Express the sadness that a wandering wanderer misses his hometown in autumn and is tired of wandering. This poem is unique, the first three sentences are all composed of noun phrases, and one * * * lists nine kinds of scenery, which is concise and meaningful. There are only five sentences and twenty-eight characters in the whole song. The language is extremely concise but huge, with profound meaning, exquisite structure and ups and downs. It is praised as "the ancestor of Qiu Si" by later generations.
Original text:
Tianjin Sha (1) Qiu Si
Dead vine old tree faint crow ②,
Bridges flowing water (3),
The ancient west wind thin horse (4).
The sun went down,
Heartbroken people are at the end of the world.
Sentence annotation
(1) Tianjingsha: the name of Qupai, which belongs to Yuediao. Also known as Seriqiu.
(2) Dead vines: withered branches and vines. Dark crow: the crow at dusk. Faint: in the evening.
(3) people: farmers. This sentence describes the poet's longing for a warm family
(4) Ancient Road: An ancient and desolate road. West wind: cold, bleak autumn wind. Thin horse: A thin horse.
5] heartbroken person: describe a person who is extremely sad, here refers to a traveler who wanders around the world and is extremely sad. Tianya: A place far from home.
Vernacular translation
The withered vines are wrapped around the old trees, and the branches are inhabited by crows returning to their nests at dusk. Under the small bridge, there are several families by the running water. On the ancient and desolate road, the autumn wind is bleak, and a tired thin horse is carrying a wanderer. The sun is setting slowly, and the extremely sad traveler is still wandering at the end of the world.
Overall appreciation
This poem is very short, with only five sentences and twenty-eight words. There is no word "autumn" in the whole song, but it depicts a bleak and touching picture of the suburbs in autumn, which accurately conveys the bitterness of travelers. This successful song, known as the father of Qiu Si, embodies the artistic features of China's classical poems in many ways.
First, borrowing scenery to express emotion, containing feelings in the scenery, constitutes a bleak and miserable artistic conception in the blending of scenery and feelings.
China's classical poems attach great importance to the creation of artistic conception. Artistic conception is an important category in the aesthetics of China's classical poetry, and its essential feature lies in the blending of scene and scene and the unity of mind and matter. Whether emotion and scenery can be well combined becomes the key to the formation of artistic conception. In the Qing Dynasty, Wang Fuzhi's "Jiang Zhai Shi Hua" said: "The two names of scenery are inseparable. God is infinite to poets. " Wang Guowei's abridged draft of human ci says: "All scenery words are sentimental words." The first four sentences of Ma Zhiyuan's poem are all about scenery, and these scenery words are sentimental words. The words "withered", "old", "light" and "thin" make the rich autumn colors contain infinite sadness and bitterness. The last sentence "heartbroken people are at the end of the world" is even more wonderful as curved eyes, which makes the scenery described in the first four sentences become the environment for people's activities and the fuse for heartbroken people at the end of the world. The scenery on the song is not only what Ma Zhiyuan saw during his trip, but also what he saw in his eyes. But at the same time, it is its emotional carrier and an inner thing. The whole song is full of emotion and scenery, which constitutes a touching artistic realm.
Secondly, many dense images are used to express the author's pain and hatred of autumn during the journey, which makes the work full of rich poetry.
Image refers to the artistic image used to convey the author's feelings and thoughts in poetry. China's classical poetry is characterized by the complex and intensive use of images. Many poets in ancient China often arranged numerous images closely in their poems to express their thoughts. This song by Ma Zhiyuan clearly embodies this feature. Ten images are arranged in just 28 words, which is not only the real environment of heartbroken people's life, but also the carrier of his heavy sadness. Without these pictures, this song would not exist.
Coexisting with the complexity of images is the singleness of image expression. In the same work, the status of different images is relatively balanced, and there are no deliberately prominent individuals, and their emotional orientations tend to be consistent, that is, many images often convey the same emotional tone of the author. So is this song. In order to express his melancholy and sentimental feelings, the author chose many images in his poems. These images can convey the author's inner feelings, and the combination of emotion and scenery makes the emotional orientation of images in the works consistent and single. Numerous images are connected by the same emotional clue of the author, which constitutes a complete picture.
The combination of complexity and singleness of images is an important reason why China's classical poems are profound, harmonious and poetic.
The arrangement of images in classical poetry often has the characteristics of many but not chaotic and distinct levels, which is because the author is used to arranging images in normal time and space order.
Some people call Ma Zhiyuan's Tianjingsha Qiu Si a "combination of parallel images", but in fact, there is a certain order in juxtaposition. There are ten images in the whole song, and the first nine are naturally divided into three groups. The first group is arranged from bottom to top; The second group is arranged from near to far; The third group is the arrangement from far away to now, with a slight change in the middle. Because the "West Wind" is inserted in the middle to write the tactile sensation, the description angle is changed, and the jumping feeling of the image is increased, but this jumping is still partial and not beyond the scope of autumn scenery. The last image "Sunset" is the background of the whole song, which unifies all the first nine images and creates an empty scene. Because it is also the product of vision, the whole work also presents a spatial arrangement order from near to far. From the old tree to the flowing water, to the ancient road, and then to the sunset, the author's vision is expanding step by step. This is also one of the manifestations of image order.
Thirdly, he is good at processing and refining, and draws a wandering journey in late autumn with extremely concise painting.
The images in Ma Zhiyuan's poem Tianjingsha Qiu Si are not new. Among them, the word "ancient road" first appeared in Li Bai's poem "Qin Yi E Xiao Sheng Yan", "Happy Garden Scenic Area in autumn festival, Xianyang ancient road is absolutely silent". Zhang Song-Yan's "Wan Li in the Pot" also has the saying that "the old Liuguan River, the ancient road in the setting sun, the wind is still straight". There is a poem "Shang Huashi" in Dong Jieyuan's "The West Chamber": "The sunset makes the forest quiet, the night cries, the wind sleeves are fluttering, and the thin horses are blown. As soon as I entered the horizon, the ancient shore was desolate and the grass withered in first frost. I caught a glimpse of a lonely Duan Lin in the photo, which was covered with shallow sand. An old man caught shrimp and ran across the bridge. The hut reflects flowers. " Among them, six images appear in the maqu. In the Yuan Dynasty, there was also an anonymous poem "Drunken Zhongtian" (see Yuefu New Sound): "The old tree hangs vines, and the sunset glow reflects the sunset. There is a faint sound in the forest. The mountains are picturesque, and I'm too lazy to whip the thin horse. When the sun sets, people live in bamboo buildings. " There are also six images like Maqu.
Obviously, drunk Zhongtian is detached from Shang Huashi, and there are still traces of simulation. Although there are many similarities between the images in the two songs and Ma Qu, they are not as simple, natural and concise as Tian Jing Sha Qiu Si.
Ma Zhiyuan was undoubtedly influenced and inspired by Dong Qu when he wrote Tianjingsha Qiu Si, but he did not blindly imitate it, but recreated it according to his own life experience and aesthetic vision. In the choice of scenery, in order to highlight and strengthen the sad feelings, he chose ten images that can best reflect the sad and depressing scenery in autumn and the lonely and melancholy feelings of travelers, condensed his feelings in these ten images, and finally revealed the theme of the whole song with a touch of sunshine. He deleted some beautiful scenery, but it was not consistent with the feelings expressed. For example, the thatched cottage reflects flowers, the sunset glow reflects the sunset, and the area is picturesque, which makes the image of the whole song unified in expressing emotions.
Ma Zhiyuan fully demonstrated his talent in the training of words and phrases. The first three sentences are eighteen words, all nouns and adjectives, without verbs. The relationship between various scenes and their respective dynamics and forms depend on readers' understanding according to the organization and arrangement order of images and their own life experiences. This wonderful way of using words was really rare in ancient times. In the article "Walking in the Morning at Shangshan", "The cock crows in Maodian and the frost walks in Banqiao" is similar to that in Maqu, but its capacity is still not as large as that in Maqu. The conciseness of words in Maqu can't be further reduced, and expressing rich emotions with the least words is one of the reasons for the artistic success of Jing Tian Sha Qiu Si.
Fourthly, the aesthetic emotional experience of sad autumn is adopted to express the sadness of wanderers, so that personal feelings can gain universal social significance.
Sad autumn is a sad emotional experience when people face autumn scenery. Because autumn scenery (especially in late autumn) is mostly cold, bleak and gloomy, accompanied by dusk, sunset, fallen leaves and dead branches, it becomes a symbol of the decline of all things. Therefore, on the one hand, autumn scenery can really give people a sense of physical coldness, on the other hand, it can also trigger all kinds of sadness inherent in people's hearts. Song Yu initiated China's sentimental literature with sad autumn as the main form of aesthetic experience. By describing the bleak scene of "withered and decayed plants" in autumn, he expressed his disappointment in life and career. He described his sad mood in the face of autumn as like traveling and "lonely". This shows that there are similarities in emotional experience between Sad Autumn and Sad Journey. After Song Yu, mourning for autumn gradually became one of the most common aesthetic experience forms of China literati, and it was closely linked with the sigh of life experience. Du Fu's I came from three thousand miles away. Sad this autumn "is an example. So are Ma Zhiyuan's poems. Although the image in the song is not novel and the emotion expressed is not novel, because it expresses a traditional emotional experience of China literati with refined artistic expression, it has gained immortal vitality and can arouse the admiration of later literati.
From the above analysis, we can see that Patio Sand Qiu Si is one of the most mature works in China's classical poetry. Although it is Yuanqu, it actually embodies the artistic features of China's classical poems in many aspects.