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Light bamboo hats, green coir raincoats, no need to return in the slanting wind and drizzle, comes from the famous Tang Dynasty poet Zhang Zhihe's "Yu Gezi". It means: An old fisherman is sitting on a leisurely boat, fishing for fat mandarin fish. The old fisherman is wearing a coir raincoat made of brown and a bamboo hat made of bamboo hats. Even in the slanting wind and drizzle, He didn't go home because he was fascinated by the scenery of early spring.
"Apricot blossom rain", the rain of early spring, "Willow wind", the wind of early spring. This is more beautiful and picturesque than "drizzle" and "gentle wind". The willow branches are rippling with the wind, giving people the impression that the spring breeze comes from the willows. The rain in early spring is called "apricot blossom rain." You can see the subtlety of perception and the exquisiteness of the description. Imagine the poet walking eastward with his walking stick, the red apricots are scorching, the green willows are fluttering, the drizzle touches the clothes, which seems to be wet but not wet, and the gentle wind blows on the face, and there is no hint of chill. What an impatient and pleasant spring hike!
Thousands of miles of orioles are singing in the green, and the mountains and rivers are drinking wine and the flags are blowing. "At the beginning of the poem, it is like a fast-moving movie camera, passing over the vast land of the South. In the south of the Yangtze River, orioles are singing happily, and clusters of green trees are reflected in clusters of red flowers. Villages by the water, city walls on the mountains, and wine flags fluttering in the wind are all in sight. The charming Jiangnan, touched by the poet's wonderful pen, becomes even more heart-stirring. The reason for the swaying, in addition to the magnificence of the scenery, is probably also because this magnificence is different from a certain garden scenic spot, which is only limited to a corner, but because this magnificence is spread over a large piece of land. Therefore, if there is no word "Qianli" at the beginning, these two sentences will be less interesting. However, Yang Shen of the Ming Dynasty said in "Sheng'an Poetry Talk": "Who can hear the oriole's cry for thousands of miles? Who can see the green and red for thousands of miles? If it is ten miles away, the oriole will sing and the green and red scenery will appear. Villages, towers, Monk temples and wine flags are all included." Regarding this opinion, He Wenhuan once refuted this opinion in "Research on Poems of the Past Dynasties": "Even if it is written ten miles away, it may not be possible to hear or see it. "Spring", the south of the Yangtze River is thousands of miles wide, and among the thousands of miles, the orioles are singing and the green is reflected, there are no wine flags in the water villages and mountains, and most of the 480 temples and towers are in the mist and rain. The meaning of this poem is broad, and it cannot be specific. One place, so the general name is "Jiang Nanchun"..." He Wenhuan's statement is correct. This is due to the need for a typical summary of literature and art. The same principle applies to the last two sentences. "There are four hundred and eighty temples in the Southern Dynasties, and there are many towers in the mist and rain." From the first two sentences, the orioles are chirping, the red and green contrast with each other, and the wine flags are fluttering. It should be a scene on a sunny day, but these two sentences clearly mention the mist and rain. How come? What's going on? This is because within a thousand miles, the clouds and sunshine vary from place to place, which is completely understandable. However, what needs to be seen is that the poet used typical techniques to grasp the characteristics of Jiangnan scenery. Jiangnan is characterized by mountains and rivers, dark willows and bright flowers, intricate tones, rich layers and a three-dimensional feel. While shrinking the size of the poem, the poet focused on expressing the colorful and beautiful scenery of the south of the Yangtze River in spring. In the first two sentences of the poem, there are red and green colors, mountains and rivers, villages and city walls, movement and stillness, sounds and colors. But these alone seem not to be rich enough, and they only depict the bright side of the spring scenery in the south of the Yangtze River. So the poet added a wonderful stroke: "There are four hundred and eighty temples in the Southern Dynasties, and there are so many towers in the mist and rain." The splendid Buddhist temple with numerous buildings originally gave people a profound feeling, but now the poet deliberately made it hidden in the mist. In the misty mist and rain, this adds a hazy and confusing color. Such pictures and tones, in contrast to the bright and gorgeous "orioles singing thousands of miles away, reflecting the red on the green, and the wind of wine and flags in the mountains and rivers of water", make this "Jiangnan Spring" picture even more colorful. The word "Southern Dynasties" adds a long-lasting historical color to this picture. "Four hundred and eighty" is a way of saying that people in the Tang Dynasty emphasize the large number. The poet first emphasizes that there is more than one Buddhist temple with magnificent architecture, and then goes on to sigh like "how many towers are in the mist and rain", which is particularly fascinating.
This poem expresses the poet's praise and fascination for the scenery in Jiangnan. However, some researchers have put forward the "irony theory" and believe that the emperors of the Southern Dynasties were famous for their monstrances in Chinese history. Buddhism also developed viciously in Du Mu's era, and Du Mu had anti-Buddhist thoughts, so the last two sentences are ironic. In fact, when interpreting poetry, we should first start from the artistic image and should not make abstract inferences. Du Mu's opposition to Buddhism does not necessarily mean that he also dislikes Buddhist temple buildings left over from history. When he was in Xuanzhou, he often visited Kaiyuan Temple and other places. I also visited some temples in Chizhou and made friends with monks. Famous poems, such as "Yunzhe Temple on Jiuhua Mountain Road, Liufu Bridge on the Qingyi River", "Where spring rain sings leisurely in the autumn mountains, leaning against the temple towers in Jiangnan", all show that he still appreciates the towers of Buddhist temples. Of course, while appreciating it, it is possible to occasionally have a little historical emotion.
In the Song Dynasty, Lu You, together with Yang Wanli, Fan Chengda, and You Miao, was known as one of the "Four Great Poets of the ZTE". There were many poems expressing his feelings about old age in the 85 volumes of "Jiannan Poetry Manuscripts" that he handed down. The poem "Wind and Rain on November 4th" (Part 2) is one of the masterpieces.
This poem was written in the third year of Shaoxi reign of Emperor Guangzong of the Song Dynasty (1192 AD), when the poet was 67 years old and living idle in his hometown of Shanyin (now Shaoxing City, Zhejiang Province). There are two original poems, and the one selected here is the second of them. Compared with the poet's other old age poems, this poem is unique in its writing style. Its main feature is to express feelings through dreams.
There were many excellent poems written about dreams before Lu You. Li Bai's poem "Dream Wandering in the Heavenly Mother's Farewell" depicts bizarre and colorful dreams; Du Fu's poem "Dream of Li Bai, Two Poems" imitates the dream that permeates the poet and Li Bai's physical and spiritual unity, and their heart-to-heart friendship; Su Shi The poem "Jiangchengzi" ("Ten years of life and death") describes the poet's dream of mourning his deceased wife and expressing his grief. Most of the dreams in Lu You's poems are patriotic dreams. There are nearly a hundred poems about dreams in Lu You's "Jiannan Poetry Draft". Zhao Yi of the Qing Dynasty once commented on Lu You's poems in Volume 6 of "Oubei Poetry Talk": "It is like a dream poem. According to the complete collection, there are ninety-nine poems. What a dream in life! There must be a poem without a title, so I entrusted "To Meng Er." This comment believes that not all of Lu You's poems and dreams are realistic dreams, and some are dreams and thoughts. This is quite insightful. In fact, some of Lu You's poems about dreams are portraits of dreams, and more of them are about dreams and feelings. Of course, it is not ruled out that they are both. This song "The Wind and Rain on November 4th" seems to be regarded as a work that is both a portrait of a dream and a dream-revelation.
The first three sentences of this poem describe the cause of the dream. "Lie down": lie still. "Isolated Village": A deserted village. "Luntai": a place name in the Western Regions during the Han Dynasty, which is now Luntai County, Xinjiang Uygur Autonomous Region; in the poem, it generally refers to an important border defense town. It contains three levels. The first is the prerequisite for the occurrence of dreams: "lying stiffly" and "nightfall". As the saying goes: "Thinking during the day, dreaming at night." The poet worries about the country and the people during the day, and then he "dreams" while lying in bed at night. There can be no dream. Therefore, "lying stiffly" and "nightfall" are the prerequisites for the occurrence of dreams. The second is the subjective factor that produces the dream: "I still think about guarding the Luntai for the country." If the poet did not have the feeling of guarding the border for the country, there would be no "iron horse glaciers entering the dream". The third is the external condition that produces the dream: "wind and rain." It can be said that it is precisely with the external condition of "wind and rain" that the poet gave birth to the idea of ??"iron horse glacier" in the vague and half-sleeping state. Come dream.
The last sentence is about dreams. Different from the poet's poems that describe dreams throughout, this poem is also unique in describing dreams. The whole poem ends abruptly after the dream leads to the dream of "Iron Horse Glacier", leaving more room for association and imagination. People can use this dream to develop rich imaginations, specifically imagining how the poet wore iron armor, held weapons, rode the armored horse on the battlefield, and bravely killed the enemy. When he wrote this poem, he was haunted by dreams. "Jiuzhou is the same".
I lie down at night listening to the wind and rain, and the iron horse glacier falls into my dream
It can be seen that the perfect unity of ideological and artistic qualities makes this poem one of Lu You's representative works and also one of the most representative works in ancient China. One of the masterpieces of all poetry, including old age poetry.
Good rain knows the season, and spring will happen
happy Rain on a Spring Night" expresses the poet's love and praise for the quality of selfless dedication of the drizzle on a spring night. The whole poem goes like this: "Good rain knows the season, and spring will happen. It sneaks into the night with the wind, moistening things silently. The clouds on the wild paths are dark, and the fire on the river boats is only bright. Look at the wet place on the river at dawn, and the flowers are heavy on the official city." "The word "good" in one or two sentences is full of emotion, praising the spring rain. "Knowing the season" gives the spring rain human life and emotions. In the author's opinion, the spring rain is considerate, knows the season, and comes when people are in urgent need, stimulating vitality. What a wonderful spring rain! The first couplet not only talks about the "occurrence" of the spring rain, but also implicitly conveys the author's anxious mood for the spring rain to come. The couplets are obviously the poet's auditory experience. The spring rain comes, coming with the wind in the vast night, quietly, nourishing all things, not seeking "good things", but only seeking dedication. Look, how carefully the author observed the scene of listening to the rain. Even the sprinkling of spring rain and the silence were heard by the poet. It can be seen that the poet was so surprised by the subtle influence of spring rain that he could not sleep all night. The neck couplet tightly holds the chin couplet. The poet only hopes that the spring rain will last all night, but he is afraid that it will stop suddenly. He is both happy and worried. He pushes the door open and stands looking into the distance. He sees that the usually clear-cut field paths have also melted into the night. It is pitch black, and it can be seen that there is night. How dark and how heavy the rain was. The red boats and fishermen on the river are dazzling, reflecting the vastness and darkness of the spring night, and also highlighting the dense spring rain from the side. At the end of the poem, the poet witnessed the continuous spring rain and thought with relief that at dawn the next day, Jinguan City would be a colorful spring. The blooming redness and vitality of the flowers are the result of the silent drizzle that nourishes and baptizes them imperceptibly. Therefore, writing flowers actually highlights Chun Yu’s selfless dedication.
Through the above analysis of the poems, it is not difficult to see that Du Fu conceived the text according to such an emotional line, that is, looking forward to the rain-listening to the rain-looking at the rain-thinking about the rain. As the saying goes, "Spring rain is as precious as oil." Yes, everyone is looking forward to this precious spring rain, including poets. And when the spring rain came, the poet was so surprised that he even lay down in bed and listened, completely unable to sleep at night. He desperately hoped that it would rain happily, lest it suddenly stopped, so he moved lightly, opened the door and looked into the distance, watching the boundless night. Seeing the dense and falling spring rain, the author was pleasantly surprised to think of the spring scenery all over Jinguan City the next day. The poem is intended to praise Chun Yu's lofty qualities of obscurity and selfless dedication. This love for Chun Yu is described so delicately, realistically, and with twists and turns. This cannot but marvel at Du Fu's artistic skill in showing the subtleties of the cave and observing emotions from objects.
In addition, the capture and description of the details of the poem can also reflect the poet's ability to observe emotions. "Sneak into the night with the wind, moistening things silently." The word "Qian" is personified, imitating the silent and traceless mood of the spring rain. It is quite interesting and arouses people's love for the spring rain.
The word "Run" conveys the spirit, and accurately and vividly describes the characteristics of spring rain that nourishes all things and is silent. It not only depicts shapes, but also expresses emotions. It has both shapes and emotions, and is profound and unique. "Flowers are heavy in Jinguancheng", with the word "heavy", accurately describes the state of the flowers in Jinguancheng that are red and full of vitality after being baptized and nourished by a night of spring rain, and expresses the author's high praise for the spring rain. "The wild paths are all dark with clouds, but the fire on the river boats is only bright" captures typical details, meticulously painted, and exquisitely and vividly renders the atmosphere of misty spring rain and blurred colors. In short, Du Fu's "Spring Night Joyful Rain" embodies his excellence in observing emotions and being meticulous in both the refinement of words and sentences, the capture of images, and the description of details.
By comparing and reading Du Fu's poetic style, we will surely gain a profound understanding of another life interest of Du Fu's poems