Passing through the Old Village is a five-rhythm poem written by Meng Haoran, a poet in the Tang Dynasty. It tells the story that the poet was invited to visit an old friend's house in the country. In the simple and natural pastoral scenery, the host and guest drank a toast at home, talking and laughing happily, expressing the sincere friendship between the poet and his friends.
At first glance, this poem seems as plain as water. Deliberate, like an idyllic Chinese painting, perfectly blends scenery, events and feelings, and has a strong artistic appeal.
This is an idyllic poem, which describes the quiet and leisurely life scene of farmers and the friendship of old friends. By writing about the scenery of rural life, I wrote the author's yearning for this kind of life. The whole text rhymes. Poetry is written down from "invitation" to "arrival" to "hope" and "appointment", which is naturally smooth. The language is unpretentious and the artistic conception is fresh and meaningful. The author wrote the process from visit to farewell in kind and clean language, such as home-style form. His rural scenery is fresh and quiet, his friendship with friends is sincere and profound, and his family life is simple and cordial.
The whole poem depicts the beautiful mountain village scenery and quiet rural life, with plain language, natural and smooth narration and no traces of rendering and carving. However, it has sincere feelings and mellow poetry, and has the aesthetic interest of "clear water produces hibiscus, which is naturally carved", so it has become a masterpiece in pastoral poetry since the Tang Dynasty.
Write a sentence or two on the invitation, "old friend" means it's not the first time to be a guest. Three or four sentences are famous sentences describing the scenery of mountain villages. Surrounded by green trees, the green hills are oblique, just like a faint ink painting. Write five or six sentences about the taste of mountain village life. Facing the garden in the yard, talking about crops with wine is kind and natural, full of life breath. At the end of the two sentences, let's get together on the Double Ninth Festival and write down the depth of friendship.
"Prepare chicken and rice for me, old friend. You entertain me on your farm." This beginning is like a note in a diary. The old friend "invited" and the author "arrived", and the text was not rendered. Come straight to the point and come at once, simply and casually. This is just a possible form between friends who don't need to be polite. The invitation of "chicken and millet" not only shows the unique flavor of Tianjia, but also shows the simplicity of hospitality. It is this kind of hospitality without ceremony and ostentation and extravagance that makes the hearts of friends more open to each other. This beginning is not very focused, calm and natural, but it is an excellent introduction to the content of life to be developed, showing the characteristics of the atmosphere, which needs to be further enriched and developed below.
"We look at the green trees around your village and the pale blue mountains in the distance." When I entered the village, the author looked around for such a fresh and pleasant feeling. These two sentences are close to the border and surrounded by green trees, which seem to be unique and unique. The next sentence is light, accompanied by green hills abroad, which makes the village not lonely and shows a broad prospect. So we use the order from near to far to describe the scenery. The village is located in Pingchou, far away from Qingshan, which makes people feel light and quiet, and never indifferent and aloof. It is precisely because the "old friend village" appeared in such a natural and social environment that the host and guest raised their glasses at the window.
"We open your window, cross the garden and field, and talk about mulberry and hemp with cups in our hands" is even more carefree. The word "open porch" here seems to be inadvertently written into the poem, but the above two sentences are written on the outer wall of the village. Here, the narrator drinks and chats in the house. The porch window is open, and the outdoor is reflected indoors, giving people a relaxed feeling. For these two sentences, people pay more attention to "talking about Sang Ma" and think it is "meeting without miscellaneous words" (Tao Yuanming's Return to the Garden). But there are threshing floors and vegetable gardens in front of the entrance window, surrounded by green shade, giving people a spacious and stretched feeling. The word Sangma makes readers feel that it is rural. Thus, readers can not only appreciate the stronger local flavor, the flavor of labor production, but also smell the soil flavor on the nursery, see the growth and harvest of crops, and even feel the characteristics of regions and seasons. With the combination of these two sentences and the first two sentences, green trees, green hills, cottages, playgrounds and Sang Ma blend harmoniously, forming a beautiful and quiet pastoral landscape, while the laughter of the host and guest and the words about Sang Ma seem to linger in the readers' ears. It is different from the pure fantasy of the Peach Blossom Garden, but it is more realistic in the prosperous Tang society. It is in this world that poets who once lamented that "the Lord of the realm is harsh on us, and the people who handle affairs are not like us" not only forgot the setbacks encountered in political pursuit, but also forgot the gains and losses of fame and fortune, even the lonely and depressed mood in seclusion. From his glance at the green hills and trees, and his wine conversation with friends in Sang Ma, we can see that his thoughts are relaxed and even his actions are flexible. The environment and atmosphere of the farm showed its conquest here, which made Meng Haoran somewhat converted.
"When I have a holiday in the mountains, I will come back at chrysanthemum time." Meng Haoran was deeply attracted by farm life, so when he left, he told his master frankly that he would come back to see chrysanthemums and drink chrysanthemum wine on the crisp Double Ninth Festival in autumn. A few simple poems, the enthusiasm of old friends to treat each other, the pleasure of being a guest, and the cordial harmony between the host and the guest are all on the paper. Du Fu's "Drinking by Tianfu Mud, Drinking Beauty, Being Strict and Sincere" said: "When the moon rises, I will stay, but I still ask for help." In Du Fu's poems, Tianfu keeps people, and the feeling is urgent; In Meng Haoran's poems, he also made an appointment with an old friend, meaning to ease his words. Readers can get a glimpse of the difference between Du Fu's depression and Meng Haoran's calmness.
An ordinary farm, an ordinary chicken and small rice, was poetically expressed. It describes the prospect of the eyes, and the level of description is completely natural in spoken language. Both the pen and the pen are very relaxed, and even the form of rhythmic poetry has become free and flexible. This brisk and approachable style is consistent with the simple pastoral described by the author, which shows that the form and content are highly adapted, but it is not dull. Plain contains deep affection. On the one hand, although there is almost no trace of strenuous exercise in every sentence, on the other hand, there has never been weakness in every sentence. For example, the first two sentences of the poem only write the invitation of friends, but they can show the simple peasant atmosphere; Three or four sentences only write green trees and green mountains, but you can see a world; Five or six sentences only write wine gossip, but they can show the comfortable fit between mood and environment; Seven or eight sentences only say that Chongyang will come again, but naturally they show their attachment to this village and old friends. These sentences are balanced and even, and together with * * *, they form a complete artistic conception, which combines quiet and beautiful pastoral scenery with simple and sincere friendship. This is the so-called "although the writing is wonderful, the syntax is not seen" (Shen Deqian's "Three Hundred Tang Poems"), "If you don't wonder, you will be strange ... If you lose your job, you will be unfortunate" (Pi Rixiu's "Yunzhou Meng Ting Ji"). He integrated artistic beauty into the flesh and blood of the whole poem, which seemed natural and natural. This kind of showmanship is not dazzling, not showing off skills, not only relying on one or two carefully crafted sentences to prop up the facade, but also reflecting the superb artistic level. It is precisely because of its true colors that the words are free and clear, which makes the whole poem show its charm from "light touch" rather than "heavy decoration and heavy makeup"