Yugezi, the name of Ci brand, is also called "long and short sentences" and "Xiaoling". It can be sung, divided into two sections, upper and lower, with a space between the two sections.
Yu Gezi①? Tang Zhang Zhihe
Egrets fly in front of Xisai Mountain ②,
Peach blossoms flow into the water ④ Mandarin fish are fat.
Green bamboo hats ⑤, green coir rain clothes ⑥,
The slanting wind and drizzle do not need to return ⑦.
Notes
1. Yugezi: It was originally the name of a tune. Later, people wrote lyrics based on it, and it became the name of the lyrics.
2. Xisai Mountain: in Huangshi City, Hubei Province.
3. Egret: a white water bird.
4. Peach Blossom Flowing Water: The season when peach blossoms bloom is when the spring water rises, commonly known as peach blossom flood or peach blossom water.
5. Ruo Li: A bamboo hat made of bamboo leaves.
6. Raincoat: a raincoat made of grass or brown braid.
7: Mandarin fish: Also known as mandarin fish in Jiangnan, the meat is delicious.
Translation
In front of Xisai Mountain, egrets are flying, peach blossoms are in full bloom, the water is rushing, and the mandarin fish are also plump. In a small boat on the river, an old man wearing a green bamboo hat and a green raincoat was fishing on the river in the slanting wind and drizzle. He was fascinated by the beautiful spring scenery in the south of the Yangtze River and refused to leave for a long time.
Author
Zhang Zhihe (730~810), whose courtesy name was Zitong, was originally named Guiling. A native of Jinhua, Wuzhou (now Jinhua, Zhejiang). During the reign of Emperor Suzong of the Tang Dynasty, he issued an imperial edict to Hanlin. Later, he was demoted due to some affairs and was pardoned. He stopped working as an official and lived in the rivers and lakes, calling himself Yanbo Diaosou. He is the author of the collection "Xuan Zhenzi" and "Complete Poems of the Tang Dynasty", which records nine of his poems. Yugezi, the name of the lyrics and tune, is also known as the Fisherman's Song. This is a Tang Dynasty Jiaofang song. It is divided into two types: single and double tone, monotonous 27 characters, five sentences, four flat rhymes; double tone 50 characters, oblique tone. Zhang Zhihe's "Yu Ge Zi" has five songs. Ten volumes of "Nanhua Xiangshuo" and eight volumes of "Chongxu White Horse is Not a Horse" have not been published in the world (this is based on the "Stele of Mr. Langji Xuanzhenzi Zhang Zhihe" written by Yan Zhenqing of the Tang Dynasty. According to Yan Naizhang's friend, "Tang Shu" The events of Zhang Zhihe recorded in "The Biography of Zhang Zhihe" and "Xuan Pin Lu" and "Xuxian Biography" are all based on this "Stele"). Zhang Zhihe had little talent and learning. At the age of 16, he was promoted to the Ming Dynasty to serve as Emperor Suzong of the Tang Dynasty. He was deeply appreciated and was sent to the imperial edict, and Zuo Jinwu was given the title of recording affairs and joining the army. So he changed his name to Zhihe. Shortly thereafter, he was demoted to Nanpu Lieutenant due to prison matters. He was pardoned and returned to the imperial court, and he no longer resumed his official position because of his family's bereavement.
After leaving the palace, he often lived in the rivers and lakes, calling himself "Yanbo Fishing Disciple". It is probably an imitation of Jiang Taigong's fishing story. Every time he fishes without bait, his intention is not to fish.
The following events illustrate Zhang Zhihe’s behavior. Although Zhang Zhihe was once a court official, after he retired, the county magistrate dredged the canal, and he was able to "hold the dustpan and serve without any disobedience" (Yan "Stele"). Also, Zhang Zhihe tasted brown fur made of large cloth, and when his sister-in-law heard about it, they woven it with their own hands and finished it. It lasted for ten years, but they could not understand it despite the summer heat. Emperor Suzong of the Tang Dynasty granted him a slave each, and Zhang Zhihe married them as a couple. They were named Yutong and Qiaoqing. People may ask why, and the answer is: "The fisherman is responsible for holding fishing and harvesting fish, and the drum is played in the reed, and the Qiaoqing is responsible for Su Lanxin." Gui, fried tea in the bamboo." Lu Yu, the son of Jingling, and Pei Xiu, the school secretary, asked "who is the visitor?" Zhang Zhihe responded with enthusiasm: "Taixu made a room and lived alone, and the moon served as a lamp to illuminate the world. The princes have not yet parted, so how can they communicate with each other?" His open-mindedness is very much in the style of Zhuang Sou. But Zhang Zhihe was aloof by nature, "unavailable and distant, frank and indifferent, and no one could peep into his joy and anger. He looked at his clothes like grass and mustard, and screened his desires like sand." (Yan "Stele")
Zhang Zhihe was also good at painting landscapes. When he was drunk, he would dance with the music of drums and flutes, dance with pen and ink, and write fishermen's songs. He also wrote pictures and scrolls for the imperial censor Li E, which were ever-changing. The viewers were stunned. There were more than sixty people sitting under them, each with their own name. Zhang Zhihe looked at it in two words. They were all right. He raised his table and sighed. . Li Deyu praised Zhang Zhihe for being "hidden and famous, showing nothing but doing nothing, never reaching anything, and being very bright". He was well-known in the world, and this kind of life made Li Deyu, who was in an important position in the imperial court, envious.
In the autumn and August of the seventh year of Dali (AD 772), Yan Zhenqing was the governor of Huzhou, and Zhang Zhihe came to visit him. Yan Zhenqing asked to change the boat because it was leaking. Zhang Zhihe replied: "I wish I could use my fishing boat as a floating home. I can travel along the rivers and lakes and travel between places in an instant. It's a wild man's luck." So he started playing with water. ("Xu Xian Zhuan" records that Zhang Zhihe "keeps the truth and nourishes Qi, lying in the snow does not get cold, entering the water does not get wet"), suddenly Yan left. Regarding Zhang Zhihe's death, there is only one vague record in Yan's "Stele", "Suddenly you left me." "New Book of Tang·Biography of Zhang Zhihe" may not cover the matter because its meaning is unclear. "Xu Xian Zhuan·Xuan Zhenzi" uses this to say, "I found him on the water, waved my hands to thank Zhen Qing, and then went up." Therefore, the deity's deeds cannot be trusted.
Zhang Zhihe's works, according to Yan's "Stele":
Written twelve volumes with 30,000 words, titled "Yuan Zhenzi". So he named Yan... Jing Zhaoyi as the author of "Nei Jie". Yuan Zhen also stated that in the fifteen volumes of the Yi, there are five hexagrams in every two hundred and sixty.
The existence of fifteen volumes of his "Dayi" is unknown today. There are many versions of "Xuanzhenzi", which are divided into three volumes:
"Qieqiechu Jian·Sixteenth Son", the thirteenth episode of "Zhiquzhai Series", " "Jinhua Congshu·Zibu" and "Collection of Congshu Collection·Philosophy Category" are photocopied from the edition of "Zhi Yu Zhai", and have been referred to the edition of "Tao Zang". The Taixuan Department of Zhengtong Daozang of the Ming Dynasty rarely included this book, but it was labeled "Xuanzhenzi Waipian" and was divided into three volumes: the upper, middle and lower volumes.
Why is it called the "Outer Chapter"? Does "Xuanzhenzi" have an "Inner Chapter"? Checking the "Zang" edition, it is found that the book is about 37,000 words. According to Yan's "Stele", "Xuanzhenzi" has "30,000 words" ", roughly consistent, then we know that what is collected in "Daozang" is the full text of "Xuanzhenzi", and there is no separate "Inner Chapter". It is collected in the fifth category of "Daozang Jiyao". "Zihui" collects "Xuanzhenzi Waipian", which is not divided into volumes, but is divided into three parts: Bixu, Luanjuan and Tao Zhiling. The subsequent three volumes are all divided according to this. Minggui Youguang compiled and commented on "Xuanzhenzi", not divided into internal and external chapters, nor into volumes. This book is included in "Huihan" of Zhuzi, which should be closer to the original appearance of "Xuanzhenzi" and can be used as a reference. "Xuanzhenzi" is divided into chapters and volumes including: "Twelve Masters" edition, "Twenty Schools of Books" edition, "Sikuquanshu·Zibu Daoist Class" edition, "Zishu Baijia, Daoist Classification" edition, "The Complete Book of Baizi·Taoism" and so on. Anyone who enters the Zi Department belongs to the Taoist category. In addition, Volume 100 of "Shuo Yong" (Wanweishantang version) includes one volume of "Xuan Zhenzi's Fishing Songs", written by Zhang Zhihe of the Tang Dynasty and recorded by Li Deyu.
The writing style of "Xuan Zhenzi" is quite similar to "Zhuangzi", and it is all written in fables. His words are broad and magnificent, and he has realized many dialectical truths from the contemplation of relativism. Zhang Zhihe also has profound attainments in astronomy. Below I select a few details to illustrate the author’s brief knowledge.
Zhang Zhihe named the king of heaven as "Shenzun", the king of earth as "only humble", and the king of Bixu (the air between heaven and earth) as "Linghuang". He said:
The god said: I have heaven. Zhibi said: I have land. He asked about the name of the strange and strange heaven and earth: "When I look up, it is no different from the blue sky. When I look down, it is no different from the blue sky. In the blue sky, are they ridiculing things? What does the emperor say about the heaven and earth?" Zibi said. : "My land is large in body and thick in quality, endowed with vitality, high in the middle and hanging down on the outside, with great potential. The layers are like an altar and a chariot...". The deity said: "My sky has a weak body and a high shape, and the beginning of transformation. The middle members turn outwards, and their movements are dry. The sky is like a tent...". Linghuang Weixin said: "The sky is like a tent, and Hu County hangs above it? The earth is like an altar, how can it be peaceful below?" The deity said: "The sky's tent is not the upper county, and the floating wheel always rotates left. The three lights then moved to the west. "Zhibei said: "The altar of the earth has a Qiu plate floating on it, so it is safe."
("Xuan Zhenzi·Bixu")
Zhang Zhihe’s theory on the relationship between heaven and earth is quite close to the “Supreme Sky Theory” of ancient Chinese astronomy. The difference is that Zhang Zhihe does not think that the earth is tilted, with the northwest high and the southeast low. There is an invisible void between heaven and earth, which is consistent with the "Xuan Ye Theory" in ancient astronomy. Xuan Ye theory believes that in the universe, only celestial bodies (the so-called "three lights" sun, moon, stars and the tangible substances they constitute) and the earth are tangible and qualitative. In addition, there is infinite void. The celestial bodies are not attached to any real objects, but only Float above the vitality and move freely. This is where Zhang Zhihe attracted ancient astronomy (Xuan Ye said it before the end of the Han Dynasty). Further, we can see Zhang Zhihe’s superb explanation of the relationship between the sun and the moon.
The sun and the moon have the element of unity, and death and life have the end of the cycle. Those who fixate the elements of the wall know that there is a time when thin eclipses meet; those who reach the end of the cycle know that there is a time when life and death meet... However, the brightness of the moon comes from the sun. The light emitted by the moon is a reflection of the sunlight, so the intersection of eclipses of the sun and the moon is regular, which is completely consistent with modern astronomy. Of course, it is impossible for Zhang Zhihe to surpass the cognitive ability of the times. He failed to realize the true relationship between the sun, the moon and the earth, and therefore could not reveal the secrets of solar and lunar eclipses. However, he attributed solar and lunar eclipses to natural phenomena that would inevitably appear at a certain time, which excluded theological explanations for natural phenomena such as solar and lunar eclipses.
Let’s look at Zhang Zhihe’s understanding of existence and non-existence and their relationship:
Existence is not non-existence, and non-existence is not non-existence. And there is something that is not without, but there is nothing, and there is something that is not without, but there is nothing. This is the end of existence and non-being. Therefore, the sudden non-existence of what is now is not the non-existence of what was not in the past; the sudden existence of what is not now is not the non-existence of what was in the past, which is different from time. If there is no other and no existence, it is connected with the non-existence in the past but not different. If there is no existence and no existence in the future, it is not different and is the same as the time. If it is different from the time, it is assumed that there will be something else that is not the case; if it is the same as the time, it is assumed that there will be something that is inevitable otherwise.
("Xuan Zhenzi·Tao Zhi Ling")
This passage sounds very mysterious, but its basic idea is only one, that is, the existence or non-existence of things is in the process of time. mutually reincarnated. The specific things that exist now must have not existed in the past; the things that do not exist now must be relative to their past existence. If something has never appeared in the world, we cannot say that it does not exist today. The disappearance of existing things is different from the "nothing" in which things have never appeared in the past. Something today suddenly comes into being from nothing, and it is also different from the fact that something in the past has been preserved until now because time has changed. (The former has a The latter has a process problem from nothing to something.) If there is no such thing in the world (that can be referred to now) and there is no difference between the nothingness in the past, there is no such thing. Existence and non-existence are the same and have no difference between existence and non-existence in the future, because the difference in time between them is removed (that is, abstractly talking about the relationship between existence and non-existence, and excluding the time factor of this relationship). Seeing that there is a difference in time between existence and non-existence, people in the world think that it is right to discuss existence and non-existence from a different time point of view. However, some people do not think so. They exclude the difference in time and discuss existence and non-existence from an abstract point of view. People in the world think it is right. Everyone thinks it is wrong, but some people think it is right. Seeing the connection between existence and time is the dialectical light flashed by Zhang Zhihe in his metaphysical contemplation.
Time is originally connected to the movement of things. If there is no movement of matter, there will be no time. Although there are many forms of movement, the most basic form of movement is still the mutual transformation process of the existence and death (existence or absence) of things. Moreover, the stipulation of time depends on the speed of material movement (Einstein confirmed this, the faster an object moves, the slower time passes, and vice versa). Of course, Zhang Zhihe did not have developed scientific knowledge to lay the foundation for his views on time, space and material movement, but he revealed the inner connection between time and material movement (the process from nothing to something, from something to nothing) in his speculative philosophy, which is really commendable. The following quotations from the famous monk Seng Zhao (384-414) during the Southern and Northern Dynasties may help to understand Zhang Zhihe’s contribution on this issue.
... Looking for things in Xiang, there is no such thing as there is in Xiang; there is no such thing as asking for things in the present, but there is no such thing as today. Since there is no existence now, we know that things will not come; there is no existence in the past, so we know that things will not go away. If you seek the present again, you will not go back to the present. This means that things in the past are in the past and do not lead from the present to the past. Things in the present are in the present and do not lead from the past to the present.
("Zhao Lun: The Theory of the Intransigence of Things")
Also, the fruits of all things have their own reasons for not being there, and there are reasons why they are not non-existent. There is a reason why it does not exist, so although it exists, it is not something. There is a reason why it does not exist, so although it does not exist, it does not exist. Although it is nothing, it is not nothing, and what is without is not completely empty; although it is something, it is not something, and what it is is not really there. If there is something that is not true, there will be no trace of it. However, if there is something that is not true, it will be the same.
("Zhao Lun·No Vacuum Theory")
As discussed in the previous paragraph, Seng Zhao denied the connection between material movement and time, and only saw the discontinuity of time and movement, not the discontinuity of time and movement. to their uninterrupted nature. But Seng Zhao revealed the contradiction between time and movement, which is undoubtedly meaningful in the history of understanding. Zhang Zhihe admitted this pair of contradictions and believed that the mutual transformation of the existence and non-existence of things is revealed over time. This broke the gap of contradictions revealed by Seng Zhao and developed dialectics. In the latter part of the discussion, Seng Zhao revealed the contradiction between the existence and absence of things and space. Things have an aspect of their existence and an aspect of their non-existence. To say that something has an aspect that does not exist does not mean that the thing is absolutely nothing. The existence and non-existence of things is the unity of opposites. Existence that does not include nothing can only be understood as absolute eternal existence, and specific things are always closer to disappearing every day they exist. On this point, Zhang Zhihe and Seng Zhao are very close. "Besides, there is nothing without nothing, and there is nothing without nothing." Existence that does not include nothing is unreal, and nothing that does not include being is not What we call nothing. Compared with the two, Seng Zhao's discussion is clearer, but he went far away from the unity of the existence and non-existence of specific things and then said that "all things are not true" and things are just "false names". Because although specific things can be born and destroyed (change the form of existence), the material world exists forever. The "law of the immortality of matter" in physics proves this. As for its logical errors, they are often made by the idealist worldview and will not be analyzed here. Let’s take a look at Zhang Zhihe’s theory of the origin of the world. It is not difficult to see the difference between him and Seng Zhao:
The word without existence is the beginning of existence and non-existence; the one with existence and non-existence is the beginning of non-existence. . There is no creation, there is no establishment, but creation is within it. For the creation of creation, space is used to spread it, wind is used to move it, water is used to gather it, consciousness is used to feel it, Qi is used to communicate it, and all things are prepared within it. The emptiness pervades and exists in the body, the wind circulates and functions, the water gathers and there is vision, the consciousness is weak and thoughts arise, the qi circulates and the intention is established. Because the body exists, it can be a thick foundation; when it is used, it can gradually become clear; because it has insights, it can observe changes; because thoughts arise, it can be known and transformed; because it has established intentions, it can be understood in detail. It is known that the original body can be thick, it is the empty body, it can gradually become clear, it is the use of wind, it can become visible, it can be seen as the existence of water, it can be transformed into knowledge, it is the thought of consciousness, and the reason can be detailed, it is the meaning of qi.
("Xuan Zhenzi·Bixu")
The existence and non-existence transform into each other, gradually forming the world. Since the creation of the world, it has ceased to be false and unreal. Instead, it has been filled with air, with wind flowing, water gathering, air flowing, and consciousness. This contains both the simple materialistic view and the knowable view.
The real world is created from something out of existence, and this process of creation is natural. There is no question of who is the creator, nor what is it created from? He said: < /p>
Being spontaneous is called Yuanran, and being transformed without creation is called true transformation.
No place was left for the final creator of the world. This theory of natural creation can be said to be a way of denying the theory of God’s creation.
Since the world creates itself, then where is the "Tao"? Zhang Zhihe believes that the "Tao" cannot be perceived, "I know that the Tao does not exist" ("Bixu" ). The Tao is the ultimate in nothingness and the ultimate in existence, he said:
...The ultimate in nothingness and existence is none other than the Tao. ...Wandering around the Liuhe, if you seek for something but can't get it, is it not the way to be innocent? If you are born out of nature and can't avoid it, is it not the way to be evil?
("Xuan Zhenzi·Luan Hui")
p>The "Tao" here obviously refers to rules and laws. It is said that there is nothing, because searching up and down cannot be found, and the laws of the movement of things cannot be grasped by the sense organs; it is said that there is nothing, because even if you transcend creation and intentionally get rid of it, you can never get rid of its constraints. The law is It exists objectively and is universal. These are Zhang Zhihe’s shining thoughts. Of course, it is impossible to seek the existence of Tao "out of creation". Laws are inherent properties of the movement of things. Without movement (creation), there is no law (Tao) at all.
Zhang Zhihe also seems to have a tendency to sever the connection between motion and the laws of motion. The so-called "creation" is certainly a hypothetical premise, but setting the premise itself shows his lack of understanding of the relationship between the two. Moreover, the following discussion only said that creation does not come out of the scope of Tao, and failed to see that Tao is only the attribute of things in the process of creation.
From the above, it is not difficult to see that Zhang Zhihe was indeed a great philosopher in the Tang Dynasty. Although he did not have a solid scientific knowledge as a basis, the philosophical propositions rich in scientific elements he proposed in the kingdom of speculation are indeed a very valuable ideological legacy.
All nine of Zhang Zhihe’s poems
Volume 308_1 Tailiaoge Zhang Zhihe
Hua Yuan is spiritual, the blue sky is clear, and the red clouds are bright. It's dark and boundless, but the work of transformation has no boundaries.
Volume 308_2 Empty Song by Zhang Zhihe
Spontaneity is the origin of nature; transformation without creation is the beginning of creation. The outline is clear and the shape is round. You can observe with the reflection of you and the reflection of you.
Volume 308_3 Five Songs of the Fisherman·Zhang Zhihe
In front of Xisai Mountain, egrets fly, peach blossoms flow and mandarin fish are fat. Green bamboo hat, green coir raincoat, slanting wind and drizzle do not need to return.
The fishermen in Diaotai are wearing brown fur and sailing in two, two, three and three boats. Able to swim freely, accustomed to riding the current, I will never worry about the white waves of the Yangtze River.
The fisherman who fishes in the Peixi Bay, and his boat is from the west to the east. There is snow on the river, wind beside the river, smiling and wearing clothes without sighing about poverty.
The owner of the Songjiang Crab House is happy, and the wild rice and water shield soup is also a delicious meal. The maple leaves have fallen, the beetroot flowers have dried up, and the fishing boats are too drunk to feel the cold.
The moon is full in Qingcao Lake, and the fisherman of Baling sings. Fishing by car and boat, enjoying the storm without any need for immortality.
Volume 308_4 Shangsi recalled the plague incident in the south of the Yangtze River by Zhang Zhihe
The Yellow River flows around the county and city in the west, so there should be no plague exorcism in Shangsi.
To recall the spring color of the Lujiang River, I also follow my dreams at night to Wuzhou.
Volume 308_5 Fisherman Zhang Zhihe
In August and September, the reed flowers fly, and the old man from Nanxi returns to fishing.
Autumn mountains are green and green, and the wild boat leans against the threshold and is covered with clouds.
But I looked for the fishing rod in the path and combed my crane's hair in the slanting light.
It is suspected that Si Hao has been involved in many affairs and decided what was right and wrong when he became the crown prince.
Comments
This poem describes the fishing scene during the spring flood period in the Jiangnan water town. There are vivid colors of mountains and waters, and the image of a fisherman. It is a landscape painting written in poetry.
The first sentence is "The egret flies in front of Xisai Mountain". "In front of Xisai Mountain" points out the location. "Egret" is a symbol of leisure. It writes about the egret flying freely, setting off the leisurely contentment of the fisherman. The second sentence "peach blossoms and flowing water, mandarin fish are fat" means: the peach blossoms are in full bloom, the river water is rising sharply, and the mandarin fish are growing fat at this time. The contrast between peach red and water green here represents the scenery of lakes and mountains in front of Xisai Mountain in late spring, and exaggerates the living environment of the fisherman. Three or four sentences, "Green bamboo hats, green coir raincoats, no need to return in the slanting wind and drizzle" describe the fisherman's mood when fishing. The fisherman, wearing a green bamboo hat and green coir raincoat, was so happy in the slanting wind and drizzle that he forgot to return home. "Slanting wind" refers to a gentle breeze. The whole poem has bright colors and lively language, which vividly expresses the fisherman's leisurely life.
This word embodies the author's love for freedom and nature in the beautiful waterside scenery and ideal fisherman's life. What attracts us more in the poem is not the fisherman who is calm and contented with the wind and rain, but the picture of the spring river in Jiangxiang during the Peach Blossom Flood in February with rising water and misty rain. Green mountains in the rain, fishing boats on the river, egrets in the sky, and red peaches on both sides of the bank, the colors are bright but soft, and the atmosphere is peaceful but full of vitality. This not only reflects the author's artistic ingenuity, but also reflects his lofty, unconventional, leisurely and refined taste. After the poem was recited, not only did many people sing it, but it also spread overseas, opening up the door for Chinese poetry writers in Japan in the east to write lyrics. Emperor Saga composed five "Fisher Songs" and seven of his ministers' fenghe poems. , which is adapted from this word. Also, the old annotation states that Mount Xisse is in Huzhou, which may not be true. There are five poems in Zhang's "Fishing Song", which sing about Xisai Mountain, Diaotai, Songjiang, Xuexi and Qingcao Lake. They generally talk about the joy of fishing in rivers and lakes, but the place is not in Huzhou. According to Lu You's "Entering Shu", Mount Xisai is the Taoist Ji of Ezhou: "The name of Ji is Mount Xisai, which is what Xuan Zhenzi calls "Egret Wind in front of Mount Xisai" in "The Song of the Fisherman"." Su Shi was relegated to his home When I was in Huangzhou, I once visited this place and there was a saying: "Yuan Zhen's language is extremely clear and beautiful. I hate that its tune has not been passed down, so I added his language and sang it in "Huanxi Sand"." (Xu Fu's "Partridge Sky" lyrics and postscript, see " "Yuefu Yaci" volume) Su Shi's "Huanxisha" poem: "Egrets fly in front of Xisai Mountain, and the sails outside Sanhua Island are slight." Sanhua Island is in the Yangtze River, opposite to Xisai Mountain. Xu Fu's "Partridge Sky" poem: "Egrets fly in front of Xisai Mountain, and peach blossoms flow in the water to fertilize fish. If the court is looking for Yuan Zhenzi, he is fishing in the Yangtze River on a clear day." Xisai Mountain is also on the bank of the Yangtze River.
Zhang Zhihe’s "Yu Gezi" comes to Japan
The friendship between China and Japan reached its climax as early as the Tang Dynasty. Japan has sent thirteen "envoys to the Tang Dynasty" to China. The Chinese monk Jianzhen, who went through many hardships and dangers, traveled east to Japan, which is even more beautiful. The contribution of Jianzhen and Japan's Abe Nakamaro to Sino-Japanese diplomatic relations is etched in the annals of history and popular among people. Well known.
However, there is another envoy who has made "special" contributions in establishing the monument of Sino-Japanese friendship. He is the Tang Dynasty writer Zhang Zhihe, who calls himself "Yanbo Diaotu". Zhang Zhihe's noun "Fisher's Song":
In front of Xisai Mountain, egrets fly, and peach blossoms and flowing water make mandarin fish fat.
Green bamboo hats, green coir raincoats, slanting wind and drizzle do not need to return.
Liu Xidai of the Qing Dynasty once praised it as a masterpiece that "has been popular through the ages" in "Yi Gui". It is not only the ancestor of Chinese Tang Ci, but also the founder of Japanese Ci.
Zhang Zhihe's "The Fisherman's Song" is like a rainbow bridge between China and Japan. It is recorded in the "History of Japanese Lyrics" that the lyrics were spread to Japan about forty-nine years after Zhang Zhihe wrote "Yu Gezi" (AD 823, that is, the fourteenth year of Hirohito in the Heian Dynasty of Japan). At that time, Emperor Saga read and praised the poem and held a banquet at Kamo Shrine to compose poems. At that time, the emperor's relatives, scholars and celebrities all sang Zhang Zhihe's "Fishing Song" with Emperor Saga. It is true that Zhang Zhihe never went to the banquet to sing the praises of peace, which is a pity, but the peace writers rushed to imitate "Yu Ge Zi" and wrote "Yu Ge Zi", which plucked the heartstrings of the Chinese and Japanese people. Xia Chengtao, an old lyricist in modern times, once said in his quatrains about Emperor Saga: "A line of Saga pregnant with great talents...peach blossoms are floating in Penglai." This is an excellent praise for this.
Emperor Saga of Japan was very knowledgeable about Chinese poetry. He composed five poems at the banquet, the third of which said:
The bridge crossing the river under the youth forest, the lake water flowing into the sky .
Idle fishing and drunkenness, singing alone, the tide goes out indefinitely.
During the banquet, the Emperor’s seventeen-year-old daughter, Princess Tomoko, was extremely intelligent. She sang two poems, which added to the excitement of the shrine banquet:
Spring Water The ocean is clear and the waves are clear, and the fisherman is now alone.
Where in the country? What's your name? The idle songs in the pond bring peace.
. Modern Japanese scholar Uramatsu Tomohisa pointed out in his paper "The Second and Third Issues About Yue Diao Poetry - The Legacy of New Voices in the Tang Dynasty in Japan" that the genre characteristics of Yue Diao Poetry are easily reminiscent of Volume 14 of "Jingguo Ji" The preserved "Fisher Song" group of poems, about this group of thirteen poems centered on the five poems of Emperor Saga, are some of the genealogy of "Fisher Song", that is, with Zhang Zhihe and "The Fisherman" as the original works, they are called [ [Ci] works related to new forms of poetry. It can be seen that Zhang Zhihe's "Yu Gezi" has an unusual kinship with Japanese poetry.
Comments:
Zhang Zhihe Yu Gezi's "Egrets Flying in Front of Xisai Mountain" has been popular throughout the ages. Dongpo tasted it and used it in partridge sky in a sentence, and also used it in Huanxisha. However, the completed sentence is not as wonderful as the original words.
Taibai Bodhisattva Man, Yi Qin'e, Zhang Zhi and Yu Gezi, one family is worried and the other is happy, and it is difficult to name their destination