[Note] In ancient times, eight feet was the search. Mori III: Lush leaves. Genie: refers to the sun
Tao Yuanming's Reading Thirteen Classics of Mountains and Seas is a group of special lyric poems created with mythical materials. According to Mr. Kuai's textual research (see Appendix 1 of Tao Yuanming Collection, which was noted by Kuai School), this group of poems was written in the third (407) or fourth year of Emperor Yi of Jin 'an. At that time, it was just after Huan Xuan failed to usurp the throne and before Liu's heart failure. Although the Eastern Jin regime was severely destroyed, it did not completely collapse. If we can make good use of sages and get rid of disadvantages, there may be the possibility of revival. This is the basic point of this poem.
Free and unfettered on five high schools is the sixth poem in Reading the Classic of Mountains and Seas. This poem is written according to the descriptions of the five heights (namely "Five Heights"), Mu Fu (also known as "Fusang" and "Chumu") and Tanggu (namely "Yangu") in these myths and legends. The five heights are extremely high mountains overlooking the sea, Mu Fu is a magical mulberry tree that can live in ten suns, and Tanggu is a vast abyss that can bathe in ten suns. And that magical Mu Fu grows in the middle of its water (according to the overseas saying of "living in water"); Xi, she is the goddess who bathes in sunshine. Based on these myths and legends, the poet has a unique conception, created a magnificent, simple and bright artistic conception, and expressed the grand theme of wishing the country a rejuvenation.
According to the characteristics of the selected theme and the requirements of expressing the theme, the poet used symbolic techniques to write himself into the poem. Write the first two sentences about the far-sighted Yixing. The poet imagined himself standing leisurely on the top of a high and steep mountain, watching the wonderful gesture of holding wood in the sea. "Xiaoyao" sees the charm of the wind and the ease of mind, and "suddenly" sees the vastness of clouds and water and the vastness of heaven and earth. When I put pen to paper, I wrote a far-sighted and thoughtful image, which implied deep concern for the country's prospects and naturally led to the scenery and events described below.
The sentence "Hong Ke" describes the great gesture of supporting wood. In the eyes of the poet, there appeared a mulberry tree towering into the sky. This mulberry tree stands upright in the vast valley water, and thousands of branches and layers of green leaves cover the whole valley like mountains. What a magnificent sight it is! The poet wrote such a magnificent landscape with a giant pen, which has a profound meaning, that is, he hopes that the Jin Dynasty will be revived, as vigorously as supporting the wood. It turns out that Mulberry is a symbol of Jinshi. Emperor Wu of Jin planted a mulberry tree in front of the yamen when Wei was the general of Zhongli. Later, Sima Yan became the founding emperor, and this mulberry tree was deified as a symbol of virtue and Evonne. Lu Ji, Penny, Fu Xian, etc. Qi, a famous poet, explained the ninth sentence of Tao Yuanming's Annotation, as well as Lu, Pan and Fu's Sangshi, which was compiled in Eighty-eight Volumes. Among them, Fu Xian's Mulberry Fu once compared the mulberries planted by Sima Yan to the timbers in the valley, saying, "With the size of a unique tree, the morning sun will rise in nine". Obviously, Tao Yuanming was inspired from then on, so from the beginning, he used a distant view to support the wood to show his deep concern for the future of the country, and here he also supported the wood to show his goodwill in wishing the country a rejuvenation.
As the living environment of the sun, the supporting wood and the valley covered by it naturally translate the activity plot of the sun below.
The phrase "spirit man" plays up the strange feeling of bathing day. "Lingren" means a divine person, referring to the goddess who bathes. "Danchi" refers to the bathing of the sun. Most ancient emperors decorated themselves with Cai Dan, calling them "Danjin", "Danque" and "Danyong". In addition, the ancients regarded the sun as the image of the monarch, and this poem of Yuanming also regarded the sun as the image of the monarch, so it was used in this way. The poet imagines a goddess waiting on the sun every morning in a bath decorated by Cai Dan, washing away the dirt for the sun and making it always so bright and brilliant. The original myth about the bathing day in Shan Hai Jing Huang Da Nan Jing only said that "there is a woman's name, and the bathing day is there", but the poet added icing on the cake, adding the scene of "the spirit man guarding the Dan pool" and changing "the bathing day" to "the bathing day" is more vivid and meaningful. The implied meaning of this is that I hope to have a wise minister to assist the emperor and often eliminate mistakes for the emperor, so that politics will be peaceful and the country will be prosperous. The original meaning of the word "bath" is to wash away the dirt on the body, but it can be extended to the meaning of self-cultivation. There is a language of "bathing while bathing" in The Book of Rites, which shows that these two poems can be understood in this way. Tao Yuanming praised Ziche's third son for his service to Qin Mugong in Ode to Things. The meaning of "I listened to the advice, and I didn't lose anything at first" is similar to the meaning of "a spiritual person serves the Danchi and shines in the sunshine", which shows that these two poems should be understood in this way.
At the end of the article, two sentences eulogize the splendor of sunrise. These two sentences not only contain the myths and legends of sunrise and wild east longitude hibiscus in Shan Hai Jing, but also use Cao Cao's Autumn Hu Xing, "Why don't you just shine when the sun is bright?" and Fu Xuan's Song of the Rising Sun, "How dazzling the escape scene is, and the rising sun shines everywhere. Dide matches heaven and earth, and God knows the secluded fields. This is the summary of the whole poem, and also the * * * of the whole poem. With infinite * * *, the poet warmly praised the splendid scene at sunrise: "As soon as the scenery reaches the sky, why can't you see the candlelight!" "The literal translation of these two sentences is: the sacred and brilliant sun leaps into the sky, and which distant place is not illuminated by it! Jin Jian's words and high-spirited voice have shaped the majestic image of "breaking the waves and crossing the river, going straight to the sky" (Xiao Tong's Preface to the Collection of Tao Yuanming), which more effectively shows the generous feelings of longing for national rejuvenation. Of course, the "divine scene" in the poem is also a symbol of the emperor. Limited by history, Tao Yuanming can only hope for the wisdom of the emperor. Only a wise monarch can use virtuous ministers, and virtuous ministers can carry out American politics and move towards revival: this is the logic of Qu Yuan and Zhuge Liang (see Qu Yuan's Li Sao and Zhuge Liang's former model) and also the logic of Tao Yuanming.
Su Shi said that Tao Yuanming's poems were "qualitative and vivid, rich and true" (Su Zhe's Poem Chasing Tao Yuanming paraphrased Su Shi's words). This poem is so precious. The whole poem is simple in language and short in length, but it contains many magnificent images and profound feelings, which makes people feel like a poet descending from the sky, witnessing a dangerous peak overlooking the sea, a fairy tree towering into the clouds, covering the valley below, a goddess who has been waiting for Danchi for a long time, and a bright and bursting sun, thus obtaining various special aesthetic pleasures. This poem truly achieves the perfect unity of ordinary and extraordinary, simple and wonderful, washable and full, so it has high artistic value.
Liu Xizai said: "Reading the classic of the Yuanming Mountains and Seas shown in Eight Waste Tables is very affectionate, and the depth of your poems is also profound" (Art Outline, Volume II). This poem is a masterpiece dealing with the relationship between myth and reality. The poet first obtains some feelings reflecting his ideals and feelings from myths and legends, thus generating a strong creative impulse. Then, "gathering octupole and traveling in Wan Ren" injected his own subjective feelings into the myth, which made Mu Fu's "Mori Sanfu Gu" symbolic, made spiritual people embrace the loyalty of "morning bath" and transformed the original mythological material into "secret, hidden and latent". These relatively independent aesthetic images are organized into "wonderful foreign language communication and internal meaning notes" through the poet's ingenious brushstrokes. As a result, the spirits on the eight barren tables have the feeling of the real world, and the bizarre legends have intriguing meanings, which really makes people feel fantastic and kind. Don't think "profound and simple" (Shen Deqian's On Poetry).