"Let's talk about it when we get back to the car." I turned around and started a long journey. I don't know when I will arrive.
"Looking at it, the east wind shakes a hundred herbs." I looked up and looked around, but I saw that vilen was vast, and the spring breeze was blowing, shaking the boundless grass on vilen.
"If something happens for no reason, you can't get old fast." The meaning of these two sentences is that what I saw along the way is no longer the old things I know, and I can't help but feel that time makes people old.
In the first two sentences, the poet has a long way to go. The poet didn't say whether to travel to his hometown or return to China to visit relatives. However, taking the whole poem as an example, the protagonist in the poem should have traveled in Kyoto for many years and made achievements in fame and fortune. Although it was not smooth sailing, it was not completely frustrated. Judging from the first word "Jin", he should be ready to leave Beijing and go back to his hometown. Judging from the poet's description, this time should be the most beautiful spring in a year. But now the beautiful spring scenery has not brought the poet a good mood. A word "harmony" and a word "Yao" in the poem have a faint sense of vicissitudes. Then, the poet triggered the association and emotion of life from the scene in front of him. Along the way, the scenes of the past have disappeared. Of course, the old here is not limited to things, but also refers to people, such as relatives and friends. As Cao Zhi said, "Don't see old people, but see new teenagers." These two poems "You can't get old quickly when you encounter something for no reason" are the ties of the whole poem, which are not only the associations and emotions from the first four narrative scenes, but also the sources of the last six comments and feelings.
"The ups and downs are different, and it is not early to stand up." These two sentences mean that life and the rise and fall of vegetation have their own time limits, and it is distressing not to establish fame early.
"Life is not a stone, how can you live long?" These two sentences mean that people are not as strong as stones, how can they live indefinitely?
These two sentences are used to describe the brevity and shortness of life.
"The election suddenly came true. Glory is a treasure. " Rong Ming has two interpretations, ancient and modern. Fame is a good name; There is a saying that honor is Rong Lu and fame. Many people put these two statements in opposition, thinking that the former thinks that life is easy to do, or cherishes what is called eternity; The latter thinks that life is too short, so it is better to take the name of Yung Yung as early as possible, eat, drink and be merry in time, and show yourself. There is a difference between these two realms. In fact, in feudal society, Confucian orthodox intellectuals all took fame and fortune as their highest goal in life. So it can't be said that the pursuit of Rong Lu and fame is vulgar, just for pleasure. "If you are poor, you will be immune to it, and if you are rich, you will help the world." It is the goal pursued by Confucian orthodox intellectuals. Therefore, it is beyond reproach that the poet regards "Rong Lu and fame" as the treasure of life. Judging from the whole poem, the poet is still seriously thinking about life, hoping to make a difference based on the pursuit of eternal fame, and his attitude towards life is still positive and enterprising, thus encouraging himself.
Obviously, this is a philosophical miscellaneous poem, but it is not only boring to read, but also full of emotions. On the one hand, of course, it is because his thoughts are close to life and natural and amiable, which is different from the excessive abstraction of metaphysical poems later. From the four levels of thinking, we can feel the poet's emotional rhythm changes from repression to promotion, from promotion to repression, and from repression to promotion. On the other hand, perhaps more importantly, the poet began to consciously or unconsciously come into contact with the truth that the realm of poetry is dominated by beauty, and reached an unprecedented new realm in the creation of scenery and the blending of scenes. The first four sentences of this poem have always been praised by people, so we might as well compare them with similar writing in the Book of Songs.
"He millet from, he millet seedlings. The line is decadent and the center is shaken. Those who know me make me worry, and those who don't know me make me want. Who is this? "
Feng Wang Li Shu is a famous piece in The Book of Songs. If it is not limited to the enlightenment theory of Chow Tai Fook's rural life thought, it is not difficult to see that this is also done by pedestrians. Compared with this poem, although the mechanism of expressing inner worries from the scenery is slightly closer, the brushwork of constructing the scenery is different. "Feng Wang Lishu" uses reduplicated words such as "Li Li", "Decadence" and "Shake" to convey feelings and strengthen the atmosphere with natural voice, which is a typical simple and effective method of the Book of Songs as an ancient poem. And this poem is even more ingenious. "Go back and drive, and it's a long way. Looking around, the east wind shakes the grass. " The words "striding", "leisurely", "boundless" and "shaking", and the overlapping use of overlapping words and single words also render an endless sad atmosphere. However, not only did the sound fall, but it also developed from a point-"car" to a line-"long road" and even to the whole face-"looking around" the wilderness. Then, from the vast landscape to a "grass", the word "shake" not only vividly expresses the form of grass in the wind, but also conveys the god of spring grass in the wind. The delicate taste contains the poet's thinking and swaying mentality. Compared with the "central vacillation" in Li Shu, the word "vacillation" in this poem is quite useful. No wonder predecessors commented on this word as "the first sight". This kind of scenery construction and the development of refined words, as well as its pivotal role in the layout of the first "encounter" sentence, all slightly ridicule the characteristics of literati poetry. Tang Jiaoran's "Nineteen Poems" says: "Nineteen Poems are refined and elegant, written in chapters, and only then can they see their functions." (function is artistic conception), which is eye-catching; This poem is a good example to let readers know the history of Jiao Ran's poems.
Jiao Ran's thought of "first achievement" is very interesting, pointing out that the artistic conception of Nineteen Ancient Poems is still in the primary stage. In fact, the scene structure and practice of the first four sentences of this poem are still close to Su Li, but it is much simpler and more natural than the poets in the prosperous Tang Dynasty of the Six Dynasties. For example, Lu Yun's answer to Dr. Zhang Ran: "It's getting more and more chaotic." . The waves are fierce and I hate the thin hills. "Looms are close, but more refined, but not smooth. If Ten Poems is "a scholar told an ordinary story" (Xie Zhen's Four Poems), then Lu Yun is a scholar. From Li Shu to this poem, and then to Lu Yun, we can clearly see the evolution of China's classical poetry, which is very suitable as an intermediary. Therefore, Lu Shiyong's Mirror of Ancient Poems says that "there are nineteen poems, which are called" Feng "and" Mother of Poetry ".
The first hazy philosophical thinking about the purpose and meaning of life, the first hazy awakening to the essence of poetry and literature. These two "forethoughts" may be the eternal artistic charm of this poem and even the whole set of "Nineteen Ancient Poems".