This poem is very short, with only five sentences and twenty-eight words, but it depicts a bleak and moving picture of the autumn suburbs, and accurately conveys the miserable mood of travelers. This successful piece of music embodies the artistic features of China's classical poems in many aspects.
First, borrowing scenery to express emotion, containing feelings in the scenery, constitutes a bleak and miserable artistic conception in the blending of scenery and feelings.
China's classical poems attach great importance to the creation of artistic conception. Artistic conception is an important category in the aesthetics of China's classical poetry, and its essential feature lies in the blending of scene and scene and the unity of mind and matter. Whether emotion and scenery can be well combined becomes the key to the formation of artistic conception. In the Qing Dynasty, Wang Fuzhi's Xuanzhai Poetry said: "There are two names of scenery, which are inseparable. God is infinite to poets. " Wang Guowei's abridged draft of human ci says: "All scenery words are sentimental words." The first four sentences of Ma Zhiyuan's poem are all about scenery, and these scenery words are sentimental words. Words such as "withered", "old", "faint" and "thin" make the rich autumn colors contain infinite sadness and bitterness. And the last sentence "heartbroken people are at the end of the world", as a curved eye, is even more wonderful, which makes the scenery described in the first four sentences become the environment for people's activities and the fuse for heartbroken people at the end of the world. The scenery on the song is not only what Ma Zhiyuan saw during his trip, but also what he saw in his eyes. But at the same time, it is its emotional carrier and an inner thing. The whole song is full of emotion and scenery, which constitutes a touching artistic realm.
Secondly, many dense images are used to express the author's pain and hatred of autumn during the journey, which makes the work full of rich poetry.
Image refers to the artistic image used to convey the author's feelings and contain the author's thoughts in poetry. China's classical poetry is characterized by the complex and intensive use of images. Many poets in ancient China often arranged numerous images closely in their poems to express their thoughts. This song by Ma Zhiyuan clearly embodies this feature. There are ten kinds of images in just 28 words, which are not only the real environment of heartbroken people's life, but also the carrier of his heavy sadness. Without these pictures, this song would not exist.
Coexisting with the complexity of images is the singleness of image expression. In the same work, the status of different images is relatively balanced, and there are no deliberately prominent individuals, and their emotional orientations tend to be consistent, that is, many images often convey the same emotional tone of the author. So is this song. In order to express his melancholy and sentimental feelings, the author chose many images in his poems. These images can convey the author's inner feelings, and the combination of emotion and scenery makes the emotional orientation of images in the works consistent and single. Numerous images are connected in series by the clues of the author's same emotion, forming a complete picture.
The combination of complexity and singleness of images is an important reason why China's classical poems are profound, harmonious and poetic.
The arrangement of images in classical poetry often has the characteristics of many but not chaotic and distinct levels, which is because the author is used to arranging images in normal time and space order.
Today, some people call Ma Zhiyuan's Tianjingsha Qiu Si a "parallel image combination", but in fact, there is still a certain order in juxtaposition. There are ten images in the whole song, and the first nine are naturally divided into three groups. Vines bound trees, crows falling on trees, the first group arranged from bottom to top; The second group is arranged from near to far; The ancient post road and the west wind thin horse on the road, the third group is arranged from a distance to the present, with a slight change in the middle. Because the "West Wind" is inserted in the middle to write the tactile sensation, the description angle is changed, thus increasing the jumping feeling of the image, but this jumping is still local and not beyond the scope of autumn scenery. The last image "Sunset" is the background of the whole song, which connects all the first nine images together to create an empty scene. Because it is also the product of seeing far, the works as a whole also show the spatial arrangement order from near to far. From the old tree to the flowing water, to the ancient road, and then to the sunset, the author's vision is expanding step by step. This is also one of the manifestations of image order.
Thirdly, he is good at processing and refining, and draws a wandering journey in late autumn with extremely concise painting.
The images in Ma Zhiyuan's poem Tianjingsha Qiu Si are not novel. Among them, the word "ancient road" first appeared in Li Bai's poem "Qin Yi E Xiao Sheng Yan", "Happy Garden Scenic Area in autumn festival, Xianyang ancient road is absolutely silent". Zhang Song-Yan's "Wan Li in the Pot" also has the saying that "the old Liuguan River, the ancient road in the setting sun, the wind is still straight".
There is a song by Lu Xian Shang Huashi in Dong Jieyuan's The West Chamber: "The sunset makes the forest quiet, the crows crow at night, and the sleeves of the wind blow the thin horse. As soon as I entered the horizon, the desolate ancient shore was bleak, and the grass withered in first frost. I caught a glimpse of a lonely Duan Lin in the photo, which was covered with shallow sand. An old man caught shrimp and ran across the bridge. The hut reflects flowers. " Among them, six images appear in the maqu.
In the Yuan Dynasty, there was also an anonymous poem "Drunken Zhongtian" (see Yuefu New Sound): "The old tree hangs vines, and the sunset glow reflects the sunset. There is a faint sound in the forest. The mountains are picturesque, and I'm too lazy to whip the thin horse. When the sun sets, people live in bamboo buildings. " There are also six images like Maqu.
Obviously, drunk Zhongtian is detached from Shang Huashi, and there are still traces of simulation. Although there are many similarities between the images in the two songs and Ma Qu, they are not as simple, natural and concise as Tian Jing Sha Qiu Si.
Ma Zhiyuan was undoubtedly influenced and inspired by Dong Qu when he wrote Tianjingsha Qiu Si, but he did not blindly imitate it, but recreated it according to his own life experience and aesthetic vision. In the choice of scenery, in order to highlight and strengthen the sad feelings, he chose ten images that can best reflect the sad and depressing scenery in autumn and the lonely and melancholy feelings of travelers, and concentrated his feelings in these ten images, finally revealing the theme of the whole song with a touch of sunshine. He deleted some beautiful scenery, but it was not consistent with the feelings expressed. For example, the thatched cottage reflects flowers, the sunset glow reflects the sunset, and the area is picturesque, which makes the image of the whole song unified in expressing emotions.
On the tempering of words and phrases, Ma Zhiyuan fully demonstrated his talent. The first three sentences are eighteen words, all nouns and adjectives, without verbs. The relationship between various scenes and their respective dynamics and forms depends on the reader's understanding according to the organization and arrangement order of images and his own life experience. This wonderful way of using words was really rare in ancient times. In Wen's "A Day's Tour on a Good Day", "The cock crows and the moon crows, and the bridge frost is cold and cheerless" is similar to the way of using words in Maqu, but its capacity is still not as large as that in Maqu. The conciseness of the words used in Marqu can't be further reduced. One of the reasons for Jing Tian Sha Qiu Si's artistic success is to express rich emotions with the least language.
Fourthly, the aesthetic emotional experience of sad autumn is adopted to express the sadness of wanderers, so that personal feelings can gain universal social significance.
Sad autumn is a sad and sad emotional experience when people face autumn scenery. Because autumn scenery (especially in late autumn) is mostly cold, bleak and gloomy, accompanied by dusk, sunset, fallen leaves and dead branches, it becomes a symbol of the decline of all things. Therefore, on the one hand, autumn scenery can really give people a sense of physical coldness, on the other hand, it can also trigger all kinds of sadness inherent in people's hearts. Song Yu initiated China's sentimental literature with sad autumn as the main form of aesthetic experience. He expressed his frustration with his life and career by describing the bleak scene of "the decline of vegetation" in autumn. He described his tragic mood in the face of autumn as like to travel far, "sad (sad), if you travel far" and "lonely", which shows that there are similarities in emotional experience between sad autumn and sad travel. After Song Yu, mourning for autumn gradually became one of the most common aesthetic experience forms of China literati, and it was closely linked with the sigh of life experience. Du Fu's I came from three thousand miles away. Sad this autumn "is an example. So are Ma Zhiyuan's poems. Although the image in the song is not novel and the emotion expressed is not novel, because it expresses a traditional emotional experience of China literati with refined artistic expression, it has gained immortal vitality and can arouse the admiration of later literati.
From the above analysis, we can see that Tianjingsha Qiu Si belongs to one of the most mature works in China's classical poetry. Although it belongs to Quti, it actually embodies the artistic features of China's classical poetry in many aspects.