Li Bai, a great poet in the Tang Dynasty, said, "Thoughtful under the moon for a long time does not return, but the eyes of the past are rare. It' s a long time to remember Xie Xuanhui. " (Li Bai's "Singing under the Moon on the West Tower of Jinling City"), it is a famous sentence by Xie Tiao, a poet of Southern Qi Dynasty. The beautiful scenery in front of the west building of Jinling City (now Nanjing) made Li Bai deeply understand the artistic conception of "Chengjiang is as quiet as practice". Recalling the predecessors, the great poet could not help but give a deep sigh of an ancient bosom friend. However, Li Bai did not expect that Xie Tiao's poem won numerous bosom friends in later generations because of his admiration.
Returning to Wangjing Town after Climbing Three Mountains in the Evening is an ancient poem with five words, which expresses the homesickness caused by the poet's overlooking the beautiful scenery of Beijing and great rivers when he climbed three mountains.
The poem begins with the meaning of "going south to the Baling Bank and looking back at Chang 'an" in Wang Can's Seven Sorrow Poems, which describes the scene of him going up the river and going up to the three mountains on the river bank in the evening to look back at Jiankang, which is very appropriate. Literally, the sentence "River and Yang see Jingxian County" seems to repeat the meaning of the previous sentence, but it is not. Here, I borrow the phrase "Leading Wangjing Room" from the poem of Heyang by Pan Yue, a poet of the Western Jin Dynasty, to imply that I am going to Xuancheng as the county magistrate and looking at the health of Jingyi from afar, just as Pan Yue of the Western Jin Dynasty is looking at Luoyang, the capital. Wang Can's "Seven Sorrow Poems" was written at the end of Han Dynasty when Dong Zhuo was killed and Li Jue and Guo Si were in chaos in Chang 'an. When he looked back at Chang 'an, he expressed not only his nostalgia for Chang 'an, but also his desire to yearn for a wise king and rebuild a peaceful rule. Before Xie Tiao went out to guard this time, Jiankang changed three emperors in one year, and was also in a situation of political turmoil. Therefore, the first two sentences not only explain the reason and distance of leaving Beijing, but also implicitly express the poet's attachment to Beijing and his worries about the current situation through allusions.
the first two sentences evoke homesickness, while the following six sentences describe scenery and six sentences describe feelings. The poet withheld the meaning of the question, selected the characteristic scenery, and clearly summarized the level of what he saw on the landing in six poems. From a distance, the eaves of the imperial palace and the noble house are uneven and can be clearly seen under the sunlight. Just two sentences, "The day is beautiful and the unevenness can be seen", will write the bustling scene of the city and the magnificent style of Kyoto. Here "daytime" refers to the daylight in the evening. The word "Li" originally has two meanings of "attached to" and "bright and beautiful". Here, it takes two meanings, depicting the scene that Fei Yun is becoming more and more bright and brilliant in the sunset, and we can see Xie Tiao's efforts in refining words. The word "jagged" not only describes the density of the palaces in Beijing, but also makes the whole picture look patchy. The word "all visible" secretly conveys the poet's concentration: since the whole city is vividly visible, it is normal for ordinary people to identify their old residence from it. Therefore, although these two sentences are scenery-writing, they imply the image of a lyrical hero who looks at it from afar. The poet didn't point out how long he lingered on the mountain, but the change of scenery from "daytime" to "afterglow" naturally showed the passage of time.
The sentence "The afterglow is scattered into a beautiful scene, and the river is quiet as practice" describes that the sun sets in the west during the day, and the brilliant afterglow covers the sky like a scattered brocade, and the clear river stretches out into the distance like a clear white silk. This pair of metaphors is not only colorful and pleasing to the eye, but also the two metaphors of "Qi" and "Lian" give people a static and soft intuitive feeling, which is also in harmony with the calm and soft mood at dusk. The word "static" is "net", which is also good. Xie Zhen, a scholar in the Ming Dynasty, criticized the repetition of the words "Cheng" and "Jing" and wanted to change them to "Autumn River is as pure as practice". Wang Shizhen, another poetic theorist, disagreed, thinking that Jiang Cheng was the last person to talk about it. Wang Shizhen, a poet in Qing Dynasty, also ridiculed Xie Zhen, saying, "Why do you want to practice in Chengjiang? Laugh and kill the poem Xie Maoqin! " In fact, if Xie Zhen hadn't tampered with it, the benefits of the word "Cheng" would have been easily overlooked. Only when the river is clarified can the word "net" (or "quiet") be settled and can it complement the metaphor of Bai Lian. At the same time, the "clear" river water can also evoke the association of clouds in the sky and reflections in the water. Li Bai quoted "Chengjiang is as quiet as practice" in "Singing under the Moon on the West Tower of Jinling City" to describe the feeling of emptiness and transparency of the river immersed in moonlight, and the word "Cheng" is even more sunny. It can be seen that the metaphor of "quiet as practice" is successfully demonstrated by the word "clear". "Jing" is more vivid than "Jing". In the Tang Dynasty, Xu Ning used Bai Lian as a metaphor for a waterfall: "It is as long as Bai Lian Fei through the ages, and a boundary breaks the green hills." Wang Shizhen derided it as an "evil realm" because the static white practice was used to describe the waterfall that flew down, but the living scene was stunned. This example can help readers appreciate the benefits of "quiet as practice" from the opposite side. If we compare Xie Tiao's two poems with Xie Lingyun's "Clouds and the sun shine in each other's eyes, and the empty water is * * * fresh" ("Lonely Island in the River"), we can see Xie Tiao's leap in scenery description. Xie Lingyun used a direct narrative method to explain the scene of water and sky shining, empty and clear, and the meaning was more real. Xie Tiao, on the other hand, can use appropriate metaphors to describe it, so that the scene where water and sky set each other off not only has bright and pleasing colors, but also can blend in with the hero's feelings about the scenery and express it more ethereal.
if the sentence "Yu Xia" is used to smudge the scenery of Jiangtian with a large sum of money, then the sentence "The noisy birds cover Chunzhou, and the miscellaneous English are full of Fangdian" is used to smudge the interest of Jiangzhou with a fine pen. Noisy returning birds cover the small island in the river, and all kinds of wild flowers bloom all over the fragrant countryside. The noise of birds highlights the tranquility of the river in the evening, and flowers everywhere are like competing with the sunset. Birds are still aware of their return, but people are far away from home, not to mention the picturesque spring scenery in their hometown, which makes people linger.
No wonder the poet sighed: "If you go away, you will stay in prostitution. Let's have a feast." These two sentences can be interpreted in two ways by skillfully using the meaning here, which not only expresses the sadness of being away from home for a long time and the nostalgia for the old feast life, but also writes the modal of the poet who has gone and returned, stayed late halfway, and celebrated because he was homesick. "Go to Yi" and "Huai Zai" use function words to fight each other, resulting in a prose-like sigh tone, which enhances the sense of rhythm.
At this point, I have written all the meaning of boarding, and it seems that there is nothing more to write down. However, the poet cleverly skipped a step. From the attachment to the capital in front of him, he thought that he would return home in the foreseeable future, and tears scattered on his chest like snow, and his feelings began to stir again. "If you have feelings, you will miss your hometown, but who can stay the same?" From the bitterness of leaving your hometown, it is extended to the homesickness of ordinary people: if you have feelings in life, you will know your hometown in the end. In the long run, no one can guarantee that black hair will not turn white. Although the ending is far from worrying, it actually echoes the beginning, still returning to the original intention of hope, and the poet's emotions also fell to the lowest point when expressing his feelings about life.
The scenery in this poem is colorful, colorful, simple and soft, light and gentle. The poet's description of the evening in Jingyi is so bright and beautiful that he has no sense of desolation and gloom. Of course, it is to show his love for his hometown, but it is also related to the fact that there is no deep and eternal sentimental meaning in his poems. The structure of the whole poem is complete and symmetrical, and the most impressive sentence is "Yu Xia is scattered into Qi, and Chengjiang is as quiet as practice". The phenomenon that this scene is divided into poems and famous sentences often stand out in one article is that the landscape poems of Song and Qi Dynasties are still in the early stage, and it is also related to the problem that Xie Tiao's poems have "too many articles at the end" as Zhong Rong said. Xie Tiao's landscape poems still follow the program of Xie Lingyun's first half describing scenery and the second half expressing emotion. Due to the lack of thoughts and feelings, there is no lofty ideal and interest, and most of the lyricism in the second half lacks the wind of vigorous action. In addition, it is "dedicated to the body" and expresses its meaning directly. It is not as concise as writing scenes, but more weak and scattered. At the end of this article, the mood is weak and depressed, which is slightly out of proportion to the magnificent and open scenery written earlier. However, despite this, his skill in cutting scenery, as well as the beauty of poetic style and the naturalness of emotional charm, marked the artistic maturity of landscape poetry and had a great influence on the Tang people. Therefore, whenever Li Bai wins a scenic spot, he often "wishes that he can't bring Xie Tiao's amazing poems" (Miscellanies of Yunxian), and "explaining the Tao as quiet as practicing" is just one example of this kind of story. In Yongjia, because of the dream of Hui Lian, there is a saying that "spring grass grows in the pond", and in Xuancheng, because of climbing three mountains, Xuanhui has a sentence that "Chengjiang is as quiet as practice". The beauty of Ergong is that there is no chalk in the nose and no membrane in the eyes. There is no chalk in your nose, and you will be lucky. If there is no membrane, will the grate be applied? The so-called mixed nature, the celestial sphere is not cut. (Tang Geng's Quotations from Tang Zixi)
Xu Gu said: The first sentence is based on Chang 'an Luoyang's imitation of Jinling, and Wang Can Pan Yue's two poems are excellent! Li Baiyun: "It's as quiet as practice to explain the Tao, but it makes people remember Xie Xuanhui." This alliance is especially good. Three mountains are like old times, looking back at Jiankang is very close, and thinking of the Six Dynasties was very prosperous. At the end of the sentence, it is so embarrassing in Beijing, and it is also a feeling to go to the country. There is no feeling that I don't know the sadness of homesickness, but the situation is going to the country! (Fang Hui's "Selected Works of Yan Baoxie's Poetry Review", Volume III)
It is difficult to chant things, but it is also difficult to be filial. But don't be in trouble with things. Xuanhui's "Yu Xia is scattered into Qi, Chengjiang is as clean as practice", "The sky knows the boat, and the trees in the clouds distinguish the river", and the mountains and rivers are misty and hazy, and they are eager to draw pictures, give advice and care, and get along with each other. The beauty of the ancients is not in the words. (Lu Shiyong's "The Mirror of Ancient Poems: A General Introduction to the Mirror of Poetry")
It's very fast, and the so-called antelope hangs on the horn. So, although there is no trace. The rate of good sentences is successful, so the Chinese move is dedicated to knowing the reward. (Wang Fuzhi's Selection of Ancient Poems)
Xuanhui is full of elegance and elegance, and every word is refined. If the autumn mountain is clear and the sky is blue, it is refreshing from time to time. The author of Qi is the highest in the world. Liu Houcun said, "The afterglow is scattered into splendor, and the chengjiang River is as quiet as practice", and all of them breathe in and out the sun and the moon, picking up the words of the stars. Therefore, Li Bai's "Climbing Huashan Mountain and Falling Wild Goose Peak" says: "I hate not to bring Xie Tiao's amazing poems, but scratch my head and ask the sky." Its obedience is so. (Tian Wen's Collection of Ancient Huantang, Volume 17)
There are only a few Qi people, and Xie Xuanhui has a unique generation. He has a wonderful understanding of the spirit and mind, and he feels that there is a general affectionate name in the pen and ink. (Shen Deqian's "Talking about Poetry")