Zhenzhou quatrains
Wang Shizhen
Most of the rivers are inhabited by fishermen, while the area around Liumo Lingtang is sparse.
fortunately, when the sun sets and the wind settles, semi-river mangroves sell bass.
Note
(1) Jiang Qian: Riverside.
(2) fisherman: fisherman.
(3) Liumo: a road with willows on both sides.
translation
Most of the people living by the river are people who make a living by fishing, and houses are sparsely distributed on the roadside of Yangliuyi and the pond embankment with fragrant water chestnut.
The evening when the sun sets and the breeze blows gently is beautiful, and most of them are selling bass under the red maple trees on the riverside.
Author:
Wang Shizhen (1634 ~ 1711), a poet in Qing Dynasty. The word "Yi Shang" is called Ruan Ting and Yu Yangshan. People from Xincheng (now Huantai, Shandong). In the fifteenth year of Shunzhi (1658), he was a scholar and became an official in Yangzhou. Later, he was promoted to be the director of the Ministry of Rites, and the official was the minister of punishments. In the forty-third year of Kangxi (174), he was dismissed from office and returned to Li.
[Appreciation]
Fishermen live by the water along the Yangtze River, and the sparse houses on the shore are hidden between Liumo Lingtang. Spring is green, summer is shady, full of vitality and beautiful environment.
The wind was calm, and the sunset sprinkled on the trees by the river, and the sunset glow dyed half of the river red. Fishermen berthed ashore, carrying bass from a hard day's work, and scattered them under the river trees to sell.
Appreciation 1:
This poem describes the scenery and customs of Zhenzhou, showing the beauty of scenery and the simplicity of customs and human feelings in Zhenzhou.
freshness and naturalness are the characteristics of these two poems. The scenery in the poem is far away and elegant, especially the scenery in the fishing village written in the previous poem, which is rare in previous poems and has a refreshing feeling. And these scenes seem to be seen by poets, and they are very natural. The poetic expression is also very natural, just like a natural picture of fisherman's life.
Secondly, it is implicit and meaningful. Although the author is describing the scenery and customs, he is actually hiding his own evaluation of real life. The first sentence describes the fishing village scenery and fisherman's life, which implicitly shows the author's appreciation of the beautiful scenery of the fishing village and the fisherman's self-reliance life. The latter sentence describes the farming and customs in the rural areas of Zhenzhou, but it also implicitly shows the author's love for the hard work and simple human feelings of farmers in Zhenzhou. The implicit writing method makes the two poems have an extra flavor. If readers don't think carefully about chewing, it is difficult to understand the author's actual feelings, and naturally it is difficult to see the beauty of his poems.
the Qing people commented: "the fourth sentence is the beauty of this poem. It is the master of a poem, and the first three sentences are a guest of an article. This poem is also a way to treat guests. But the host and guest should take care of each other. The four sentences are all fine in color and color, and they are done in one go. If they are made in heaven, the so-called luck will become the wind, and it is impossible to get the mark of the axe. "
Appreciation 2:
Writing about the scenery on the north of the Yangtze River and the life of fishermen is light in style and fresh in meaning.
"Jianggan is mostly fishing for people, but Liumo Lingtang is sparse." The first half of the poem depicts the scene around the fishing village on the river bank with a relaxed and fresh pen. In Zhenzhou, on the north bank of the great river, residents along the river mostly make a living by fishing. In this area, no matter the roadside shaded by green willows or the lotus roots, there are almost all fishermen living in the sparse huts by the pond. You can tell at a glance by the fishing nets drying in front of each house.
The second half of "It's good that after the sunset winds settle, the semi-river mangrove sells bass" is the continuation of the first half, from static to dynamic. For people here, the best thing is in late autumn, which is the annual season for bass to go on the market. Every evening, when the wind blows, fishing boats with full loads come ashore and set up stalls for sale. The whole basket of bass is fat and lively, jumping around. Hawker, shopping, nothing to watch the scene of bustle, bustling, beaming, but also the maple tree full of embankments, facing the sunset, delicate and charming as fire, reflecting people's faces, reflecting the sky by the red river, and dyeing the autumn water of Banjiang drunk.
The whole poem is like a fresh watercolor painting, which shows that the fishermen in Zhenzhou live a light and comfortable life like a hermit on the beautiful shore, which really makes people linger.
"It's good to sell bass in semi-river mangroves after the sun sets and the wind settles", which is the most praised famous sentence. Imagine the scenery of the riverside fish market in late autumn evening, what a beautiful, charming and interesting picture it would be if it were painted with a color brush. In fact, the poet himself has seen many painters describe the artistic conception of this poem.
The author's main influence:
Qing Wang Shizhen wrote an occasional talk about Wang Shizhen, a poet in the early 2th century. He was another master who advocated the theory of verve after Si Kongtu and Yan Yu, and he was a master of the theory of verve. Unfortunately, Wang Yuyang only used the word "charm" in his life, but did not make a positive and systematic exposition on it. Later generations of annotators held their own opinions and interpreted them one after another.
Some people think that "verve" means "style" or "texture", which is "everything should be done from top to bottom", which is the explanation of Weng Fanggang's "Pan verve theory". Some people think that Mr. Guo Shaoyu insists on this. He points out: "Charm" and "rhyme" "In fact, the so-called charm in fishing abroad is only a word" rhyme ".
Mr. Minze thinks that verve "sometimes refers to the inner likeness, charm, charm and other things corresponding to the shape and form in creation", "sometimes it refers to the atmosphere and realm characterized by scenery writing in content, fresh in style and poetic."
Mr. Cai Zhongxiang believes that verve is "the artistic conception of ancient and pure". Mr. Wu Diaogong in his book "On Verve". Mr. Ye Jiaying also said: In the general discussion, it is said that the main connotation of verve refers to the simplicity and lightness of poetic flavor. ""The total Qingyuan is two wonderful things, and it is verve. " When talking about Yu Yang's poetics, Mr. Qian Zhongshu also commented that "verve is the highest realm in poetry" and so on.
the above "have a good time", each with its own charm. In addition, the theories of "the taste is different from the taste" and "the charm is separated and the rhyme is the main one" have their own reasonable and even profound aspects, and they all talk about the connotation of "the charm" to varying degrees. However, judging from the actual tendency of Yu Yang's poetic theory and poetry creation, it seems that it is not appropriate.
Some people think that Wang Yuyang's "theory of verve" has two meanings:
First, it refers to the artistic style of poetry, in which the two styles of "leisurely travel" and "calm and happy" are combined, and the focus is on the ancient and the idle (referred to as "talking at the same time"); second, it refers to the pursuit of "a high degree of unity with poetry" in a certain poem.
during the Ming and Qing dynasties, the study of classical literature grammar became more and more thorough, but at the same time, Wang Shizhen and Wang Yuyang's "verve theory" was unique, which surpassed the specific text form of traditional grammar research, and the understanding of the artistic value of classical works rose to a more abstruse level.
Wang Shizhen's (partial) picture. However, how to understand the position of Wang Yuyang's verve theory in the development of the concept of form in classical literature is still a problem to be solved.
When explaining his theory of verve, Wang Yuyang himself said that he liked the words "without a word, it's all romantic" in Si Kongtu's Twenty-four Poems. Sometimes, Yan Yu's words "antelope hangs on the horn, there is no trace to be found" are cited to illustrate the meaning of verve.
From his theory of verve and these explanations, it is easy to draw the view that verve refers to a certain emotional connotation in a work that can only be understood but not expressed, rather than a formal feature.
In order to clarify the metaphysical theory of the theory of verve, Weng Fanggang interpreted verve as "spirit", "reason", even style and texture, etc., and finally attributed it to "gentleman" in his verve theory. It seems that verve belongs to the intrinsic aspect.
when talking about verve, Mr. Qian Zhongshu, a modern scholar, said that verve is "not one of the poetic products, but just the right thing for each product, perfect", which means ecstasy. Explaining verve with "Jun Xing Zhe", "Shen" or air and ecstasy all means understanding verve from the perspective of works' connotation. This understanding is certainly good, because the "spirit" of "verve" is definitely related to the inner spiritual meaning. However, as a result of this explanation, it seems that the word "rhyme" of "verve" has not yet been implemented.
Mr. Wu Diaogong, a contemporary scholar, made a more detailed analysis of the word "verve" in the theory of verve:
God and rhyme are originally integrated. But a careful analysis shows that there is a process of "rhyme" from "God". Even if this change is abrupt and vague, it clearly contains a kind of "perfusion" process emphasized by Goethe. There is not only the poet's subjective "spirit" but also the need for perfusion, which needs to be preserved in a restrained way or publicized in a spurt, forming a carrier full of "life".
Generally speaking, verve theorists pay more attention to "rhyme" and the flow of hearts with inner rhythm than all kinds of ancient poetics. Mr. Wu Diaogong not only pointed out the "spirit" and "rhyme" contained in the verve theory, that is, the internal spirit and external rhythm, but also emphasized that the focus of the verve theory is on the "rhyme" aspect, that is, "the flow of the mind with internal rhythm".
If Yan Yu is regarded as one of the pioneers of the theory of verve, it should be said that his interest in "different materials", "different interests" and "antelope hanging on a horn, without trace" only indicates a vague meaning, and has not really woven the issue of verve into the real point of text analysis, so it has not yet formed the concept of artistic form. Wang Yuyang is different. His verve theory has become something that can be recognized and even imitated, that is to say, it has been formalized.