Liu Zongyuan wrote many masterpieces during his exile in Yongzhou. Among them, Yongzhou Eight Travels is the most famous, and Xiaoshitang is one of them. Of course, it is not that this is the best, but that this is more suitable for junior high school students to learn. What are you studying? Mainly learn to understand the relationship between the scenery and the author's mood in lyric prose.
At this time, the author was politically frustrated and lived in relative poverty. The story of Xiaoshitang does not give people the feeling of being hit hard and depressed. Instead, I am very happy. What we want to appreciate is not only the author's pleasure in mountains and rivers, but also the characteristics of this piece, especially the process of this piece.
The article talks about beautiful scenery and artistic conception: the stone pool is the center, but if you directly write about the beauty of the pool water, the process of experiencing discovery is too simple, so the author does not start writing from seeing the beauty of the pool water, but writes about the beauty of underwater sound first. How beautiful is it? Like singing and wearing a ring. The ring is made of jade, and the jade ring has a beautiful voice. Pei Huan's voice is associated with noble identity and beautiful personality in classical poetry and prose, which is not only the beauty of voice, but also the association of the beauty of personality. Secondly, such a beautiful voice is not heard directly, but through the bamboo forest, and it is a dense bamboo forest, which is also related to classic poetry. Shan Gui, Song of the South: The rest is quiet, and the sky will never be seen. The sound of spring water is beautiful. Listening to this sound through the bamboo forest, the whole picture has a sense of hierarchy and depth, which can show the process of psychological experience being gradually discovered, and the beautiful feeling is continuous. Because of the bedding of these two layers, the author was infected before seeing the pool water: Xinlezhi. However, although bamboo is beautiful, it has become an obstacle to enjoying the pool water: there is no road. So the next step is to cut bamboo and take the road. It can be seen that the beauty of hearing is extraordinary and must be seen. This is the third bedding.
Three layers of bedding have strengthened readers' expectations, and then come straight to the point:
Look at that small pool, the water is quiet and clear. The whole stone is the bottom.
Few people think that the whole stone is the bottom. Not only the surface characteristics of the pool are written here, but also the clarity of the water. Because if the water is not very clear, it can't be bottomed out, and it can't be concluded that it is a complete stone.
Nearshore, the bottom of the rock rolls out, which is a mountain, an island, a moraine and a rock.
The unity and diversity of nature are linked. For jade, island, mountain and rock, it is a natural color to emphasize the disunity of forms. Colorful rocks contrast with the unified pool bottom. The last four short sentences can be described without an adjective, showing complex rock shapes, which are not only the wonders of natural scenery, but also the wonders of language. The patchwork of long and short sentences comes first, while the neat, parallel, indescribable and exaggerated short sentences come last, giving full play to the advantages of ancient prose over parallel prose and forming a relaxed rhythm; Psychologically, it gives people a vivid and overwhelming feeling. Strict control of language is Liu Zongyuan's special pursuit. Of course, Liu Zongyuan is not bad at description. He is also willing to use adjectives when necessary. For example, when describing the stone in The Story of Cobalt Tantan, he used the method of parallelism: the sudden anger of the stone subsided, and the negative soil came out, and almost countless people struggled for strangeness. People who are tired of each other are like cows and horses drinking streams; The man who rushes to the corner is like a bear climbing on the mountain. This one has different styles. There is another key point in the following writing: even if the description is concise, it shows the tree, and the feeling of color is relatively simple, that is, green, which is the overall feeling, but this is obviously not the focus of the article. The article focuses on the state of branches, and the application of weaving, swaying, interleaving and swaying is all about the lush and complicated interaction of branches and leaves. This echoes the previous bamboo cutting and highlights the primitiveness of the forest.
This can't be said to be the core of the full text, because the author's biggest discovery, Tanshui, has not been written yet. The following is the soul of the full text, and it is also the swan song of this article. The key is:
There are hundreds of fish in the pond. They are all swimming in the air. In the sun, the shadow is on the stone, but it does not move; When you are far away, communication is sudden, like enjoying tourists.
The title of the article is the story of Xiaoshitang. The water in the pool should be the protagonist, but there is no mention of water except the first sentence that says "the water is quiet and happy", as if I have no feeling at all about the water in the pool. On the contrary, I am very willing to use pen and ink for stones and fish. Especially when writing about fish, the first sentence seems to say that there are some fish, but there is no water: everyone swims in the air. This empty word, on the surface, has nothing, and the beauty lies in the absence of water, but it just writes the beauty of water: water is as transparent as nothing, as if there are fish floating in the air. The reader and the author have reached a natural tacit understanding: fish has no such ability, but water is as transparent as if there is no such thing. It should be said that this is not entirely the creation of Liu Zongyuan, at least he has a foundation. In the books of Wu Jun and Zhu in the Southern Dynasties, all the water is light green and deep to the bottom. You can swim with fine stones and fish, but you can see the water as deep as the bottom of thousands of feet, and you can see fish to describe the clarity of the water, but there is still water here after all. In the Northern Wei Dynasty, Li Daoyuan's Notes on Water Classics was better than the martial arts: the horizontal pool was clean and deep, overlooking the fish, if it was empty. Use seemingly suspended fish to emphasize the clarity of water. This is obviously inherited by Liu Zongyuan. However, on the basis of describing the color and texture of water, Li Daoyuan emphasized the clarity of water with the visual effect of fish. When I arrived at Liu Zongyuan, I simply didn't mention the water, but directly wrote that fish swam in the air.
What's more exciting is that Liu Zongyuan wrote from the side, not the front, highlighting the clarity of the water. On the front, it says sunlight: when the sun shines, the fish's shadow falls on the stone. This sentence is written more intelligently, and the water is clear and transparent, which has a more unique performance: the sun shines into the water and does not darken, indicating that the water is clear; Not counting this, the shadow of fish actually appeared on the stone. The darkness of shadows is the result of strong sunlight and clear water. Both Wu Yun's and Li Daoyuan's articles use the visibility of fish to contrast the clarity of water, while Liu Zongyuan further uses the shadow and black of fish to contrast the clarity of water, which makes the contrast effect in artistic feeling stronger. This can be said to be a great innovation of Liu Zongyuan, which had a great influence on later. For example, Su Dongpo's Night Tour in Heaven: 10/2, Yuanfeng undressed at night, entered the house by moonlight, and set off happily. Those who have nothing to do for fun go to Chengtian Temple to find Zhang Huaimin. People didn't sleep, so we walked in the yard together. In the moonlight, the courtyard is full of clear water, as clear as clear water. The algae and shepherd's purse in the water are the shadows of bamboo and cypress. Using black shadows to set off the bright moonlight is exactly the same as Liu Zongyuan's technique.