Wang Wan, a native of Luoyang, was born in the mid-Tang Dynasty and once went back and forth. "Beigushan" is in the north of Zhenjiang City, Jiangsu Province, facing the river on three sides. The first two sentences of "Jiangnan Yi" quoted above are "South Manchuria is full of new ideas, and East is in the early stage". "Its' eastbound' is when it passes through Zhenjiang to the south of the Yangtze River. Along the way, when the poet was boating at a berth at the foot of Beibao Mountain, the tide was flat and the shore was wide, and he died at night, which triggered his feelings.
Become a masterpiece through the ages. The poem begins with a dialogue, which is both beautiful and detached. "Hakka Road" refers to the way the author wants to go. "Castle Peak" refers to "Beigushan". By boat, the author is walking towards the "green water" in front of him, towards the "green hill" and towards the distant "guest road" outside the "green hill". This couplet reads "Guest Road" first, and then "Sailing".
Between the lines, he has revealed his wandering feelings in Jiangnan and Shenchi's hometown, taking care of the "hometown book" and "returning geese" at the end of the couplet. The second couplet's "Widening the banks at low tide" and "Widening" are the results of "tidal flat". The spring tide is surging and the river is vast. Looking around, the river seems to be flat with the shore, which broadens the horizons of the people on board.
This sentence is very grand, and the next sentence "No wind stirs my lonely sail" is even more exciting. "Hanging" means hanging straight from one end to the other. The poet uses "the wind is right" instead of "smooth sailing" because "smooth sailing" alone is not enough to ensure "sailing" Although the wind was smooth, it was strong and the sails bulged into an arc. Only under the condition of downwind and breeze can the sail be "hung".
The word "positive" includes both "shun" and "harmony". Xiao Jing is quite vivid in this sentence. But not only that, as Wang Fuzhi pointed out, the beauty of this poem lies in its "small scenes to convey the god of big scenes" and "Jiang Zhai's poetry talk" It is conceivable that if you sail in a winding river, you always have to turn. Such a small scene is rare.
If you sail in the Three Gorges, even if it is calm, it will still surge. Such a small scene is rare. The beauty of the poem lies in that through the small scene of "No wind stirs my lonely sail", it also shows the big scenes of Ye Ping's openness, DC and calmness.
When you watch the third part, you will know that the author will sail at the end of the year. The tide is flat without waves, smooth but not fierce. At close range, the river is green, while at a distance, the banks are open. This is obviously a mysterious night, revealing the breath of spring everywhere. A person sails slowly and feels that it has reached the end of the night. These triple, is the performance of rowing on the river, is about to dawn.
This association has always been very popular. "... the night now gives way to the ocean of the sun, and the old year melts into something new": when the last night has not subsided, a red sun has risen from the sea; The old year has not passed, and the river has shown spring. "Day after day" and "spring into the old year" both indicate the alternation of time series, and they are in such a hurry. How can this not make the poet in the "guest road" homesick?
These two sentences are also very kung fu. The author regards "the sun" and "spring" as symbols of new beautiful things from the perspective of refinement, emphasizes them by mentioning the position of the subject, personifies them with words such as "life" and "ru", and endows them with human will and emotion. The beauty is that the author has no intention of reasoning, but he has a natural interest in reasoning when describing landscapes and festivals.
The sea is born in the dead of night, which will drive away the darkness; Jiang Chun, the "spring" of river scenery, will break into the old year and drive away the severe winter. It not only depicts the scene truly and accurately, but also shows the universal truth of life, giving people optimistic, positive and upward artistic inspiration. This sentence is similar to "Qian Fan on the edge of a sunken ship, Wan Muchun in front of a sick tree".
The sea is rising, and spring is budding. The poet puts the boat on the green water and continues to sail to the guest road outside Qingshan. At this time, a flock of geese returning to the north are walking through the clear sky. The geese are about to pass through Luoyang! The poet remembered the story of "The Goose Feet Pass the Book", so I'd better send a message to the Goose: Geese, please give my regards to your family when you fly over Luoyang.
These two sentences are closely linked, and the whole article is shrouded in a faint homesickness. Although the first five laws were widely known as the third place at that time and spread to future generations, there were not only two beautiful sentences; Generally speaking, it is also quite harmonious and beautiful.
Extended data:
A berth at the foot of Beibao Mountain.
Tang Dynasty: Wang Wan
Under the blue mountain, my boat and I meandered along the green water.
Until the river bank widens at low tide, and no wind blows my lonely sail.
... night gives way to the ocean of the sun, and the old year melts in freshness.
Finally, I can send my messenger, Wild Goose, back to Luoyang.
Translation:
The lush mountains are the way for tourists, and the rippling river is just sailing. The tide is high, and the water between the two banks is wide, so sail before the wind just hangs the sail high. The night hasn't faded, and the rising sun has already risen on the river surface of Ran Ran, and the Jiangnan in the old year has the breath of spring. I don't know when the letter from home will arrive. I hope the geese returning from the north will take it to Luoyang.
Creative background:
As a northern poet in the early years of Kaiyuan, Wang Wan traveled around the world, fascinated by the beautiful landscapes in the south of the Yangtze River, and influenced by the delicate poetic style of Wuzhong poets at that time, he wrote some works praising the landscapes in the south of the Yangtze River. The first "a berth at the foot of Beibao Mountain" is one of the most famous.
These five laws were first seen in the Collection of National Repairs edited by Rui in Tang Dynasty. This is what the poet felt when he entered Wu from Chu in late winter and early spring and moored his boat at the foot of Gubei Mountain in Zhenjiang, Jiangsu Province on the way to the east of the Yangtze River.