Detailed introduction
The thin horse on the west wind ancient road comes from the courtyard sand Qiu Si, and the courtyard sand Qiu Si is a Sanqu written by Yuan Qu writer Ma Zhiyuan.
This song juxtaposes a variety of scenery into a picture of the sunset in the autumn suburbs, which makes the wanderer ride a thin horse on the bleak background, revealing a sad mood and expressing the sadness that a wanderer misses his hometown and is tired of wandering in autumn.
This poem is unique, the first three sentences are all composed of noun phrases, and one * * * lists nine kinds of scenery, which is concise and meaningful. There are only five sentences and twenty-eight characters in the whole song. The language is extremely concise but huge, with profound meaning, exquisite structure and ups and downs. It is praised as "the ancestor of Qiu Si" by later generations.
This poem is very short, with only five sentences and twenty-eight words. There is no word "autumn" in the whole song, but it depicts a sad and touching wandering picture of a wanderer at the end of autumn, which accurately conveys the sadness of travelers.
At the beginning of this song, the author drew nine pictures in succession: dead vines, old trees, faint crows, small bridges and flowing water, people, ancient roads, west winds and thin horses. There is love in the scene, and there is a scene in the scene, which is wonderful and harmonious. On the vast and desolate background, the sad feelings of travelers who wander around the world are outlined.
Remove conjunctions, and directly use the combination of nominal images to describe the scenery, which has already appeared in poems, such as "Maodian crows, the moon is full, Banqiao frost is rejected by people" (the first trip to goodness), "a glass of wine in the spring breeze of peaches and plums, ten years in Yi Deng after a rainy night" (Huang Tingjian's Send Yellow Several Times).
"It snows all night, and the autumn wind is scattered" (Lu You's book Anger) is full of noun conjunctions, omitting all connection, explanation and modification, and directly combining several images like a montage. The aspect of "image" seems isolated, but the aspect of "meaning" has potential connection.
It seems to be divorced from reality, leaving readers with room for imagination and the possibility of re-creation. This temporarily interrupted the linear narrative process of language to a considerable extent, making the language of poetry more concise, more full and powerful, and greatly enhancing the functions of poetic imagery and spatial presentation.
Compared with these poems, this poem is unique in the juxtaposition of images: first, its images are all common things in nature and society, so their combination is more natural, although the conjunction is omitted, it does not make readers feel jumping and easy to understand;
Second, every word and noun is decorated with an adjective, which not only has a strong subjective emotional color, but also reduces the density of images, thus causing a powerful aggregation effect in emotional expression and rendering, that is, "the chord of images";
Third, it is neat and distinct, and the works as a whole also show a spatial arrangement order from near to far. From the old vine to the small bridge, and then to the distant ancient road, the space extends layer by layer, the vision is gradually expanded and complicated, and the author's emotions have also undergone subtle changes, which is intriguing.