About the author:
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Su Shi (1037-1101), named Zizhan, also known as Dongpo Jushi, was a native of Meishan in the Northern Song Dynasty. His younger brother Su Zhe and his father Su Xun are collectively known as "Three Sus". He is a famous writer, calligrapher and painter, and one of the eight great writers of prose in Tang and Song Dynasties. He is knowledgeable and versatile, and has high attainments in calligraphy, painting, poetry, and prose. His calligraphy, together with Cai Xiang, Huang Tingjian and Mi Fu, is known as the "Four Calligraphy Masters of the Song Dynasty"; he is good at painting bamboo, wood and strange rocks, and he is also outstanding in painting theory and calligraphy theory. He was the literary leader in the Northern Song Dynasty after Ouyang Xiu, and his prose is as famous as Ouyang Xiu; his poetry is as famous as Huang Tingjian, and he is collectively called "Su Huang"; his poetry is majestic and bold in style. Xin Qiji is also known as "Su Xin", and *** is a poet of the Bold and Unconstrained School.
Original text:
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On the night of October 12th, the sixth year of Yuanfeng, I undressed and was about to fall asleep. When the moonlight entered my house, I woke up happily. OK. Thinking that there would be no joy in being together, I went to Chengtian Temple to look for Zhang Huaimin. Huaimin was still awake and walked with him in the atrium.
The sky under the courtyard looks like accumulated water, with algae and waterlilies intertwined in the water, covered with bamboo and cypress shadows.
What night is there without a moon? Where are there no bamboos or cypresses? But there are few idle people like the two of us.
Note:
The sixth year of Yuanfeng: 1083 AD. Yuanfeng, the reign name of Emperor Shenzong of the Song Dynasty.
Thinking about nothingness and taking pleasure in it: thinking about having no one to talk to for pleasure. Think about, think about, think about.
Zhang Huaimin: The author’s friend was also demoted in Huangzhou at that time.
Sui: So
Xianyou: *** Same, together.
Atrium: courtyard.
Kongming: clear and transparent.
He arrived: So he arrived.
Algae and Nymphoides (xìnɡ): both are aquatic plants.
But there are few idle people: There is just a lack of idle people. but. only. A leisurely person, a leisurely and elegant person. This refers to people who are not obsessed with fame and fortune but can calmly linger in the situation. Su Shi was demoted to the deputy envoy of Tuanlian in Huangzhou at this time. This was an official with duties but no power, so he called himself an "idler".
Er: That’s all
Translation:
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On October 12, the sixth year of Yuanfeng, I explained When I was undressing and planning to go to bed, the moonlight came in and I happily sat outside the door. It occurred to me that I had no one with whom to play, so I went to Chengtian Temple to look for Zhang Huaimin. Zhang Huaimin didn't sleep either. We walked in the courtyard together.
The moonlight shone in the yard, as clear and clear as water, and the shadows of bamboo and cypress were like the intertwined shadows of algae in the water. There is no moonlight on any night, and there are no bamboos and cypresses anywhere. There is just a lack of leisurely people like the two of us!
Appreciation:
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The feelings expressed in "Night Tour of Chengtian Temple" are subtle and complex, the sadness of being relegated, the sadness of life The emotion, the joy of admiring the moon, and the leisurely stroll are all included. When the author was "undressing and about to sleep", "the moonlight entered the house", so he "happily set off". The moonlight was rare, which made people happy. But there was no one to enjoy the moon with my wife, so I had to look for Zhang Huaimin who was also demoted. There was so much sadness in being demoted and emotion about life! The two of them walked in the atrium leisurely. Compared with "idle people", all meanings are contained in it.
Su Shi himself commented on his literary creation, and one of his passages is very insightful:
My writing is like a spring of ten thousand dendrobiums, and it can be produced in any place. On the flat ground, the torrential waves are rolling, and it is easy to travel thousands of miles in a day. It twists and turns with the mountains and rocks, giving shape to things and cannot be known. What can be known is that you always do what you should do, and you always stop at the point where you can't stop. That's all! I can't know the other things. ("Wen Shuo")
This passage can be supplemented by another passage of his: "Those who were writers in the past could not work for them, but they had to work for them. There are clouds and mist in the mountains and flowers, and they are full of lushness and can be seen from the outside. Even if you want nothing, can you get it?" ("Preface to the Collection of Jiang Xing Sing He")
This is the most important thing. The most important point is: literature is something that is "full of vitality" on the inside and has to be expressed on the outside.
If you have "a fountain of thousands of dendrobiums" in your chest, you can "get out of anything no matter where you choose"; if you have nothing in your chest, you won't be able to write good articles just by relying on skills. Su Shi is indeed a great writer with "the source of thousands of dendrobiums" in his chest. As far as his prose creation is concerned, the "fountain of ten thousand dendrobiums" overflows into political and historical treatises, rolling over the waves, and the vast ocean; overflows into travel notes, letters, prefaces and postscripts and other essays, swirling and stirring, and the smoke and waves are colorful.
The article "Remembering a Night Tour at Chengtian Temple" has only 84 words. It flows naturally from my heart. "Do what you should do" and "stop when you must stop". There is no way to divide it into paragraphs. But it is not DC "on flat ground". There are only a few dozen words. If "on the flat ground" flows straight, and there is no trace left, what charm will it have? If you read this article carefully, you will find that although it is naturally popular, it is "twisting with the mountains and rocks" and has distinct layers. "The night of October 12th, the sixth year of Yuanfeng." This is like writing a diary. You write down the year, month and day honestly, and then write the word "night". Next, you should write what you did during the "night". What to do? "Undress and sleep", there is nothing to do. But when he was "undressing" and saw "the moonlight entering the house", he felt that there was something to do, so he "happily set off". What to do? Looking for "fun". If you have been "working" alone for a while, but you are not very "happy", it would be nice to have someone else; suddenly you think of someone who can make you "happy", so you go to him. These thoughts and actions are expressed in the words "Those who think of nothingness and find joy then go to Chengtian Temple to look for Zhang Huaimin." Whether he has found Zhang Huaimin, what he said after he found him, what kind of "fun" he asked him to have, and whether he agreed, these are all things that most people have to write about. However, the author only wrote these two sentences: "Huai Min has not slept yet, and we are walking together in the courtyard." Then he describes the scene:
The courtyard is empty and empty, with algae and waterlilies intertwined in the water, covering the sky. Bamboo and cypress shadows.
The accumulated water is clear and clear, describing the clarity and transparency of the moonlight, and the interlacing of dry water plants and the clear and elegant reflection of bamboo and cypress. The author uses highly concise pen and ink to paint a clear and clear sky, with sparse shadows swaying, which seems real and illusory. wonderful realm.
Written thoughts are like torrential water, "twisting and twisting with mountains and rocks". At this point, it should "stop where it cannot stop". "Stop" at what? Seeing "moonlight entering the house" and "starting happily" should stop at the moon; seeing "algae and waterlilies intersecting", but it turns out to be "shadows of bamboo and cypress", should stop at "bamboo and cypress"; who appreciates the moon ? Who sees bamboo and cypress? It's him and Zhang Huaimin, it should stop with him and Zhang Huaimin. So I summarized it all, wrote the following sentences, and then stopped leisurely:
What night has no moon? Where are there no bamboos or cypresses? But there are few idle people like the two of us.
A few strokes captured a fragment of life. The narrative is simple and clear, and the description of the scene is like a painting, and the lyricism is contained in the narrative and the description of the scene. Narrative, scene description, and lyricism all focus on writing about people; writing about people also highlights one point: "leisure". When entering "night", one "undresses and wants to sleep", "free"; when seeing "the moonlight enters the house", one "gets up happily", "free"; and "walks in the courtyard" with Zhang Huaimin, even seeing the "shadows of bamboo and cypress" They were so careful and clear, both of them were very "free". "Where is the moonless night? Where are there no bamboos and cypresses?" But on winter nights, there are only "me and me" who go out to admire the moon and see the bamboos and cypresses, because others are busy people and "I and I" are "idle people." The "idle person" at the end is the finishing touch, contrasting the "idleness" of "the two of us" with the lack of "idleness" of others. Only when you are "free" can you "walk at night" and enjoy the beautiful scenery of the moonlit night. After reading the full text, the figures, moods and scenery of the two "idlers" are all vividly visible.