From "Inscription on the Landscape of Zhichuan River" written by Dai Shulun, a poet of the mid-Tang Dynasty.
The thatched pavilion under the pine tree is cool in May, and the clouds and trees in the tingsha are green in the evening.
Pedestrians feel endless thoughts about the autumn wind, and the green mountains across the water feel like their hometown.
Appreciation
Landscape poems have always been mostly about singing about the beauty of nature, but there are also some poems about landscapes, where the interest is not in the landscape, but has a different meaning. This poem is an example.
This little poem about the mountains and rivers of Zhikawa River is picturesque and full of emotion. Wakkagawa, location unknown. Judging from the realm described in the poem, it looks like a land of mountains and rivers in the south of the Yangtze River. Dai Shulun once served as a county magistrate in Xincheng (now Fuyang, Zhejiang) and Dongyang (now Dongyang, Zhejiang). The landscapes sung in his poems may be in one of the two places.
The first two sentences describe the scene from near to far. "Matsushita Thatched Pavilion is cool in May", Matsushita Thatched Pavilion is the starting point for the poet to appreciate the landscape of Wakkagawa and the place where he wrote poems. It was midsummer and the weather had begun to get a little warm, but the thatched pavilion covered with pines was still cool, providing a pleasant place to view the mountains and rivers in this area. From the word "traveler" below, it is inferred that the poet probably passed through this place while traveling and rested in the thatched pavilion. This adds an unexpected joy to this view.
The second sentence "Tingsha clouds and trees are green at night" is the middle and long shot seen from the Maoting. There is a river nearby, and on the other side there is Tingzhou covered with white sand. A little further away, there are lush woods. It was approaching evening, and the trees and clouds in Tingsha gradually merged into the dusk, showing a vast and vast color palette. These two sentences take Maoting as the center and outline a Wakkagawa landscape painting with mountains, water, scenery and characters (the poet himself is in the painting). The word "late" secretly evokes the nostalgia in the text below, with no trace of the writing style.
"Pedestrians are endlessly thinking of the autumn wind, and the green mountains across the water are like their hometown." "Thoughts of the Autumn Wind" is an allusion to Zhang Han in the Western Jin Dynasty who saw the autumn wind blowing and thought about wild vegetables, water shield soup and seabass in Wuzhong, so he ordered to drive back to Jiangdong. It refers to homesickness, which is not inconsistent with the actual season of "May" mentioned above. The two sentences mean that as a traveling guest, I already have infinite homesickness, but now I suddenly find that the green hills across the river are somewhat like the green hills in my hometown that accompany me day and night. It also brings back infinite homesickness. Dai Shulun is from Jintan, Runzhou, where there are mountains and rivers. The mountains and rivers in the south of the Yangtze River have unique characteristics. When I am traveling and feeling nostalgic for my hometown, I suddenly see "the green mountains across the water seem like my hometown." It is like meeting an old friend in a foreign land. The joy and intimacy of the unexpected encounter are self-evident. And if we look deeper into it, the so-called "similarity" is just a difference. Because of my "infinite thoughts of autumn wind", I unconsciously empathized with the scenery. I felt that the green mountains on the other side seemed familiar, and felt that it "felt like my hometown". And once I discovered that "the green mountains across the water are like my hometown", it in turn further enhanced my longing for my hometown. In short, although what is expressed in the last sentence is only a momentary feeling and association, it contains both the longing for déjà vu, the joy of unexpected encounters, and even the sigh that although it "resembles hometown", it is not the hometown after all. The emotional connotation is quite complex.
If the first two sentences can be said to be "paintings in poetry", then the last two sentences are the artistic conception of the poem that cannot be reached with a paintbrush. The picture can show the image of pedestrians looking at the green mountains across the water, but it cannot depict the "infinite autumn thoughts" in the hearts of the pedestrians, let alone the associations and complex and subtle emotions caused by the pedestrians with infinite nostalgia when facing the green mountains across the water. Thoughts.
The reason why landscape painting cannot replace landscape poetry is that it lacks lyrical directness. The reason why this poem about landscape is a poem rather than a painting is that the poet's unique inner feelings are integrated into three or four sentences. The beauty of it is not that it describes a relatively common thought and emotion, but that it describes the unique occurrence process of such thoughts and feelings, thereby conveying a special flavor of life, which is inspiring. Composition materials: excellent poems describing summer: Green trees gather beside the village, green mountains slant outside the country
From "Passing the Old Friend's Village" by Meng Haoran, a poet in the prosperous Tang Dynasty
The old friend has chickens and millet, and invites I'm at Tian's house.
Green trees border the village, and Qingshanguo slopes outside.
Open a dining room and chat over wine.
On the Double Ninth Festival, I will still come to see chrysanthemums.
Appreciation
The whole poem depicts the beautiful mountain village scenery and peaceful pastoral life. The language is ordinary and the narrative is natural and smooth. There is no trace of exaggeration or polishing. However, the feelings are sincere. It has a mellow poetic flavor and the aesthetic appeal of "hibiscus emerges from clear water, leaving natural carvings behind", making it a masterpiece among pastoral poems since the Tang Dynasty.
The first and second sentences start from the invitation. "Old friend" means that this is not the first time to be a guest. The third and fourth sentences are famous sentences describing the scenery of the mountain village, surrounded by green trees and sloping green mountains, like a light ink painting. Five or six sentences describe the taste of life in the mountain village. Facing the vegetable garden in the courtyard, drinking wine and talking about crops is cordial and natural, full of life. The last two sentences describe the depth of friendship with the theme of gathering together during the Double Ninth Festival. The words are exhaustive but the meaning is endless.
"An old friend invited me to Tian's house." This beginning is like a note in a diary. The old friend "invites" and the author "comes". There is no exaggeration in the text, it comes immediately, simple and casual. This is exactly how it can be between best friends without any formalities. Inviting guests with "chicken millet" not only shows the Tian family's unique flavor, but also shows the simplicity of hospitality.
It is this kind of hospitality without any formality or ostentation that makes friends' hearts more open to each other. This beginning is not very focused, calm and natural, but it is an excellent introduction to the life content that is about to unfold. It shows the characteristics of the atmosphere and needs to be further enriched and developed later.
"The green trees border the village, and the green mountains slant outside." When walking into the village, the author felt such a refreshing and pleasant feeling. The first sentence of these two sentences diffuses the surrounding area, surrounded by green trees, and appears to be a unified world of its own. The second sentence is lightly written, and the green mountains outside Guo are closely accompanying it, which makes the village not appear lonely and shows a broad vista. This village is located in Pingchou and is far away from the green mountains. It makes people feel quiet and quiet but not arrogant and lonely. It is precisely because "Old Friend Village" appears in such a natural and social environment that the guests and hosts raise their glasses to the window.
"Have a meal in the garden, drink wine and talk about mulberry and hemp", which makes it even more enjoyable. The word "Kaixuan" here also seems to be written into the poem very inadvertently, but the above two lines describe the exterior scenery of the village. Here the narrator is drinking and talking in the house. When the Xuan window is opened, the exterior scenery comes in. Indoors, it gives people a more relaxed and happy feeling. Regarding these two sentences, people pay more attention to "talking about sangma", thinking that "there are no miscellaneous words when meeting each other" (Tao Yuanming's "Returning to the Countryside"). But with a threshing floor and vegetable garden in front of the Xuan window, surrounded by green shade, it gives people a spacious and stretched feeling. The words Sangma make the readers feel more pastoral. As a result, readers can not only appreciate a stronger rural flavor and the atmosphere of labor production, but they can even smell the earthy smell on the fields, see the growth and harvest of crops, and even the characteristics of the region and season. With the combination of these two sentences and the first two sentences, green trees, green hills, cottages, fields, mulberry and hemp blend harmoniously together, forming a beautiful and tranquil pastoral landscape painting, and the laughter of the guest and host and the words about mulberry and hemp are all It seems to linger in the reader's ears. It is different from the pure fantasy of the Peach Blossom Land, but more realistic in the society of the prosperous Tang Dynasty. It is in such a world that this poet who once lamented that "whoever is on the road is cheating, and good friends are rare in the world", not only forgets the setbacks encountered in political pursuits, the gains and losses of fame and fortune, but also the loneliness in seclusion. The depressed mood was also put away. It can be seen from his longing for the green mountains and green trees, and talking with his friends over wine that his thoughts have relaxed, and even his actions have become flexible and comfortable. The environment and atmosphere of the farm showed its conquering power here, making Meng Haoran somewhat converted.
"On the Double Ninth Festival, I will come back to see the chrysanthemums." Meng Haoran was deeply attracted by the farm life, so before leaving, he frankly expressed to the owner that he would come back to see the chrysanthemums on the Double Ninth Festival in the clear autumn air. In just two lines of poetry, the warmth of old friends treating each other, the joy of being a guest, and the cordiality and harmony between host and guest are all vividly reflected on the page. Du Fu's "Suffering Tian's Father to Drink Mud and Beautiful Yan Zhongcheng" said: "The moon rises and covers my stay, but I am still angry and asking about Sheng Dou." In Du Fu's poem, Tian's father left someone behind, his feelings were urgent and his words were urgent; in Meng Haoran's poem, he made an appointment with an old friend again, and felt comfortable. The words are slow. Readers can get a glimpse of the difference between Du Fu's depression and Meng Haoran's tranquility.
An ordinary farm and an ordinary treat of chicken and rice are presented in such a poetic way. The description is of the immediate scene, using spoken language, and the level of description is completely natural. The writing seems very relaxed, and even the form of verse has become free and flexible. The reader feels that this light and approachable style in the poem is in harmony with the object of the author's description - the simple farmland. It shows that the form is highly adaptable to the content, and is tranquil and friendly but not boring. It contains profound sentiment in its plainness. On the one hand, every sentence shows almost no signs of effort, but on the other hand, every sentence never seems weak. For example, the first two sentences of the poem only contain invitations to friends, but they can show a simple farmhouse atmosphere; the third or fourth sentences only contain green trees and mountains, but they can reveal a whole world; the fifth or sixth sentences only contain gossip over wine, but they can express the mood and environment. A comfortable fit; the seven or eight sentences only talk about the return of the Double Ninth Festival, but they naturally reveal their attachment to this village and old friends. These sentences are balanced and even, and together form a complete artistic conception, integrating the quiet and beautiful rural scenery with the simple and sincere friendship. This is the so-called "wonderful composition, but no syntax" (Shen Deqian's "Tang Poems"), "no hooks and strange decisions... If Gongshu's family is clever but not clever" (Pi Rixiu's "Yingzhou Mengting Ji") . He deeply integrated the artistic beauty into the flesh and blood of the entire poem, making it appear natural. This kind of work is not ostentatious, does not show off skills, and does not rely solely on one or two carefully crafted sentences to support the appearance. It is a manifestation of high artistic level. For example, if a beauty is beautiful, her beauty is all over her body, not just because of any one part that is particularly attractive. She does not rely on pretense, but amazes people because of her natural color and charm. It is precisely because of the true color internal reflection that the words are free and clear, so that the whole poem shows its charm from the "light touch" and no longer needs "heavy decoration". Composition materials: excellent poems describing summer: The south wind blows at night, and the wheat is covered with yellow.
From "Guan Mowed Wheat" by Bai Juyi, a poet of the Tang Dynasty
Tian Jia Shao Xian month, May People are twice as busy.
The south wind blows at night, and the wheat is covered with yellow.
The women carry baskets of food, and the children carry pots of pulp.
I went with him to the salary field, and Ding Zhuang was in Nangang.
The feet are full of heat and rustic, and the back is scorching with the light of the sky.
I am too exhausted to know the heat, but it is a pity that the summer is long.
There is a poor woman with her baby next to her.
The right hand holds the earrings, and the left arm hangs a basket.
Hearing his words of care makes those who hear them feel sad.
The taxes on the family fields have been exhausted, and this is left to satisfy the hunger.
What merit do I have now? I once did not work in farming and mulberry trees.
The salary of an official is three hundred stones, and there is more than enough food every year.
I feel ashamed when I think of this, and I will never forget it.
Appreciation
"Viewing the Cutting of Wheat" is a poem written by Bai Juyi when he was the county captain of Zhouzhi County, and he was inspired by the hard work and poverty of the local people. He criticized the source of heavy taxes. He feels deeply guilty that he has no merit, no virtue, and no work, but he can have enough food and clothing, which shows the humanitarian spirit of a conscientious feudal official. This poem was written in the second year of Yuanhe (807), the second year of Emperor Xianzong of the Tang Dynasty (807), when the poet was thirty-six years old. Zhouzhi County is located in the west of Xi'an City, Shaanxi Province today. The county lieutenant is in charge of catching thieves and collecting taxes in the county. Precisely because Bai Juyi is in charge of this matter, he also knows best about the disasters suffered by the working people in this area: harvest.
The whole poem is divided into four levels. The first level has four sentences, which describe the time and its surrounding atmosphere. "Farmers have less time in the month, but people are twice as busy in May." The things I will talk about below happened in May, when "people are twice as busy". These two sentences lead the whole article, and the author's sympathy for the working people is revealed at the beginning; "The south wind blows at night, and the wheat is covered with yellow." It is a scene of a good harvest, and the big picture is pleasing to people. But who could have thought of the sorrow of farmers under this harvest scene?
The eight sentences on the second level use a specific household to show the wheat harvesting scene of "people are twice as busy". The mother-in-law and daughter-in-law carried the rice basket, and the grandson carried the kettle. They were going to deliver food to the men working in the fields. Men go to the fields before dawn; women get up and do housework first, then cook; grandsons follow grandma and mother to the fields when they deliver meals. They were supposed to work with the men after dinner. Do you think this family is busy? "My feet are full of rustic heat, and my back is scorching with the scorching sky. I'm exhausted and don't know the heat, but I'm grateful that the summer is long." These four sentences describe the work of harvesting wheat in a positive way. Their faces were facing the earth and their backs were facing the blue sky. The bottom was like steaming, and the top was like fire. However, they used all their strength to wield their sickles and cut forward. They seemed to have completely forgotten the heat, because this was "grabbing food from the tiger's mouth." , you must hurry up! Can't bear to waste. The weather is so hot and the days are so long, but people are working hard for fear of wasting a little time. This shows how much people cherish the wheat they are about to get. The word "cherish" is used very well here. It is written in a way that goes against human nature to highlight the intensity of people's emotions here and now. In Bai Juyi's "The Charcoal Seller", there is a saying, "I am poor, I am wearing only a single coat, I am worried about the cheap charcoal and I wish it would be cold." The usage of the word "wish" is exactly the same as the usage of the word "cherish" here.
In the third and eighth sentences, the camera turns to a poor woman who was bankrupted by taxes and can only make a living by gleaning wheat. This is worse than the aforementioned person whose whole family is busy harvesting wheat. A lower level person. Look at her image: she is holding a child in her left hand, with a broken bamboo basket hanging in her arm, and her right hand is picking up fallen wheat ears. How tiring this is, and how little is gained! But what can be done? Now is the wheat harvest time, and there are still wheat ears to pick. At any other time, the only option would be to beg along the streets. Last year and the year before that, their family also had land to plant crops and harvest wheat, but later they were cornered by taxes and property, and the land was destroyed, leading to this situation today. The fourth layer of six sentences describes the poet's guilt and guilt when faced with such a tragic scene during the harvest.
The title of the work is "Viewing the Wheat Cutters", but what actually appears on the screen is that in addition to the wheat cutter, there is also a wheat gleaner, and the author's concern is precisely the latter. on the person. The two of them currently have different levels of happiness and joy, but their destinies are closely linked. Today's miserable and pitiful wheat gleaners are yesterday's hard-working and busy wheat-pickers; how do you know that today's hard-working and busy wheat-pickers will not become miserable and pitiful wheat-gleaners tomorrow? As long as there are heavy taxes, working people will never escape the fate of bankruptcy. The author here made sharp criticism of the tax system that harmed the people at that time, and expressed his deep sympathy for the suffering suffered by the working people. And it's not just general sympathy, it's more about putting yourself into it, feeling that the difference between yourself and the working people is too big, and you have a guilty conscience. At this time, Bai Juyi's poems indeed reflected the thoughts and emotions of the working people and exhaled the voices of the working people.
The basic feature of this poem is to describe real life scenes truthfully without any exaggeration. He chose two shots of a busy family and a desolate gleaning scene to form a strong contrast. Although the former is bitter and tiring, they still have hope for the time being. As for the latter, they are completely dead duckweeds and their future is precarious. The scene, atmosphere, image and psychology shown in the two shots are all very good.
The end of the poem is a discussion, which is the most common approach in many of Bai Juyi's allegorical poems. The discussion in this poem does not directly point to the root cause of social ills, but is expressed in the form of self-guilt and guilt. This is also a vague criticism of the entire bureaucratic aristocratic society. Bai Juyi is just a small county captain with a salary of three hundred shi. Shouldn't those big bureaucrats and nobles feel even more guilty? Taxation was under the control of the emperor, and Bai Juyi could not openly oppose it. He could only use this ending to achieve the purpose of satire.
Excellent poems describing summer as composition material: The first summer is still peaceful, and the grass has not yet rested
From "Traveling to Chishi into the Sail" by Xie Lingyun, a poet of the Southern Dynasties
The first summer is still peaceful, The fragrant grass has not stopped yet.
The water is flooded in the morning and evening, and the clouds rise and fall repeatedly.
Zhou was tired of looking at Yingxi, and Kuang Nailing was poor.
The flow behind Sichuan is peaceful, but the sky is quiet.
Sail to pick up the stone flowers, hang a mat to pick up the moon from the sea.
There is no reason for the rise of the sky, but there is a transcendence for the empty boat.
Zhonglian and Qingqi formed a group, and Zimo went to Wei Que.
The reputation and reputation are not enough, and things that suit oneself can be ignored.
Please attach the official statement and finally thank Tianfa.
Appreciation
After the tour to Nanting (see "Visit to Nanting"), Xie Lingyun began his search for wonders in Yongjia. On the one hand, mountains and rivers could not really soothe the anger in his heart, so during this period, the word "tired" travel often appeared in his poems; on the other hand, mountains and rivers always gave him new feelings, which made him An out-of-balance mentality can at least gain catharsis and tend to a temporary balance. It was in this hesitation that he established his status as the originator of landscape poetry, which perhaps he had never expected.
Chishi is located southeast of the middle road of Nanyongning (now Yongjia, Zhejiang) and Angu (now Ruian, Zhejiang) counties in Yongjia County. It is about dozens of miles away from the county and borders today's Wenzhou Bay to the east. Sailing, annotators often think of it as a place name, can actually be discussed. According to Song Dynasty Zheng Ji's "Yongjia County Records", "Sail to the mountains, the land used to be a sea, there were more boats, so the mountain is named after sails", in the north of Angu County. Ling Yun's so-called sailing place should be around this mountain. However, Zheng Ji did not mention the name of a place for sailing, so the word sailing should have a verb-object structure, and the title seems to mean visiting Akaishi and then sailing on the sea. The focus of the poem is sailing, and the trip to Akaishi is just the introduction.
The poem is divided into three levels, starting from the first sentence to "Kang Nailing was poor and poor" as the first level, which describes the tiredness of traveling around red rocks and then the thought of sailing. The second level is from the sentence "after Sichuan" to the sentence "empty boat", which describes the sailing situation and changes in mentality. The following sentence of "Zhonglian" is the third level, that is, the thought of wandering life, which is the purpose of obeying nature, adapting to oneself, and taking care of one's life. The change of mood is the main thread running through the whole poem.
The two lines of "First Summer" correspond to the poem "You are not tired of the beauty of youth, but you have seen Zhuming move" in "You are not tired of youth". They not only point out the season of this travel, but also show a kind of comfort that cannot be done in any way. The complicated mood is better than nothing. When you visit the Nanting Pavilion, you will be moved by the scenery. From spring to summer, you will feel deeply sad that your prime years are gone and your health is declining. It is said here that it is early summer, the weather is finally fresh and warm, and the grass has not withered due to the power of the scorching sun. It can be seen that the poet seems to have recovered slightly from the sadness of the previous poem. In particular, please note: "The fragrant grass has not yet stopped", which is actually used in "Li Sao" "When the years are still young, the time is still young, fearing that the pelicans will sing first, causing the husband's grass to become less fragrant", And in the act of masturbating, we can see the arrogant character of Xie Ke, the "chasing minister". But this kind of comfort could not last long. Traveling on the water and staying in the red rocks for dozens of miles south from the county, day after day, was a bit monotonous, and the changes in clouds and sunshine, and the appearance of clouds, were lost due to frequent sightings. A sense of freshness. Traveling around this coastal area makes people tired and "tired", not to mention facing the barren land in the far north, where poverty is even further north in Minghai. Some people think that "Kang Nai is facing poverty" refers to the poet's lofty sentiments and the sudden desire to sail to the sea. However, the word "Kang Nai" clearly comes from "Weary Ying Xi", which shows that the poet was not in a good mood before sailing.
However, when the boat entered the sea along the harbor, a strange scene suddenly opened up. The water surface was as flat as a mirror. The river behind the river made the river flow smoothly, and the Chaoyang Valley God Shui Botianwu with eight heads, eight legs and eight tails had a green and yellow back. , although his temper was violent, he was "quiet" at this time, as if he was waiting for the poet to come. So he raised his sails high and went boating on the sea, picking at random the stones shaped like turtle feet and the mirror-white and round moon in the sea. And when he raised his head and looked back, he saw that there was no limit to the sea, and his mood was as if a boat was sitting on it. Ling Xu was just thinking out of thin air.
Looking at the sea from Yajuan, the poet must have felt the same as the river uncle in "Zhuangzi Autumn Water". The endless sea waves really opened his mind and swept away the accumulated accumulation. The trouble of the month. So he wandered in his thoughts, traveled back in time, and finally understood the truth of life: there had been all kinds of hermits on the sea, such as Lu Zhonglian who helped Qi Queyan, and retired after his success; "Above the rivers and seas, my heart is below the palace of Wei" (see "Zhuangzi: King Rang"). Although the shapes and traces are similar, their tastes are completely different. The latter is just a false hermit who cherishes a false reputation. He is incompatible with what Zhuangzi said: "There is no way to die for fame" ("Autumn Waters"), and is incompatible with the Dao. But it is like what Lu Zhonglian said, "I and wealth are at odds with others, and I would rather be poor and lowly than despise the world." This is in line with Qiyuan's arrogant people who forget about things and me, adapt themselves to nature, and "return to their true nature." . Comparing the two, the poet seems to be wary of his past life of being conceited and self-willed, worried about his own gains and losses. He is willing to remember the passage in "Zhuangzi Mountain Trees" in which Taigong Ren (Ren Gong) taught Confucius: "The straight wood is cut down first. , the sweet spring will be exhausted first." If you show your talent and promote yourself, you will be punished by nature. Only by "cutting away your traces and losing your position", bathing in the spirit of snow, being full of energy in the middle and humble in the outer world, can you maintain your health throughout the year - this is just like the bottomless abyss, the vastness without boundaries, but the same level. Like the sea of ??mirrors. At this point in the poem, the scene and logic completely fit together.
Fang Dongshu once pointed out in "Zhao Mei Zhan Yan" that Xie Kebo is familiar with "Zhuang". This poem is not only derived from "Zhuangzi", but also has its conception from "Qiu Shui Pian" .
The poem takes the red stone as the guest, and sails as the main theme. It turns and ends with the two couplets "I am tired of looking around, and my hair is exhausted in Kuang Nailing" and "The sky is rising for no reason, but the empty boat is surpassing", and then ends in the lyrical description of the scene in layers. It expresses the spiritual sublimation caused by seeing the vast ocean from the end of the river. Emotion, reason, and classic reality can all be in harmony, which shows the essence of the structure of Xie's poem.
The sentiments of this poem are naturally reflected in the natural and exquisite description of the scenery. "Sail to quarry for stone flowers, hang a mat to pick up the moon from the sea." The seafood is rare and can be found everywhere. It can be seen that the poet is sailing in the warm wind and calm sea, and his heart is filled with a sense of comfort. So in the following, please follow the idea of ????regarding the public, choosing oneself, and obeying the heaven. Everything fell into place. Bao Zhao's comment on Xie's poem says, "Like a hibiscus blooming at the beginning, it is naturally lovely" ("The Biography of Yan Yan in Southern History"), which refers to the language characteristics of being full and overflowing, elegant and graceful without harming cleverness.