Watching the night in Luo Qiao
At the beginning of Tianjin Bridge's freezing, Luoyang was deserted;
Yuliu Qingxi is idle, and the snow in Songshan Mountain can be seen directly in the moonlight.
To annotate ...
① Tianjin Bridge: Luoqiao, which is above Luoshui in the western suburb of Luoyang, Henan.
2 Xiao Shu: Describe the fallen leaves of trees.
(3) Songshan Mountain: located in the west of Henan Province, the northwest of Dengfeng City, Henan Province, among the five mountains.
translate
Shortly after the Tianjin Bridge froze, there were almost no pedestrians on Luoyang Avenue. The bare elm willow hides the quiet balcony pavilion, and everything is silent. In the quiet moonlight, I saw the snow on Songshan at a glance.
Extended reading: Meng Jiao's poems
From the content point of view, Meng Jiao's poems are beyond the narrow range of themes in Dali and Zhenyuan periods. Of course, the main theme of his poems is the resentment of the middle and lower literati against poverty and hardship, which is determined by his repeated trials and tribulations, hard career and the loss of children in middle age. But he can still see some broader social life through his personal destiny and reflect these lives with poetry. Some of them expose and criticize the ugly phenomena in social interpersonal relationships, while others sharply reveal the inequality between the rich and the poor. For example, The Poem of the Weaver Girl describes the abnormal phenomenon of the Weaver Girl's "how to weave a quilt and wear a blue silk dress" by comparing it with "the frost blows through the wall and the pain can't escape". He often has profound psychological experience in writing such poems. For example, the phrase "A cold man would rather be a moth and burn him to death" in Folk Songs of Cold People is beyond the reach of ordinary people who describe people's sufferings. It should be said that after Du Fu, Meng Jiao once again profoundly exposed the contradiction between the rich and the poor and the disparity between bitterness and happiness in society with his poems. There are also some poems by Meng Jiao, which describe the ordinary love of human relations, such as the love between husband and wife in love, the love between father and son in Apricot Wounds, and the love between mother and son in Wandering Son. These themes have long been ignored by poets.
Meng Jiao took over the banner of retro in the hands of Yuanjie School and continued to publicize his retro thoughts in social and political thoughts. He preached benevolence and morality, praised Yao and Shun's ancient style, criticized the understatement and rebellion against the prevailing wind, and showed a heroic attitude everywhere, taking an uncooperative attitude towards the prevailing wind: "I am ashamed to learn, and I am willing to unite with the ancient peasants." Most of the bureaucrats and friends he made, such as Zheng Yuqing, were morally conservative. He flaunts that "being a gentleman's talent is always a gentleman's knowledge", and its main connotation lies in his unwillingness to associate with the times and customs, but only seeking a friend who is retro and keeps the Tao. His thoughts and actions of defending Tao and doing good deeds are similar to those advocated by Han Yu, and his life principle is the practice of Han Yu's Tao in social life. Meng Jiao not only cherishes the ancient road in his life, but also aims to carry forward this "Tao" in his creation. His creative purposes of "reinforcing the morals" and "proving the rise and fall" are in line with Chen's principle that "the way to control chaos is the stream of ancient people's irony" and Bai Juyi's principle that "all articles are empty and every sentence must be regulated". ..... The creative theory of "only singing songs about people's livelihood and looking forward to Tianzi Zhimu" is consistent with "writing articles in time, writing poems for things". Therefore, although Meng Jiao didn't directly participate in Han Yu's ancient prose movement, and didn't pre-empt politics with outspoken and satirical poems under the distinct literary principles like Bai Juyi, he went along the road of restoring ancient ways, rectifying the rules of dynasties, and revitalizing the poetry world from beginning to end, and restoring ancient ways was his spiritual weapon to fight for Guizhou on this road. He is an outstanding representative of retro trend of thought. Therefore, in the middle Tang Dynasty, when the retro style was very strong, he got praise that could not be obtained later.
Extended reading: the characteristics of poetry
First, be simple and dignified, and avoid familiarity and customs. Meng Jiao's poetry is different from the prevailing superficial style at that time. It has the characteristics of simplicity and solemnity, and creates fresh artistic effects in the simple nature. Meng Jiao once drew a line "Night at Wangluo Bridge" and "The ice falls in Tianjin Bridge, and the stranger in Luoyang walks off. It has always been known for its concise brushwork. "Tour Nanshan" and "Nanshan fills the heavens and the earth, and the sun and the moon are born on stones. The sun stays in the peak night, and the deep valley is unclear. In the sentence structure, Meng Jiao avoids being gentle and elegant, breaks away from convention, and strives to be vigorous and vigorous in Gu Zhuo, taking ancient Chinese syntax as his poem. Different from the habit of five-character poems, Meng's poems have four sentences, such as "hiding a thousand words to find water, producing eighteen monks" (the first of two hermits in Huainan Yue) and "grinding a stone to embed a book, making the book shine forever" (the fourth of ten poems about hanging Lu), which changes the traditional expression of poetry and gives people a fresh artistic feeling.
Second, it is dangerous and difficult. Think hard and sing hard. Meng Jiao's poems are tough in wording, and he is used to using harsh words such as death, cutting, burning, bone, recording, folding, breaking and saving to create a peculiar artistic feeling. This aspect is related to his depression and depression. In Interpretation of Night Feeling, he said that he "reads at night and talks about ghosts and gods. How not to be idle, the heart is the enemy. " To write poetry hard, we must deliberately seek new words and expressions, and use strange words and cold images that are rare in past poems; The psychological oppression and injustice make the new language expressions he pursues mostly have cold, lonely and withered colors and meanings, so as to portray his inner sadness as deeply as possible and shock people's hearts. In these poems, he carefully chose penetrating verbs such as "cut", "comb", "seal" and "brush".
Third, the family is deep and magnificent. Meng Jiao is not a lifelong poet, and his poems are not all hard words. Han Yu saw his "soft and redundant" side and loved his "vulgar and quite modern" poems. Many of Meng Jiao's poems are quaint, and they express deep feelings in plain poetic language, making them fresh and elegant. He not only has poems with distant feelings, but also works with the spirit of "bravely crossing the sea".