1. The sky is wild, the wind blows the grass and the cattle and sheep are low.
(Song of Chile)
The endless grass on the plain comes and goes with each season.
(Bai Juyi: "Fu De Gu Cao Yuan Farewell"
3. Although a country is divided, mountains and rivers remain forever, and the spring of trees and grass is back.
(Du Fu: Hope in Spring)
4. But how much affection does it have for an inch of grass to get three spring rays?
(Meng Jiao: "Wanderer")
The forest is black, and the wind attacks the grass, but the general tries to shoot arrows at night.
(Lu Lun: "Xia Sai Qu")
6. Plant beans in Nanshan, and the grass is full of bean seedlings.
(Tao Yuanming: Return to the Garden)
7. The road is narrow and the vegetation is long, and the evening dew is stained with clothes.
(Tao Yuanming: (Returning to Yuantianju))
8. I am alone in the grass, and there are orioles singing in the tree.
(Wei Wuying: (in Xixi, Chuzhou))
9. Flowers are more and more attractive, and shallow grass can be without horseshoes.
(Bai Juyi: (Qiantang Spring Tour))
10. The rain in Tianjie is crisp, but the grass color is far and near.
(Han Yu: "Two Early Spring Poems by Zhang Eighteen Members of the Ministry of Water")
1 1. The eaves are low and the streams are green.
(Xin Qiji: "Qingpingle? Country house ")
12. Outside the pavilion, beside the ancient road, the grass is blue and the sky is blue.
(Li Shutong: "Goodbye")
13. A person, there is a grass stream, and there are orioles singing in the trees.
(Wei Wuying: In Xixi Chuzhou)
14. The rain in Tianjie is crisp, but the grass color is far and near.
(Han Yu's Early Spring Offering Eighteen Members of Zhang Shui Department as Foreign Minister)
15. There are many weeds and flowers beside the Suzaku Bridge, and the sunset is oblique at the corner of Wuyi Lane.
(Liu Yuxi's Wuyi Lane)
16. The Woods were dark and the wind was blowing, but the general tried to shoot arrows at night.
(Xia Sai Qu by Lu Lun)
2. Grass represents many images in ancient poems. Please use a poem to prove: "Herbs are heartless, but in a specific environment and in a special state of mind, they are also infected with a specific emotional color and have a specific meaning."
The author's understanding of images is correct, but the author did not explain and analyze this specific environment and special mood in the article, which made the emotional color and specific meaning of the poem a castle in the air, especially the four or six cultural meanings of "grass" explored by the author in ancient poems, which still have great errors and are worth re-exploring. In the chapter of "pinning hopes and ideals", the author first quotes two poems from Xie Lingyun's "Pond Upstairs", "Changchun grass in the pond and willow trees in the garden become songbirds".
Then analyze these two poems: "Describe the changes of scenery when winter and spring alternate, express the poet's frustration with officialdom, and reveal the poet's contradictory mood of wanting to be an official and hiding." It seems that the two poems quoted by the author, or the image of "spring grass", completely express the theme of the whole poem.
It seems a little too easy for the author to simply copy the theme of the poem after quoting it, instead of analyzing and demonstrating it. Moreover, the image of "spring grass" is by no means the poet's resentment against the frustration of officialdom, nor is it entirely the contradictory mood of the poet's chastity and seclusion, nor is it the cultural meaning of pinning his wishes and ideals.
It is true that the two poems quoted by the author really describe the scene of alternating winter and spring. "Spring grass grows in the pond" and everything recovers; "The garden willow leaves", full of spring. This is just the appearance of "spring grass" and "songbirds", or their images.
Yu Guangzhong, a poet in Taiwan Province, defined the image as follows: "The so-called image is the image that the poet's inner meaning tells to the outside world, and readers can restore it to the poet's inner meaning according to the external image." According to the author's understanding of the first paragraph, this paper analyzes the specific environment of Xie Lingyun's writing Climbing the Pool upstairs and the poet's special mood in writing this poem. Based on the analysis and understanding of two poems quoted by many people, I personally think that the image expressed in Spring Grass, that is to say, the poet's emotion and state of mind are as follows: First, Xie Lingyun was pushed out from the prosperous capital city to the remote coastal Yongjia County as a satrap and poet in the third year of Yong.
In Yongjia, a secluded place, the poet wants to make progress in moral study, and he is deeply lacking in intelligence. He also wants to retire and work hard, but he feels powerless. Such depressed feelings made the poet physically and mentally exhausted, and even fell ill and stayed in bed for a long time.
In such a specific environment and special state of mind, the poet saw that spring had come, everything was revived and spring was full. The poet pinned his joy of recovery from a long illness on "spring grass" and "bird singing" With the poet's love and sensitivity to nature, these two poems are the climax of the poet's emotional excitement after his long illness, the relaxation of the poet's depressed mood, and the temporary comfort to the poet's disappointment in being an official. This is the image of "Chuncao", which is the cultural significance given by "Chuncao" here, and has little to do with the "resentment" and ambivalence described by the author.
Second, the poet Xie Lingyun is a well-read person. When he saw the resurrection of the grass and the spring grass that would thrive after being moistened by the pool water, he naturally remembered the sentence "Spring comes late, countless flowers bloom" in the Book of Songs, and the wind was in July. The poem "The female heart is sad, and the child is almost the same"; I also remembered the poem "The wandering prince and grandson never return, and the spring grass grows flowers" in "The Songs of Chu Recruit Hermits".
This made Xie Lingyun quickly fall out of excitement, relaxation and comfort. He felt lonely and lost his heart, showing the bitterness and sadness of homesickness but not returning. This is the second image of "Spring Grass", with the sadness of "petals falling like tears, lonely birds wailing". Therefore, immediately after that, "Spring grass grows in the pond, and willow in the garden turns into a singing bird", the poet wrote "Qi Qi's sad song is sentimental". These last two poems are the best complement to the thoughts and feelings contained in the first two poems, Spring Grass and Singing Birds.
The image expressed in Spring Grass only reflects part of the poet's feelings, part of his thoughts and, of course, only part of his theme. It is related to birdsong, diving, flying, Yunfu, deep, poor sea, empty forest, waves, winding paths, early scenery, breeze, new sun, old shade and its poems. Some poets are happy and sensitive to nature, have the pain and sadness of homesickness, and have the interest and determination of the poet to live in seclusion ... This is the poet's complex state of mind and complex thoughts and feelings, which is the whole theme of Climbing the Pool Upstairs, and it is by no means a single "spring grass" image can replace it.
Mr. Xu clearly pointed out in the article "Lecture on the Principles of China's Poetics: The Seventh Lecture on Images in Poetry (Part I)" in the Knowledge of Classical Literature in 2006: "In this paper,' image' refers to the form and characteristics of individual material influenced by the poet's emotions. The difference between the two is that the image is mainly used to refer to the' image' in the' image', and its application scope is not limited to individual substances. The difference between it and artistic conception is that artistic conception focuses on the whole picture of a poem and the theme contained in the picture. Of course, the whole picture is composed of a mountain, a water, a grass and a tree, which blends into the poet's feelings. A mountain and a water, a grass and a tree are an image, and the sum of images constitutes the artistic conception of poetry. "
I just use xu teacher's point of view to comment on this article. In this chapter, the author quotes a sentence from Meng Haoran's poem Farewell to Wang Wei: How fragrant the flowers on the roadside are.
If they don't say goodbye, old friend, the author analyzes that the words "desire" and "pity" convey the contradiction in the author's heart. The poet wants to retire from the mountains, but he is helpless. The author's analysis puts the poet's ambivalence in the grass of "seeking", which is really hard to bear.
"If they don't mean goodbye, old friends" is not in the image of "fragrant grass". Meng Haoran left this poem for Wang Wei in the capital before leaving Xiangyang, when he was forty years old. Because I am a scholar, I am very bitter.
Therefore, there is a desire to "seek grass" and retreat to the mountains, but poetry.
3. Poems related to vegetation images are best appreciated; It is better to have more plants and trees to compare the prosperity and desolation of plants and trees to express ups and downs. For example, "the spring breeze is ten miles, and the wheat is green." (Jiang Kui Yangzhou Slow) Yangzhou Road, which is very prosperous, is now full of green wheat and desolate. "The old garden is desolate, Yang Liuxin, Lingge can't sing in spring." That magnificent scenery is more beautiful than spring. Here, lush willows set off desolation. "The green grass in front of the steps is spring, and the birds are singing happily under the leaves." A generation of sages and their achievements have disappeared. Now, only the grass reflecting the green stone steps produces spring scenery every year (spring scenery is illusory), and the oriole makes this beautiful call in vain. The poet lamented that the past was empty. The sun sets at the entrance of Wuyi Lane. "(Liu Yuxi Wuyi Lane) Suzaku Bridge's former prosperity has gone, the bridge is covered with weeds and wild flowers, Wuyi Lane has lost its former glory, and the sunset reflects the dilapidated and desolate entrance.
4. The image of grass in ancient poetry. Grass, which can be seen everywhere in nature, entered China's classical poems very early. As early as the Book of Songs, grass appeared in nearly ten places. Of course, grass is mainly used to cheer up at this time, such as "there are creeping weeds in the wild" and "why is the grass not yellow?" In Chu Ci, grass appears more frequently. It was formed by Qu Yuan's works. (Qu Yuan's Lisao, "Vanilla is a gentleman, and famous flowers are evergreen" (Wang Wei's Spring Festival, and later mobilized foreign medicine gardens). Qu Yuan used herbs as a metaphor for virtuous talents, while Xiao Abby used defected and degenerate talents. Metaphors in Wang Wei's poems are more obvious and need no explanation. Another example is Meng Haoran's poem "How fragrant the roadside flowers may be, I regret going against the ancients" ("Leaving Wang Wei") and Wen Tianxiang's poem "Storm" (Dragon Boat Festival is bustling), both of which use grass to describe their pursuit of ideals: Meng Haoran hopes to retire and Wen Tianxiang hopes to save the country. There is a saying in "The Recluse of Zhao in the Songs of the South" that "the wandering prince and grandson don't return, and the spring grass grows endlessly". Since then, grass has become the object of maintaining parting feelings and pinning people's thoughts. This is the case in Jiang Yan's Biefu. This artistic conception often appears in ancient poems. For example, "Spring grass is greener in autumn, and the child has not returned to the west." (Xie Tiao's "Appreciating King Jin 'an") "The grass turns green again in spring, but what about you, my friend Prince? ？” (Wang Wei's "Farewell") Poets always focus on grass to reproduce new green every spring, which seems to return, so they often take grass as their lyric. Another example is: "When can we meet our old friends?" (Gu Kuang's "Send away") and "Spring water is green in Changchun, so I miss you intermittently" (Yao Yuehua's "Sorrow Poetry"). It is often seen that "fragrant grass" is associated with "heartbroken", such as "Spring Garden is silent, heartbroken fragrant grass is green" (Wei Zhuang's Golden Gate), and "The flower curtain in the courtyard is not rolled up, heartbroken fragrant grass is far away" (Zhu's Golden Gate). There are also some poems with grass as the theme, but not with spring as the theme. Ye Li's poem "Love is everywhere" ("Send Yan 26th to Tan County") and Li Yu's famous sentence "Love is like spring grass, go further and live" ("Qingpingle") both focus on the continuation of grass and are symbolized by endless and ubiquitous grass. That is, subjective feelings are externalized into objective things. For example, "When an old friend is gone, autumn grass mourns the south" (Gu Kuang's Farewell to Li Biejia), "There are ancient trees like flowers on the top, and spring grass is sad on the bottom" (Li Bai's Farewell to Fuling). In fact, people will be sad, but the poet said that grass is sad and grass is sad, which makes people look smart and subtle. For example, "Remembering the blue silk skirt and pitying the grass everywhere" (Niu Xiji's Life Pursuit), the color of the blue silk skirt is the same as that of the grass, so the poet "loves me, love my dog" and loves the grass all over the world because he thinks of the color of his lover's silk skirt. Originally, the silk skirt refers to the lover, but later the color of the silk skirt refers to the lover. Later, he used the grass of the same color as the skirt to refer to his lover. Niu Xiji's words and expressions have gone through such an artistic process. In fact, this thought appeared in Han Yuefu: "The green robe is like grass, and the grass is long and comfortable. "This is based on the color of grass and robes. Grass is often used to express sad feelings, probably because autumn grass and weeds easily touch people's sentimental feelings. For example, "leaning against the building without words wants to forget myself, and the sky is dark and even fragrant grass" (Kou Zhun's Walking on the Sand), "The moon is high and the sky is white, and the rotten grass is cold and dew." (Lu You's Autumn Xing). Grass plays a very strong role in rendering the sad atmosphere, so it is almost an indispensable image in elegy and nostalgia of ancient poems. The former is like "weeds are boundless and poplars are rustling". Still full of skirts, the Chu people are green "(Liu Changqing's" Cao Qing Palace Nostalgia ")" I am sad to ask about the past, only to see the long river rushing back. At dusk, the east wind is blue, and the partridge flies to Yuewangtai. " As for the famous sentences of Du Fu and Cui Hao, and parrot Island is a nest of herbs (Yellow Crane Tower), people are familiar with it. Grass is often used to express the helpless sigh of short life. In Four Blocks, there is already a poem that "the grass can't live for a long time, but the grass is still idle", which is a metaphor for the layman's efforts to pursue fame. Although they won praise for a while, they will eventually return to nothingness. Xu gan's room thoughts. Style is also very low. Li He's Thirteen Poems of South Garden is different. The poem says, "Flowers and grass are in full bloom in the eyes, and small white flowers grow red on Yue Nv's cheeks. Poor sunset, marriage and spring breeze don't need media. "Although it is also based on flowers and plants, it shows the idea of cherishing youth and actively using the world. As for Bai Juyi's famous sentence: "The wildfire is not over, the spring breeze is blowing high", which shows vigorous vitality and positive progress. Sweep away sentimental emotions. Relying on the poet's subjective feelings, the image of grass shows rich and complex connotations. " But how much love an inch of grass has, and it returns three rays of spring "is a metaphor that it is difficult for children to repay their mother's love with an inch of grass." Grass color is a metaphor for the hearts of idle people and indifferent and peaceful feelings with green grass color; How about the pleasure of reading? "The grass in front of the window is green and has not been deleted" describes that the happiness of reading is endless spring grass in front of the window; "Grass doesn't thank it for its glory in the spring breeze, and wood doesn't blame it for its autumn fall" reveals the laws of nature through the rise and fall of vegetation. It can be seen that the rich connotation of grass has been fully exerted in ancient poetry. Under the brilliant light of the rich imagination of ancient poets, the image of grass is more colorful and full of vitality.