"Composed the following year by Gui Wangguan" is a seven-character poem written by Sikong Tu, a poet in the Tang Dynasty. This poem not only expresses the author's indifference to the world and his unrestrained feelings after his retirement, but also reveals his worries and anguish about the social reality in a tortuous way, embodying "extraordinary rhyme" and "extraordinary purpose". The following is an appreciation of the ancient poems of Sikong Tu "Written in the Second Year of Gui Wang Guan" that I have carefully compiled. Everyone is welcome to learn from and refer to it. I hope it will be helpful to everyone.
Painted by Wang Guan the following year
Sikong Tu
After the chaos, several shelves of books were burned and left in ruins, and in front of the peak there is still a narcissism in my house.
Forgetting the opportunity gradually rejoices when there are few people, and looks at the empty mirror and treats the sparse cranes with pity.
The traces of the lonely island pond are full of spring, and the flowers in the small column are full of flowers at the beginning of the afternoon.
Singing happily to escape fame for a long time, there is no need to drive around or drive around.
Appreciation of Sikong Tu’s poems
Most of Sikong Tu’s poems are works that reflect the joy of the mountains and forests, and leisurely chanting, but there are also sad works that reflect the reality of social turmoil. This song "Composed in the Second Year of Guan Guan" is a work that has the characteristics of both. It not only expresses Sikong Tu's aloofness and unrestrained feelings after returning to seclusion, but also reveals his understanding of social reality in a tortuous way. Worry and depression reflect the "rhyme beyond the cause" and the "taste beyond the purpose", which confirms his own poetry theory.
The title of the poem points out two points: first, the place where the poem was written. "Wangguan" means Wangguan Valley, which is on Zhongtiao Mountain in the southeast of Yongji County, Shanxi Province today. It is the hometown of Sikong Tu. The second is the time when the poem was written. It was the third year of Emperor Xizong’s reign of Emperor Guangqi of the Tang Dynasty (887) when Sikong Tu abandoned his official position and “returned to the royal position.” Shen", Sikong Tu was fifty-two years old.
The beginning of the poem shows the serious destruction of the author’s former residence after the war: “Several shelves of books were burned after the chaos.” “Chaos” refers to the war, that is, the war between the Huangchao peasant army and the Tang Dynasty army. . This war started in 875 and ended in 884. The Yongji area in southern Shanxi and the Guanzhong area in Shaanxi were the main battlefields. Although the war had subsided when the author returned to his hometown, his old residence had been burned and looted, leaving only a few broken shelves of books. The word "chaos" is already horrifying, and the word "burn" makes people think of the terrifying scene of raging fire, which makes people shudder. However, although it has been plundered by the war, this is the poet's hometown after all, so there is a twist in the second sentence: "I still love myself in front of the peak." It expresses his persistent love for his hometown. When this poem was written, the poet had already lived in seclusion for a year and had rebuilt and renovated his former residence, so there was already a "hut" to "love". This sentence reminds us of Tao Yuanming's poem "Reading the Classic of Mountains and Seas":
"The grass and trees in Mengxia are long, and the trees are sparse around the house. The birds are happy to have their support, and I also love my cottage." "Love my cottage", obviously It is inspired by Tao's poems. At this time, he and Tao Yuanming had the same state of mind, that is, they were self-sufficient and relaxed after escaping from officialdom and returning to the countryside, but he was also more indignant than Tao Yuanming, because for many years of war, the originally excellent My old residence was actually destroyed, and I couldn't help but feel sad when I thought about the troubles in the world and the personal difficulties. The word "Yu Zi" is full of sadness of the vicissitudes of life. These two sentences appear suddenly, are twists and turns, and are inexhaustible. They play the role of picking up a chapter and covering the whole poem.
Then, the poet expressed his feelings after retiring to seclusion: "Forgetting memories, I gradually rejoice in meeting fewer people, and I look into the empty mirror and treat sparse cranes with pity." The previous sentence expresses the isolation and indifference in the old residence after retiring to seclusion. Peace of mind. "Forgetting the machine" means not using the machine and not caring about all honors and disgrace. Because he lives deep in the mountains, he doesn't care about political affairs, and there are few people coming and going, so he doesn't need to be cunning. The poet is very happy about this. From the subtext of this poem, we can see that the poet exhausted his efforts in the ups and downs of political struggles before he retired. The intensity of the struggle, the precipitous situation, and the poet's inner hatred are self-evident. And this is the real reason why the author retreated and retired. As a result, he deeply reflected on his past: I looked at myself in the mirror and saw how old I was, and felt that I had been waiting happily in vain for the arrival of Heshu. "He Shu" is the name of the crane script, also called the "Crane Head Script", which was used in ancient times to recruit wise men. This is a painful confession, saying that he should not have been eager to make progress in the past and go out to be an official. Now that he has come back, he will never go out to be an official again (despite twists and turns in the future, he did not become an official again). This couplet very euphemistically expresses the ambition to live in the mountains and forests forever, and also profoundly implies that the fundamental reason for "loving my house" is to escape from the meaningless struggle and escape to the mountains.
The third couplet changes the writing direction, opens up a new realm with carefully composed verses, and describes the beautiful scenery in the "house", which is refreshing and pleasing to the eye. "The solitary island pond is full of spring, and the flowers in the small column are full of flowers in the early afternoon." These two sentences are "intertextual". The sentences and the couplets are intertwined with each other, which means: At noon on the early sunny day, in the pond with the small island Full of spring water, the flowers in the small flowerbed are in full bloom, making it even more charming.
The two lines of the poem are concise and vivid, and from the three words "at the beginning of the afternoon", we can infer that it was still raining in the morning, and the oily spring rain was floating, filling the spring pond, nourishing the flowers (and of course the author) (heart), at noon the rain and clouds are opening, and the mellow sunshine shines on the blue waves of the spring pool and on the flowers with raindrops. Everything looks fresher, brighter and full of vitality. This is really an infinitely beautiful moment! At the same time, "Guyu" and "Xiaolan" reflect each other. From the characters "Gu", "Xiao", "Man" and "Yun", it is vaguely revealed that the author is self-contained and contented in his old residence in the mountains. Its happy mood. The two sentences are profound and the language is very exquisite. "The scenery that is difficult to describe is like the present, and there are endless opinions behind the words" (Mei Yaochen's words), which reflects the author's high degree of skill and is a good sentence. Wu Qiao, a native of the Qing Dynasty, said in "Poems Around the Furnace": "The beautiful lines in Sikong Tu are both high-level and detailed." This is exactly what he meant.
When the author was intoxicated in such beautiful scenery and lingered endlessly, he couldn't help but further express his attitude towards life in the last couplet: "You can live happily and escape for a long time, and you don't have to go to the old man's car." (Yin Ju). "Escape from fame" is based on the story of Fazhen in "Hanshu Yimin Biography": Fazhen, a native of the Eastern Han Dynasty, named Gaoqing, was from Fufengyin. He was quiet and had few desires. He failed to conquer the imperial court four times. , to escape from the distant past, the world calls it escape from fame. "There is no need for an old man's car when there are many doors", which is also adapted from Tao Yuanming's poem "Reading the Classic of Mountains and Seas": "The poor alleys are separated by deep ruts, and it is quite possible to return to the old friend's car." Li Shan in "Selected Works" annotated Tao's poems and said: ""Hanshu" said ：Zhang Fu followed Chen Ping to his home, and he used the mat as a door. There were many ruts outside the door. "Han Shi Wai Zhuan": Chu Kuang met his wife and said: "The ruts outside the door are so deep." "Zhe's car" refers to the car of a noble person, and its meaning is slightly the same as Tao's poem. Through the use of allusions, the author euphemistically but resolutely states that he wants to be like Fazhen and Tao Yuanming, a hermit on the run, singing to his heart's content in the mountains and forests, and will never be like Chen Ping, who spends his time interacting with dignitaries. The "elder" here is obviously the specific explanation of the "person" in "Forgetting memories and gradually rejoicing in meeting fewer people". It turns out that what the poet repeatedly expressed was that he wanted to be insulated from the tumultuous and contentious politics of the late Tang Dynasty, to live in seclusion in his former residence, proud of the mountains and forests, and to spend his life leisurely and comfortably.