Yuntao Stone
"Yuntao Stone" is a poem that chants things. It is one of the nine poems in Huang Tingjian's "Ci Yun and Taiyuan Chapters". This poem The Yuntao stone is a naturally formed stone that resembles a Yuntao and was loved by Huang Tingjian's uncle Huang Xiang. This poem was written in harmony between uncle and nephew.
Chinese name: Huang Tingjian
Foreign name: huangtingjian
Alias: courtesy name Luzhi, self-titled Valley Taoist.
Nationality: Chinese
Ethnicity: Han
Birthplace: Hongzhou Fenning (now Xiushui, Jiangxi).
Date of birth: 1045
Date of death: 1105
Occupation: Poet, lyricist, and calligrapher of the Northern Song Dynasty.
Representative works: Representative works: "Yingxiang Prescription", "Draft of Elder Wang's Epitaph", etc.
Original text
Huang Tingjian's "Nine Poems of Ciyun and Taiyuan Chapters on Yuntao Stone"
The creation of things is wonderfully chemical, and the terrain is so close that it connects to the sky.
Three thousand hectares are infested with dragons and dragons, and clouds and rain cross the twelve peaks.
Sitting at a banquet makes people feel free from vulgarity, and they can relax when the summer breeze blows.
The fallen trees in the mountains are rustling at night, and I am drunkenly dreaming about the rivers and lakes.
Interpretation
Creation is formed by wonderful chemical engineering, and the terrain is so close that it connects to the sky
Chemical engineering: naturally formed craftsmanship. Kuchi: Eight inches in the Zhou system is Kuai, and ten inches is Chi, which means close to or just full of one foot.
The first couplet praises Yuntao Stone as a wonderful stone created by the uncanny workmanship of nature. Although its appearance is small, it can give people boundless imagination.
Jiaotuó appears in 30,000 hectares, with clouds and rain crossing twelve peaks
Jiaotuó (jiāotuó): refers to a ferocious crocodile-like animal in the water.
The imagery of the chin couplet is fictitious. It is triggered by the image of clouds and waves on the stone. It is associated with 30,000 hectares of waves in which dragons and turtles appear; it is associated with rolling rain clouds crisscrossing the twelve peaks of Wushan Mountain.
Sitting at a banquet makes people free from vulgarity, and when the summer breeze blows when they are free, sit at a banquet: sit quietly, sit quietly.
The realistic description of the situation of the neck couplet is to describe the feelings of Yuntao Stone: it makes people not tacky, and makes people feel like a refreshing breeze even on a hot summer day. This is in line with Huang Xiang's character, because Huang Xiang lived in seclusion in Taiyuan. A hermit generally had different customs and noble aspirations. Writing Stone certainly targets people.
The fallen trees on the mountains are rustling at night, and I am drunkenly dreaming of the rivers and lakes
Jianghu: opposite to the temple, it can refer to the residence of the hermit. Yiye: Yiye Bianzhou.
The last couplet is undoubtedly the best two sentences: On an autumn night when the trees were falling, I was riding a small boat in a drunken dream, floating on the waves among the clouds and rocks. Due to the association of the previous couplet, it does not feel abrupt here, but has a subtle "match". Coupled with the foreshadowing of the neck couplet, the author's admiration and yearning for the hermit life are naturally written. The heaven and earth are encased in the form, and the form is also the heaven and earth. People and rocks are integrated into one, and the subject and the guest blend together. When the poem ends, people are immersed in the realm brought to them by Yuntao Stone.
About Huang Tingjian's poetry review
Qian Zhongshu said: People who "read a lot" may see that Huang Tingjian turned "ancient statements" from iron to gold. What was he talking about? People with "little education" only think that meeting one's head is nothing more than a classical idiom, as if there are gold dust and iron shavings in their eyes, and they can't open their eyes wide, so they can't even think about seeing anything. Of course, in the past, writers like Li Shangyin and Xikun style writers who followed his example loved to inlay and embroider classical idioms into their poems, but... the content of Huang Tingjian's songs was more complicated than that of this kind of poem. Much richer, the nature of words and sentences will be much more complex, and the sources will be much more extensive and remote. In Li Shangyin, especially in Xikun style poems, the meaning is often vague and elusive; the allusions and words they use are often just to create some atmosphere and attract some emotions, just like when eating in a restaurant. Music, therefore, can give people the impression of being "gaudy" and "literary over meaning". Huang Tingjian has real meanings, and he also likes to preach and make comments. No matter how ordinary his meaning is or how pedantic his comments are, as long as readers understand the classical idioms he uses, they will know exactly what he is thinking. Therefore, the impression his poems give people is It is blunt and obscure, and the language is not transparent enough, as if the glass window in winter is covered with a layer of moisture and frozen into a piece of ice. ·······Readers know that his poems are indeed interesting, but his language is like a curtain that blocks them. ······This kind of "thought-provoking" is confusing, not implicit.
The above is one of the characteristics of Huang Tingjian's poetry, that is, it is easy to use allusions but often obscure, but it does have real content.
Qian Zhongshu also mentioned another feature of Huang Tingjian’s poetry, which is what Zhu Bian said in the second volume of "Feng Yuetang Poetry Talk": "The valley uses Kun Ti Kung Fu to the point where Lao Du Hun is perfect."
p>Fang Hui also quoted Huang Tingjian's "Yong Snow Presented to Wu Guangping Gong" in Volume 21 of "Ying Kui Lü Sui" to explain: "In the cold spring, the clear blue sky has gone away from the flying snow, and I suddenly remember seeing sand in the clear water of the river. I listen to the scattered music at night and return it. It's so dense that it turns slanting again at dawn. The wind blows and dances, and the sky is so clever that flowers bloom in an instant. The envoys are so cold that they can spend their time." Fang replied: "The wonders of the valley are like Kun. The body changes without affecting its organization. The cleverness is like a mystery. This couplet (night listening) is also a mystery, and the next couplet "whirlwind dance" and "instant flower" are also mysterious. "Wonderful." It is considered that "there is a change in Kun style", that is, using Kun style (one of the poetry styles). In the early Song Dynasty, Yang Yi, Liu Jun, Qian Weiyan, etc., wrote poems based on Wen Tingyun and Li Shangyin, who were good at using eccentric classics and beautiful styles. The words, combined with the singing, were combined into a collection, called "Xi Kun Huo Sing Ji", later called "Xi Kun Style"). The oblique snow shape is considered to be written in Kun Ti Gongfu.
Fang Hui said again: "Lao Du, the poet of the valley, has Yu Kaifu, Li Yuxi, and Yuanci Mountain in Gufa." There are Yu Xin and Li Shangyin, which should be said to be fresh and beautiful; Yuan Jie refers to Jin Jian. Qili refers to what Zhang Jie said: "The appearance is too beautiful."
It is also quoted from Xu Jian's "Yanzhou Poetry Talk" to confirm: "It is abominable if the spirit of simple and vulgar writing is not eliminated. When the guest asked where to go, the servant said: 'Familiar with the poems of Li Yishan of the Tang Dynasty and the present dynasty Huang Luzhi's poems are deep and thoughtful, and then they go away.'"
The above means that Huang Tingjian's poems have been transformed with the skills of Xikun style, reaching the level of Du Fu's Huncheng, and the wording has Yu Xin, Li Shangyin's freshness and beauty are the key to the Yuan knot.
But Yuan Haowen disagrees with this statement. Yuan Haowen commented on Huang Tingjian's poems: "It is difficult to make a child beautiful with elegance, and it loses all its purity and truth." That is to say, it is not like Du Fu in terms of elegance, and it loses all Li Shangyin in terms of purity, which means that Huang Tingjian's poems have lost their elegance and purity. Pure. He happened to have a different view from Zhu Bian.
Attached are some word explanations:
Chemical industry: refers to the creator of nature. The Chinese language version of Jia Yi's "Ode to Birds": "Heaven and earth are furnaces, and nature is the work." Tang Yuanzhen's poem "Spring Cicada": "I return from the east to the sound of bitter spring birds. I write poems to pity chemical industry, but do not send spring cicadas. "Sheng."
Close: describes a short distance or a small place. "Huainanzi·Dao Yingxun": "Walking all day long is not far away from us, but we think we are far away, how sad is it!" Tang Murong's poem "Ji Fan Shijun": "It's not the end of autumn, but we are so close to Loujiang Road." Block repairs." "Warring States Policy·Zhao Ce 2": "Shun had no land so close, so he had the world." The second poem of Zhang Hu of the Tang Dynasty "Inscribed on the Mountains and Water Barriers of Wang Youcheng": "The rivers and lakes are all close at hand, and ordinary gulls are flying."
Jiaojiu: "Zixu Fu" by Sima Xiangru of the Han Dynasty: "Among them are the sacred turtles and turtles." "Song of Stone Drums" by Han Yu of the Tang Dynasty: "With age, it is inevitable that there will be lack of paintings. Quickly cut off the turtles. ."
Clouds and Rain: "Preface to Gaotang Fu" by Chu and Song Yu during the Warring States Period: "I am in the sun of Wushan, blocked by the high hills. The sky is cloudy in the morning, and the rain is flowing in the evening. In the morning and evening, under the balcony. . ”
Tacky: vulgar and inelegant taste and style. The second poem of Song Su Shi's "Reply to Zimian": "There is no vulgarity at all, and I look forward to the wind in the forest."
Qingfeng: noble character. Liang Liu Xie of the Southern Dynasty wrote in "The Literary Mind and the Carving of Dragons·Elegance Stele": "If you mark the preface with great virtue, you will surely see the splendor of the breeze."
Jianghu: In the old days, it referred to the residence of hermits. Jin Taoqian's poem "Farewell to the Yin and Jin Dynasties": "Good talents do not hide in the world, and there are many lowly and poor people in the world." "Southern History: Preface to the Biography of Hermitage": "Someone hides in the rivers and lakes, or hides his name under a rock."