See the night view of Lushan Mountain in Xunyang
Tang dynasty? meng haoran
After crossing thousands of miles of river, I haven't met a famous mountain yet.
When I parked my boat outside Xunyang, I saw the censer peak was unusual.
I have read Biography of Hui Yuan, and its dusty traces will always make me miss it.
Although Vihara's residence is close at hand, there is no bell.
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This is a five-character poem about Lushan Mountain. Although it is about mountains, it contains narration and feelings, mainly about what I think and see after seeing the incense burner peak. The whole poem is natural and simple, concise and ethereal, with profound feelings.
The first four sentences of this poem are simple narratives. The poet sailed thousands of miles on the river and wandered for a long time, but he never met a famous mountain. It was not until it was parked outside Xunyang City that I saw the censer peak and realized that this mountain was extraordinary. The author's words are understated, sketching nature, unadorned and subtle. The author yearns for the famous mountains, but "there are thousands of miles, but there are no famous mountains", and he is a little disappointed psychologically, which lays the foundation for the appearance of censer peak and also shows the author's strong desire for the famous mountains. The word "start" vividly depicts the author's psychological changes, which makes him shine at the moment and feel happy. "Taste reading far and wide, don't forget the dust." The incense burner peak is filled with smoke, and the author's mood is also shaken. The author recalls his reading of Biography of Yuan Gong, which is a biography of a monk by Shi Huijue of Liang Shi, including the biography of Hui Yuan, a master of Tuolin Temple in the Eastern Jin Dynasty. Monk Hui Yuan once built a "Lindong Jing She" at the foot of incense burner peak, and led his disciples to "practice with fellow practitioners". The author deeply admires and misses the traces and deeds of the monk's abandonment of the secular world, which he can't forget for a long time.
"Lindong Jingshe is near, and the bells in Kong Wen ring at dusk". At this time, Lindong Jingshe was just around the corner, and Yuan Gong was already an ancient man, so the poet felt deeply disappointed and sad. In "The Sun Fails to Hear the Bell", the melodious bell rang from Toringi in the long sunset and echoed for a long time. The bell here expressed the poet's melancholy and nostalgic feelings more deeply. The mountain temple rings the bell at dusk, and "sunset" is the time to "smell the bell", which in turn renders the atmosphere of "sunset". Smelling the bell at dusk gives people a feeling of melancholy and mystery. The word "empty" indicates that the eminent monk has passed away, and the bell rings on Kong Wen, expressing the poet's nostalgia and melancholy for his old friend. At the same time, these are what the author expected and saw, taking care of the topic.
This poem reveals the poet's admiration for seclusion and his desire for detachment from the world. The author's description of characters and scenery is simple and expressionless, showing rich feelings, giving people an artistic experience with concise words, clear artistic conception and endless aftertaste.
Extended reading: Meng Haoran's light and natural poetic style
Meng Haoran's poems are mainly characterized by seclusion, leisure, wandering and worrying, and his poetic style is light and natural, and he is good at five-character ancient poems.
Meng Haoran was the first poet who devoted himself to writing landscape poems in Tang Dynasty. He mainly writes landscape poems, and he is one of the representatives of the pastoral school of landscape poems. In the early stage, he mainly wrote political poems and frontier fortress ranger poems, and in the later stage, he mainly wrote landscape poems. Today, there are more than 200 poems, most of which were written when he wandered, and some of which were written when he visited his hometown Wanshan, Xianshan and Lumen Mountain. There are also several poems describing rural life. The geographical scope of this poem is quite extensive.
Landscape is the most important theme of poetry in the Southern Dynasties, which has experienced long-term development and made remarkable achievements. By Meng Haoran, landscape poetry has been promoted to a new height, mainly in the following aspects: the relationship between emotion and scenery in poetry is not only a mutual foil, but also a close combination of water and milk; The artistic conception of poetry is more pure and clear because all unnecessary and uncoordinated elements are eliminated; The structure of the poem is also more perfect. Meng Haoran prefers water rafting during his trip, as he himself said: "For many mountains and rivers, he often goes boating." (Jingqilitan) His poems mostly describe the beauty of Jiangnan water town and the interest of roaming, such as boating in the west)
Fang Rixi pointed out in the article "On the Lightness of Meng Haoran's Poetic Style": "Throughout Meng Haoran's poems, there are roughly three kinds of light poetic styles: one is that the thoughts and feelings are light and there is no intense emotion; Secondly, the poetic expression is weak and there is no strong poetic display; Third, the language is pale and there is no colorful description.
Extended reading: Meng Haoran's unique aesthetic view of poetry
Meng Haoran also has his own unique views on the artistic form of poetry creation. He advocates that poetry should think in images, shape images through the language of poetry and express the meaning of poetry through images. Readers are proud of "abandoning images and forgetting words". In the poem Ben Li Yue Xin Zuo Ting, he wrote: "We should abandon the image and realize, but forget the words and reason. What do you get in silence? Singing is also awkward! "Meng Haoran borrowed the theory of' abandoning images and forgetting words' in Buddhism and Taoism philosophy, and advocated that the lyrical expression and expression of poetry creation should not be too straightforward, but should have overtones and meanings beyond images.
Meng Haoran also advocated that poetry should be "exquisite and natural" instead of being bound by near-body rhythm. Meng Haoran collected 267 poems, including 63 five-character poems, 6 seven-character poems, 30 five-character poems, 4 seven-character poems, 37 five-character poems, 9 five-character quatrains, and 8 seven-character quatrains. It can be seen that except for 69 ancient poems, all of them are modern poems, with the most five-character poems. It can be said that he was the first poet who wrote a lot of modern poems in the prosperous Tang Dynasty. However, most of these poems can't be regarded as modern poems in the strict sense. Poems such as Looking at the Night in the Boat, From Sending to Yangzhou, Sending Yanjiu from Dongting Lake, Sending New moths from Duxia, and Going to Yanshan with Friends do not conform to the duality of five-character poems. However, the poet spoke highly of them. Yan Yu's Cang Lang Shi Hua said: "Everything is orderly and sonorous."
The complete maturity of modern poetry forms was in the Du period before Meng Haoran. Du is also from Xiangyang, and he can't help but know. So, why doesn't he go the way of Lao Du? In this regard, Shi Buhua's "Poems on Servants" thinks: "There are two typos and two typos in five-character Chinese, and all typos should be written in one breath, which is wonderful and natural. Novices should pay attention to confrontation and not fall into this situation. " In other words, Meng Haoran's five-character law is illegal because of its deep-seated aesthetic reasons. His pursuit of natural beauty is a correction to the excessive pursuit of formal beauty in the early Tang Dynasty. He combines ancient style with modern style, and his modern style is mostly ancient style. The metrical spirit of modern poetry is organically combined with the natural peace of ancient style, thus achieving the artistic realm of "beautiful artistic conception". Reading Meng Haoran's poems, we can't see the bondage of near-body meter, but there is a flowing nature. We should not only accept the rules of the near body, but also be burdened by the rules of the near body, and take nature as the first standard in everything.