The sea embraces the land-melodious songs come from the distant Emei Mountain.
When I hear the sound of Matsutani, I wave my hand at will.
I heard him in the clean stream, and the bell rang in the frost.
I can't feel the change, although the mountains are getting dark and the sky is overcast in autumn?
This poem was written by Li Bai in Xuancheng, Anhui Province in the 12th year of Tianbao (753). At the same time, he also wrote a "Gift to Zhong Zhuogong of Lingyuan Temple in Xuanzhou", which deeply admired Zhuo Gong's charm and talent: "Charm is easy to escape from the left side of the river, and the article moves the corner of the sea." This poem shows his extraordinary interest in listening to the piano.
The beginning of the poem explains the identity of the pianist and the origin of the piano. "Shu Monk" is Zhong Zhuogong, the host of Lingyuan Temple in Xuanzhou. Xuanzhou belongs to Anhui now, but in his poems, Li Bai highlights that he is from Sichuan. Only in this way can we have the artistic conception of "a monk in the middle of Sichuan carries a violin and a lute box, and Mount Emei in the west". People, places and things are all related to Sichuan. Sima Xiangru is also a native of Shu, and his piano name is "Qingqi", which is praised as a monk in Shu in the poem, indicating that he has the talent of Sima Xiangru. In the first two sentences of this poem, it is written that a monk in the middle of Shu floated down from Emei, a famous Buddhist mountain, holding a famous piano like touch of green. A short cross, what an elegant image, what an extraordinary bearing!
The second couplet was written in front and played the piano, "A touch of the string has taken me", which means playing a song for me, published in Ji Kang's Fu Qin: "Bo Ya waved, listen to the bell". This allusion is natural and accurate. The word "wave" vividly sums up the skillful and handy manners of monks. Write and listen to the piano from the sentence "The Breath of Thousand Valley Pines". Between the waves, the sound of Qian Shan's thousands of valleys is like pines, and the sound of the piano is desolate and distant, with great momentum. In ancient times, there was a piano music "The Wind Into the Pine", and the meaning of the sentence may have been transformed from it. After a while, it seems that the wind is too quiet, and only the murmuring spring water can be heard in the valley. The mountains and rivers tinkling in winter are sweet and clear, which almost washes the hearts of laymen. The listener has been brought into a wonderful artistic realm by music, so he didn't notice when the sound of flowing spring drifted away and the lingering sound merged into the temple night bell. By the time he wakes up from his addiction, the clouds have merged and the mountains are hazy. In the poet's pen, the sound of the piano has been enchanted and has a fascinating charm. How superb this piano skill should be!
Praising the piano skills by listening to the piano is more unique than directly describing the piano, which can give readers more imagination. This five-law metaphor is vivid, and the sound of the piano is rough and unrestrained, such as scattered waves, light and delicate as running water. Cut the allusions just right, leaving no trace. For example, the phrase "I listened to him in a clear stream", using the allusions of "high mountains and flowing water" contained in Liezi Tang Wen, not only writes the beautiful voice of the piano, but also implies that the relationship between the pianist and the pianist is different, but they are bosom friends. Therefore, the performer is serious and dedicated, and the listener is considerate and superb. "Frost Bell", the classic "Shan Hai Jing Zhongshan Jing": "Fengshan ... has nine bells, which is to know first frost." Guo Pu's note: "The first frost rings, so you know what it says." Therefore, the "frost bell" refers not only to the temple bell, but also to the season, echoing the next sentence, "Cloudy autumn piles up the sky".
Originally, the metrical poem paid attention to high and low levels, and the metrical poem was strict, but Li Bai wrote this poem with ease. For example, in the first half of a poem, instead of using the methods of "starting" and "bearing" commonly used in general metrical poems, it has been said all the time. The subject of "Shu monk" is in charge of three sentences, until the fourth sentence is called "listening" piano. This kind of writing is very similar to the beginning of ancient poetry, but as Yan Yu said on Tang poetry, "it is different from the weather but not clumsy." Although it was not written for listening to the piano, it was written for listening to the piano. This is the beauty of writing in vain. Li Bai's poems focus on expressing subjective feelings, reflecting his own impressions and expressing personal feelings, but rarely describe the specific details of things objectively. This poem describing music does not start from the front, but focuses on listening to the pianist's feelings, so as to set off the beauty and charm of the piano and praise the pianist's superb piano skills, which embodies this feature of Li Bai's poetry creation. If we compare it with Bai Juyi's Pipa Journey and Li Qi's Listening to An Wanshan's Song, we can deepen our understanding.
When you are swaying in one breath, there is a gel pen in it. Don't flow in lightly. (Poems by Gao Buying in Tang and Song Dynasties)