Song dynasty: Lu you
Don't laugh at the farmhouse music brewed in the muddled month. In the harvest month, the dishes for guests are very rich.
There is no way to go because of the winding water flow in the mountains, and a mountain village suddenly appears in the willow-green flower bay.
The day of playing flute and drums is approaching, and the villagers are still dressed simply.
In the future, if you can go out in the moonlight, I will knock on your door at any time with my cane.
Appreciation is as follows:
On the other hand, it is full of philosophy, showing some regularity of life change and development, which is memorable. It shows the poet's unique thinking and spirit-it often contains infinite hope in adversity. The poet described the feeling of being lost in the lingering scenery and the joy of seeing a new scene again. People can learn the philosophy of life from it-no matter how difficult the road ahead is, as long as they have firm beliefs and are brave in pioneering, life can "save the day" (a new realm full of light and hope appears).
Xue Jiang
Tang Dynasty: Liu Zongyuan
There are no birds flying over those mountains, and there are no traces of people in those paths.
A boat on the river, a fisherman wearing his webworm moth; Fishing alone is not afraid of snow and ice.
Appreciation is as follows:
The landscape poems written by Liu Zongyuan have a remarkable feature, that is, the objective realm is relatively quiet, while the poet's subjective state of mind is relatively lonely, sometimes even too lonely, too cold and cheerless, without any human fireworks. This song "Jiang Xue" is like this. The poet painted a quiet and cold picture in only 20 words: on the snowy river, a boat and an old fisherman were fishing alone on the cold river. What the poet shows his readers is this: the world is so pure and silent, spotless and silent; The fisherman's life is so noble, and his character is so aloof. In fact, this is an imaginary realm created by Liu Zongyuan because he hated the declining society of the Tang Dynasty at that time. Compared with the characters in Tao Yuanming's Peach Blossom Garden, I'm afraid they are still illusory and far away from the world. What the poet wants to describe in detail is very simple, but it is just a boat, an old fisherman wearing hemp fiber and Li hat, fishing on the snowy river, and that's all. However, in order to highlight the main description object, the poet did not hesitate to use half of the space to describe its background, and made the background as broad as possible, almost to an infinite extent. The broader the background, the more prominent the main description object. First of all, the poet used the words "Qianshan" and "Wanjing" to set off the following two pictures of "boating alone" and "fishing alone". Without the words "thousand" and "ten thousand", the words "loneliness" and "independence" at the back will appear bland and uninspiring. Secondly, birds flying on the mountain and people walking on the road are very common things and the most general image. But the poet put them under the "Qianshan" and "Wanjing" and added the word "absolutely" and "extinct", which suddenly turned the most common and summarized dynamic into extreme silence and absolute silence, forming an unusual scene. So the following two sentences used to be static descriptions. Because it is placed in this absolutely quiet background, it is exquisite, lively and lively. It can also be said that the first two sentences were originally a foil. According to the general understanding, you only need to outline it, and you don't need to make great efforts to carve it. However, poets just don't handle it this way. It's like making a movie. How many close-ups are used to explain and reflect every corner of the background? The more specific and detailed you write, the more exaggerated you are. The last two sentences, originally the object of the poet's intentional description, turned into a long-distance lens, which was reduced many times, giving readers an ethereal feeling, visible and intangible. Only by writing in this way can we express the lofty and detached thoughts and feelings that the author is eager to show to readers. As for the formation of this sense of remoteness, it is mainly the effect that the author adds a word "snow" at the end of the whole poem, which is connected with the word "Jiang".
In this poem, everything is snowy, the mountains are snowy, the roads are snowy, and "Qian Shan" and "Wanjing" are snowy, making birds fly away and people disappear. Even the awning and fisherman's hat are covered with snow. But the author did not explicitly associate these scenes with "snow". On the contrary, in this painting, there is only Jiang and only Rulu. Of course, the river will not store snow, and it will not be covered by snow. Even if it falls into the river, it will immediately become water. However, the author only used the word "cold river snow" to connect the two farthest images, giving people a vague, distant and narrow feeling and forming a long-distance lens. This makes the main object described in the poem more concentrated, dexterous and prominent. Because even the river seems to be covered with snow, even the places where there is no snow are covered with snow, which completely describes the dense and thick snow and completely sets off the atmosphere of water and sky. As for the word "cold" used above, it is of course to point out the climate; But the poet's subjective intention is to write the fisherman's spiritual world quietly. Imagine, in such a cold and quiet environment, the old fisherman is not afraid of the cold and the snow, forgetting everything and devoting himself to fishing. Although his body is lonely, his personality is lofty and aloof, even a little awe-inspiring. This illuminated and beautified image of the fisherman is actually the sustenance and portrayal of Liu Zongyuan's own thoughts and feelings. It can be seen that the word "Hanjiangxue" is the "finishing touch", which organically links the front and back parts of the whole poem, not only forming a concise and general picture, but also shaping a complete and prominent image of the fisherman.
Describe the background in a concrete and meticulous way, and depict the subject image in a long-distance picture; Fine and extremely exaggerated generalizations are intricately unified in a poem, which is the unique artistic feature of this landscape poem.
Wanglushan Waterfall
Tang Dynasty: Li Bai
The purple mist is illuminated by sunlight, and the waterfall hangs in front of the mountain.
On the high cliff, it seems to be thousands of feet high, which makes people think that the Milky Way has fallen from heaven to earth.
Appreciation is as follows:
This is a landscape poem written by the poet Li Bai when he lived in seclusion in Lushan Mountain at the age of about fifty. This poem vividly depicts the magnificent scenery of Lushan Waterfall and reflects the poet's infinite love for the great rivers and mountains of the motherland. The first sentence is "Purple smoke from the Rizhao incense burner". "Incense burner" refers to the incense burner peak of Lushan Mountain. This peak is in the northwest of Lushan Mountain, with a sharp and round shape, like a censer. Because of the waterfall, water vapor transpiration, in the bright sunshine, as if there is an indomitable spirit incense burner, purple smoke rises in Ran Ran. A word "health" vividly describes the scene of smoke rising. This sentence set a magnificent background for the waterfall, and also rendered the atmosphere for the following direct description of the waterfall.
The second sentence is "overlooking a thousand waterfalls in Sichuan". The word "overlooking the waterfall" takes care of the title "overlooking the Lushan waterfall". "Hanging thousands of rivers" means that the waterfall is like a huge white practice, hanging straight from the cliff to the river ahead. The word "hang" changed from dynamic to static, and Visha wrote about the waterfall in the distance.
The first two sentences of the poem outline a panoramic view from the big picture: purple smoke fills the air at the top of the mountain, white practice hangs in the mountain, and rapids rush down the mountain, forming a magnificent picture.
The third sentence "Flying down three thousands of feet" is a detailed description of the waterfall at close range. "Flying Flow" shows that waterfalls come out in the air and spew out. "Straight down" not only describes the steepness of the rock wall, but also describes the rapidity of the water flow. "Three thousands of feet" is an exaggeration, describing the towering mountains.
In this way, the poet felt that the majestic momentum of the waterfall had not been fully displayed, so he went on to write a sentence, "It is suspected that the Milky Way has fallen for nine days." It is said that this waterfall "flew down", which makes people suspect that the Milky Way poured down from nine days. A "doubt" is ethereal and lively. If it is true, it makes people daydream, which adds to the magical color of the waterfall.
This poem is very successful in metaphor, exaggeration and imagination, with unique conception, vivid language and bright washing. Su Dongpo appreciates this poem very much, saying that "the emperor sent the Milky Way to fall into the pulse, and there were fallen immortals in ancient times." The "immortal" is Li Bai. Looking at Lushan Waterfall is indeed an example of body description and lyricism.
Wangtianmen mountain
Tang Dynasty: Li Bai
The Yangtze River splits the Tianmen Peak like a giant axe, and the green river flows around the island.
The green hills on both sides are neck and neck, and a boat meets leisurely from the horizon.
Appreciation is as follows:
This poem describes clear water and green mountains, white sails and red sun, which are reflected in a colorful picture. But this picture is not static, but flowing. As the poet sails and sails, the mountains break the river, the east water flows backwards, the green hills meet, and the daytime sails alone, and the scenery unfolds from far and near to far. Six verbs are used in the poem, namely "breaking, opening, flowing, returning and coming", and the landscape presents an urgent dynamic, depicting the grandeur and vastness of Tianmen Mountain. One or two sentences describe the majestic, steep and unstoppable momentum of Tianmen Mountain, which gives people a thrilling feeling; Three or four sentences are enough to write about the vast water potential.
"Tianmen breaks the Chu River, and Higashi Shimizu flows." These two lines overlook the magnificent scene of Tianmen Mountain facing Jiajiang River. The river passes through Tianmen Mountain, and the water is rushing. The first sentence is closely related to the topic, always writing Tianmen Mountain, with the focus on the magnificent momentum of the eastern flow of the Chu River. It gives people rich associations: Tianmen Mountain and Tianmen Mountain were originally a whole, blocking the turbulent river. Due to the impact of the surging waves of the Chu River, Tianmen was knocked open and interrupted, becoming two mountains. This is quite similar to the scene described by the author in "Song of Yuntai in Xiyue to Send Dan Qiu Zi": "Genie (river god) roared and broke two mountains (referring to Huashan in Hexi and shouyangshan in Hedong), and Hongbo sprayed into the East China Sea." But the former is hidden and the latter is obvious. In the author's pen, the Chu River seems to be a thing with strong vitality, showing the magical power to overcome all obstacles, and Tianmen Mountain seems to quietly make way for it. The second sentence is about the river under Tianmen Mountain. In turn, it focuses on the binding force and reaction of Tianmen Mountain, which is facing Jiajiang, to the surging Chu River. Because two mountains are sandwiched in the middle, the vast Yangtze River flows through the narrow passage between the two mountains, causing a whirlpool and forming a choppy spectacle. If the last sentence is written by the mountain, then this sentence is the adventure of the mountain to the water potential. Some notebooks "return here" as "straight north", and the interpreter thought that the Yangtze River flowing eastward turned north in this area. This may be a fine explanation of the flow direction of the Yangtze River, but it is not a poem, nor can it show the momentum of Tianmen. Can be compared with "Xiyue Yuntai Song to Dan Qiu Zi": "Xiyue is magnificent! The Yellow River is like a silk sky. The Wan Li of the Yellow River touches the mountain, and the vortex hub turns to Qin Mine. " "Vortex Turn", that is, "Higashi Shimizu flows to this back", also depicts the scene when the rivers in Wan Li are cut off by Qifeng, but as a seven-character ancient poem, it is written incisively and vividly. From the comparison, we can see that Wang Tianmen Mountain, as a quatrain, advocates simplicity and has profound implications.
"The green hills on both sides of the strait are opposite, and the sails are alone." These two sentences are an inseparable whole. The third sentence inherits the majestic posture of Tianmen and two mountains seen in the first sentence; The fourth sentence carries forward the vision of the Yangtze River written in the previous second sentence, awakens the foothold of "hope" and expresses the poet's dripping joy. The poet is not standing somewhere on the shore overlooking Tianmen Mountain, but his foothold is a "lone sail" coming from Japan. Most people who read this poem appreciate the word "Chu" because it brings dynamic beauty to the motionless mountain, but seldom consider why the poet feels "Chu". If you stand on a fixed foothold on the shore, "looking at Tianmen Mountain in the distance" will probably only produce a static feeling of "the green hills on both sides of the strait are opposite". On the contrary, the ship sailed down the river, looking at Tianmen and two distant mountains, showing an increasingly clear posture, and this feeling of "green mountains on both sides of the strait are opposite" is very prominent. The word "Chu" not only vividly shows the unique gesture of "overlooking Tianmen Mountain" when taking a boat tour, but also contains the fresh and pleasant feeling of the people on board. Tianmen Mountain, facing the Jiajiang River, seems to be coming towards itself, expressing its welcome to the visitors from the river. Since Qingshan is so affectionate to distant guests, they should be more cheerful. The Lonely Sail Comes from the Sun vividly depicts the lonely sail riding the wind and waves, getting closer and closer to Tianmen Mountain, and the poet's joy at seeing the famous mountains and scenic spots. Because the last sentence is full of the poet's passion in the narrative, this poem highlights the poet's heroic, unrestrained, free and unrestrained self-image while depicting the magnificent scenery of Tianmen Mountain.
This poem has broad artistic conception, heroic spirit, harmonious and smooth syllables, vivid language and bright colors. Although there are only four short sentences and twenty-eight words, the artistic conception it constitutes is beautiful and magnificent, which makes people feel immersive after reading the poem. The poet leads the reader's vision along the foggy Yangtze River to the infinite world, which makes people feel open-minded and broad-minded. From this poem, we can see the bold spirit of the poet Li Bai and his broad mind that he doesn't want to confine himself to Xiaotian.
Stork tower
Tang Dynasty: Wang Zhihuan
The sun sets slowly near the western hills, and the Yellow River flows into the East China Sea.
By going up one flight of stairs, look further.
Appreciation is as follows:
The extraordinary ambition of the poet in this poem reflects the enterprising spirit of the people in the prosperous Tang Dynasty. Among them, the first two sentences are what you see. "The Mountain Covers the Day" is about the view, the mountain and the scenery seen when climbing the building, and "The River with the Ocean Discharging Gold" is about the close-up view, the water is spectacular and magnificent. Here, the poet captured the rivers and mountains of Wan Li in a very simple and plain language with just ten words; Later, when people read these ten words a thousand years later, they felt like they were underground. If they see the scenery, they will feel that their minds are open. Looking into the distance, a touch of sunset sank to the endless rolling mountains in front of the building and disappeared into Ran Ran at the end of the field of vision. This is the sky view, the distant view and the western view.
The second sentence is about the Yellow River flowing through the front and bottom of the building, roaring south, then turning east in the distance and flowing to the sea. This is from the ground to the horizon, from near to far, from west to east. When these two poems are combined, the scenery of up and down, far and near, and things are all contained under the pen, which makes the picture look particularly broad and distant. As far as the second poem is concerned, the poet can't see the Yellow River entering the sea from the stork building. The sentence is about the poet's view of the Yellow River far from the horizon, which is a way to combine the prospect with the view of the middle. This writing increases the breadth and depth of the picture. Calling the sun "daytime" is a realistic style. The setting sun holds the mountain, and the clouds cover the fog. At this time, the brightness of the weakened sun is even dimmer, and the poet directly observes the wonders of the sun. As for the "Yellow River". Of course it is also realistic. It flies like a golden ribbon in the mountains.
What the poet presented to him was a magnificent picture. This picture is still in a fast-changing dynamic. It's only a short process to walk by the mountain for a day; The Yellow River flows to the sea, but it is an eternal movement. If this kind of scenery is beautiful, then it is a dynamic beauty, full of infinite vitality and lively beauty. This is not a so-called "freeze frame", not a precious fossil or specimen. The generosity of the poet left a deep impression on the readers. Write the last two sentences. "But you have broadened your horizons by three hundred miles", a poet's endless desire to explore, wants to see further and see where his eyesight can reach. The only way is to stand higher and "walk up a flight of stairs". "A thousand miles" and "the first floor" are imaginary numbers, which are both vertical and horizontal spaces in the poet's imagination. The words "to be poor" and "to be better" contain many hopes and longings. These two well-known poems are not only unexpected, but also very natural, close to the first two. At the same time, the use of the word "Lou" at the end also plays a role in pointing out that this is a poem about climbing stairs. It can be inferred from the second half of the poem that the first half was written on the second floor. The poet wanted to see the distant scenery as far as possible, and even climbed to the top floor of the building. The poem seems to write the process of climbing stairs straightforwardly, but it has far-reaching implications and is intriguing. Here is the poet's enterprising spirit, forward-looking mind, and also the philosophy of standing high and looking far. As far as the writing characteristics of the whole poem are concerned, this poem is what the Japanese monk Konghai said in On the Chamber of Secrets in the Mirror. Some people say that poetry should not be reasonable.
This should only mean that poetry should not be blunt, boring and abstract, not that philosophy cannot be revealed and promoted in poetry. Just like this poem, it perfectly dissolves truth, scenery and events, making readers feel comfortable instead of reasoning. This is a mode to express the philosophy of life through thinking in images according to the characteristics of poetry. The writing of this poem has another feature: it is a quatrain full of antithesis. In the first two sentences, the nouns "daytime" and "Yellow River" are relative, the colors "white" and "yellow" are relative, and the verbs "one" and "ru" are relative. The last two sentences are the same, which constitutes a formal perfection.
When Shen De selected this poem in Tang Poetry and Song Poetry, he pointed out: "All four languages are correct, and it is not too expensive to read, so the bones are high." There are only two couplets in the quatrains, both of which are antithetical sentences. If it is not full of momentum and clear-cut, it will easily appear dull or fragmented. In this poem, the previous combination is the opposite name, the so-called "right and wrong", and the sentence is extremely neat, heavy and powerful, which shows the greatness of the scene written; The latter combination is that although the two sentences are relative, there is no trace of confrontation. Therefore, the poet's dual skills are also very mature.