Original poem:
Berthing Guazhou
Author: Wang Anshi (Song Dynasty)
Jingkou and Guazhou are just separated by a water, and Zhongshan has only a few heavy green mountains.
The gentle spring breeze turns green again, but, moon in the sky, when can you take me home?
translate
Jingkou and Guazhou are only separated by a water, and Zhongshan is only separated by several heavy green mountains.
The gentle spring breeze has blown the south bank of the great river green again, but, bright moon in the sky, when can you come home with me?
Appreciate:
Point out the poet's foothold with the topic of "berthing in Guazhou". The first sentence, "a water room in Guazhou, Jingkou", describes the scenery in front of us. The poet stood at Guazhou Ferry on the north bank of the Yangtze River and looked south. He saw that the "Jingkou" on the south bank is so close to Guazhou here, just across a river, and he couldn't help thinking that Zhongshan, where his home is located, is only a few mountains away, and not far. The second sentence "Zhongshan is only separated by several mountains" implies the mood of the poet anxious to return.
The third sentence is a famous sentence through the ages, which depicts the scenery again, points out that the season is spring, and depicts the scenery on the south bank of the Yangtze River. The word "green" means blowing green, that is, combining dynamic and static, and it is used brilliantly. Legend has it that Wang Anshi changed the word more than ten times in order to make good use of it, and finally chose the word "Qing" from more than ten verbs such as "Zhi", "Zhi", "Zhi" and "Zhi". Because other words only express the arrival of spring breeze, but they do not show the changes of a new green landscape on the Qianli River bank after the arrival of spring. At the end of the sentence, "When will the bright moon shine on me?" The poet has been waiting for a long time, but he didn't realize that when the bright moon first appeared, the poet imagined a picture of "When the bright moon shines on me?" It further shows the poet's homesickness and expresses his homesickness!
Poetry in Song Dynasty can be divided into six different periods.
1, inheritance period
During the seventy or eighty years from the founding of the Northern Song Dynasty to Zhao Zai, Song poetry basically followed the style of the Tang Dynasty. The main schools are Bai Juyi style represented by Wang Yucheng (954 ~ 100 1), Ye Wei (960 ~10/9), Lin Bu (968 ~ 1028) and Yang Yi. As far as personal achievements are concerned, Wang Yucheng is the greatest. He was the first poet in Song Dynasty who advocated learning from Li Bai, Du Fu and Bai Juyi, and wrote many poems describing the sufferings of the people. As far as genre is concerned, the Quincy style with beautifully carved sentences and allusions has the greatest influence. 165438+In the early 1920s and 1930s, it dominated the poetry circles.
2. Retroactive period
Young writers such as Zhao, Ouyang Xiu, Mei (1002 ~ 1060) and (1009 ~ 1048) oppose parallel prose and advocate ancient prose, but at the same time, they jointly oppose Yang Yi's one-sided pursuit of occasional cutting and lack of emphasis. During this period, Mei sympathized with the sufferings of the people, such as Tian Jiayu and poor women. Su Shunqin reflected Song Ting's social problems of poverty and weakness, such as "feeling that the south of the city is forever uncle" and "Qingzhou is defeated"; Ouyang Xiu Exposes Government Corruption, Cai Xiang (10 12 ~ 100). The unique argumentative and prosaic features in Song poetry were also formed at this time.
3. Innovation period
165438+In the second half of the 20th century, Wang Anshi and Su Shi successively dominated the poetry world, and the creation of Song poetry reached its first peak. There are many differences between Wang and Su in their political opinions and poetic opinions, but their tireless spirit of innovation and personal style are in the same strain. Wang Anshi's famous works, such as Fei Ming Qu and Wu Jiang Ting, bring forth the old and bring forth the new in traditional themes, give full play to the characteristics of the Song Dynasty, and have endless aftertaste after reading, which is recognized as a masterpiece beyond similar works in the Tang Dynasty. Su Shi, on the other hand, took poetry as his word, and at the same time advanced Ouyang Xiu's and Mei's "taking literature as poetry" to the point of "creating a grand view of a generation before the atmosphere". Su Shi's poems are bold and unconstrained, touching the ground and giving birth to spring, full of innovative spirit. The seven metaphors in his famous sentence "Hundred Steps of Flood" are the best natural portrayal: "Like a rabbit walking an eagle, a good horse betting on thousands of feet slope, the string breaks off the column, and lightning flies over the ball." Some short poems written by Wang and Su deliberately seek novelty, such as Wang's Boating in Guazhou and Su's Topic Xilin Wall, etc., or express people's whimsy with fresh images, or make people think deeply with rich philosophies, which have been passed down for a long time and added a lot of brilliance to Song poetry.
Other important poets in this period were Huang Tingjian (1045 ~105) and Chen Shidao (1053 ~ 1 1), who were also trained by Su Shi, but their poetic styles were different from those of Su Shi.
4. Set regularly
Huang Tingjian's poems have the so-called methods of "turning stone into gold" and "thoroughly remoulding oneself", with the aim of "taking the old as the new" without losing the pioneering spirit of the Song Dynasty's innovation period. Later followers took this as stereotyped writing, forming the Jiangxi Poetry School, which had a great influence between the Northern and Southern Song Dynasties. Song poetry once again embarked on a formalistic road of imitating predecessors and only tossing about in writing skills and phonology. Until Nandu, Chen (1090 ~ 1 138) and others changed from the early Jiangxi poets' preference for Du Fu's poetic temperament to learning Du Fu's spirit of worrying about the country and the people and his desolate and gloomy style, which reflected the patriotic feelings of intellectuals at the beginning of the national disaster, and the stagnation of Song poetry was improved.
5. ZTE period
In the early Southern Song Dynasty, resistance to the enemy and the Northern Expedition became the major themes of poets' performance, and a large number of patriotic poems emerged, making Song poetry a model that surpassed the previous generation and had a great influence on later generations, which was the main contribution of this period. Zhongxing poets, represented by Lu You, got rid of the shackles of Jiangxi poetry school and established their own style. Lu You's Enjoying Military Music, Yang Wanli's Zhai Adult (1 127 ~ 1206) and Fan Chengda's (1193) pastoral poems. In addition to patriotism and the war of resistance, the life of the lower classes in rural areas is also their theme. The language of poetry also tends to be popular, natural and colloquial. Yang Wanli's "vivid expression", Lu You's simplicity and Fan Chengda's understanding, including the simplicity of Neo-Confucianism poetry represented by Zhu, all make the poetry of this period show a different look from the previous generation and Tang poetry.
6. Wandering period
In the late Southern Song Dynasty, there were no more important poets. "Yongjia Siling" and "Jianghu Poetry School", who were active in the poetry circle successively, were Jia Dao and Yao He poets who followed the old road of late Tang Dynasty in the early Song Dynasty and wrote some fresh and readable works. But on the whole, Song poetry, like the political situation at that time, was in a state of turmoil and went from bad to worse. It was not until the end of the Song Dynasty that Wen Tianxiang and other patriots became famous for their songs of justice that condensed blood and tears, and Song poetry finally shone brilliantly in generate.
Regarding the characteristics of Song poetry, it is generally believed that the most important thing is argumentative and prosaic culture. "Poetry is based on literature", some poets in the Tang Dynasty, such as Han Yu, have started, but those who have become a generation of poetic styles based on this standard, from Ouyang Xiu, Mei and others to Wang Anshi, Su Shi and Huang Tingjian, have reached the extreme. From "taking poetry as the text" to "taking poetry as the theory", the reason why Song poetry is unique and forms its own style under the influence of powerful Tang poetry is deeply rooted in the times. During the Northern Song Dynasty, from the Qingli New Deal to Wang Anshi's political reform, the political reform and the factional struggle that followed it have always been the main concerns of intellectuals. At the end of the Southern Song Dynasty, the main battle and the main peace divided the ruling and opposition scholars into two completely different factions. Most poets have the dual identities of bureaucrats and intellectuals. "Talking about current affairs and striving for glory" is the common feature of this group of poets. Secondly, in the Song Dynasty, Confucianism changed the old habit of Tang people sticking to the annotations of the previous generation, doubting the classics and confusing the past, and interpreting the classics with their own will, which became a trend. Scholars who have been bureaucratized have been added as scholars. The so-called argumentative people are mainly caused by these two special backgrounds.
There is another feature in the discussion of Song poetry: interest in rationality. The so-called rational interest refers to the philosophy of life embodied in poetic images. The cultural root of the formation of interest in reason in Song poetry is not mainly Neo-Confucianism, but the Zen machine of Buddhism. The most interesting representative works in Song Dynasty were mostly written by Wang Anshi, Su Shi and their followers Huang Tingjian and Chen Shidao, whose philosophical thoughts had formed their own system before the formation of Neo-Confucianism. For example, Su Shi's "Two Rhymes, Giving Old Poems": "If spring comes, there will be no return to the flood unless you follow the old path. I hope the teacher is really like a bright moon, and no one will meet in the urn. " That is, it originated from the ode to the vinegar-headed monk fighting machine front contained in the biography of the eminent monk.
In addition, there are two unprecedented characteristics in the two Song poetry circles, one is the emergence and formation of poetry factions, and the other is the emergence and popularity of "Poetry Talk" as a way of poetry criticism. There are many schools in the Song Dynasty, which are related to the stimulation of Buddhist sects and complicated political party struggles. For example, at the end of the Northern Song Dynasty, Lv Benzhong (1084 ~ 1 145) wrote the "Sect Map of Jiangxi Poetry Society", and Huang Tingjian listed 25 people as follows, so there were the so-called three schools of Jiangxi poetry, just like the "Fa Si" of Zen Buddhism. All the people on the list are self-motivated and have the same smell. As for the difference of literary views, it leads to the poet's portal views and strict barriers, which has an inherent causal relationship with "poetry talk"