(Tang) Meng Jiao
The midline of the loving mother's hand,
You get dressed.
Tight seam,
I'm afraid I will be late.
Who is careless,
Make three spring scenery.
[Notes]
1. Wanderer: Wanderer, guest outside. Yin, the name of a poem.
2. inch of grass: it symbolizes children here.
3. Heart: The trunk of vegetation is called the heart. The word "heart" is a pun here.
[Content Analysis]
This is a kind and sincere ode to maternal love. Under the heading, the author notes "Mu Ying Li Shangyin". Meng Jiao was down and out all his life, and he didn't get the humble position of Liyang County Commandant until he was fifty years old. This poem was written when he lived in Liyang.
The first two sentences, "thread in the hands of a loving mother makes clothes for her wayward boy's body", closely link "loving mother" and "wandering son" with two very common things, and write the flesh-and-blood feelings of mother and child. Three or four sentences, "She sewed carefully and mended thoroughly, fearing that the delay would make him go home late", deepened this kind of flesh-and-blood affection by describing the actions and psychology of loving mother making clothes for wanderers. The mother sewed thousands of stitches for fear that her son would "delay" and could not come back. Great maternal love is naturally revealed through the details of daily life. The first four sentences are very simple, without any modification, but the image of loving mother is really touching.
The last two sentences, "Only an inch of grass has a little affection, and three wisps of spring scenery are appreciated", are the author's heartfelt eulogies of love for his mother. These two sentences adopt the traditional contrast method: a daughter is like grass, and a mother's love is like spring sunshine. How can a daughter repay a mother's love in case? The contrast and metaphor of images entrust the son's heartfelt love for his loving mother.
This poem artistically reproduces the ordinary and great beauty of human nature that people feel, so it has won strong praise from countless readers for thousands of years. Until the Qing Dynasty, two poets in Liyang sang such a poem: "My father's books are full of laundry, and the bus is full of me" (Shi Qisheng's "Writing about my bosom"), "How many tears I always shed, dyed my hands and sewed clothes" (Peng Gui's "Visiting my mother for the first time"), which shows that this poem left a deep impression on future generations.
[Appreciation]
This vagrant ballad expresses the greatness of maternal love through the gratitude of vagrants. god
I can't take care of everyone, so I created my mother. Mothers care about their children,
Caring for children is entirely natural, without reservation or complaint, just like
The loving mother in the stray song completely fuses her love and expectation into a thread.
In the room, people read and read, as if there was a warm current flowing through their hearts. We just need to understand this.
Artistic conception, putting gratitude into action, will not waste the poet's hard work.
About the author
Meng Jiao (75 1-8 14)
Poets in Tang Dynasty. The word dongye. Wu Kang, Huzhou (now Deqing, Zhejiang). In his early years, his family was poor and he traveled to Hunan and Guangxi, but he never met each other and tried again and again. At the age of 46, he began to learn, and at the age of 50, he became a lieutenant in Liyang. At the beginning of Yuan Hechu, he was engaged in land and water transportation in Henan, trying to understand Lolita and settled in Luoyang. In the ninth year of Yuanhe, he died in Ganxiang (now Lingbao, Henan). Zhang Ji married Mr Yao Zhen privately. Meng Jiao specializes in writing ancient poems, and there are more than 500 existing poems, mostly short stories and five ancient poems. Some of these poems reflect the reality and expose the crimes of the buffer region, such as for women, for emotion, fighting for one side, hurting spring and so on. Some people care about people's sufferings and resent the inequality between the rich and the poor, such as "Weaving Maid Poems" and "Singing to People in Cold Regions". Some show the deep affection of flesh and blood, such as wandering, making love, apricot mourning and so on. Some of them describe landscapes, such as The Banquet between Ruzhou Nantan and Lv Zhongcheng, Youkou and Wang Waiya's Twenty-one Liuxi, Shilaishi, Hanxi, Seeing Your Majesty off to the Tiantai, Aixia and Visiting Zhong Nanshan. Some people write about their frustrated official career and attack the style of downplaying the world, such as Lodi, Li Yangqiu Ji, being injured and choosing friends. While others complain about their poverty and lament their old illnesses, such as autumn, lamenting life and old hatreds. However, poems such as "going out is an obstacle, who wants the world to be wide" ("To Cui Chunliang") reflect the hardships of the world and also show the author's extreme state of mind. The artistic style of Meng Shi's poems is either longer than simple description, without using words and allusions, and the language is plain and unpretentious while avoiding mediocrity and simplicity; Or think hard and carve miracles. These two styles of poetry have many excellent works with profound thoughts and novel words. But some poems are too stiff and dry, lacking natural taste. He is as famous as Jia Dao, and both of them are famous for their bitter songs. Zhang Wei, a poet in the Tang Dynasty, called his poems "lonely" and Su Shi called them "cold country and thin country". Later, some commentators called Meng and Jia representatives of bitter poets. Today's biography of Meng Dongye's poems is 10. People's Literature Publishing House published Hua Chen's Revision of Meng Dongye's Poems. Xia Jingguan and Hua both have their own chronicles. Geng Jie was a poor man all his life, and his poems described the sufferings of the people and the cruel world. Language abstains from mediocrity and pursues a thin, hard and eccentric style. With the same name as Jia Dao, it is called "Bojiao Island".
People once called Meng Jiao and Han Yu "Han Meng Poetry School", mainly because they were curious about ancient times and wrote more ancient poems. But Meng Jiao's works are mostly short sentences and five-word old sayings, and the language is carved but not gorgeous. He is good at combining strangeness with Gu Zhuo, such as Han Yu's so-called "hard words, appropriate words" ("Recommended Scholars"). And Han Yu's seven-character ancient style is the most distinctive, magnificent and magnificent. Their poems are full of strength, but Han Yu's strength is unrestrained, while Meng Jiao's strength is restrained. He learned more about the tradition of five-character ancient poems in the Han, Wei and Six Dynasties. As Li Ao said, "Suburb is a five-character poem, and since the Southern Dynasties, Li (Ling), Su (Wu) and Jian 'an scholars have been able to be both men and women" (Book of Zhang Servant Shooting Xuzhou). Therefore, compared with Dali and Zhenyuan poets, he is closer to the character of Han and Wei dynasties; Compared with Han Yu and Li He after him, he retained more traces of Dali and Zhenyuan's poetic style.
This does not mean that Meng Jiao just blindly imitated the poetic style of the Han, Wei and Six Dynasties. While studying the art of ancient poetry, he also has his own distinctive characteristics.
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. Among them, Ode to a Wanderer is a sincere, profound and touching poem:
The mother used the needle and thread in her hand to make clothes for her long-distance son. Before leaving, I had a stitch for fear that my son would come back late and his clothes would be damaged. Who can say that a filial child like the weak can repay his mother's love like the sunshine in spring?
In terms of artistic techniques, Meng Jiao's poems have a new feature, which Dali and Zhenyuan's poems do not have, and which has never existed before. That is the danger and difficulty mentioned in Han Yu's Epitaph of Mr. Yao Zhen. On the one hand, it is related to his deliberate job search and hard thinking, on the other hand, it is related to his depressed mood 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; And psychological depression, uneven, makes his pursuit of new language performance with cold astringent, desolate, withered color and meaning, so as to as far as possible the inner sadness and sorrow carved into the bone, shocking, such as:
The old worm sounds like iron, and the beast is surprised by the solitary jade robe (the twelfth of "Fifteen Poems of Autumn");
Sick bones can be chewed, and sour groans can also be written. You are so thin, you follow the west (the same as the fifth);
Coody Leng's dream was shattered, and the cold wind combed his bones. Ill words are printed on the table, and the intestines turn to worry (ibid. 2);
After twists and turns, it did turn around. Black grass and iron hair, white hair and ice money (the fourth of Ten Stones);
Wash your eyes hard, and the angry water will disturb the rest of the turbulence (ibid., tenth).
In these poems, he carefully selected penetrating verbs such as "Hui", "Comb", "Seal" and "Brush", as well as verbs such as "cold wind", "old bug", "iron hair", "surging water", "black grass" and "ice". Meng Jiao's poetic style has always been widely evaluated. For example, Han Yu and Li Ao praised him, but later generations, such as Yuan Haowen, called him a "poetry prisoner" (Thirty Poems), and Su Shi compared his poems to "empty claws" with hard shells and tasteless chewing (reading Meng Jiao's poems). But to be fair, the linguistic originality of Meng Jiao's poems is undeniable. Xu Yi, a poet in the Song Dynasty, said that he "can tie facts together, which is the most difficult thing to do", that is, he expressed his appreciation for his ability to transform the form of objective things into self-expression with powerful language, which is really not easy.
Of course, Meng Jiao also had simple, natural and fluent poems, but these poems were not very eye-catching at that time (although poems such as Ode to a Wandering Son were widely recited in later generations), but the poems of the above styles showed the new changes and new features of poetry creation in the Yuan and Mongolian periods in content and language.
Curious and dangerous poetic style has been further developed in Han Yu's hands and has become a trend.