1. This poem makes excellent use of the writing method of setting off the scenery, exaggerating the bleak and desolate artistic conception, and highlighting the lonely and desolate mood of the wanderer.
2. Attached is the original text:
Tianjingsha·Autumn Thoughts
Yuan. Ma Zhiyuan
Withered vines, old trees, dim crows, small bridges People live in flowing water, and the ancient road has a westerly wind and a thin horse. The sun sets in the west, and the heartbroken people are at the end of the world.
This poem is very short, with only five lines and twenty-eight characters in one sentence. There is not a single word for autumn in the whole song, but it depicts a desolate and moving picture of the sunset in the autumn suburbs, and it accurately It conveys the miserable state of mind of the traveler. This successful piece of music, praised as the ancestor of Qiu Si, embodies the artistic characteristics of Chinese classical songs in many aspects.
1. The scenery is used to convey feelings, and the feelings are embodied in the scenery, forming a desolate and tragic artistic conception in the blending of scenery and scenery.
Chinese classical poetry pays great attention to the creation of artistic conception. Artistic conception is an important category in the aesthetics of Chinese classical poetry. Its essential characteristics are the blending of scenes and the unity of mind and matter. Whether emotion and scenery can be combined wonderfully becomes the key to forming an artistic conception. Wang Fuzhi of the Qing Dynasty said in "Xuanzhai Poetry Talk": "Scenery is called two things, but they are inseparable. God is in the poet, and the wonderful combination is boundless." Wang Guowei's "Removed Manuscripts of Human Words" said: "All scenery words are love words." The first four sentences of Ma Zhiyuan's poem are all about scenery. These scenery words are all love words. Words such as "withered", "old", "faint" and "thin" make the rich autumn colors contain an infinite desolate and tragic mood. The last sentence "The heartbroken man is at the end of the world" is the finishing touch of the song, making the scenery described in the first four sentences an environment for human activities and a trigger for the sad emotions in the heartbroken man at the end of the world. The scenery on the song is what Ma Zhiyuan saw during his journey, and it is what he sees. But at the same time, it is the carrier of emotions and the object in the heart. There is emotion in the scenery in the whole song, scenery in the emotion, and the scenes are wonderfully combined, forming a moving artistic realm.
2. Use numerous dense images to express the author’s pain of traveling and sorrow of autumn, making the work full of rich poetic sentiment.
Image refers to the artistic image that appears in poetry to convey the author's emotions and embody the author's thoughts. Chinese classical poetry is often characterized by the use of complex and dense imagery. Many poets in ancient China often arranged numerous images closely in their poems to express their ideas. Ma Zhiyuan's song clearly reflects this feature. There are ten images arranged in the short twenty-eight characters. These images are not only the real environment of the heartbroken man's life, but also the carrier of the heavy sorrow and sadness in his heart. Without these images, the song would cease to exist.
Coexisting with the complexity of the image is the simplicity of its meaning. In the same work, the status of different images is relatively balanced, and there is no deliberately prominent individual. Their emotional directions tend to be consistent, that is, many images often convey the same emotional tone of the author at the same time. So is this song. In order to express his melancholy and sentimental feelings, the author chooses many objects to put into the poem. These objects can convey the author's inner emotions, and the combination of emotion and scenery makes the emotional direction of the images in the work consistent and single. Many images are connected by the author's same emotional thread to form a complete picture.
The combination of complexity and simplicity of imagery is an important reason for the profound meaning, harmonious realm and strong poetic flavor of Chinese classical poetry.
The arrangement of images in classical poetry is often characterized by being numerous but not chaotic, with clear layers. This orderliness is due to the author's habit of arranging images in the normal order of time and space.
Some people today call Ma Zhiyuan's "Tian Jing Sha·Autumn Thoughts" a "parallel image combination". In fact, the juxtaposition still reflects a certain order. There are ten images in the whole song, and the first nine are naturally divided into three groups. The vines twine around the trees, and the crows fall on the trees. The first group is arranged from bottom to top; the bridge, the water under the bridge, and the houses by the water are arranged from near to far; the ancient post road, the west wind thin horse on the road, the third group The groups are arranged from far away to the present, with slight changes in between. Because the "west wind" is inserted in the middle to describe the touch, the description angle is changed, thus increasing the jumping feeling of the image, but this jumping is still local and does not exceed the scope of the autumn scenery.
Du Fu's "A Thousand Miles of Sad Autumn" is an example. The same is true for Ma Zhiyuan's little order. Although the imagery in the song is not new and the emotions expressed are not new, because it uses a refined artistic expression method to express a traditional emotional experience of Chinese literati, it has gained immortal vitality and can arouse future generations. The cries of the literati.
Through the above analysis, it can be seen that "Tianjingsha·Autumn Thoughts" is one of the most mature works of Chinese classical poetry. Although it belongs to the genre of music, in fact, it embodies the artistic characteristics of Chinese classical poetry in many aspects.
3. Introduction to the author:
Ma Zhiyuan (about 1250-1321 or later), also known as Qianli, also known as Dongli. ), Han nationality, opera writer of the Yuan Dynasty, native of Dadu (now Beijing) of the Yuan Dynasty, originally from Maci Tang Village, Dongguang County, Hebei Province. He was later than Guan Hanqing, Bai Pu and others. He was born around 1250 AD and died around 1321, the first year of the Zhizhi era to Taiding. Together with Guan Hanqing, Zheng Guangzu and Bai Pu, he was known as the "Four Great Masters of Yuan Opera". ”
Ma Zhiyuan was a famous dramatist in the Yuan Dynasty, a native of Dadu (now Beijing). He is known as the ancestor of Qiu Si because of "Tian Jing Sha·Qiu Si" (one of the four ancient poems selected into the Chinese language course 15 of the 7th grade Shangyu Education Press) (one of the three poems, lyrics and music in the 8th grade Xiasu Education Press Chinese Book) ). There are 15 kinds of Zaju known today, "Han Gong Qiu" is his representative work; there are more than 120 sanqu, and there is a compilation "Dongli Yuefu". His career was bumpy in his youth, and he became a Jinshi in his middle age. He once served as an official in Zhejiang Province, and later served as the director of the Ministry of Industry in Dadu (now Beijing). In his later years, Ma Zhiyuan was dissatisfied with the current affairs and lived in seclusion in the countryside. He entertained himself by holding a cup and hitting a gou. After his death, he was buried in his ancestral tomb.
Ma Zhiyuan participated in the creation of Zaju in his early years and was a main member of the "Yuanzhen Shuhui". He had contacts with the scribes Wang Bocheng and Li Shizhong, as well as the artists Hua Lilang and Li Er with red letters. He was also the most famous "Yuanzhen Shuhui" at that time. One of the "Four Great Masters of Yuan Opera". (The four great masters include Guan Hanqing, Bai Pu, Ma Zhiyuan and Zheng Guangzu.) Ma Zhiyuan has been engaged in Zaju creation for a long time and is very famous. He is known as the "number one in opera". There are 16 kinds of his works that have been recorded, and there are currently 6 kinds of them: "Autumn in Han Palace", "Recommended Blessing Tablet", "Yueyang Tower", "Tears of Green Shirt", "Chen Tuan Gao Lie", and "Ren Fengzi". There is also "Yellow Liang Meng", which he collaborated with Li Shizhong, Li Er and Hua Lilang. "Autumn in the Han Palace" is the most famous. Sanqu includes "Dongli Yuefu".