(Song) Su Shi
Two or three peach blossoms outside the bamboo forest and ducks in the water first noticed the warm spring.
The beach is covered with wormwood, asparagus is beginning to sprout, and puffer fish are preparing to swim upstream from the sea back to the river.
Hui Chong was a monk and painter in the Song Dynasty. This poem was inscribed by Su Shi in Hui Chong's Moonlit Night on a Spring River. Hui Chong's original painting has been lost, and some versions of this poem are called "The Night Scene of the Spring River", which can't be verified now. Vivid painting makes people have a specific visual feeling, but it can only show a specific picture and has certain limitations. Although a good poem has no visible image, it can attract readers to the beautiful artistic conception formed by the poet's unique conception with vivid language to make up for what some pictures can't express. This poem not only retains the image beauty of the picture, but also exerts the advantages of the poem. With its rich charm and mixed pen and ink, the poet makes the spring scenery depicted in the original painting so charming. Su Shi has a new idea while describing according to the picture, which makes the beautiful images in the painting more poetic and charming. [1] Two or three peach blossoms were put outside the bamboo forest, and ducks swam in the water. They first noticed that the river warmed up in early spring. The beach was covered with Artemisia selengensis and asparagus began to sprout. At this time, puffer fish is a good time to go public and can be sold in the market. A good poem on painting should not only be tied to the theme of painting, but also be limited to the content of the picture. It should not only be able to reproduce painting, but also be able to jump out of painting and create new things, so that painting does not lose its independent artistic life. Su Shi's poems can be said to have done this. The first three sentences of the poem are chanting the scenery, and the last sentence is the association caused by the scenery. The whole poem is like a poet's improvisation, and the image is wonderful and natural. In fact, the first three sentences are not exactly the same In the second sentence, the words "water heating" (temperature) and "duck prophet" (perception) cannot be drawn directly. Poetry can be described as picturesque, but the physical properties of poetry are too picturesque. This is because painting belongs to visual art, while poetry is a language art with absolute freedom of expression. The last sentence further develops the association, and on the basis of the objective description of the scenery in the first three sentences, it judges the seasonality of the scenery in the painting, thus adding a strong feeling of the beauty of the southern scenery, which is even more impossible for painting. About the seasonal flavor of puffer fish, Mei Yaochen's Hui Chong
Fan Raozhou wrote a poem "Eating Pufferfish": "Spring buds are born in Chunzhou, and poplars fly on the spring shore. When puffer fish, it is not expensive to count fish and shrimp. " Ouyang Xiu's Poem on June 1st said: "The puffer fish often swim in the water at dusk in spring, eating catkins and getting fat. Southerners often divide soup with buds, and the clouds are the most beautiful." Zhang Lei, a student of Su Shi, also recorded in Ming Dow magazine that the Yangtze natives eat puffer fish, "but cook it with Artemisia selengensis, bamboo shoots (that is, reed buds) and shepherd's purse", and think that these three kinds are the best match with puffer fish. This shows that Su Shi's association is well-founded and natural. This is also the beauty of poetry. The poet first wrote from the side: In the early spring, the earth revived, and the bamboo forest has been dyed green by new leaves. What is more striking is that three or two peach blossoms have blossomed early on the peach tree, which are brightly colored and report the information of spring to people. Then, the poet's line of sight turned from the river to the middle of the river. Ducks that have been looking forward to the whole winter on the shore have already been unable to hold back and rushed to play in the water. Then, the poet wrote from the middle of the river to the bank, observing and describing the scene of early spring in more detail: because of the moisture of the spring water, the Artemisia on the ground grew new branches and the reed buds spit out; All this shows the vitality of spring and makes people fondle it. The poet further believes that this is the season of puffer fish, which makes people daydream more widely. The whole poem is permeated with a strong and fresh breath of life.
2. Jiang Nanchun
(Tang) Du Mu
Jiangnan, the sound of green and red flowers, the waterside village in the foothills.
More than 480 ancient temples were left in the Southern Dynasties, and countless pagodas were shrouded in wind and rain.
works appreciation
This is a four-line poem describing the scenery in the south of the Yangtze River. Bai Juyi painted gorgeous paintings, but that's only macroscopic, while Du Mu's "Jiangnan Spring" is relatively specific, which seems to make people more impressed by seeing several scenic spots. Du Mu not only depicts the beautiful spring scenery in the south of the Yangtze River, but also reproduces the misty balcony scenery in the south of the Yangtze River, making the scenery in the south of the Yangtze River more magical and confusing. "Thousands of miles of warblers sing green and red, and the water town is full of fruit wine flags." First of all, the poet described the colorful world in Jiangnan. There are songs and dances everywhere, green trees and red flowers everywhere; Dishui Village, battlements surrounded by mountains, especially wine flags fluttering in the wind. The interpretation of A Thousand Miles is to write about the whole south of the Yangtze River, but the whole is expressed through concrete images. "Four hundred and eighty temples in the Southern Dynasties were covered with misty rain." There are also temples, which are an important part of the transition to the scenery in the south of the Yangtze River and have a sense of vicissitudes. Many Buddhist buildings left over from the Southern Dynasties are looming in the spring breeze and spring rain, adding confusing beauty. The poet here is not talking about "480 temples facing north", but "480 temples facing south", which obviously has different meanings. The rulers of the Southern Dynasties lost their lives for Buddhism, wasted people's money and built a large number of temples. "Southern History Guo Ancestral Family" said: "When the emperor understands Buddhist scriptures, he will change his customs. Therefore, the ancestors said that they all went to more than 500 Buddhist temples, which were extremely magnificent and had more than 100,000 monks and nuns. The assets are rich, and there are no words in the county. " On this basis, Mutu said that there are obviously fewer "480 temples". Today, the "480 Temple in the Southern Dynasties" has become a historical relic and an integral part of the beautiful scenery in the south of the Yangtze River. There is no lack of irony in aesthetics, and the connotation of poetry is richer. The four sentences in this poem are all scenic words, each with its own characteristics. There are sounds and colors, space expansion and time tracking. In just 28 words, the poet painted a vivid and verve picture of spring scenery in the south of the Yangtze River in very popular language. This song "Jiangnan Spring" has enjoyed a high reputation for thousands of years. These four poems not only describe the richness of spring scenery in Jiangnan, but also describe its vastness, profundity and confusion. "Thousands of miles of warblers sing green and reflect red, and the water town is full of wine flags." The beginning of the poem, like a fast-moving focal plane, swept across the southern land: the vast south of the Yangtze River, orioles singing, green trees reflecting clusters of red flowers; You can see the villages by the water, the battlements by the mountain and the wine flags fluttering in the wind. In addition to the richness of the scenery, I am afraid it is different from some garden attractions, confined to a corner, but because it is spread over a large area of land. Therefore, if there is no word "a thousand miles" at the beginning, these two sentences will be weak. However, Yang Shen in Ming Dynasty said in Poems of Sheng 'an Temple: "Who can listen thousands of miles away? "Thousands of miles of green, who can see? If you travel ten miles, you will see green and red scenery, village Guo, balcony, monk temple and wine flag. " For this kind of opinion, He Huan Wen once refuted it in Textual Research on Poems of Past Dynasties: "Even if you make ten miles, you may not be able to hear it. The title cloud "Spring in the South of the Yangtze River" shows that Wan Li in the south of the Yangtze River is vast, and among the Wan Li, birds are singing and reflecting the green. There are no wine flags everywhere in Shuicun Mountain, and most of the towers of the 480 Hall are in the misty rain. This poem is wide, so it is not allowed to refer to one place, so it is called "Spring in the South of the Yangtze River" ... "He's statement is right, which is for the needs of typical generalization of literature and art, and the last two sentences are the same. "Four hundred and eighty halls in the southern dynasties, how many towers are misty and rainy." From the first two sentences, it should be a sunny scene with singing and dancing, red and green setting each other off and wine flags fluttering, but these two sentences are clearly written in misty rain, which is completely understandable, because the wind and rain are different everywhere within a thousand miles. But what needs to be seen is that the poet grasped the characteristics of Jiangnan scenery with typical techniques. Jiangnan is characterized by beautiful mountains and rivers, bright flowers, intricate colors, rich levels and strong three-dimensional sense. While reducing thousands of miles to a scale, the poet focused on the colorful scenery in the south of the Yangtze River in spring. The first two sentences of the poem are red and green, mountains and rivers, villages and battlements, movements and sounds. But these are not rich enough, and they only depict the bright side of Jiangnan in spring. So the poet added a wonderful stroke: "Four hundred and eighty halls in the southern dynasties, how many towers are misty and rainy." The resplendent and heavily built Buddhist temple has always given people a deep feeling, but now the poet deliberately lets it linger in the misty rain, adding a hazy and blurred color. This kind of picture and color are in harmony with the beautiful scenery of "thousands of miles of warblers singing green and reflecting red, and the wind of national wine flags in water towns and mountains", which makes this picture of Jiangnan Spring more colorful. The word "Southern Dynasties" adds a distant historical color to this picture. "480" is a saying that the Tang people emphasize quantity. The poet first emphasized that there was more than one magnificent Buddhist temple, and then sang with the sigh that "misty rain is coming", which is particularly reverie. This poem shows the poet's praise and yearning for the scenery in the south of the Yangtze River. However, some researchers put forward the "satire theory", arguing that the emperors of the Southern Dynasties were famous for Buddhism in the history of China, and that the Buddhism in Du Mu's era was also a vicious development, while Du Mu had anti-Buddhism thoughts, so the last two sentences were ironic. In fact, the interpretation of poetry should first start from the artistic image, and should not make abstract inferences. Du Mu's opposition to Buddhism does not mean that he must hate Buddhist temple architecture left over from history. In Xuanzhou, he often goes to Kaiyuan Temple and other places to play. I have also been to some temples in Chizhou and made friends with monks. Famous phrases such as "Clouds on Jiuhuashan Road, Liu Fuqiao on Qingyi River" and "Autumn Mountain and Spring Rain Wandering All over Jiangnan Temple Building" all show that he still appreciates the balcony of the Buddhist temple. Of course, while enjoying it, it is also possible to drift a little historical emotion occasionally. It expresses that the author's state of mind is neutral, with neither obvious hatred nor obvious malice, and he is simply writing about the scenery and praising the spring.
3. Xiao Chun
(Tang) Meng Haoran
Sleeping sickness in spring unconsciously broke the morning, and the chirping of birds disturbed my sleep.
But now I remember that night, that storm, I wonder how many flowers were broken?
Meng Haoran's Spring Dawn
This poem was written by the poet when he lived in seclusion in Lumen Mountain, and its artistic conception is very beautiful. The poet seized the moment when he just woke up in the spring morning to describe and associate, vividly expressing the poet's love and pity for spring. This poem does not use the general technique of directly describing the immediate spring scene, but captures the typical spring breath through the "spring dawn" (spring morning) when he wakes up instantly, expressing his feelings of loving and cherishing spring. The first two sentences of this poem were written by a poet who didn't know it was dawn because of his dream on a spring night. When he woke up, he heard birds singing everywhere outside the house. The poet cherishes ink as gold, and expresses the vibrant scene of Chunxiao with only one sentence: "Birds are singing around". However, people can know that it is the cheerful songs of these birds that awaken the lazy and sleepy poet. It is conceivable that it is already a beautiful spring outside the house at this time, and we can appreciate the poet's praise for spring. It is this lovely scene of spring dawn that makes the poet naturally turn to the association of the third sentence and the fourth sentence in the poem: I heard a burst of rain last night, and now how many flowers are shaken in the courtyard? Linked to the first two sentences of the poem, this night's storm is not a storm, but a gentle breeze and drizzle, which sends the poet into a sweet dream and cleans the morning brighter, which is not hateful. But in the end, it will shake off the spring flowers and take them away. Therefore, the phrase "I don't know how many flowers have been folded" implies the poet's faint sadness and infinite reverie about the passing of spring scenery. The reason why this poem is deeply loved by people lies in its clear language and catchy tone, as well as its closeness to life, blend of scenes and profound implications.