Old fisherman
An old fisherman spent the night here, got off the west cliff, and Xiao Xiang burned bamboo.
Then, at sunrise, he walked through the fog, and in the green mountains and green waters, only the creak of his paddle was left.
I turned around and saw the waves coming from the sky, and the clouds on the cliff drifted carelessly one after another.
To annotate ...
This article was written in Yongzhou. Xiyan is probably the Xishan Mountain in Yongzhou. Please refer to the author's travel notes about the beginning of the Xishan banquet.
2 painting: taking water.
③ Xiang: the water of Xiangjiang River.
④ Chu: Xishan belonged to Chu in ancient times.
⑤ Pin: dissipate.
⑥ Nai: Onomatopoeia refers to the sound of oars and people shouting. In the Tang Dynasty, Xiang Zhong's bangzi was Yi Naiqu (see Yuan Jie's Xu Naiqu Preface).
7 Downstream: Downstream.
8 unintentional: Tao Yuanming's "Return to Xi Ci": "Clouds have no intention." Generally speaking, it is Zhuangzi's state of mind that I have forgotten both. Su Shi's Poem of Liu Shuzi's Later Fisherman says: "Poetry is interesting in strangeness and abnormality. It is interesting to be familiar with this poem. " But the last two sentences are unnecessary. From then on, Yan Yu said in Canglang Poetry: "If Dongpo deletes the last two sentences to revive Zihou, he will believe it." But Liu Chenweng thought: "This poem is not like the late Tang Dynasty, it is the last two sentences." Since then, there have been two opinions about the last two sentences of this poem.
Rhyme translation
In the evening, the fisherman anchored his boat at the foot of the western hills. At dawn, he picked up the clear water of Xiangjiang River and lit Chu Zhuxiang.
When the sun rose, he disappeared; Listen. There was a loud noise and suddenly I saw green mountains and green waters.
Looking back, he has sailed to the center of the sky; On the top of the rock, only unintentional white clouds chase each other.
explain
In the first year of Yuanhe in Tang Xianzong (806), Liu Zongyuan was banished to Yongzhou because of his participation in the "Yongzhen Innovation", and his ambition became a cloud. Liu Zongyuan suffered a heavy political blow and was very depressed. Therefore, he often pinned his feelings on the landscape of a foreign land and wrote many poems describing the lakes and mountains in Yongzhou. The Fisherman is one of the masterpieces. This poem is full of fun. The poet described an intoxicating morning scene of mountains and rivers with simple and elegant pen and ink, which revealed his deep and warm inner world.
This is a poem with seven words and six sentences. "An old fisherman spent the night here, and under the western cliff, Xiaoxiang was burning the bamboo forest." "Xiyan" is the western mountain in Yongzhou. "Chu" was a vassal state of the Zhou Dynasty, originally belonging to Hubei and northern Hunan. The word "Chu" refers to the poet's presence in Yongzhou. "Bamboo in Chu" is the bamboo in Chu (Hunan). "Xiang" is the name of water, which originated in Guangxi, flowed into Hunan and then into Yongzhou. Moo is clear. These two sentences mean that there is a fisherman who lives next to the western hills at night, gets up in the morning to draw clear Hunan water and picks up bamboo poles to cook. The word "night" and "dawn" here refer to two time points, that is, the poet grasps the evening and the morning, which is real writing, thus forming a time span, enhancing the sense of time and space of poetry and leaving readers with aesthetic imagination space. The word "Qing" in the poem highlights the characteristics of Hunan water. "Qing, though five or six feet deep, is bottomless" (Liu Zongyuan's Travel Notes at the Beginning of the Western Hills Banquet). Here, the poet not only pays attention to the creation of time and space, but also lays a positive and leisurely tone for poetry.
"Then, at sunrise, he walked through the mist, which is a landscape." Pin "means" dissipate ". The onomatopoeic word "Yi Nai" is the sound of paddling. "Lu" refers to the clarity of water. The meaning of these two sentences is that when the smoke rises, there is no sign of the fisherman, only the mountains are clear and the waters are clear, and suddenly there is the sound of sculling from the space. In the last sentence, "Then, at sunrise, he walked through the fog", the word "needle" was used skillfully. When the clouds cleared and the sun rose, the realm of poetry was suddenly improved. The last sentence is not only quiet with the sound of "One Nai", but also has the aesthetic effect of "cicada singing makes Lin Jing quieter", and implies the blank meaning left by the last sentence (that is, fishermen fish during the day). Pay special attention to the beauty of the poet's use of "nai". "Yunnai" is the sound made by rocking a boat, because the last sentence says "no one is seen", and the poet uses a sound of "Yunnai", which not only indirectly shows people's behavior, but also attracts the poet's attention with his voice. From the sound point of view, he can kill two birds with one stone by writing the "Lu" of mountains and rivers. These two poets describe the beautiful scenery of "mountains and rivers" in the sun, showing the beauty of nature and giving people a sense of comfort and pleasure. For more appreciation of Tang poetry, please pay attention to Guo Xuexi's 300 Tang poems in Gutang. com。
"I turned around and saw the waves moving like from the sky, and the clouds on the cliff floated leisurely." The horizon is the horizon. What it means here is that when I look back, the water and the sky are connected and endless. I saw a fisherman driving a boat to the middle of the river, and pieces of leisure white clouds floated on the top of the mountain, like one after another. The previous sentence is a general description from the background, highlighting the fisherman, and the previous sentence is falsely written (hearing the paddle sound). The last sentence uses the poem "Where there is a cloud, there is no heart" in Tao Yuanming's Gui Xi Ci. Poets end up with scenery, which is actually a knot of feelings and scenery. It is not only vivid and implicit, but also gives people rich imagination. In particular, the use of Tao Yuanming's poems not only shows the fisherman's free labor life, but also shows the poet's open-minded state of mind and yearning for free life, thus implying the poet's aversion to officialdom intrigue.
In particular, it should be noted that this poem is a poem with six sentences and seven words, which is full of the characteristics of the novel and has been evaluated by critics throughout the ages. Su Shi said in "Cold Zhai Night Talk": "Poetry is interesting with the theme of strangeness and the abnormal combination of Tao. If you are familiar with this poem, it is interesting. However, the two sentences at the end are not comparable. " It means that the last two sentences have been added to the poem, even without them, which is very good, but with these two sentences, it has changed from four sentences to six sentences, which seems a bit neither fish nor fowl. In my opinion, the last two sentences that made the poem "neither fish nor fowl" are not only the concentrated expression of the poet's feelings, but also reflect the peculiar rise of Liu Zongyuan's poetry and the creative characteristics of "taking literature as poetry", which may be a bold creation at that time.
Comment and analysis
This poem was written by the author when he was demoted to Yongzhou for his participation in Wang's "Yongzheng Innovation". Yongzhou is located at the junction of Hunan and Guangxi. At that time, it was isolated and inaccessible. Liu Zongyuan went to Yongzhou with his 67-year-old mother, cousin Liu Zongzhi and cousin Lu Zun. I have just arrived in Yongzhou and don't even have a place to live. Later, with the help of a monk, I lived in longxing temple. Life is extremely hard. In Yongzhou for less than half a year, my mother Lu died. Cruel political persecution and hard living environment made Liu Zongyuan feel sad, depressed and miserable. Several ruthless fires seriously damaged his health, even to the extent that "walking makes his knees tremble and sitting makes his body clumsy".
The experience of relegation did not shake Liu Zongyuan's political ideal. In his letter, he clearly stated: "Although everything is excluded, it is nothing more than this." The poem depicts the magical changes of the scenery on the Xiangjiang River before and after sunrise, and shapes the image of a carefree and lonely fisherman. People can't help but think of the fisherman's image in Jiang Xue, where Qi Fei, a thousand birds, is inaccessible, wearing a hat and fishing alone in the cold river. Although the scenes are different, all we see are seemingly carefree fishermen, and the loneliness that has nowhere to solve is somewhat self-deprecating and complacent. At the same time, this poem shows the author's noble sentiment of being detached from things and sticking to Geng Jie's personality. "Fisherman" is far away from the hubbub and secular fetters, and walks alone between mountains and rivers. The image of fisherman embodies the ideal personality that the poet yearns for, and it is also the true externalization of the poet's heart.
"An old fisherman spent the night here, and under the western cliff, Xiaoxiang was burning the bamboo forest." Xiyan, the western mountain outside Yongzhou. In such a quiet and beautiful landscape image that the poet showed us, the poet focused his pen and ink on this fisherman who lives on running water. Why did Liu Zongyuan pay special attention to the image of fisherman among so many images of green mountains and green waters? The image of "Fisherman" first appeared in the legendary "Fisherman" written for Qu Yuan. It describes Qu Yuan's loyalty and exile in Xiaoxiang, and Qu Yuan's exile place is southern Hunan. Times are different, but the scenery is blurred. Faced with the essays of the sages and the scenery of Sanxiang, did Liu Zongyuan naturally associate his life experience with Qu Yuan? Did Qu Yuan's noble character and noble ethics, such as "drinking Mulan in the morning and autumn chrysanthemum in the evening" and "everyone is drunk and I wake up alone", trigger the poet's melancholy? Of course, the image of the fisherman in The Fisherman appears as a foil to Qu Yuan, and the fisherman exists as a noble and free hermit. Liu Zongyuan here compares himself not to Qu Yuan, but to a fisherman. We can see the poet's shadow from the fisherman's life interest. "Great help to the world, poverty is immune to it", so traditional Confucianism can't be deeply branded in Liu Zongyuan's soul. Scholar-officials often love poetry and wine, send their feelings to the mountains and rivers, and seek spiritual comfort and relief in the wine fragrance of natural art in heaven and earth. The fisherman lives in Xishan, where he is "carefree and exhausted, but he has no time to live, and he travels with the creator, but he doesn't know what poverty is" (the beginning of Travel Notes of Xishan Banquet). The poet, like this ignorant and flashy fisherman, is addicted to the green mountains and green waters. I drank "beautiful" Xiaoxiang water, and even the bamboos cooked in boiling water were spotted bamboos soaked in yellow tears. Although these things are sad and lonely in the traditional image of poetry, they all symbolize nobility, which is precisely the poet's life value.
In the first year of Shunzong Yongzhen, Liu Zongyuan was demoted to Yongzhou Sima. He once traveled all over this area, wrote Eight Records of Yongzhou, which was later called "the swan song of the ages", and expressed his thoughts through mountains and rivers. If we read this poem and Eight Chapters of Yongzhou as a reference, this comparative reading can make us see the poet's lonely and noble feelings in this period, and the landscape figures in the works are marked with the poet's unique aesthetic imprint in this period.
"Then, at sunrise, he walked through the fog, and in the green mountains and green waters, only the creak of his paddle was left." After cooking in the morning, the fog cleared, the wind and smoke were clean, and Zhao Hui lit up the mountains. The green mountains and waters are still quiet, and there are no human activities in the mountains, let alone fishermen who spend the night under the high cliffs on the banks of the river. Just then, suddenly there came the sound of swimming and the fisherman's vague fishing songs from the water in the mountains. I heard it without hearing it! However, just when I couldn't help feeling happy, I was preparing to look for it carefully, and when I saw the elegant face, the already ethereal song drifted away and disappeared into the green, leaving only the pure beauty and tranquility of the scenery. If the first couplet of this poem is imaginary, just discovered by the poet, or what he thought, then this couplet describes what the poet saw and heard when facing the landscape, combining reality with reality. "Only the creak of his oars is left, among the verdant mountains and rivers" means that when you wake up from a dream and a fishing song, you will inevitably have some regrets in the distance. But I was surprised to find that the mountains seemed greener and the water seemed greener. Singing broke the silence in the morning, added the breath of lively people, revived the scenery from the rest at night, and inspired people's delicate feelings about the scenery. For more appreciation of Tang poetry, please pay attention to Guo Xuexi's 300 Tang poems in Gutang. com。
If you can't hear the sound, you can't see. Where can you find a fisherman? Looking back, the poet saw the Qingjiang River rolling, and the fisherman had gone with the lonely sail, and his leisure time was far away. The fisherman's whereabouts are illusory, which shows his detachment from the world. Tao Yuanming, a famous landscape poet in Jin Dynasty, yearned for his seclusion life (Tao Yuanming's Gui Ci) after he retired, which was once again reflected in this carefree realm. Su Dongpo was full of praise for this poem, saying: "Poetry is out of curiosity, and it is interesting to be familiar with this poem." (See the sequel to Hui Hong's Cold Zhai Nightmare. The beauty of this poem lies in its simplicity and magic in scenery writing, which naturally becomes one of Liu Zongyuan's masterpieces.
Delicate and dense, with profound charm, Liu Zongyuan expresses his deep feelings in an unpretentious style, which is a unique style of writing and poetry. Liu Zongyuan is good at expressing his feelings euphemistically with fresh and cold writing. There are more than 40 pieces of Liu Shi/KLOC-0, all of which were written after relegation. His predecessors, Wang Wei, Meng Haoran and Wei also called him Wang Meng. Liu Zongyuan lived in an era that was still a legacy of Tang poetry, which was different from that of Yuan, Bai, Han and Meng. His poems are mostly about the scenery outside the mountains, and his brushwork is smooth and sad. As his main seven ancient dynasties and five dynasties, although he inherited Tao Qian and Wang Meng all the way, he was also influenced by the poetic school with Han Meng. In this respect, Xie Lingyun and Du Fu are of the same origin. Liu's poems are "carved" and "clean", which are known as "clear and precise", that is, they are rigorous in conception, developed from the "clean" side, and combined with Xie Lingyun and Du Fu to make their brushwork lighter. Therefore, Su said: "Liu Zihou's poems are more expensive than dry, light as beautiful, and deep as heavy." (On Liu Zihou's Poems)
Of course, it is easy for us to know that the fisherman's image written by Liu Zongyuan is not a realistic reflection of the real situation of the fisherman's life in the middle Tang Dynasty, but an externalization of the poet's own interests and inner thoughts. It is an image that is eager but unattainable after poetic reconstruction in the author's mind. As a bureaucratic subject, Liu Zongyuan's life situation is so lonely and desolate in the above statement, but how do these fishermen who work at the bottom of society live such a poetic life? This can be proved by Liu Zongyuan's The Snake Catcher at the same time and place. Lonely, noble and slightly mysterious fishermen live in beautiful and quiet scenery, which is the poet's ideal self-state. This image shows aloof, noble and self-control in a leisurely and quiet life, but also carries the loneliness and desolation that can't be shaken off.
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