In the tenth month of the year, I will return to Lingao by walking from the snow hall. The two guests followed me across the yellow mud slope. The frost and dew have fallen, all the leaves have fallen off, and the figures are on the ground. They look up at the bright moon, look at it and enjoy it, and sing in response to each other.
He sighed and said: "There are guests but no wine, there is wine but no food, the moon is white and the wind is clear, what a good night it is!" The guest said: "It is dusk today, and I catch fish with a net, with a big mouth and thin scales, like Like the perch in Songjiang River, did Gu An get the wine? The woman said, "I have a bucket of wine, which I have kept for a long time, just in case my son needs it from time to time."
So she took the wine and the fish and swam under the Red Cliff again. The river flows with sound, and the bank is broken for thousands of feet; the mountains are high and the moon is small, and the water falls and rocks are revealed. The sun and the moon were as old as before, but the mountains and rivers cannot be recognised. I took my clothes and climbed up, walking on the slanderous rocks, covered with velvet, perched on tigers and leopards, climbed on horned dragons, climbed on the dangerous nests of falcons, and looked down on Feng Yi's secluded palace. Gai Erke can't follow him. Suddenly there was a long roar, the grass and trees shook, the mountains hummed and the valley responded, the wind blew and the water surged. I am also quiet and sad, solemn and frightened, so awe-inspiring that I can't stay. Instead, he boarded the boat, let it go into the middle of the current, and waited until it stopped. It was almost midnight, and everything was lonely. There is a lone crane coming across the river from the east. The wings are like wheels, and the silk clothes are black and white. They scream loudly and sweep towards the boat heading west.
After a while, the guest left, and I fell asleep. In the dream, a Taoist priest, with his feathers fluttering, passed by Lingao. He bowed to me and said, "Are you having fun at Red Cliff?" When asked his name, he bowed his head and did not answer. "Woohoo! Hehe! I know it. Those who flew past me at night in the past are not my sons." The Taoist priest smiled, and I was also shocked. Open an account and look at it, but you can't see it.
[Note]
① Xuetang: After Su Shi was exiled to Huangzhou, he built a house on Dongpo, named Xuetang.
②Lingao: In the south of Huangzhou City, close to the Yangtze River. Su Shi was in Huangzhou. He first lived in Dinghuiyuan and soon moved to Lingao. Later, the Dongpo Snow Hall was built and his family members still lived in Lingao. ③ Huangni Slope: the only way from Xuetang to Lingao. ④Songjiang perch: Songjiang is the Wusong River. Ancient records indicate that four-gill perch appeared in the river, and its taste is delicious. After the Tang Dynasty, the sea bass produced in Songjiang County, Shanghai today was called Songjiang sea bass.
⑤Duan'an: a steep cliff bank, referring to Red Cliff.
⑥ Geometry: It hasn’t been long since the last trip on July 16th.
⑦Photography: Lift the skirt.
⑧Luyiyan: Stepping on the high rocks.
⑨Covered with velvet: push away the dense grass.
⑩ Chuhupao: Squatting on a rock that looks like a tiger and leopard.
Climbing the Horned Dragon: Climbing over an ancient tree shaped like a horned dragon. Horned dragon, a legendary little dragon with horns. The winding tree trunk resembles it, so it is named after it.
Dangerous Nest: High Nest. This sentence means climbing and supporting a tree with a high nest.
"Feng Yi" sentence: Feng Yi is the name of the water god. According to legend, he drowned in the river and was called Hebo. The meaning of the sentence is to look down at the river.
Xuan Shang Onyi: black skirt, white top. The crane's feathers are white, and the wings and tail are black. Here, the color of a person's clothes is used to describe the color of the crane's fur.
聁蹹: One is called "聁仙", or "pian". Describes the Taoist priest's erratic steps. It is also used to describe the dancing posture of cranes, such as Du Fu's poem "Exposing the Sun in the West Pavilion": "The crane is flying on the top of the mountain." This is a pun on the gait of Taoist priests and cranes.
Past: the past. The word "category" is an initial particle and has no meaning. "The night of the past" here refers to last night.
Enlightenment: One book is "寤", which has the same meaning, and both are interpreted as "awakening".
Article Appreciation
"Qian Chibi Fu" records a river trip on the 16th night of the seventh lunar month. This article records a river trip on the 15th night of October. The first thing that readers can feel It is the change of scenery presented in the two poems due to different seasons. The first poem is "The breeze is coming slowly, the water is calm", "White dew crosses the river, and the water is shining against the sky", which is a new autumn scene; the second poem is "The frost and dew have fallen, and the leaves of the wood have fallen off", "The mountains are high and the moon is small, and the water is falling." "The scene on the river in early winter. In addition to the seasonal scenery, the origins and duration of the two night tours are also very different.
The first time was a purposeful and pre-planned rafting trip under the moon. No one left the boat. What was written was just the river and the moon. The emotions and discussions also revolved around the river and the moon and were carried out in one go. This time, there was no story about the river cruise. As a premeditated plan, I was attracted by the good night with "white moon and clear wind" during my walk. I got excited about it and went boating again. I also abandoned my boat to climb mountains, and then resumed my boat trip after the mountain trip. The process was much more tortuous, and the scenery displayed was also different. prosperous. But the more important difference is that in the first Fu, the author appeared in person and published a discussion, writing about the actual events that happened in the boat; in the second Fu, a Taoist priest transformed into a crane, which seems to confirm that the previous Fu "transformed into an immortal" Illusive stories serve as lyrics and aftertaste to express transcendent feelings. Jin Shengtan, a critic of the Qing Dynasty, had a very good understanding of the artistic conception of these two Fus. He commented in "The Talents in the World Must Read": "The first Fu is a special creation of a true understanding of the chest, and the second Fu is a continuation of the above text." The present situation indicates the true understanding of this paragraph one by one. "He also said: "If there is no later Fu, the previous Fu is unclear; if there is no previous Fu, the latter Fu is meaningless." The similarities, differences and relationships between the two Fu are quite clear.
If the Taoist priest turned into a crane and flew across the boat and met each other in the fasting, if it was not based on dreams, it would become a ridiculous story of gods and monsters, and the interest would be diminished. The author places this plot in a trance-like dream state that is full of doubts and believability, and feels that the author's mental state is real and credible even though the paper is full of ethereal fantasy. The crane is an entity, and the Taoist priest in the dream is the manifestation of the crane, which is an illusion caused by the author's accumulated imagination. This hallucination reveals the author's broad-minded thoughts of spiritual ascent into nature, sublimating himself and becoming one with nature.
The description of scenery in this poem has always been praised by literary critics of all ages. Its outstanding feature is that it is natural and workmanlike without any pretense. For example, in the first paragraph, "The figure is on the ground, looking up at the bright moon"; in the third paragraph, "The river has a sound, and the bank is broken thousands of feet. The mountain is high and the moon is small, and the water falls and rocks come out." The use of white lines gives people a fresh feeling, the words are simple and poetic. This is because the poet broke into nature, absorbed the essence of the scenery, and expressed it accurately in simple and plain language. The flavor is very similar to Tao Yuanming's poems. Su Shi was the most admired by Tao Yuanming among the ancient poets. He claimed that "I am not very fond of any poet, but I only like Yuanming's poems. Yuanming did not write many poems, but his poems are rich in quality and plump in quality. They are the most popular poets since Cao and Liu." , Bao, Xie, Li, and Du are all beyond his reach" (see Su Zhe's "Introduction to the Poems of Zizhan and Tao Yuanming"). I love Tao so much that I unknowingly pursue Tao Yuanming's state of "withered on the outside but cream on the inside, seemingly bland but actually beautiful" (Su Shi's "Comments on Han Liu's Poems").
The reason why you write a scene well is because there is emotion in the scene. The so-called emotion in the scenery does not necessarily mean expressing emotion when depicting the scenery, but that the objects depicted reveal the author's perspective and the author's experience of the scenery, that is, the author's poetic sentiment is included. As a result, the scenery and the personality are consistent, achieving what Fang Bao calls "a mind without any debris, and everything that touches it is revealed, and I don't know why it is happening" (Wang Wenru's "Annotation of Ancient Prose and Dictionary" cited in this article). mental state.
The prose flavor of this poem is stronger, but the rhythm still has the sonorousness of verse. Several places are rhymed with "Tibetan rhyme", just like the "Tibetan front" in calligraphy strokes. For example, the word "jiu" in the second paragraph, "It has been hidden for a long time," rhymes with the word "wine" in the previous sentence; the word "knowledge" in the third paragraph, "The country and the mountains can no longer be recognized," rhymes with the previous "chi" and "chu"; The word "cong" in "Gai two guests can't follow you" rhymes with "Rong", "dragon" and "palace" in the front and "moving", "yong" and "fear" in the back; "listen to where it stops and stop" "Xiu" in "Liu Ye" rhymes with "Liu", "zhou" and "liu" in the previous "Liu Ye". The rhyme words are all followed by a dummy word as the end, which can only be understood when reciting. The ancient meaning of Fu is reciting, and the ancients called reciting without singing Fu. Fu originally requires reciting to get the taste.