If it is spring, it is calm and the sky is high and the clouds are light; Sha Ou Ji Xiang, swimming in the brocade scale; The coast is blue and green.
& lt Fan Zhongyan (989— 1052), the author of The Story of Yueyang Tower, was a politician, strategist and writer in the middle of the Northern Song Dynasty. Wen Xi was born in Wuxian (now Suzhou, Jiangsu).
Ambitious people need a wide range of fields to show their talents.
Mao Zedong's poem "Qinyuanchun Changsha" has always been praised by people, and words such as "strike" and "Xiang" are regarded as models of refined words in poetry. Compared with them, Xiang Xiang Shallow is more artistic because of its "writing fish in the form of birds", so it is more favored by critics and ordinary readers.
The predecessors have done a lot to appreciate the "fish-flavored shallow bottom". This article has no intention to continue marten, but wants to explore the origin of "fish-flavored shallow bottom" from the perspective of artistic techniques.
On the whole, the phrase "eagle strikes the sky, fish is shallow" can be noticed, in addition to refining words, but also because of its "one word and two fingers, exhausting all things" As far as "fish is shallow" is concerned, the word "fragrance" not only describes the free swimming of fish, but also describes the clear water, which can be said to be "borrowing fish to write water, and both fish and water are alive". If the water is not clear, there is no way to see the fish "soaring" in the water; The freedom of fish "soaring" adds vitality and vitality to the level. In other words, the reason why fish can "fly" is that the water must be clear to give mermaids the feeling of swimming in the air.
Writing water by borrowing fish is a traditional artistic technique in the history of China literature. Writers who use this technique often write about fish in the air. Yuan, a native of A Jin, wrote when he recorded the place where Yishui entered the river: "When the water reaches the bottom, the fish swim like an empty boat." Zhu of Li Daoyuan has a similar description: "Pingtan with clear water, quiet and deep, bird's eye view of the fish, if the class takes the air." This writing also sets the tone for future writers to use this method.
Shen Quanqi, a Tang Dynasty man, wrote in Fishing Rod: "The morning sun gathers red smoke and catches Richuan. People are suspicious of sitting in the sky, and fish are like hanging mirrors. " Compared with the two writers of the Six Dynasties mentioned above, this writing has developed, mainly by secretly pointing out the shadow cast by the fish on the bottom of the water through the word "mirror", but the fish here is still. In the middle Tang Dynasty, Liu Zongyuan wrote in the Story of Little Stone Pond: "There are more than a hundred fish in the pond, all swimming in the air. The sun is shining, the shadow is on the stone, but it doesn't move, and you are far away, and it seems that you are very happy with tourists. " This description not only describes the clarity of water by "swimming in the air" and "shadow on the stone", but also uses "swimming" and "hanging" to embody the action of the fish vaguely carried by the predecessors, with both movement and movement, and the expression is "like watching a swimmer". It can be said that Liu Zongyuan's wonderful description is a master of the technique of "borrowing fish to write water, and both fish and water are alive". Later, Lou Jian's "Water is really green and clean, fish is empty, and there is nothing to rely on" ("Youlong Well") was almost copied.
However, Mao Zedong was not bound by the outstanding achievements of the ancients, because whether it was Yuan Songshan or Liu Zongyuan, the fish they wrote were still in the water, and they must also emphasize clear water. The words "if" and "such as" that appear constantly are proof. Although the fish they write seems to be in the air, they should remind readers that they are actually in the water, and there is no need to explain that fish swim in the water. It seems that the ancients did not find a good way to make fish "fly" in art, get rid of the law that fish must write water, and make poetry more refined and subtle. The essence lies in the action of catching fish. In ancient times, most people wrote about swimming fish, while others wrote about blowing waves. For example, Du Fu's "Fish Blows Small Waves and Rocks Song Fan, Swallows Step on Flying Flowers and Dances" ("Boating in the West of the City"), and Jiang Kui's "High willow hangs in the shade, old fish blows waves, keep me." If it is more dynamic, the ancients often wrote "Fish Leaping" and "Fish Leaping", such as Li Bai's "Fish Leaping Clear Pool Full, Yingying Singing Green Trees Low" ("Xiaoqing"), and Han Yu's "Apes Worrying about Fish Jumping into the Water" has been circulated as Miluo ("Xiang Zhong") since ancient times. However, no matter how you write it, these movements are inextricably linked with water, and they can't make the fish "fly". Mao Zedong creatively used the word "Xiang" to describe fish, which not only vividly showed the free and vigorous action of fish, but also implied the clarity of the river with this action. In his works, the fish finally got rid of the seemingly absent water and soared freely in the world of poetry. Although the word "shallow bottom" is easily associated with Lin Hejing's "thin shadow and shallow water" ("Xiaomei in the Mountain Garden"), it is much more implicit than the words "class" and "if" of the ancients.
Interestingly, the ancients often liked to write fish and birds together in their poems. "Selected Works" is an excerpt from Yan Yanzhi's "Poem of Ying Zhao Banquet" in the Southern Dynasties, which says, "You are immersed in water, believe in water, and swim in the air". Shan Li pointed out that "swimming in the air means fish and birds". Shan Li may be the first person to associate "fish" with "fragrance", although it may be just an accidental slip of the pen. Later, Liu Yuxi wrote in the book "Rewarding Hu Ling's" xianggong "in the early summer": "Xiang Yong is different, Zhang Kong." As for putting fish and birds in the upper and lower sentences of the poem, it is even more. Whether it is "Fish comes out in the drizzle and swallows lean on it in the breeze" (Du Fu's Two Poems on Water Threshold) or "Spring is clear and the birds are quiet in the forest" (Cui Qiao's Zheng Langzhong Mountain Pavilion), birds and fish are placed in the upper and lower sentences respectively. This may be because the ancients thought that the "swimming" of fish was similar to the "flying" of birds, which made people feel the joy of freedom and the vitality of life. However, there always seems to be an insurmountable gap between the birds in the sky and the fish in the water, even in literature and art. No matter how you write it, birds and fish will always be "fish in a deep spring, birds in the clouds, and never have to be blind date" (Xiang Si's Farewell). Here, the fish finally "fragrant", and the regret can finally be slightly alleviated in the Tang Dynasty.
From this point of view, "Fish Fragrance Shallow" is not only an inheritance of the traditional poem "write water by borrowing fish, but also an innovation and transformation of it. Mao Zedong used his own refining skills to solve the "deviation" relationship between fish and water in literature and art that the ancients had not been able to handle well. The refinement of this kind of word is not only as simple as choosing the most accurate and vivid word among similar words, but also has the significance of the development of literary and artistic techniques, which deserves more attention.