"Two Poems on Mr. Shu Huyin's Wall" is a seven-character quatrain poem composed by Wang Anshi, a writer and politician in the Northern Song Dynasty.
The literal meaning of the poem:
First: The courtyard of the thatched house is often cleaned, so clean that there is no trace of moss. Flowers, plants and trees are arranged in rows and ridges, all planted by the owner himself. A small river outside the courtyard surrounds the garden and tightly surrounds the green seedlings; two green hills open the door to bring green to people.
Second: The mulberry branches and leaves are sparse and the neem flowers are very prosperous. The breeze carries the lingering fragrance of neem flowers quietly across the wall. The cries of yellow birds awakened the lingering dreams of the afternoon, and I was in a trance, thinking I was in the garden of my old residence, Mid-Levels.
The whole poem is as follows:
One: The eaves are long and swept clean without moss, and the flowers and trees are planted by hand. A river of water protects the fields and surrounds them with green, and two mountains with rows of gates bring in green.
Second: Mulberry strips and neem flowers bloom in the desert, and the lingering fragrance collected by the wind darkens the wall. The yellow bird sings several times in the afternoon dream, and I still suspect that I belong to the mountain garden.
Appreciation of the whole poem:
These two poems were inscribed on the wall of Mr. Huyin’s house, the first of which is very famous. The allusion in this poem is very subtle. Readers who do not know the content of the allusion do not hinder their understanding of the main idea of ??the poem. However, the profound meaning and interest of the poem require understanding the source of the allusion in order to understand it more deeply.
The first two sentences praise the tranquility of the Yang family courtyard. The poet abandons all ordinary descriptions and only uses the word "no moss", which is really unique. The ground in the south of the Yangtze River is humid and it is the rainy season in early summer, which is more beneficial to the growth of moss than in other seasons. Moreover, moss likes darkness and always grows in secluded places, making it more difficult to remove than other weeds. Now there is not even moss in the courtyard, which shows that everything is impure and it is always impure. Here, the ordinary image becomes extremely expressive due to the appropriate use of words. "Flowers and trees" are the most eye-catching scenery in the courtyard. Because there are so many varieties, they need to be planted in separate borders. In this way, the word "chengqi" not only describes the neatness of the flower garden, but also strongly implies the beauty of the flowers and trees, which are neat but not monotonous.
This quiet environment is intoxicating, so when the poet's eyes move from the flowers and trees in the courtyard to the mountains and rivers outside the courtyard, his thoughts will be so distant and elegant, and he will give birth to the following aphorism: The scenery in front of the door is a river, a piece of farmland, and two green mountains. In the eyes of the poet, the mountains and rivers also have friendship for this noble-minded master. The poet uses personification to write "one water" and "two mountains" into friendly and humane images. The winding river surrounds the green farmland, just like a mother protecting her child with her hands. The word "protect" and the word "circle" seem so affectionate. When the green hills in front of the door saw that the courtyard was so tidy and the owner loved beauty so much, they rushed to add color to the owner's courtyard: pushing the door open and entering, they were presented with a piece of green. The poet used his divine pen to leave behind famous lines that have been passed down through the ages.
"One water" and "two mountains" have been transformed into friendly images full of life and emotion, and have been passed down through the ages. But the reason why the last two sentences are widely recited mainly lies in the following two points: 1. Personification and description are integrated and blended seamlessly. "One water protects the fields" is added with the word "around", which shows that the creek is winding and surrounding the green farmland, just like the scene of a mother protecting her child with her hands. With the word "protect" on it, the expression of "around" is clearly displayed. As for the word "Paita" before "Song Qing", it is a stroke of genius. It not only writes that the mountain scenery is not only green and pleasant, but also seems to be rushing towards the courtyard. The beauty created by this description is extremely fresh and vivid. It also shows that the mountain is not far away, just in front of the Yang family courtyard, so it seems to be within reach. What is particularly moving is the way the mountains are rushing, as if they have just arrived from afar, excited and enthusiastic. All of these grasp the characteristics of the scenery, and these descriptions are combined with sufficient personification. The mood and the style of writing completely seem to express the scene of "a friend coming from afar": I am so anxious that I can't even care. Knock on the door and break into the courtyard to deliver gifts. The two blend seamlessly and complement each other. They are both strange and natural, tempered but without traces of chiseling. They are fresh, timeless and have a profound charm. 2. These two poems are also consistent with the image of Yang Defeng. In the first couplet, we can already see Mr. Huyin, a man of noble character and full of interest in life. The only place he lives in is a "thatched eaves", and he not only "sweeps" it, but also "sweeps it for a long time" so that it is "quiet and moss-free"; "flowers and trees form a border", not relying on others, but "planting them with his own hands". It can be seen that he is quiet and refined, simple and hardworking. Such a scholar, wandering among mountains and rivers, can certainly appreciate their beauty better than others, and feel the closeness of "one water" and "two mountains"; the poet imagines that mountains and rivers have feelings, and has already established a deep friendship with Mr. Huyin . The poem is titled "Mr. Shu Huyin's Wall", which is connected and taken care of everywhere. From this, we can see the closeness of the poet's thoughts.
The personification of "one water" and "two mountains" in this poem gives the landscape human emotions, turning stillness into movement, making the natural environment appear to be both vibrant and quiet and elegant, taking on the characteristics of natural scenery. It is the basis and is consistent with the specific content of life. Therefore, it is full of energy and spirit, and is muddy without leaving a trace. It has become a famous saying that has been recited from ancient to modern times. The third and fourth sentences can also serve as examples. The allusions of "Hu Tian" and "Pai Da" both come from the "Book of Han", which is a strict "history versus history" and "Chinese language" versus "Chinese language". It can be seen that the rhythm of the poem is extremely meticulous. But it reads naturally, and it seems that there is no effort at all - to be precise, because the poet blends allusions into the poems, it seems that he only uses personification techniques, and does not feel that he is "using things".
"Using things" without being inconvenient is its success.
The beauty of the second poem is that the author’s whole body experience is condensed into twenty-eight characters. Although the scene is written in a moment, the author's care about the object can be seen as fine as a hair. "Mulberry leaves are so deserted" refers to the few mulberry leaves that appear cold and lifeless, which is static and dry, while "willow flowers are abundant" is colorful and dynamic: this sentence appeals to vision. "The wind collects the lingering fragrance and darkens the wall" refers to the sense of smell as well as touch. Not only the fragrance of flowers enters the nose, but also the refreshing breeze. The third sentence writes about accidentally hearing the cry of birds when I first woke up from a noon dream, so when writing about hearing, I also refer to my awakening. The last sentence points out where you are, but talks about it from the opposite side. This last sentence not only shows that the author and Yang Defeng are not constrained by each other's appearance, but also expresses their feelings of being at home. It is really "I don't know that I am a guest in a dream."