Duality, Personification, Metaphor, Symbol
Hello, friend. The following is the full text and appreciation of Su Shi's "Qian Chibi Fu":
Fu is a style between verse and prose. Since Xunzi's "Fu Pian" created its name, there have been many huge works in history. Han fu, parallel fu that pays attention to parallel and even, and rhymed fu that has strict rhythm. In the Tang Dynasty, Fu was still required to be written according to the pronunciation and rhythm in the imperial examinations. Du Mu's "Afang Gong Fu" can be said to be the origin, and Song Ouyang Xiu's "Qiu Sheng Fu" has become mature. Su Shi was talented. He got rid of the shackles of piling up allusions and sticking to rhythm. With free syntax, free structure and free rhythm, he not only maintained the form of fu, but also contained a rich poetic flavor, which was completely different from prose. Therefore, "Qian Chibi Fu" moves freely and is like poetry and painting. It can be said to be an outstanding representative work among San Fu.
Travel notes have always been based on the theme of traveling and enjoying mountains and rivers, and most of them use it to describe the scenery and express emotions as a common method. Su Shi's Travel Notes on Red Cliff introduces the old and brings forth the new. First of all, his narrative style is a virtual subject-object dialogue structure. The subject-object dialogue is a traditional technique in poetry. The subject and the guest are both the incarnations of the author. In "Qian Chibi Fu", the guest's views and emotions are Su Shi's daily feelings and worries, while the master Su Zi expresses his detached observation of people and the universe, and all of this is through the sound of the cave flute, Caused by questions of subject and guest. Secondly, the prose of Ci Fu often uses parallelism and parallelism, which is the so-called rhyme. This is also the main feature of Fu. However, the first sentence or the first few sentences of each paragraph in "Qian Chibi Fu" are mostly prose sentences. For example, the first paragraph "raising wine belongs to a guest" and "Shao Yan" are prose sentences, the beginning of the second paragraph "so drinking wine" is a prose sentence, the third paragraph has more prose sentences about guests, and the fourth paragraph is mainly composed of prose sentences. It can be seen that there are many prose elements in the whole text. However, since it is a poem, it should mainly use parallel sentences or almost parallel sentences. "Qian Chibi Fu" mostly contains four or six characters, which is almost the same as "four or six essays". Reading it reveals differences in order, and freedom in order. This not only shows the characteristics and charm of traditional Fu style, but also retains it without being rigid, and is sophisticated without being constrained. Finally, Ci Fu pays attention to the beauty of sound and rhyme. "Qian Chibi Fu" rhymes in many places, but the rhymes change quickly. Each paragraph has one rhyme or several rhymes, and the rhyme change is often a paragraph of literary meaning. For example, the words "天", "Ran" and "Xian" in the first paragraph, the words "Mu", "Vu", "Lu" and "Women" in the second paragraph, the words "Lu", "Gen", "Millet", "Poor" and "Woman" in the fourth paragraph. "End" and "wind", as well as the "main", "take" and "color", "exhaustion" and "fit" in the last paragraph. In short, "Qian Chibi Ode" uses text as a poem, hiding the rhyme unconsciously; borrowing questions from guests, sighing that life is like sending mail. It uses the language form of Ci Fu, but abandons ordinary routines, even discarding words such as "Ruofu", "Er Nai", "Shi Yi", etc. This is Su Shi's poem that combines the advantages and techniques of prose and poetry. This is the new and wonderful feature of Su Shi's poem.
The fusion of poetic scenery
Reading "Qian Chibi Ode", we feel the beauty of the scenery written by Su Shi. You see, a small boat floats on the vast river, the moonlight, water and sky merge into one. So whether the river is moving or the boat is moving, riding the wind or riding the clouds, whether it is a real scene or an imaginary phenomenon, it is said that it is yes and it is not. However, the article is written in a common scene. As Fang Bao, a writer in the Qing Dynasty, said, "Everything I see is unique (nothing particularly out of the ordinary), but the literary environment is inaccessible." The article is about constant scenery, mountains and rivers, and wind and moon. But why is it so charming? The answer is: Its scenery is caused by the fusion of poetic scenery.
The whole article is connected with scenes. "Wind" and "Moon" are the main scenes, supplemented by mountains, rivers and rivers. The first paragraph "Wind" and "Moon" open the book. "The breeze is coming slowly, the water is calm" and "The moon rises above the east mountain, wandering among the bullfights", which are very concise and concise to highlight the wind and moon and write the river scene. Then, the article repeatedly reproduces the images of "wind" and "moon". For example, in the song "Strike the sky and let the light flow from the sky", it quotes Cao Cao's "the moon and stars are sparse" and "embrace the bright moon and live forever" and "leave the legacy to resound in the sad wind"
Su Shi's answer is correct "Only the cool breeze on the river and the bright moon in the mountains" both closely link "wind" and "moon". This coherence of scenery not only makes the whole text coherent structurally, but also communicates the emotional context of the whole text. You see, the cool breeze on the Qiu River, the clear starry sky, the moving moon and the boat sailing. The boundless wind and moon are in my arms, and I seem to be floating in the fairyland. Just when the host and guest were feeling the word "joy" in Tao Ran, the song brought out the lingering and sad sound of the flute, and in an instant the mood turned to inexplicable melancholy. This is to create feelings through scenery, and scenery is the appearance of feelings; feelings are generated by scenery, and feelings are the connotation of scenery. The article continues, starting with the sentence "The moon and stars are sparse, and the black magpie flies south", and then uses the historical figure Cao Cao to express his emotions from the guest's mouth. Of course, Su Shi borrowed the connection between scenery and location. Finally, the discussion is still drawn from the bright moon and breeze in front of us, that is, the common changes and changes in mountains and rivers, wind and moon, and the infinity to sigh about life. It can be seen that the usual scenery of "wind" and "moon" is very similar to idle writing at first, but in "Qian Chibi Fu", because of the "empty" and "streaming light" scenery, it gives rise to "extreme joy" and "astonishment". "Emotion, and readers are unconsciously moved by this scene and attracted by the ups and downs of this emotion. Because this scene and this emotion contain the deeds of historical figures, the emptiness of the ancient battlefield, and the author's broad-mindedness and melancholy. It is precisely in this article that the repeated interspersing of scenery, the continuous waxing and waning of sadness and joy, and the author's joyful expression of emotions make the scene blend into a perfect unity, making the constant scenery such a touching charm.
The optimistic realm of life
It has always been said that "Qian Chibi Fu" has "Zhuang" and "Sao" grammar. It is said to be unrestrained, magical and unconventional. This is certainly a good argument. However, it is not only Su Shi's writing style that makes his articles famous throughout the ages, but also the deep thoughts and philosophies contained in his articles. What thoughts and philosophies does the author embody in "Qian Chibi Fu"?
Some people think that "sorrowing for the brief moment of my life, envying the endless Yangtze River" and lamenting the short life is the main idea of ??the article. Some people may even say that Su Shi just advocated "carpe diem" in this article. We think this argument is wrong. Su Shi has many poems and articles, but it should be said that there are not many works as full of thoughts and profound theoretical interest as "Ode to the Former Red Cliff". "Qian Chibi Fu" uses "wind" and "moon" as the main scenes, and the thoughts and philosophy of the article are also included in the "wind" and "moon". We know that in the early autumn of the fifth year of Yuanfeng, Emperor Shenzong of the Song Dynasty, which was the third year when Su Shi was exiled to Huangzhou, he and his friends took a boat trip to the Yangtze River at the foot of Red Cliff in Huanggang to enjoy the moon. At that time, Su Shi was politically frustrated, frustrated in his career, and depressed in life, which caused him to fall into depression and confusion. This was natural for a literati in a feudal society. However, the beautiful scenery of the moonlit night and rafting on the river brought him a comfortable mood. After drinking, the familiar sound of the melancholy flute played on the side of the boat made him understand the change and immutability of things from the passage of water and the waxing and waning of the moon. "Those who have passed away are like this, but they have not yet passed away; those who are empty and full are like that, but their deaths are not waxing and waning." The water is flowing, and the moon waxes and wanes, which is a change; but although the previous wave has gone and the latter wave comes again, the flowing water is still there, and the moon has never waxed and waned. This is unchanged and has not changed. And as the water and the moon exist forever, every life that once accompanied the Yangtze River and the bright moon will also exist forever, and they are all infinite. This is the so-called "then things and I are both endless." After reading the article, don’t we feel that the connotation of the article is positive and the realm of life revealed is optimistic?
Although the article also contains phrases such as "Sorrowful for the brief moment of my life and envious of the endless Yangtze River", this is *** for an old man who has unrealized ambitions and wasted years. Some sadness is also worldly sadness. From this point of view, it can be understood if we look at "My son and I fished and cut wood on the river, and we were friends with fish and shrimps, and we were friends with elk." That's not "carpe diem". Although it's not world-shattering, it's ordinary life. It combines harmonious descriptions of scenery, lyricism, and discussion, integrates society, life, and nature, overlooks people and the universe, and is full of sighs about the vicissitudes of life and the end of our lives. All of these are "Qian Chibi Fu" that make people feel fresh over time. The reason why I love reading is the eternal charm of the article
Appreciation:
Let’s talk about Su Shi first. Everyone is familiar with Su Dabeard's indulgence in boldness and romantic writing. In my impression, in addition to playing chess, he has profound attainments in piano, calligraphy, painting, poetry, wine, and tea, and is proficient in "Yi". Therefore, his articles are slightly lacking in terms of kit and skill, but the high level of his vision is truly astonishing.
Now let’s talk about this "Former Chibi Fu". There is nothing new in the structure of the article. It is a very traditional "Yang-Yang-Yang" format. From the scenery to the emotion, it is sublimated step by step, and finally reaches the height of philosophy. This is also a commonly used writing method in the Tang and Song Dynasties.
The brilliance of the article lies in its realm. "The breeze blows slowly and the water waves are calm." This is an extremely quiet environment. In such an environment, if you are boating under the red cliff and see "white dew across the river, water light reaching the sky", what would happen to you if it were you? What kind of emotion? "It's as vast as Feng Xu riding the wind without knowing where it stops; it's as fluttering as being left alone in the world, becoming immortal and ascending to immortality." What a Suzi! Piaoran was riding the wind, and he immediately ignored Cao Cao and Zhou Lang. The fight hundreds of years ago, in Su Zi's eyes, in the bright moon on the river, and in the breeze on the cliff, really didn't change anything. Let's go to hell, on this autumn night.
Wait a minute, there are still fine wines that have not been drunk, beauties that have not been grateful, and close friends that have not been talked about freely, so wait a minute. "There is wine today, and I am drunk now." Taking advantage of the wine, I sang an ancient song: "The osmanthus and the orchid oar, striking the sky and tracing the stream of light. The dimness is in my arms, and I look up to the beauty in the sky." What does fame mean? What is profit? There is a beautiful woman in the world, and she should be in the extreme north. Is Jianjia turning yellow again? Has the white dew fallen again? Go and seek in a small boat. Even if you know that the city will fall and the country will be destroyed, how can the city and the country compare to the smile of a beautiful woman?
The artistic conception of a friend is much worse. "Isn't this a poem by Cao Mengde?" "Isn't this a poem by Mengde trapped in Zhou Lang?" A generation of heroes has also been lost in the bright moon and breeze, not to mention you and me? Thousands of years later, who would have imagined that on such a night, in such a small boat, you and I would be here doing "Q&A with the fishermen and woodcutter"? The world is far away, and life is like a drop in the ocean; the years are long, and a hundred years is no more than a mayfly. But now we are facing the same sorrow as the ancients.
"It's not like that." Su Zi put forward his own opinion: "Let us look at it from another angle. Heaven and earth, you and me, a thousand years and a moment, are the same but different, but they are hidden in the 'presence and absence' ' is a variable between. Moreover, everything has its own owner. Maybe we are not the owners of fame and fortune, so there is nothing to cherish if we have it, and there is nothing to envy if we don't have it.
And a happy state of mind depends entirely on you and me. Since this is the case, let's be happy! ”
As mentioned above, Su Shi is proficient in "Yi", and in this article, what complements the unrestrained words is the meaning contained in it. The previous description is of a dragon, It embodies the extraordinary character; the following theory is the finishing touch, highlighting the superior wisdom. The combination of character and wisdom makes Su Zi enter the realm of immortality.
Qian Chibi Fu
1. Introduction:
Mr. Yu Qiuyu has an essay called "Su Dongpo Breaks Out". This article mainly tells the life experience and mental journey of Su Shi after he was demoted to Huangzhou due to the "Wutai Poetry Case". The author believes that this purgatory experience made Su Shi truly mature. Therefore, at the end of the article, Yu Qiuyu wrote (the following text is projected):
“Maturity is a bright but not dazzling brilliance, a kind of mellowness. A sound that is not greasy to the ears, a calmness that no longer needs to observe the words and expressions of others, an atmosphere that finally stops complaining to the surroundings, a smile that ignores the noise, an indifference that washes away the extreme, a kind of calmness that does not need to be announced. Thick, a height that is not steep. The lofty passion has fermented, the sharp mountain wind has calmed down, and the rapid trickles have merged into a lake. The result -
The prelude to the eternal masterpiece has sounded, and a mysterious sky light Shooting towards Huangzhou, "Niannujiao? Chibi Nostalgia" and the "Chibi Fu" will be produced soon. ”
2. The teacher recites the full text with music, requiring you to hear the pronunciation of the words, the rhythm, and the teacher’s handling of the emotional changes in the article:
3. Introduction to the author:
< p>Su Shi (AD 1037-1101), courtesy name Zizhan and nickname Dongpo, was born in Meishan (Sichuan). Together with his father Su Xun and younger brother Su Che, he was also known as the "Three Sus" and was a member of the "Eight Great Masters of the Tang and Song Dynasties" . He was a writer, calligrapher and painter in the Northern Song Dynasty. After becoming a Jinshi, he entered the official career. In his early years, he was ostracized for opposing Wang Anshi's reform. Later, he was demoted to the deputy envoy of Huangzhou Tuanlian for "slandering the new law" for writing poems that satirized the new law. When Sima Guang came to power, all the new laws were abolished, and Su Shi also fiercely opposed it. After the deaths of Wang Anshi and Sima Guang, he was demoted again and again due to strife within the ruling group, and was finally demoted to Hainan Island, where he remained until he was 63 years old. He returned and died of illness in Changzhou the next year.In the field of literature and art, Su Shi was as good as Huang Tingjian, Mi Fu and Cai Xiang in calligraphy, and was known as the four major calligraphers of the Song Dynasty. He advocated spiritual similarity in painting and was good at painting bamboo.
In terms of thought, Su Shi was well versed in classics and history. On the one hand, he admired Qu Yuan, Jia Yi, Zhuge Liang and other figures in the economic era. The imperial court demanded reform of bad governance. During his long term as a local official, he did many good things under the guidance of "benevolent government and caring for the people". On the other hand, he loved Tao Yuanming and loved to read "Zhuangzi" throughout his political career. After experiencing two heavy blows, Zhuangzi was prone to resentment in his thoughts, which were manifested in: first, broad-mindedness and detachment, second, cynicism, and even passiveness. This also contributed to the complexity of Su Shi's worldview and his frequent lapse into "joining the world" and "being in the world." An important factor in the contradiction of "being born out of the world".
A writer's world view will inevitably affect his creative practice, thereby forming his own artistic personality and artistic style. This is clearly left in Su Shi's literary works. There are traces of Zhuangzi's influence. Zhuangzi's prose is unbridled and full of romanticism, while Su Shi's prose also has the momentum of freedom and freedom. His "Qian Chibi Fu" is a representative work, and Su Shi's prose is still there. On the basis of "Mencius", "Warring States Policy" and the works of Jia Yi, Lu Zhi and others, he drew on the strengths of others and formed his own characteristics. Most of his prose on politics and history are vigorous and flowing, so he is known as One of the "Eight Great Masters of the Tang and Song Dynasties" and the leader of the ancient prose movement led by Ouyang Xiu in the Song Dynasty
4. Question explanation:
Huangzhou in the Song Dynasty is the northwest of Huanggang, Hubei Province. There is a scenic spot on the bank of the Yangtze River. There stands a reddish-brown cliff. Because its shape is somewhat like a nose, people call it Chihuoji; and because the cliff is as steep as a wall, it is also called Red Cliff. In the first year of Emperor Shenzong of the Song Dynasty, Su Shi suffered political persecution and was demoted to Huangzhou for two years. "The fish around the Yangtze River are beautiful, and the bamboo shoots in the mountains are fragrant." All the scenery brought great comfort to the politically frustrated Su Shi. At this time, he stood on the red cliff by the river, looked at the picturesque mountains and rivers, and sang the bold song "The great river goes eastward". On a quiet night on July 16th, he took a boat ride on the Yangtze River under Red Cliff and wrote the eternal masterpiece "Ode to Red Cliff".
5. Introduction to "Fu" and the explanation of this article:
Fu is a literary style formed in the Han Dynasty. Fu pays attention to literary grace, antithesis, and rhythm. It has the characteristics of poetry and prose. Its form is grand, exaggerated, and contains a large number of descriptions.
The Fu of the early Han Dynasty inherited the tradition of Sao style and gradually transformed into the new Fu. Jia Yi is a representative writer of Sao style Fu. Mei Cheng's "Qi Fa" marks the formation of a new style of prose. Sima Xiangru's "Zixu Fu" and "Shanglin Fu" reflect the maturity of the new style of Fu. Lyrical poems appeared in the late Eastern Han Dynasty. Fu in the Wei, Jin and Six Dynasties developed in the direction of parallel prose, which is called parallel fu or rhyme fu; those that are close to prose are called "wen fu".
When Su Shi was demoted as the deputy envoy of Huangzhou Tuanlian, he visited Red Cliff (also known as Chibiji) in the northwest of the city. He expressed his emotions to the scenery and wrote two "Red Cliff Ode".
This article is one of them. This article reflects the author's thought process from openness to depression, and from depression to relief through what he saw and felt when visiting Red Cliff and the different opinions of the subject and the guest. It also shows Su Shi's detached attitude and optimistic spirit when he was in adversity. This is an excellent literary work, and it is also a poetic and aesthetic philosophy. Literature is its form and philosophy is its soul. He elaborated the liberal philosophy of life formed by integrating Confucianism, Taoism and Buddhist philosophy through beautiful literary forms, expressing the spiritual characteristics of the Song Dynasty literati.
6. Writing background:
In 1080, Su Shi was demoted to Huangzhou. Here, he often came to Chibijitou to visit and enjoy the scenery, or go boating on the river. In 1082, Su Shi came to Chibi again. At this time, he was nearly fifty years old. Standing in Jitou, looking at the river rolling eastward, he remembered that all the rewards of his achievements had been wasted. He couldn't help but admire the past and the present, and wrote the masterpiece "Niannujiao Chibi Nostalgia". On July 16th and July 15th of this year, Su Shi took a boat trip to the Yangtze River under Red Cliff twice, and wrote the famous "Ode to the Former Red Cliff" and "Ode to the Later Red Cliff". The "Red Cliff Ode" before and after has a profound influence on the history of Chinese literature and art. It provides creative themes for future operas, paintings, sculptures, etc. Song Dynasty painter Li Gonglin and Ming Dynasty painter Tang Yin both painted Su Shi's boat trip to Red Cliff. Su Shi's creative activities in Red Cliff added luster to Red Cliff. The Qing people simply named Red Cliff in Huangzhou "Dongpo Red Cliff" and engraved it on the door of the building, making it famous all over the world. To this day, there are still places of interest such as "Erfu Chang", "Pojiang Pavilion" and "Poxian Pavilion" on Red Cliff on the east slope of Huanggang.
7. Content structure:
This article describes the beautiful scenery of the moonlit night and the comfortable mood of rafting on the river, drinking wine and composing poems. After a short answer, the focus of the article shifted to the debate on ecological issues. The article reveals some negative emotions, but also reflects an open-minded and optimistic spirit. The meaning is implicit but not explicit, the deep feelings are integrated into the description of the scenery, and the sadness and indignation are reflected in the broad-minded style. This is one of the reasons why it became a famous article.
The full text consists of five paragraphs.
The first paragraph describes a night tour of Red Cliff, showing a poetic and picturesque realm: the breeze and the bright moon interweave, and the dewdrops and water shine. In this clear and beautiful night scene, the host and guest went boating on an autumn night, drinking wine and reciting poems. Surrounded by such beautiful scenery, the author spontaneously feels the joy of "leaving the world behind" and "emerging", and can't help but feel ecstatic. This sets a melodious and harmonious tone for the whole text.
The second paragraph describes the joy of the author drinking and singing and the sad sound of the flute of the guests. When the flute sounds, sadness arises. Sorrow, admiration, crying, complaint, hidden dragon dancing, bride crying, these six metaphors exaggerate the sadness of Xiao Sheng, the subject and the guest are moved by the scene, and change from joy to sadness, which triggers the discussion of the subject and guest question and answer below.
The third paragraph describes the guest’s pessimism about the shortness and impermanence of life. The author uses the method of question and answer to reflect on the present and recall the past, and express his feelings about the world and life. The guests thought of Cao Cao's poems from the bright moon, rivers, and mountains in front of them. All things in the world, heroes and heroes, are just passing smoke, disappearing into ashes with the passage of time, and the wind and waves are gone. Thinking of being relegated to Huangzhou, he couldn't help but feel sad that his youth was wasted.
In the fourth paragraph, the writer puts aside his personal worries and appreciates the wonderful scenery of nature and his open-minded mood. "Su Zi"'s answer echoes the scene described in the article, using the bright moon and the river as a comparison to illustrate the world. All things and life have both a changing side and an unchanging side. From the perspective of change, all things in the world cannot remain unchanged even in the blink of an eye; from the perspective of immutability, all things and human beings are eternal and unchanged. There is no need to envy infinity and the bright moon, which never increase or decrease. There is no need to lament the shortness of life, but to maintain a broad-minded and optimistic attitude.
In the fifth paragraph, it is written that the guest turned from sadness to joy, the host and guest drank happily, and fell asleep after being exhausted. This ending is meaningful, not only echoing the transcendental happiness at the beginning, but also a hint to political opponents: Although I was persecuted and demoted to Huangzhou, my life was good, and I was neither lonely nor distressed. This is actually a protest.
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