1. Appreciation of 300 Early Childhood Education Poems in Tang Poetry
Chai Lu
Wang Wei [Tang Dynasty]
No one can be seen in the silent valley, only the voice is heard.
The shadow of the sunset shone into the depths of the forest, and the scenery on the moss was pleasant.
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There was no one in the silent valley, only people's voices were heard.
The afterglow of the sunset reflected into the depths of the forest and shone on the moss in the dark.
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The first sentence, "There seems to be no one on the empty mountain", first describes the empty mountain positively. Wang Wei especially likes to use the word "empty mountain", but in different poems, the realm it expresses is different. "Empty mountain after rain, beginning of autumn evening" ("Mountain in Autumn Night"), focusing on the autumn mountain after rain; "Sweet-scented osmanthus falls when people are idle, and the night is quiet and the spring mountain is empty" ("Bird Watching Creek"), which focuses on expressing the tranquility and beauty of the spring mountain night; There seems to be no one on the empty mountain. On the other hand, it focuses on the emptiness and tranquility of the mountain. Because there is no trace, this mountain, which is not a vacuum, appears empty and empty in the poet's feeling, just like the ancient land. "Seeing no one" embodies the meaning of "empty mountain".
If you only look at the first sentence, the reader may think it is ordinary, but it is unexpected that "there seems to be no one on the empty mountain" is followed by "but I think I heard a voice". The word "but smell" is quite interesting. Under normal circumstances, although the silent empty mountain "does not see people", it is not silent. The chirping of birds, the chirping of insects, the rustling of the wind and the gurgling of water are intertwined, and the sounds of nature are actually very colorful. At the moment, however, all this is silent, only occasionally there is sound, but there is no figure (because the mountains are deep and the forests are dense). This "human voice" seems to break the "silence" In fact, it is a partial and temporary "ring", which reflects the overall and long-term emptiness. The more empty the valley, the more empty it is; The more people talk in an empty mountain, the lonelier they are. After the voice sounded, the empty mountain returned to the realm of silence; And because people's voices sounded just now, the sense of emptiness at this time is more prominent.
The three or four sentences in the above picture describe the empty mountain and then the deep forest. From the sound to the color, the deep forest is already dark, and the moss under the trees in the forest highlights the lack of sunshine in the deep forest. Although silence and darkness are related to hearing and vision respectively, they often belong to the same category in people's general impression, so silence and tranquility are often linked. According to Nature, when writing about the darkness in the deep forest, we should focus on describing that it can't see the sun, but these two sentences are specially written into the deep forest and reflected on the moss. When readers suddenly see it, they will feel that this oblique light brings a ray of light to the depths of the dark forest, a little warmth to the moss in the forest, or a little business to the whole forest. However, if you appreciate it carefully, you will feel that the author's subjective intention and the objective effect of the work are just the opposite. Blind darkness sometimes makes people unaware of its darkness, but when a touch of afterglow shines into the dark forest, mottled tree shadows are reflected on the moss under the tree, and the sharp contrast between that small piece of light and shadow and the boundless darkness makes the darkness in the forest more prominent. In particular, this kind of "dead light" is not only weak, but also short-lived. After a touch of afterglow disappears in an instant, it is followed by a long darkness. If we say a word or two, there is a sound contrast between silence and silence; Then three or four sentences are about fighting darkness with light. The whole poem is like adding a little warm color to most cool pictures, which makes the impression of cool color more prominent.
Static beauty and magnificent beauty are two types of various forms of beauty in nature, among which there is no distinction between elegance and lightness. But the quietness is almost ethereal, and the seclusion is slightly cold, which shows the unique side of the author's aesthetic taste. Similarly, the writing about "empty mountain" also focuses on the expression of quiet beauty. Autumn Night in a Mountain is brightly colored, and there is a peaceful and quiet atmosphere floating in the quiet tone, which contains lively vitality; Although Bird Song Jian describes the tranquility of Spring Mountain, the overall artistic conception is not deserted and ethereal. The clear glow of the moon, the fragrance of osmanthus and the singing of mountain birds all have the breath of spring and the tranquility of the night. Chai Lu has a cold and empty color, though it is not so lonely.
Wang Wei is a poet, painter and musician. This poem embodies the combination of poetry, painting and music. Silent, dark and dark, it is easy for ordinary people to perceive; But silence with sound and darkness with light are less noticed. It is precisely because the poet's unique painter and musician are sensitive to color and sound that he grasped the unique quiet realm at the moment when the voice of the empty mountain man sounded and the deep forest saw the light again. But this sensitivity is inseparable from his careful observation of nature and his focus on silence.
2. Appreciation of 300 ancient poems on preschool education in Tang poetry
Xue Jiang
Liu Zongyuan [Tang Dynasty]
There are no birds flying over those mountains, and there are no traces of people in those paths.
A boat on the river, a fisherman wearing his webworm moth; Fishing alone is not afraid of snow and ice.
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On all the mountains, birds are gone, and on all the roads, there are no traces of people.
On a lonely boat on the river, an old man in a bamboo hat was fishing alone on the cold river covered with heavy snow.
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The landscape poems written by Liu Zongyuan have a remarkable feature, that is, the objective realm is relatively quiet, while the poet's subjective state of mind is relatively lonely, sometimes even too lonely, too cold and cheerless, without any human fireworks. This song "Jiang Xue" is like this. The poet painted a quiet and cold picture in only 20 words: on the snowy river, a boat and an old fisherman were fishing alone on the cold river.
What the poet shows his readers is this: the world is so pure and silent, spotless and silent; The fisherman's life is so noble, and his character is so aloof. In fact, this is an imaginary realm created by Liu Zongyuan because he hated the declining society of the Tang Dynasty at that time. Compared with the characters in Tao Yuanming's Peach Blossom Garden, I'm afraid they are still illusory and far away from the world. What the poet wants to describe in detail is very simple, but it is just a boat, an old fisherman wearing hemp fiber and Li hat, fishing on the snowy river, and that's all. However, in order to highlight the main description object, the poet did not hesitate to use half of the space to describe its background, and made the background as broad as possible, almost to an infinite extent. The wider the background, the more prominent the main description object.
First of all, the poet used the words "Qianshan" and "Wanjing" to set off the following two pictures of "boating alone" and "fishing alone". Without the words "thousand" and "ten thousand", the words "loneliness" and "independence" at the back will appear bland and uninspiring. Secondly, birds flying on the mountain and people walking on the road are very common things and the most general image. But the poet put them under the "Qianshan" and "Wanjing" and added the word "absolutely" and "extinct", which suddenly turned the most common and summarized dynamic into extreme silence and absolute silence, forming an unusual scene. So the following two sentences used to be static descriptions. Because it is placed in this absolutely quiet background, it is exquisite, lively and lively. It can also be said that the first two sentences were originally a foil. According to the general understanding, you only need to outline it, and you don't need to make great efforts to carve it. However, poets just don't handle it this way. It's like making a movie. How many close-ups are used to explain and reflect every corner of the background? The more specific and detailed you write, the more exaggerated you are. The last two sentences, originally the object of the poet's intentional description, turned into a long-distance lens, which was reduced many times, giving readers an ethereal feeling, visible and intangible. Only by writing in this way can we express the lofty and detached thoughts and feelings that the author is eager to show to readers. As for the formation of this sense of remoteness, it is mainly the effect that the author adds a word "snow" at the end of the whole poem, which is connected with the word "Jiang".
The word "snow" covers the whole poem. "Qian Shan" and "Wanjing" are all snow, which makes "birds fly away" and "people disappear". Even the awning and fisherman's hat are covered with snow. But the author did not explicitly associate these scenes with "snow". On the contrary, in this painting, there is only Jiang and only Rulu. Of course, the river will not store snow, and it will not be covered by snow. Even if it falls into the river, it will immediately become water. However, the author only used the word "cold river snow" to connect the two farthest images, giving people a vague, distant and narrow feeling and forming a long-distance lens. This makes the main object described in the poem more concentrated, dexterous and prominent. Because even the river seems to be covered with snow, even the places where there is no snow are covered with snow, which completely describes the dense and thick snow and completely sets off the atmosphere of water and sky. As for the word "cold" used above, it is of course to point out the climate; But the poet's subjective intention is to write the fisherman's spiritual world quietly. Imagine, in such a cold and quiet environment, the old fisherman is not afraid of the cold and the snow, forgetting everything and devoting himself to fishing. Although his body is lonely, his personality is lofty and aloof, even a little awe-inspiring.
This illuminated and beautified image of the fisherman is actually the sustenance and portrayal of Liu Zongyuan's own thoughts and feelings. It can be seen that the word "Hanjiangxue" is the "finishing touch", which organically links the front and back parts of the whole poem, not only forming a concise and general picture, but also shaping a complete and prominent image of the fisherman. Describe the background in a concrete and meticulous way, and depict the subject image in a long-distance picture; Fine and extremely exaggerated generalizations are intricately unified in a poem, which is the unique artistic feature of this landscape poem.
3. Appreciation of 300 ancient poems on preschool education in Tang poetry
red wall
Du Mu [Tang Dynasty]
A broken iron halberd sank into the sand and disappeared, only to find that it was the remnant of Battle of Red Cliffs after grinding and washing.
If the east wind is not convenient for Zhou Yu, I'm afraid the outcome will be Cao Cao's victory and Er Qiao's detention in Tongquetai.
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In the sediment of Chibi, there is a broken halberd, which has not completely rusted. After grinding and washing, it was found that it was left over from Battle of Red Cliffs.
If it weren't for Zhou Yu's convenience, I'm afraid Cao Cao would win and Er Qiao would be put in Tongquetai.
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At the beginning of the poem, an ancient style is used to lament the people, things and things of the previous dynasty.
"If you don't sell iron, you will recognize it if you wash it." These two sentences mean that the broken Zhan Ji sank in the sand and was not eroded. After grinding, he recognized it as a relic of the previous dynasty. Here, these two descriptions seem dull, but they are uneven. The broken halberd is buried in the sand, pointing out the historical situation here. The broken sand in Zhan Ji has not been eroded, suggesting that time has passed and things have changed. It was because of the discovery of this rusty "broken halberd" buried at the bottom of the river for more than 600 years that the poet had a lot of thoughts, so he had to grind it out and identify it, and found that it was a weapon left over by Battle of Red Cliffs. In this way, the remains of the former dynasty further aroused the author's imagination and laid a good foundation for the later expression.
"Dongfeng is not with Zhou Lang, and Tongque Chunsuo Er Qiao." These last two familiar words mean that if Dongfeng hadn't helped Zhou Yu, Tongquetai would have locked Er Qiao in Dongwu. This involves Battle of Red Cliffs's calendar. The poet is quite clear about this, because Du Mu himself has the ability to help the world through the country, is familiar with politics and military affairs, and is very familiar with history and current affairs. As we all know, both Battle of Red Cliffs and Wu Sheng were defeated by Cao Cao, but here the author made a bold assumption of reverse thinking and put forward a hypothesis that is contrary to historical facts. What would have happened if Dongfeng hadn't helped Zhou Yu? The poet did not speak frankly about the end of the war. But "Tongquetai locks Er Qiao in spring". Tongquetai is a luxurious and carefree place for Cao Cao, where concubines and singers are stored. The bronze sparrow terrace here reminds people of Cao Cao's romantic side. It is said that "deep spring" has deepened this romantic charm. Finally, the word "lock" is used to further highlight his meaning of golden house. It is really admirable to write so many stories about the victory and defeat of the war filled with smoke.
4. Appreciation of 300 ancient poems on preschool education in Tang poetry
Heiweipai
Liu Yuxi [Tang Dynasty]
There are some weeds blooming by the Suzaku Bridge, and there is only sunset at the corner of Wuyi Lane.
Swallows under the eaves of Wang Dao and Xie An have now flown into the homes of ordinary people.
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The deserted weeds are in full bloom by the Suzaku Bridge, and the sunset hangs in the broken walls at the entrance of Wuyi Lane.
Swallows under the eaves of Xie 'an in Wang Dao have now flown into the homes of ordinary people.
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Wuyi Lane is a famous poem written by Liu Yuxi, a poet in the Tang Dynasty, which expresses his hidden feelings. It is one of the five wonders of Jinling. The poet has never been to Jinling and has been longing for this ancient capital of the Six Dynasties. It happened that a friend showed him five poems describing Jinling's historic sites, and he took the opportunity to write five poems. Wuyi Lane used to be the most prosperous place where nobles lived in the Six Dynasties. Now the famous Suzaku Bridge is overgrown with weeds, and there are no cars and horses in and out of Wuyi Lane. Only the setting sun slanted on the deep wall of the past.
The first sentence is "Wild grass flowers beside Suzaku Bridge", which spans the Qinhuai River in Nanjing and is the only way from downtown to Wuyi Lane. The bridge and Wuyi Lane on the south bank of the river are not only geographically adjacent, but also historically related. In the Eastern Jin Dynasty, Wuyi Township was a inhabited area of Tujia people in Gaomen, where Wang Dao, the founding father, and Xie An, who commanded the Battle of Feishui, lived. The heavy building decorated with two bronze finches on the ancient bridge was built by Xie An. Literally, Suzaku Bridge is even opposite Wuyi Lane. Using Suzaku Bridge to sketch the environment of Wuyi Lane not only conforms to the geographical reality, but also creates the aesthetic feeling of antithesis and evokes relevant historical associations. It is the choice of "killing three birds with one stone". What is striking in the sentence is the wild flowers overgrown with weeds by the bridge. The lush grass indicates that spring has arrived. Putting the word "wild" in front of "grass flowers" adds a lonely atmosphere to the scenery. In addition, these weeds and wild flowers grow beside the busy Suzaku Bridge, which reminds us that they may contain profound meanings.
I remember that the author once used "weeds" as a symbol of decline in the poem "Thousands of Families Become Weeds" ("Taicheng"). Now, in this poem, "weeds and flowers" are highlighted in this way, which shows that the once prosperous Suzaku Bridge has become desolate and desolate today!
The second sentence, "Sunset at the entrance of Wuyi Lane", shows that Wuyi Lane is not only set in the background of the dilapidated and desolate ancient bridge, but also presented in the afterglow of the sunset. The word "oblique" in the sentence corresponds to the word "flower" in the previous sentence. As a verb, it is the dynamic of writing the scene. "Sunset", the sunset in the west, and then click the word "oblique" to highlight the bleak scene of the sunset. Wuyi Lane, which was originally in its heyday, should have returned home with clothes on. Now, with a touch of oblique light, the author completely enveloped Wuyi Lane in a lonely and desolate atmosphere.
After comparing the environment and rendering the atmosphere, it seems that it is time to describe the changes in Wuyi Lane in a positive way and express the author's feelings. However, the author did not use too shallow writing methods, such as "Who lives in Wuyi Lane, looking back makes people remember" (Sun's "Wu Yi Lane Fu"), "Nowhere to find a house, falling flowers and singing birds in Liling Spring" (anonymous) and so on; Instead, with the help of the description of the scenery, he continued to write a well-known sentence: "The old Wang Xietang died and flew into the homes of ordinary people." Unexpectedly, he suddenly turned his brush strokes to the swallows nesting over Wuyi Lane, which made people recognize where the swallows were flying. Now, ordinary people live in Wuyi Lane.
In order to make readers clearly understand the poet's intention, the author points out that these swallows flying into the homes of ordinary people to nest are old swallows who once lived on the eaves of Wang Dao and Xie 'an Gaotang. The word "old times" gives the swallow the identity of a historical witness. The word "ordinary" emphasizes how different people today are from the past. From this, we can clearly hear the author's infinite feelings about this change. The design of Yan Fei's image seems easy, but it actually reflects the author's artistic originality and rich imagination. Jin Fuxian's Preface to Yan Fu said: "According to legend, Yan's nest is here this year and will be returned next year. It will die, just cut its claws. The consequences are far-reaching. " Of course, in life, even a swallow with a very long life can't be an old swallow "in front of Wang Xietang" 400 years ago. However, the author captures the characteristics of swallows as migratory birds living in the old nest, which is enough to arouse readers' imagination, suggesting the prosperity of Wuyi Lane in the past and playing a prominent role in comparing the past with the present. Wuyi Lane focuses on the present situation of Wuyi Lane in artistic expression. Just a subtle hint of its past. The poet's feelings are hidden and hidden, which are contained in the description of the scenery. Therefore, although its scenery is ordinary and its language is simple, it has an implicit beauty that makes people memorable.
The poet's deep affection for the rise and fall of this poem. Suzaku Bridge and Wuyi Lane are still the same, just overgrown with weeds and the setting sun is slanting. The desolate scene implies the poet's sensitive experience of prosperity and decline. The last two sentences use the swallow nest to express the author's lament over the vicissitudes of the world, ups and downs, and the pen is particularly tortuous. This poem is the second in Liu Yuxi's famous epic Five Topics of Jinling.
5. Appreciation of 300 ancient poems on preschool education in Tang poetry
A gift for Wang Lun.
Li Bai [Tang Dynasty]
Li Bai was just about to leave when he heard a farewell song from the shore.
Even if the Peach Blossom Pond is deep, it is not as deep as Wang Lun's sending away my love.
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Li Bai was about to leave by boat when he heard singing on the shore.
Even if the Peach Blossom Lake is as deep as thousands of feet, it can't compare with what Wang Lun did to me.
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This poem is a farewell poem written by Li Bai to Wang Lun, a local friend, when he visited Taohuatan in Jingxian (now southern Anhui). The first two sentences of this poem describe Wang Lun's seeing Bai off while sailing, and simply and naturally express Wang Lun's sincere feelings for Li Bai. The last two sentences first praise the profundity of the Peach Blossom Pond with "deep thousands of feet", and then turn the intangible friendship into tangible thousands of feet Pond with the word "less than", which vividly expresses Wang Lun's sincere and profound friendship for Li Bai. The language of the whole poem is fresh and natural, and the imagination is rich and strange. Although there are only four 28-character sentences, it is one of the most widely circulated famous poems of Li Bai.
Two sentences in the poem describe the farewell scene. "Li Bai will leave by boat" means that the poet will leave Taohuatan by boat. That kind of language flows out smoothly without thinking, showing a natural and unrestrained manner of being impulsive when it comes and returning when it is over. The words "suddenly smell the song on the shore" and "suddenly smell" show that Wang Lun's arrival is really unexpected. I heard it before people arrived. From the warm and hearty singing, Li Bai expected that Wang Lun must have come to see me off. This farewell shows that Li Bai and Wang Lun are both informal, happy and free people.
"Peach Blossom Pond is deeper in thousands of feet than in Wang Lun", and the second half of the poem is lyrical. The third sentence is connected from a distance, which further shows that the ship is placed in Taohuatan. "Deep thousands of feet" not only describes the characteristics of the pool, but also indicates the conclusion.
"Peach Blossom Pond" is so profound that it touches people's feelings. Unforgettable Wang Lun's deep affection and deep affection are naturally linked. At the end of the sentence, "not as good as Wang Lun's" broke out. By comparing things, it vividly expressed sincere and pure affection. The pool is as deep as thousands of feet, so how deep is the friendship between Wang Lun and Li Bai? Interesting. Shenqing Deqian appreciates this sentence very much. He said: "If Wang Lun's love is compared to a pool of thousands of feet, it is a common language. The wonderful scene is just in a transition. " Obviously, the beauty lies in the word "less than", and the beauty lies in replacing metaphor with metaphor, turning intangible friendship into a vivid image, ethereal and memorable, natural and true.
The traditional view of China's poetry is implicit. Yan Yu, a poetic theorist in the Song Dynasty, put forward four taboos in writing poetry: "The language should be straight and the meaning should be shallow. Avoid dew in the pulse, and the taste is short. " Shi Buhua, a poet in A Qing, also said that poetry "should not be expensive". However, the performance characteristics of Li Bai's "To Wang Lun" are: frankness, directness and implicitness. Its "language is straight" and its "pulse is dew", but its "meaning" is not shallow and its taste is stronger. When the ancients wrote poems, they generally avoided calling them by their names, thinking that they had no taste. But To Wang Lun begins with the poet calling his own name and ends with calling the other person's name. On the contrary, he is honest, kind, free and easy, and very affectionate.