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Yin's Pavilion in the Heart of the Lake is a poem inscribed by Wang Anshi on the wall of every household. Yang Defeng, alias Mr. Hu Yin, was a neighbor and frequent friend of Wang Anshi when he retired from Jinling (now Nanjing, Jiangsu).
Title: Mr. Yin Bi of Shuhu Lake
Year of Creation: Song Dynasty
Source: Wang Linchuan Collection
Author: Wang Anshi
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Author Wang Anshi
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Introduce institutional reform
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Book 1 Mr. Hu Yin 2 Wall (Song Dynasty) Wang Anshi's eaves 3 Long (often) swept without moss 4 Flowers and trees are all planted by hand. Protect the field with one water ⑥ Surround the land with green, arrange two mountains and send green ⑨.
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1 Book: Writing and Poetry. ② Mr. Hu Yin: Yang Defeng, a hermit, was a neighbor of Wang Anshi when he lived in Jinling in his later years. The author Yuan Feng lived in Jiangning (now Nanjing, Jiangsu) (1078- 1086) and was also a good friend of the neighborhood. There are two songs on this topic, and the first choice is here. ③ Mao Yan: Mao Yan, which refers to the courtyard. 4 no moss: no moss. ⑤ Ridge shape (qí): Ridge shape and row shape. Boundary: a cropped field ⑥ Field protection: This refers to guarding and surrounding the garden. 7 will: carry. Green: refers to the color of water. ⑧ (tà): Open the door. Lu: Xiaomen. "Biography of Historical Records Fan Lie" irrigation: "Gaozu was seriously ill and hated people, in the Forbidden City. Those who petitioned the family could not get close to the courtiers. Dare not enter the court. After more than ten days, the minister went straight in. " Zhang Shoujie's justice: "Lu, the small gate in the palace." Former Shu Du Guangting's "Biography of Campus Guests": "[Li Jing] rode horses in men's clothes and walked in columns." Qing Dynasty's Biography of Hou in Ningnan: "[Zuo Liangyu] hides in Tibet. The guard shouted, "General Zuo, you are rich!" ! Drink me quickly! "Xu Chi's" Under the Qilian Mountains ":"The scenery pours in. " Pet-name ruby green: green. This is a poem inscribed by the author on the living room wall of Mr. Hu Yin. Mr. Hu Yin, whose real name is Yang Defeng, is a friend of the author.
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The thatched courtyard is clean without a trace of moss because of frequent cleaning. Rows of flowers and trees are filled with flower beds, all planted by their owners. A small river outside the courtyard protects farmland and surrounds green fields. Two big mountains open doors and send flowers to people. Rhetoric-In the last two poems, the poet used antithetical sentences and personification techniques to endow the landscape with emotion, turning static into dynamic, and appearing natural, vibrant, quiet and elegant.
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Praise the tranquility of Yang's courtyard. "Mao Yan" refers to the courtyard. "Quiet" means clean. How to write it clean? The poet rejects all plain descriptions and only uses the word "no moss", which is really unique. Why do you see it? It is rainy in the south of the Yangtze River and rainy in early summer, which is more conducive to the growth of moss than other seasons. Moreover, moss likes darkness, always grows in secluded places, and is more difficult to sweep than other weeds. Now there is no moss in the yard, doesn't it mean it is everywhere, all the time? Here, the humble image, because of the proper use of words, has an unusually rich expressive force. "Flowers and trees" are the most striking scenery in the courtyard. Because there are many varieties, we should plant them in separate beds. In this way, the word "Chengqi" not only shows the neatness of flower beds, but also strongly implies the richness of flowers and trees, which are both neat and not monotonous. This quiet environment is intoxicating, so when the poet's eyes move from the flowers and trees in the courtyard to the mountains and rivers outside the courtyard, his thoughts will be so distant and elegant, so the following epigram was born. The scenery in front of the door is a river, a farmland and two green hills. In the poet's eyes, mountains and rivers also have feelings for this noble master. The poet personifies "one water" and "two mountains" into intimate images full of human feelings. Curved rivers surround lush farmland, just like a mother protecting her children with her hands. The words "protection" and "around" seem so affectionate. The castle peak in front of the door saw that the yard was so neat and tidy, and the owner loved beauty so much, and they also rushed to the owner's yard to add color: push the door and push in, and dedicate a piece of green. The poet left a famous sentence with a stroke of genius. "One Water" and "Two Mountains" have been transformed into kind images full of life and feelings, which will be told through the ages. But the last two sentences are widely read, mainly because of the following two points: first, personification and description are integrated into one, seamless. The word "one water to protect the field" is "around", and you can see the winding stream and the green farmland around it. Isn't this like a scene where a mother protects her child with both hands? With the word "protection", the expression of "surrounding" is very clear. As for the word "Pailu" before "Song Qing", it is even more ingenious. It not only wrote that the mountain was not only dark green, but also fascinating, but it seemed to pounce on the courtyard! This description gives readers a fresh and vivid aesthetic feeling. It also shows that the distance of the mountain is not far, just in front of Yang's compound, so it looks within reach. What is particularly touching is that the mountains are rushing, as if they had just rushed from a distance, excited and enthusiastic. These all capture the characteristics of the scenery, and all these descriptions are combined with full personification. The mood and purpose are exactly like the scene of "friends coming from afar": I was so anxious that I rushed into the yard to give gifts without knocking at the door. The two blend seamlessly, setting each other off into interest, both strange and natural. It is both tempered and carved, fresh and meaningful, and has a long charm. Second, these two poems also conform to the image of Yang Defeng. In Qianlian, you can already see Mr. Hu Yin who is noble in character and full of interest in life. Living only under the eaves of thatched roofs, he not only "sweeps", but also "sweeps for a long time" (that is, sweeps frequently), so that he is "quiet and without moss"; "Flowers and trees grow beds", not by others, but by self-cultivation. It can be seen that he is quiet and refined, simple and hardworking. Such a noble literati, wandering between mountains and rivers, can certainly appreciate their beauty better than others and feel the closeness of "one water" and "two mountains"; The poet imagines that the mountains and rivers have feelings, and has already forged a profound friendship with Mr. Hu Yin. The title of the poem is "The Wall of Mr. Yin's Book Lake", which closely follows the theme and takes care of it everywhere, and also shows the depth of the poet's thought. The personification of "one water" and "two mountains" in this poem is based on the characteristics of natural scenery and coincides with the specific content of life, so it is full of vitality and has become a famous sentence in ancient and modern times. In terms of rhetorical skills, three or four sentences can also be used as examples. The poet uses antithesis, personification and metonymy to describe the scenery with emotion and interest. Mountains and rivers are heartless things, but poets say that water "protects fields" and mountains "send green". Water has a sense of protection for the fields, and mountains have a sense of intimacy for people, which makes the originally lifeless landscape human, soft, lovely and vibrant. Originally, water was surrounded by green crops, but the poet did not say specific plants, but replaced them with plant colors, saying that "green will be surrounded" and surrounded by green; Cyan, which is also empty, can't be made, but the poet said that mountains should be "green", turning reality into emptiness and full of poetry. The fact is that Mr. Hu Yin's home is close to the mountain. As soon as the host opened the door, he saw the green mountain peak. But if it is written as a castle peak, there is no poetry at all. The poet put it another way, wrote from the opposite side, took the mountain as the subject, turned silence into action, and created a beautiful sentence. This is really ingenious and amazing.
Brief analysis
This poem is inscribed on the wall of Mr. Hu Yin's house. The first two sentences describe the environment of his home, which is clean and quiet, suggesting the elegance of the owner's life. The last two sentences go outside the courtyard, writing about the deep affection of mountains and rivers for Mr. Hu Yin, and using the two allusions of "protecting the fields" and "driving away the wind", turning mountains and rivers into vivid and emotional images. Mountains and rivers take the initiative to meet people, which is a manifestation of people's nobility. Although there is no positive description of people in the poem, writing about mountains and rivers means writing about people. The scenery and people care for each other everywhere, and every sentence is closed and melted without trace. The poet's allusions are exquisite, and readers don't know the contents of allusions, which does not hinder the understanding of the general idea of poetry; The profound and interesting meaning of poetry needs to know the source of allusions in order to understand it more deeply.
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The first two sentences praise the tranquility of Yang's compound. "Mao Yan" refers to the courtyard. "Quiet" means clean. How to write it clean? The poet rejects all plain descriptions and only uses the word "no moss", which is really unique. Why do you see it? It is rainy in the south of the Yangtze River and rainy in early summer, which is more conducive to the growth of moss than other seasons. Moreover, moss likes darkness, always grows in secluded places, and is more difficult to sweep than other weeds. Now there is no moss in the yard, doesn't it mean it is everywhere, all the time? Here, the humble image, because of the proper use of words, has an unusually rich expressive force. "Flowers and trees" are the most striking scenery in the courtyard. Because there are many varieties, we should plant them in separate beds. In this way, the word "Chengqi" not only shows the neatness of flower beds, but also strongly implies the richness of flowers and trees, which are both neat and not monotonous. This quiet environment is intoxicating, so when the poet's eyes move from the flowers and trees in the courtyard to the mountains and rivers outside the courtyard, his thoughts will be so distant and elegant, so the following epigram was born. The scenery in front of the door is a river, a farmland and two green hills. In the poet's eyes, mountains and rivers also have feelings for this noble master. The poet personifies "one water" and "two mountains" into intimate images full of human feelings. Curved rivers surround lush farmland, just like a mother protecting her children with her hands. The words "protection" and "around" seem so affectionate. The castle peak in front of the door saw that the yard was so neat and tidy, and the owner loved beauty so much, and they also rushed to the owner's yard to add color: push the door and push in, and dedicate a piece of green. The poet left a famous sentence with a stroke of genius. "One Water" and "Two Mountains" have been transformed into kind images full of life and feelings, which will be told through the ages. But the last two sentences are widely read, mainly because of the following two points: first, personification and description are integrated into one, seamless. The word "one water to protect the field" is "around", and you can see the winding stream and the green farmland around it. Isn't this like a scene where a mother protects her child with both hands? With the word "protection", the expression of "surrounding" is very clear. As for the word "Pailu" before "Song Qing", it is even more ingenious. It not only wrote that the mountain was not only dark green, but also fascinating, but it seemed to pounce on the courtyard! This description gives readers a fresh and vivid aesthetic feeling. It also shows that the distance of the mountain is not far, just in front of Yang's compound, so it looks within reach. What is particularly touching is that the mountains are rushing, as if they had just rushed from a distance, excited and enthusiastic. These all capture the characteristics of the scenery, and all these descriptions are combined with full personification. The mood and purpose are exactly like the scene of "friends coming from afar": I was so anxious that I rushed into the yard to give gifts without knocking at the door. The two blend seamlessly, setting each other off into interest, both strange and natural. It is both tempered and carved, fresh and meaningful, and has a long charm. Second, these two poems also conform to the image of Yang Defeng. In Qianlian, you can already see Mr. Hu Yin who is noble in character and full of interest in life. Living only under the eaves of thatched roofs, he not only "sweeps", but also "sweeps for a long time" (that is, sweeps frequently), so that he is "quiet and without moss"; "Flowers and trees grow beds", not by others, but by self-cultivation. It can be seen that he is quiet and refined, simple and hardworking. Such a noble literati, wandering between mountains and rivers, can certainly appreciate their beauty better than others and feel the closeness of "one water" and "two mountains"; The poet imagines that the mountains and rivers have feelings, and has already forged a profound friendship with Mr. Hu Yin. The title of the poem is "The Wall of Mr. Yin's Book Lake", which closely follows the theme and takes care of it everywhere, and also shows the depth of the poet's thought. The personification of "one water" and "two mountains" in this poem is based on the characteristics of natural scenery and coincides with the specific content of life, so it is full of vitality and has become a famous sentence in ancient and modern times. In terms of rhetorical skills, three or four sentences can also be used as examples. The poet uses antithesis, personification and metonymy to describe the scenery with emotion and interest. Mountains and rivers are heartless things, but poets say that water "protects fields" and mountains "send green". Water has a sense of protection for the fields, and mountains have a sense of intimacy for people, which makes the originally lifeless landscape human, soft, lovely and vibrant. Originally, water was surrounded by green crops, but the poet did not say specific plants, but replaced them with plant colors, saying that "green will be surrounded" and surrounded by green; Cyan, which is also empty, can't be made, but the poet said that mountains should be "green", turning reality into emptiness and full of poetry. The fact is that Mr. Hu Yin's home is close to the mountain. As soon as the host opened the door, he saw the green mountain peak. But if it is written as a castle peak, there is no poetry at all. The poet put it another way, wrote from the opposite side, took the mountain as the subject, turned silence into action, and created a beautiful sentence. This is really ingenious and amazing.
Other solutions
The "long sweep" in the first sentence has always been interpreted as: frequent cleaning, "long" means "ordinary", "thatched eaves" means courtyard, and "quiet" and "clean" mean the same thing. So the first sentence is interpreted as: due to frequent cleaning, the courtyard is clean without moss at all. Don't ask, this explanation can make sense, because it has been used for hundreds of years. However, if we want to delve into it and connect with life, we will find that this explanation is unreasonable. It is hard to say that "Mao Yan" is a metonymic courtyard. If "sweeping" is regarded as cleaning, then borrowed ones should also clean; Substitutes should also be part of the cleaning. The yard can be cleaned, but the eaves can't be cleaned. Sorry, I often climb the ladder to sweep the eaves. Raise your hand if someone sweeps! If it's a tile eaves, if it's a cement eaves, it's okay to clean it, but the autumn wind can still sweep away the triple thatch on the house, and the thatch eaves can't be swept away. Sweep the house once and the thatch will come down. Sweep the house several times and the rain will leak. It is not appropriate to replace the courtyard with an unscannable "Mao Yan". Even if "eaves" are allowed to replace "courtyard", it should not be "moss" swept in the courtyard. Moss grows in wet places and adheres to other objects. You can't sweep with a broom. Liu Yuxi's humble room "moss mark" does not mean that the humble room is not hygienic. The health inspection team never grades whether there is moss. It is also inappropriate to use moss to explain that the yard is clean. In fact, some courtyards covered with moss are quiet and beautiful pursued by literati, which is also a kind of interest. There are so many irrationalities that we have reason to re-examine that "the grass has long eaves and no moss." The common meaning of "sweeping" is "sweeping", which means "removing dirt with a broom". It is explained that "thatched eaves" means courtyard, and "long" means regular, all for adapting to a kind of "sweeping", and it is not easy to find examples in other occasions. To see that "sweep" has another meaning, that is, painting, painting. Zhang Hu's poem "Gathering the Lingtai" "The color is too greasy and dirty, and the Emei is supreme." This "sweeping" is painting. Si Kongtu's "Snuff" Part II "It should be more joyful to fight for grass, and snuff cuts eyebrows." This "sweep" is also painting. Wang Jianzhi's school book in Xue Tao, Shuzhong: "The girl by the book bridge in Wanli School has loquat flowers behind closed doors. It is better to lead the spring breeze than to sweep your eyebrows. " This "sweep" is also painting. Most people who explain "Mao Yan" have never lived in a cabin, so they made these excuses and left. It can be seen that it is to cater to the helplessness and coercion of "cleaning". If we jump out of the common meaning of "sweeping" and choose "painting" to explain "thatched eaves with no moss", it can be interpreted as: eaves without moss are as long as a large sum. The grass used in the house is mostly under the tip, which is convenient for water flow; On the contrary, it will "scoop water", and water may enter it along the grass. House grass that has not been changed for many years will rot and contain water, and grow moss. The mossy house is dying. The eaves of the new house are naturally "moss-free". The grass in the new house is long and soft. If it is seen by literati, it is just a brush. One of the reasons for this explanation is that there are many troubles, and the "dragon" is still the original "dragon" and "Mao Yan" is still the original "Mao Yan". Second, it is more poetic. An eaves without moss, a painting as long as a pen, poetic and literary. This is the reader's field of vision. In fact, "the eaves are long and clean without moss" means that the house is new; "Flowers and trees grow on the seedbed" means that the owner works diligently. The house is new and the flowers and trees are planted by hand, which means that the owner is full of enthusiasm for life. The whole poem is about a fresh and quiet life. The reinterpretation of the word "sweep" makes it a kind of "painting", a metaphor full of movement and beauty. Compared with sweeping the yard, the tension of poetry is much greater. (China Federation of Industry and Commerce Press, Mr. Zhang Gang, "Reading Classical Poems in a Different Way")
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Selected works of Wang Linchuan. Mr. Hu Yin refers to Yang Defeng, Wang Anshi's neighbor in Jinling.
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Wang Anshi
Portrait of Wang Anshi
[1] Wang Anshi was born in the fifth year of Tianxi (A.D. 102 1) and died on May 2 of the first year (A.D. 1086). Character Festival, Mid-Autumn Festival. Little Badger Lang, named Jing Guogong, is also called Wang Yushi. Linchuan people in the Northern Song Dynasty (now Shangchi Village, dongxiang county City, Jiangxi Province). Han nationality. An outstanding politician, thinker, writer and reformer in the Northern Song Dynasty, he was one of the eight masters in the Tang and Song Dynasties. Outstanding literary achievements. His poem "Learn from Du Fu's thin and bitter songs" is good at reasoning and rhetoric, good at using allusions, powerful in style, subtle in warning and profound in sentiment. He is the author of Collected Works of Mr. Linchuan. He was born in a small official family. Father's benefit, word loss, is a judge of Linjiang army, and he has served as a county official in several States all his life. Anshi doesn't like reading very much, has a strong memory and is well educated. In the second year of Li Qing (1042), he ranked fourth in Emperor Wen of Sui Jinshi list, and successively served as the prison officer of Huainan magistrate, Yinxian magistrate, Changzhou magistrate and Tiaodian Jiangdong. In the fourth year of Zhiping (1067), Zong Shenchu acceded to the throne, and Zhao 'an was called a bachelor of Hanlin from Jiangning Government School. In the second year of Xining (1069), he was promoted to participate in politics. Since Xining three years ago, he has served as a member of the same school twice to publicize the new law. Ning lived in seclusion after nine years' strike, and died in Zhongshan and posthumous title, Jiangning (now Nanjing, Jiangsu), also known as Wang Wengong. Its political reform had a far-reaching impact on the social economy in the early Song Dynasty and had the characteristics of modern reform. Lenin praised him as "1 1 century China's great reformer". Together with "Han Yu, Liu Zongyuan, Ouyang Xiu, Su Xun, Su Shi, Su Zhe and Ceng Gong", they are called "Eight Great Masters in Tang and Song Dynasties".
official career
In the second year of Li Qing (1042), Wang Anshi took the fourth place as a scholar, and successively signed books for Huainan (Yangzhou), Yinxian (now Ningbo, Zhejiang), Zhou Shu (now Buried Hill, Anhui) and other places to pass the verdict. He was transferred to Kaifeng as a judge of the animal husbandry department, and then transferred to Changzhou to raise officials and businessmen on Jiangnan East Road, which was called the third department. Years of experience as a local official made Wang Anshi realize that the root of social poverty in the Song Dynasty was merger, and the crisis faced by feudal rule in the Song Dynasty was "worrying about the country at home and not fearing barbarians abroad". Therefore, in Song Renzong and Zhao Zhen's The Three Years of Jiayou (1058) On Wan Yan, Wang Anshi demanded a comprehensive reform of the written law since the early Song Dynasty in order to reverse the situation of poverty and weakness. Take the example of Sima Yan, Emperor Xuanzong of the Tang Dynasty and Li Longji who only wanted to "relax" and did not seek reform, and finally fell down. Wang Anshi had a rare sense of urgency for reform, and shouted: "If the ancient times are accurate, the world can be peaceful and chaotic, and don't rush to today when possible", demanding immediate reform of the written law; Otherwise, the history of Huang Chao's death in the Tang Dynasty will repeat itself, and the Song Dynasty will also embark on the road of extinction. The feudal scholar-officials also placed high hopes on Wang Anshi and looked forward to his coming to power as soon as possible. At the beginning of Xining, Wang Anshi, as the attendant minister of Hanlin bachelor, discussed the way of governing the country with young Song Shenzong, which won Song Shenzong's appreciation. In the second year of Xining (1069), Wang Anshi became a consultant in politics, and was promoted to prime minister the following year, and began to vigorously carry out reforms.
Introduce institutional reform
The purpose of Wang Anshi's political reform is to enrich Qiang Bing, so as to reverse the situation of poverty and weakness in the Northern Song Dynasty and consolidate the rule of the landlord class. Wang Anshi clearly put forward that financial management is the prime minister's first priority, expounded the relationship between politics and financial management, and pointed out that "politics is the principle of financial management, and financial management is the so-called righteousness." More importantly, before Wang Anshi came to power, he thought that only on the basis of developing production can the national financial problem be solved: "The wealth of the world is born with the strength of the world, and the wealth of the world is taken from the expense of the world." After Wang Anshi took office, he continued to play this view. He once pointed out: "Those who do nothing today are short of money, so I put financial management first", while "financial management is urgent for farmers, and farmers are eager to get rid of hardships, restrain mergers and promote agriculture". In this reform, Wang Anshi put the development of production in the first place as the top priority. In Wang Anshi's view, in order to develop production, the first thing is to "relieve (laborers) suffering, restrain mergers and take pleasure in agriculture", mobilize the enthusiasm of laborers, and bring those idle people back to the front line of production. Harvest depends on people, not on the sky. To achieve this goal, the state power needs to formulate corresponding principles and policies and carry out top-down reforms nationwide. Although Wang Anshi emphasized the leading role of state power in the reform, he disapproved of excessive state intervention in social production and economic life, opposed excessive patent collection, and put forward and adhered to the proposition and practice of "not too much monopoly law". Under the guidance of Wang Anshi's above thoughts, the reformists formulated and implemented a series of new laws, such as farmland water conservancy, young crops, exemption from labor, fair loss, easy market, exemption from money and mining tax system, and carried out extensive social reforms from agriculture to handicrafts, commerce and from rural areas to cities. At the same time, the reformists headed by Wang Anshi reformed the military system, improved the quality and combat effectiveness of the army, and strengthened control over the vast rural areas; In order to cultivate more talents needed by society, the imperial examination and school education system have also been reformed. The so-called Three Classics and New Meanings, such as Zhou, Yi Shu and Poetic Art written by Wang Anshi himself, have provided new teaching materials for school education reform.
strike
Political reform goes against the interests of conservatives and is opposed by conservatives. So Wang Anshi and Ning JaeHee went on strike for the first time in seven years. In particular, due to the differences between Wang Anshi, the designer of the reform, and Song Shenzong, the supreme moderator of the reform, Wang Anshi could not get more support after reunification and could not continue the reform. Coupled with the internal division of the reformists, his son Wang Kan died, and Wang Anshi resigned as prime minister for the second time in the ninth year of JaeHee Ning, and has lived in jiangning house ever since. In the first year of Yuan You, Song Zhezong (1086), conservatives came to power, and all previous new laws were abolished. Wang Anshi was deeply disturbed by the reversal of the political situation. When he heard that the immunity law had also been abolished, he could not help but say with indignation, "Enough!" Soon, he died of depression. At the age of 65.