Looking straight outside Guo's door, I saw the mountains.
The ancient tomb plows the fields, and the pine and cypress destroy the wages.
I hate many poplars in Taiwan, and I am worried about killing people.
Thinking about going home, I want to go home for no reason.
"translation"
After a long time, the impression of the dead people inevitably turns from vague to empty and disillusioned.
The new generation, who were not familiar with them originally, will be more impressed and kind after repeated contact.
Going abroad and seeing ancient tombs everywhere made me feel anxious, and I felt the pain of life and death.
Their graves were razed to arable land, and the pines and cypresses beside the graves were also destroyed and turned into firewood.
Poplar was rustled by the strong wind, as if lamenting the sadness of self. In the rustling sound, the chilling autumn sadness has worn away people's hearts.
Life is like a post station. Time flies. How can a long-term traveler not be shocked? He can only return to his hometown as soon as possible to enjoy the reunion of flesh and blood in the chaos.
That's why I want to go back to my hometown and find my past feelings.
"Notes"
"Departers" and "newcomers" refer to everything in the objective phenomenon. "Come" is a kind of "life". And "living" is still a new thing, which is consistent with "coming". "Sparse", alienated. "Dear", dear. As the saying goes, "day by day" is approaching day by day. "Yi", ancient "Yi" and "Ji" are universal and have the same meaning.
(Guomen) The outside of the city is called Guo, and "Guomen" is the gate of the outside city.
A plow is a kind of farm tool. Used as a verb here, it means to plow the field. "Destroy" and fold. The last sentence means that the ancient tomb has been leveled and plowed into fields; The next sentence is that the cypress tree on the tomb was cut down for firewood.
Poplar is also a tree planted among tombs.
In ancient times, five families were neighbors and twenty-five were Li. Later, it was generally called residence, and wherever people lived together, it was generally called Li. "Lu" is the inner door. Hometown or former residence. "Hui" means "ring" and surrounding. "Cause", by also.
"appreciation"
"The day of the dead is sparse, and the day of the living is near" comes from the fourteenth of nineteen ancient poems. Judging from the scope of subject matter, artistic realm and language style, some of them are similar to the thirteenth poem "Nineteen Ancient Poems Driving East Gate", which was written by a wanderer (the subject matter belongs to the category of homesick poems). Walking out of the suburbs and seeing the ruins of the tomb, I feel that the world is difficult and life is like a letter. On the issue of life and death, I angrily expressed my sadness that I couldn't get in the chaos.
Although Nineteen Ancient Poems were not written by one person, they were all rooted in the historical soil of the great turmoil in the late Eastern Han Dynasty and shared the same sense of hardship. Writers who fall into the deep valley of decadence and sentimentality because of disillusionment of life ideals need to satirize and attack the foggy outer universe of darkness to relieve their anguish; More importantly, they also need to reflect on their inner universe: since life is like a letter, what is the value of life? Since ups and downs are impermanent, things are changeable, crises are numerous, and fortunes are at stake, what will be the ultimate destination of life?
Although the authors of Nineteen Poems are not necessarily speculative philosophers, they are immersed in meditation because of extreme human worries. Taoism's vast imagination space and the long-term conception of "name and reason" since the pre-Qin period made them think about life and death in many ways, and finally combined the exploration of the Olympic area of life with the sad song of the difficult road to life. This is the ideological feature of the poem "Studying in Japan", and it is also a portrayal of the mental state of the middle and lower intellectuals at that time.
Of course, the same is exploration, the same is elegy, and the methods are different. Due to the different mentality of the authors in each work of Nineteen Poems, the construction of the core concept of self-reflection is also different: some are intentional, affectionate and some are winning; Some are consistent and not good at twists and turns; Some adopt layer-by-layer layout and tighten the hoop; Have a plenty of hair like a pen, upside down, on the surface, it seems to be free, but at a deeper level, there is obviously an internal context. The song "I am thin when I am gone" is more different from the upward trend in terms of mentality. Please see, at the beginning of the poem, "People who leave will be sparse, and those who come will be close", and the life written is highly summarized, which has enveloped the whole poem and is quite different from other 18 poems. Other 18 songs, mostly in the form of metaphor, gradually changed from revealing the superficial image of natural scenery to digging deep into the social connotation of scenery. This aesthetic mentality and its artistic treatment have become an excellent tradition of China's poetry. Therefore, the ancients said that if poetry has "interest", then "poetry is full of spirit" (Li Zhonghua's "A Zhen Zhai Shi Hua"). There is truth. But then again, the power of poetry can't be limited to Bixing. Even if it comes straight to the point, it will become a masterpiece as long as it is handled well. Cut to the chase, you can use narrative techniques, such as "talking when you get into the car, walking on a long road", turning from "walking on a long road" to looking around, and unfolding the melancholy touch of life; You can also use a philosophical epigram that covers the whole text and is full of images as the introduction, that is, the first two sentences of "going to the sky to be sparse" to be discussed next.
These two sentences are intertwined, mutually causal and complementary. Heaven and earth are like the reverse of everything; Life is like a hundred generations of passers-by, which is extremely short, not to mention the disastrous era of "white bones exposed in the wild, thousands of miles without crows" (Cao Cao's "Walking in the Vast"). After a long time, the impression of the dead will inevitably change from vague to empty and disillusioned. The new generation who were not familiar with them will be impressed after repeated contact. The past is the past, and the coming is the coming. Today's "going" has already had the past "coming"; Today's "coming" will of course have tomorrow's "going". This is not only similar to Wang Xizhi's Preface to the Orchid Pavilion, but also shows that the psychological space of the literati in the late Eastern Han Dynasty and even the Wei and Jin Dynasties is indeed vast. They like to explore life and think about fate. According to the chronological order of this poem, the author should first write about Guo Men, and see the ancient tombs everywhere, which suddenly aroused the pain of life and death, and then pushed it away, giving play to the philosophy of world metabolism and impermanence of time. However, the author did not write like this, but waved the pen of thunder. At first glance, the two sentences he wrote are so vast, spanning ancient and modern times, implying infinite joys and sorrows in the world. Technically speaking, it is virtual with real, and virtual with real; Judging from the author's mentality, it is at the beginning of the poem that the mobility of people's metabolism is pointed out from a macro perspective, thus making an insightful observation and endoscopic reflection on this "coming" and "going".
The appearance of the sentence "looking straight outside the country, but seeing the mountain grave" is not accidental, which shows that the rise of the image at the beginning is not accidental, and shows that the author is in a crowded grave and anxious about the realization of life. The author was really shocked by the picture in front of him. It is precisely because this enlightenment and anxiety come from the grim life picture in front of us and the image of determination buried in the poet's memory warehouse for a long time that the coverage of this beginning is extremely broad, the momentum is extremely abundant, and the thinking tentacles are mysterious. This is exactly what the Tang Dynasty poet Gao Sengjiaoran said: "When the poet's thoughts are at the beginning and the situation is high, then a poem is also high." After the author came out of the country, almost everything he saw and thought was related to his life's "going", "coming" and death.
"the ancient tomb plows the fields, and the pine and cypress destroy the salary." The "ancient tomb" where the dead are buried is the ultimate destination of life, but the dead are still difficult to protect. Their graves were razed to arable land, and the pines and cypresses beside the graves were also destroyed and turned into firewood. Life, along with their graves, goes by with time, and new fields increase with time. In the face of such a bleak phenomenon, in the face of that "time", it happened that the world was separated ("Wen Xin Diao Long Shi Ming"), the land was in war, the people were smeared with charcoal, and the poet's disillusionment with the "going" and "coming" in front of him could not help but cause a deeper understanding and deeper sorrow. Since the disaster of "newcomer" is approaching step by step, he can't help but meditate on ancient and modern metabolism; Seeing and hearing that Baiyang was blown by the strong breeze, he couldn't help but deeply feel Baiyang's "sadness" and hurt his life experience. Hengtai has always been described as a "rustling" voice.
Therefore, the poet can't help but immerse himself in the accumulation of a tragic aesthetic mentality, and finally exclaim with infinite emotion: "I hate many poplars in Taiwan, but Mix is worried about killing people"! There are many things before and after the tomb, but it comes down to only "Bai Yang"; But writing poplars only highlights the "rustling". There is a saying in Jing Ke that "the wind blows and the water cools". Borrowed here, it has become a very peaceful voice, and like the crying of poplar trees, it has become a symbol of the "underground dead." The death of the deceased is "the relatives are getting thinner", but their sadness is clear. This is "relatives are getting closer every day." One is "sparse" and the other is "dense", which is reflected in the contrast of typical scenes of ancient tomb metabolism, and is more concentrated in the rustle of Bai Yang. Needless to say, this result inspired the poet. Zhu Yun, a person of A Qing Dynasty, said: "At this point, you can stop writing"; But he went on to say, "As soon as the last two sentences are dropped, there will be infinite twists and turns." (Nineteen Ancient Poems) is indeed reasonable.
The last two sentences: "I want to go back to my hometown for no reason" is so plain, but full of infinite bitterness: I want to go back to my hometown for no reason. From the performance point of view, these two sentences seem to be far from the last article, which was really said by Zhu Yun. The introduction of this great turning point shows the leap of poetry, which is not a pen of freedom, but has a profound internal connection with the above. Since life is like a post, metabolism is not alive, and the years pass so fast in the process of "going" and "coming", the wanderers who have been staying for a long time can't help but be shocked. The only hope is to return to my hometown as soon as possible so as to enjoy the reunion of flesh and blood in the chaos. At this time, the old people should not be exhausted by death, and the new students who have never met can be close again, which will be beautiful. However, it is painful not to go back and there are many failures. Although these faults are not detailed, they are only brushed aside and become the word "no cause" full of infinite bitterness! However, this poet who gazes intently at the grave and reflects on himself in life has a bright future.
He had to leave his fantasy in emptiness and his heart in the ethereal universe. At the same time, he can only let his long life continue indefinitely, let the dream of going home haunt his pillow day by day, and let the New Year in the guest force him day by day.
In the vast mobile world of ancient and modern metabolism, the poet's experience is small, but his psychological time and space are very broad. He put his long-term wandering career in the downstream time of "going" and "coming", and put "going abroad" in a foreign land and "traveling in China" in the convection of two spaces; More importantly, the metabolism of the universe caused his subjective enlightenment, and the poet's anxiety deepened the sadness of the scene. In the sad atmosphere, stood an unknown poet, who was immersed in meditation and purified and sublimated his tragic character. At this point, it can be considered as the communication between mind and reality.
Downstream, convection and horizontal note all show that the author of this ancient poem has a discerning eye. He not only "looked directly" at the mound grave, but also faced the Austrian region in the vast universe. With anger and anxiety, he observed and pursued the secret.