Zi Zhan painted strange stones with bamboo, which increased the front slope and made shepherds ride cattle. It was very interesting. Play the hymn.
Wild times are small and eventful, and quiet times are young. A Tong's three-foot hammer wants to subdue the old man. Wu Shi liked it so much that he suddenly sent a cow to grind his horns. The bull has a beautiful horn, but the bull is against me.
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This poem was written in Yuan You's third year in Song Zhezong (1088). At that time, the author worked as a secretary in the capital and a writer from other provinces.
The painting art in the Song Dynasty was particularly prosperous, and the poems on paintings were also very developed. Su Shi and Huang Tingjian are both experts in this kind of poetry. This article is a poem by Su Shi and Li, herding cattle, but it is not limited to the rendering of imagery interest. Instead, it uses the topic to dig out an emotional discussion out of thin air, which is unique in poetry.
Poetry is divided into two levels. The first four sentences describe the painting itself: there is a small strange stone in the country, with bamboo growing next to it. The cowherd holds a three-foot whip and drives the old cow away with a dragon bell. The four poems are divided into four images: stone, bamboo, shepherd boy and cow, which constitute a complete picture. With few words, it is difficult for the poet to describe the objects he wrote completely, but he still pays attention to briefly describing their appearance characteristics. "Towering" was originally used to describe mountains, but here it refers to stones, which shows the unique features of the strange stones in the painting. "Zan" is a bunch of bamboos. A word "You" in front of it describes its charm, and a word "Green" behind it describes its color, and its image is also very distinct. Although the shepherd boy didn't add any modifiers, it was naive to call him "A Tong". Pointing out the whip in his hand, the strength can be imagined. In particular, it is more vivid to replace the cow with the word "baby". According to Mencius? 6? 1 Liang: "Wang said: Give up, I can't stand it. If I am innocent, I will die." This is "baby" to describe the fear and trembling of cattle. Although the old cow in the painting doesn't have to be afraid, it is old and tired, and it can't help stumbling under the whip, giving people the feeling of being a baby. The picture is static, it can't directly draw a cow's swaddling clothes, but the poet drew the word "swaddling clothes" through imagination according to the posture of the old cow in the picture, which is really a stroke of genius. The four images described in the poem are not isolated. There is a word "leaning" between stone and bamboo, which not only describes their closeness, but also embodies an intimate interest. There is a word "Yu" between the shepherd boy and the old cow, so the shepherd boy's gesture of wandering freely is suddenly visible. The four images are divided into two groups, and they also cooperate with each other in conveying the quiet and harmonious rural life, and the * * * isomorphism becomes the whole painting. It is excellent to write with several crosses, even as a single painting poem.
However, the focus of the poem lies in the following four sentences: I like this stone very much, please don't let the cows grind their horns on it! It's just a cow grinding its horns. If cows fight, it will damage my bamboo. This feeling can be divided into two layers: "Don't send a dead end" is one layer, "Dou Dou Zhu" is another layer, and there is a progressive relationship between them. About these four poems, some predecessors accused them of being "thicker than bamboo, thinner than stone" (see Chen Yan's Poems of Stone Heritage Room), but they didn't really hit the point. It should be said that the author likes stones and bamboos equally, but because the sharp corners wear less on stones and cows fight more on bamboos, there is a distinction between light and heavy. More importantly, in the poet's mind, both stones and bamboo represent the pastoral life he yearns for, while wearing stones and banning bamboo is the destruction of this quiet and harmonious life. Therefore, he should focus on expressing his regret and adopt a progressive statement, which is enough to reflect his repeated persuasion and ardent feelings.
Having said that, it is inevitable to touch on the moral of this poem. Is there any irony in this comment in the poem besides expressing the author's love for nature and sorrow for destroying natural beauty? As we all know, Huang Tingjian lived in the late Northern Song Dynasty, which was an era of fierce party struggle within the ruling class. The struggle between the old and new parties caused by Wang Anshi's political reform began when he was still a Shinto. During the reign of Zhe Zongyuan, the new party temporarily lost power and influence, and the old party came to power, and soon it split into three factions, namely Luo, Shu and Shuo, fighting with each other. Between having fewer children and having fewer children, the New Party came to power again, which dealt an all-round blow to old party member. At first, this struggle within the ruling class had certain political principles, and later it evolved into unprincipled factional struggle, which seriously weakened the ruling power of the Song Dynasty. Although Huang Tingjian himself was bound by his cronies, his mind was clear and he could see the harm of sectarian strife. The poem takes the sharp horns and struggles of cattle as a warning, and the peaceful and quiet pastoral scenery remains the same. Can't say it doesn't contain profound meaning.
To sum up, this poem is associated with the ox horn and bull fight in life from the bamboo and stone grazing in the painting, and then expresses its impression of real politics. Everything is entrusted to "singing", which is very melodious and far-reaching in artistic conception. The quiet rural scenery and the noisy official competition constitute a sharp contrast. The whole poem has no allusions or algae decorations, and the use of prose sentence patterns (such as "I love it very much" and "I have a decent trumpet") adds a quaint charm to the whole poem. The style of the last four sentences is considered by predecessors to be imitating Li Bai's Du Lu Pian, "The water is muddy and muddy, but the moon is not seen;" I can't see the moon, but the water is deep. " (Mr. Lingyang's Room Language quoted Han Ju's language), but it only absorbed its form, but its meaning was refurbished. Not only is it not enough to get sick, but it can also be seen that the poet has made great efforts in bringing forth the old and bringing forth the new.
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