in Zhuangzi's Human Life, Confucius encountered such problems as staying in seclusion, drowning, Chu's crazy association with Yu, and the husband of He Guo, who criticized Confucius' entry into the world and persistence as a hermit, and tried their best to persuade Confucius to leave the world and retire to the mountains and forests. Confucius' act of "being good at decorating rituals and choosing human relations without the potential of a monarch and a minister" was denounced by the fisherman as much trouble, warning him to conform to nature, "be careful to cultivate himself, be careful to keep his truth, and return to things and people" before he could be "tired." So the fisherman was afraid that Confucius would not repent, and he used the fable of "Those who walk away in fear of evil deeds, raise their feet more and more, walk more and more sickly and never leave their bodies, thinking that it is too late, and scurrying endlessly", and finally enlightened them with the story of "dying with absolute strength". The Fisherman of the Songs of Chu mainly describes that the fisherman persuaded Qu Yuan to "not stick to things, but go with the times" like a noble and intelligent saint in Taoist concept. I don't think much of the inner pain caused by Qu's exile because "the whole world is turbid and I am alone, and everyone is drunk and I am alone", and I ask Qu Yuan: "The whole world is turbid, why don't you splash out on it? Why do you think deeply and hold high, and let yourself be? " I tried my best to persuade Qu Yuan to follow the Taoist principle of "harmony with light and dust" and get rid of all unnecessary troubles in the world.
The fisherman in Zhuangzi and the fisherman in Chuci are completely active behaviors as life inducers, and this feature is very obvious at the beginning and end of the two Fishermen. At the beginning of Zhuangzi Fisherman, it is described that Confucius is leading his disciples "to swim in the forest, but not to sit on the apricot altar.". Disciples read books, and Confucius plays the strings and drums, which is enjoyable. The fisherman abandoned the boat and landed uninvited, and the song finally invited disciples to talk to attract Confucius to ask for advice. The fisherman in Chu Ci seems to be waiting on the Zepan to persuade Qu Yuan. Therefore, when Qu Yuan was "rather haggard and haggard" and was wandering around the river, the fisherman took the initiative to ask, "Is this Dr. San Lv? Why is it? " Then began to implement the teachings. In addition, the endings of the two Fishermen are almost the same, both of which are boating away. In Zhuangzi, the fisherman "stabbed the boat and went to the reeds", and in Chu Ci, the fisherman "smiled and went away". However, the induced person's attitude towards the two men is totally different. Confucius regards the fisherman as a sage with respect, "Wait for the waves to settle, don't smell the sound, and then dare to ride", and teach a lesson to Zilu who doesn't understand its meaning: "Where the old road lies, the sage respects it. Today's fisherman's way can be said to be awkward, I dare to disrespect it! " Regard the fisherman as a symbol of Tao. In Zhuangzi Fisherman, the fisherman is the main body, which serves to carry forward Taoist thought. Qu Yuan totally ignored the fisherman's persuasion, and sternly refuted the view of persuading him to "live in harmony with the light": "An can observe the body, but who is humble?" It means "I'd rather go to Xiangliu and be buried in the belly of a river fish" than "be covered with worldly dust with white." Qu Yuan is the main body in The Fisherman's Songs of the South, which describes two opposing outlook on life. It can be seen that the fishermen are completely active, they come uninvited and leave without saying goodbye, and at the same time they are not affected by the attitude of the induced. The fisherman of "Zhuangzi" did not give Confucius the chance to meet again because of his sincere education, but only advised him: "You can be with the past, as for the wonderful way; Don't be with the past, don't know the way, be careful not to be with it, and you are blameless. Zi Mianzhi! I'm gone, I'm gone. " Desperate to leave. After Qu Yuan didn't listen to the advice, the fisherman of Chu Ci didn't have the slightest anger, but just smiled and sang, "The water in the surging waves is clear, and I can stand on it;" The water in the surging waves is turbid, and you can lick my feet. " Floating away, quite the wind of a hermit.
Fishermen in Zhuangzi and Songs of the South are endowed with strong mystery and become a special role between immortals and ordinary people. They live in Zepan, Shan Ye. They have no fixed place, come quietly, float away, and it's hard for ordinary people to see them, just like a real master. Besides, the fisherman in Wu Zixu Crossing the River in Wu Yue Chun Qiu, which belongs to Chu literature, is also such a mysterious recluse. The whole process from the fisherman's boat going back to the water from below, to the rejection of Wu Zixu's sword, and finally to the drowning in the river, is very mysterious, and even makes people feel a little weird and unexpected. However, at this time, the fisherman's role as a hermit and a master in the world has not been fully developed, and his own living condition has not been fully revealed. For example, the fisherman in Zhuangzi arrived by boat, the fisherman in Chu Ci seemed to be waiting at the water's edge, and the fisherman crossing the river in Wu Zixu appeared at just the right time, but their specific living environment and means of fishing were not clearly stated.
from the Tang and song dynasties, the fisherman continued to appear as a hermit and a master in the world, which was the further development of the fisherman prototype. The images of fishermen created in Tang and Song Dynasties, especially in Tang and Song Dynasties' poems, have certain independence, and accurately describe their living conditions and fishing methods. Compared with the images of fishermen in the pre-Qin period, they have different characteristics:
First, they mainly show the free life of fishermen themselves, but their education and guidance to the world has turned into an undercurrent and retired to a secondary position. Different from the pre-Qin period, a large number of poems in the Tang and Song Dynasties depict the carefree life of the fisherman, and the author and the object of creation are integrated. The fisherman is the author and the author is the fisherman.
The literati who wrote about the fisherman earlier in the Tang and Song Dynasties should belong to Zhang Zhihe. Zhang Zhihe, whose name was Xuanzhenzi, once served as an imperial edict to Hanlin, and later lived in seclusion in Jianghu, calling himself a smoker. Zhang Zhihe * * * wrote five poems about the fisherman (also known as the fisherman's song and one poem about the fisherman). According to historical records, five poems of "The Fisherman's Ci" were written when Zhang Zhihe paid a visit to Huzhou to assassinate Yan Zhenqing in the ninth year of Tang Daizong Dali, which was well received. At that time, quite Zhenqing, He Ning, Li Jue, Ouyang Jiong, Lu Yu and many other literati followed suit and responded. Soon after, it was introduced to Japan, which was greatly appreciated by Emperor Xie, and he created "Five Fishermen's Songs with Zhang Zhihe" in joy, [1] which was the originator of Japanese lyrics. The most famous of the five poems "The Fisherman's Ci" is: "Flying in front of the Cisse Mountain. Peach blossom and flowing water mandarin fish fertilizer. Green bamboo hat, green hemp fiber, oblique wind and drizzle don't have to return. " The fisherman dressed in hemp fiber and bamboo hat in the oblique wind and drizzle and the fisherman in the cold river in Liu Zongyuan's "Jiang Xue" [2] are unique in the ages, and gradually solidified into a freeze-frame of the fisherman's image in China's ancient literary works, which has been generally recognized. In order to facilitate singing, Su Shi and Huang Tingjian have successively added their original sentences as Huanxisha and Partridge Sky. In this regard, Liu Xizai once commented: "Zhang Zhihe's" The Fisherman's Song "falls in front of the Cisai Mountain, and it has a long history. Dongpo tried to use his sentences in "Partridge Sky" and "Huanxisha", but his sentences were not as good as the original words. " [3] This evaluation is very pertinent. The poems of Fisherman written by later generations, including the harmony words of Emperor Yi, basically did not surpass Zhang Zhihe's poem "Before the Cisse Mountain" in terms of sentence and artistic conception. Zhang Zhihe's five poems "The Fisherman's Ci" and one poem "The Fisherman" portray the fisherman's carefree life and peaceful and happy mood, as well as the beautiful scenery of nature, especially the song: "The moon is full in Qingcao Lake, and the fisherman in Baling sings songs. Fishing for a car and sinking a boat, you don't need a fairy to be happy in the storm. " On the green grass lake, a bright moon shines up and down, and the songs of fishing echo back and forth. The "Baling Fisherman" who shakes the "fishing car and dragging the boat" between the waves is happier than the gods. No wonder Zhou Zizhi, a poet in the Song Dynasty, was envious of this: "What a fairy Zhang Zhihe, he was just a fisherman all his life. Drunk with the moon, singing boat songs, and enjoying the rivers and lakes. " [4] From Zhang Zhihe's "Fisherman's Ci", we can see that the fisherman is the author's boast, and the fisherman's living condition is the self-portrayal of the author's living condition or the yearning and pursuit of this living condition; It can also be seen from Zhou Zizhi's Harmony Poems that later generations actually regard the fisherman as the incarnation of Zhang Zhihe, so the fisherman is the author, and the author is the image of the fisherman created by Tang and Song poetry works. This feature is particularly obvious in Li Xun's "Fisherman's Ci".
The fisherman in Li Xun's works is a literati image who lives in seclusion in the mountains and does not cooperate with the government. From the description of the specific life state of the fisherman image in his works, we can see through the life state and spiritual pursuit of the literati in this period. Since ancient times, China literati, especially poetry creators, have always been linked with wine. Without wine, poetry seems to lack charm. "If there is no wine for poetry, the mountains and rivers are literary", just like "If there is no beauty, the flowers and the moon are all in vain" [5]. Literati leave poetry and wine, just as there is no beauty in the world, the landscape is eclipsed and the flowers and moons are all in name only. Therefore, as the embodiment of the literati, the specific life state of the fisherman image is to be among the beautiful mountains and rivers, reading, getting drunk and fishing. For example, Li Xun's "Fisherman's Ci": "The water meets the Hengmen for more than ten miles, and the letter boat goes back to lie down and read. "I despise the nobility, and I admire the mystery." It is said that fishermen are only fish. " If a fisherman is not a fish, he will not be a pure fisherman, so what is the purpose of boasting about a fisherman? It is the real purpose to despise the noble position and admire the mysterious, stay away from the official career and retire to the mountains and enjoy the scenery. In this regard, his other two "Fisherman's Ci" expressed more clearly: "Avoid the world and cherish the years, and the official position is like a gentleman's leisure. Pour white wine, smile at Qingshan, and refer to Chai Men waiting for the moon. " "It's amazing that gulls splash their robes, and the shadow invades the willow branches on the pool surface. Drunk all day, exhausted, I have seen Qiantang August Tao. " [6] Believe in fishing by boat, invite the moon for leisure to read books, escape the rivers and lakes, and don't remember the age and year of the world, which is completely a portrayal of the author's self-life. In any case, it is impossible to associate such an image of a fisherman who is as carefree as a fairy on earth with a real fisherman who is making a living at the forefront. As Zhang Chao, a Qing dynasty man, said: "Those who have the pleasure of seclusion in the mountains and do not know how to enjoy it are also fishermen, farmers and farmers." [7] Real fishermen, woodcutters, monks and Taoist priests, although they are in famous mountains and rivers, are either troubled by life and exhausted; Or for the sake of immortality, painstaking practice, it is rare to have leisure and elegance to watch the infinite beautiful scenery.
most of the fishermen's images portrayed in Tang and Song poems yearn for the life of seclusion in the mountains and forests, and take the love of mountains and rivers as a great pleasure in life. "Good cup, beautiful eyes, leisure and quiet life." The wine glass is deep, the light and shadow promote it, and the fame and fortune are unintentional. " [8] Time is short, life is short, and poets face pleasing natural scenery and stay away from the disputes of power and fame. Calm and carefree mood, to achieve a kind of self-satisfaction, which is the mainstream of the image of fisherman in Tang and Song Dynasties, occupying a dominant position; However, the guidance to the world has become an undercurrent and has retired to a secondary position. On the contrary, it is the world that persuades the fisherman. However, it is not to persuade them to be hermits, but to call them back to reality. According to legend, after Zhang Zhihe lived in seclusion in rivers and lakes, Tang Suzong once kicked one handmaiden to him. The slave called the fisherman, and the handmaiden called the firewood green. "The fisherman made the hook catch the nylon, and the reed was bulging; Qiao Qing made Su Lan pay laurel, and bamboo wrapped in fried tea. " [9] Zhang Songling, his brother, was afraid that his brother would go home in a wild state, so he built a house for him in Dongguo, Yuezhou. Inoue and his 18 songs "The Fisherman's Song" were used to lure him to change his mind, including "Answering his brother's ambition and the Fisherman's Song": "Happiness is leisure in stormy fishing, and the loose path of the thatched cottage has won the climb. Taihu Lake, Dongting Mountain, the wind and waves rise and must be returned. " [1] The meaning is very clear. Zhang Zhihe is "happy in the storm without being immortal", and Zhang Songling advised him that "happiness is a storm fishing is idle" and cannot be regarded as a major event in life; Zhang Zhihe's "slanting wind and drizzle don't need to return", so Zhang Songling told him that "the wind and waves must rise and return" and he couldn't stay outside for a long time. Huang Tingjian continued Zhang Songling's intention to write "Crane and Pigeon Day" because of the fact that "when Xian Zong painted Xuanzhen's portrait, he visited the rivers and lakes, but it was impossible to get it, because he ordered him to collect his songs and poems": "Egrets fly on the side of Cisse Mountain, peach blossoms flow and mandarin fish are fat. The court is still looking for Xuanzhenzi, where there are more poems now. An old man in the bank, wearing a green bamboo hat raincoat, wearing a green raincoat, braved the wind and rain, leisurely and leisurely fishing, he was fascinated by the beautiful spring scenery, even the rain did not go home. There is no wave in the world, and the storm is twelve o'clock a day. " [11] Huang Tingjian persuaded Zhang Zhihe to return to the imperial court, because it is impossible to stay on the lake for a long time without a storm. Zhao Gou, Song Gaozong, once went to Huiji to see 15 poems written by Huang Tingjian by Zhang Zhihe Fisherman, and the play is in harmony with its rhyme. One of them is: "There are many flowers in Weiyang in spring, and the spring season is self-harmonious." What if you rush to the fog and make waves? " The meaning is the same as that of Zhang Songling and Huang Tingjian, and they all induce Zhang Zhihe to re-enter the official position.
Secondly, the age of fishermen portrayed in pre-Qin literature is relatively certain, and they are generally old people. However, the age of the fisherman's image in Tang and Song poetry is rather vague. "Zhuangzi Fisherman" describes the fisherman's appearance like this; "The fisherman came off the boat with a white beard, and was stunned. He went above the original line and stopped at the land ..." From the "white beard", it can be clearly known that this is an old man over half a century old. Although the Fisherman's appearance is not clearly described in The Songs of the South, according to Wang Yi, "The Fisherman was written by Qu Yuan. Qu Yuan was exiled between Xiangjiang River, sighing with sorrow and changing his appearance. The fisherman, on the other hand, hides from the world, fishes on the riverside and enjoys himself. When he meets Qu Yuan's territory of Chuanze, he asks him strangely and answers accordingly. " [12] According to previous scholars' research, the time between Qu Yuan's exile in Xiangjiang River was thirteen years later, when Qu Yuan was about 5 years old. Qu Yuan was once a doctor in San Lv, with a prominent position. Although he was exiled, ordinary people did not dare to offend him at will. Therefore, the fisherman who dares to admonish Qu Yuan must be very old, at least older than Qu Yuan. In addition, the definition of the word "fisherman" in the Direct Interpretation of Chu Ci is: "Chu is a respectful name for the elderly. Fisherman, an old man who fishes. " [13] The fisherman who crossed the river in Wu Zixu in Volume III of "Wu Yue Chun Qiu" should also be an old man in terms of address. When the fisherman crossed the river with Wu Zixu, Zi Xu said, "Please give his surname." Father-in-law is an ancient title of respect for the elderly. "The Analects of Confucius Micro-Zi": "When you meet a husband, you will be tied with a stick." The father-in-law here is an old man, and