A farewell, the two places are hung together, only in March and April. Who knows that in five or six years, the lyre was unintentionally played, the eight-character script could not be passed down, the nine chains were interrupted, and the Shili Pavilion was eager to see it, and it was hopeless, but it was helpless to blame you.
A thousand words can't be finished, and I'm bored to see the lonely goose for nine days. In August, the Mid-Autumn Festival is crowded with people, and in July and a half, people burn incense and ask for heaven. In June, everyone shook my heart. Pomegranate is like fire in May, with cold rain. April loquat is not yellow, and I want to be confused in front of the mirror.
In a hurry, the peach blossoms turn with the water in March. Falling and falling, the kite string was broken in February, alas! Lang Lang, I really hope that you are a woman and I am a man in the next life.
In real life, people can't live without numbers. For most people, numbers are generally boring. However, when the thirteen numbers "one, two, three, four, five, six, seven, eight, nine, ten, hundred, thousand and ten thousand" are skillfully applied to poetry, they often become very vivid and show strong artistic appeal, which makes the whole poem interesting and adds a lot of artistic charm.
In the history of ancient poetry in China, the practice of counting poems has a long history. As early as the book of songs, the first collection of poems in ancient China, many poems used numerals (according to statistics, as many as 46 poems used numerals in Guofeng alone); Among the poems included in 300 Tang Poems, there are more than 130 poems with figures, accounting for almost half of the total. It can be said that in the treasure house of ancient poetry culture in China, there are countless examples of numbers entering poetry!
Numbers are very useful in poetry. They can not only describe lyricism, but also depict characters and draw landscapes. Narrating lyricism with numbers in poetry can make the things described and the feelings expressed more touching, such as "a maid-in-waiting has lived here for twenty years, thousands of miles away from home;" However, ask her for this song, and use the first few words of this song to see how she tries to suppress her tears ("He Manzi"), anonymously "a spring flower and a spring sadness, twelve beads curtains on the twelfth floor". Worry about listening to hundreds of tongues, two or three branches and five more "("Spring Sorrow "); Describing characters with numbers in poetry can enrich the characters' images, such as Yang Guifei's "If she smiles back, it will be beyond redemption, and the pastels of the Sixth Palace will be wiped out" in the Song of Eternal Sorrow by Bai Juyi, a great poet in the Tang Dynasty.
Du Mu's "Farewell" wrote the girl "thirteen years old, cardamom in early February"; Describing the scenery with numbers in poetry can make the scenery and objects written more vivid, which was especially fully used by ancient poets. For example, Du Fu, a great poet in the Tang Dynasty, wrote: "Two orioles sing green willows and a row of egrets soar into the sky. In the poem "Autumn Snow in Xiling, Boat in Wan Li, Wu Dong" ("Jueju"), the four numbers "two, one, thousand and ten thousand" are skillfully used to make the artistic conception of the whole poem more vivid; In the early years of the Northern Song Dynasty, the poet Yan Shu used four numbers in the word "broken array", which vividly described the peaceful scene before and after Tomb-Sweeping Day: "There are three or four spots of moss on the pond and one or two orioles at the bottom of the leaves"; With the description of spring scenery, the characters in Li Shanfu's poem "Sometimes it rains at three or two o'clock, and there are ten branches and five flowers everywhere" seem to come alive, showing the beautiful and moving spring scenery vividly. In addition, for example, Du Mu, a poet in the Tang Dynasty, wrote "Four hundred years, thirty generations, two or three plums were blocked, and the post stood high in August and September" ("Traveling East from Luo Zhong and Hebei"), and Du Fu wrote "The autumn water is only four or five feet deep, but the wild navigation is only two or three people" ("With Zhushan people"), and the article wrote "Weak willows and one apricot, half spring rain, half green.
There are also various ways to put numbers into poetry, each with its own fun. Among them, exaggeration, overlapping, bedding and arithmetic are common and regular.
The so-called exaggeration refers to the exaggeration of the characters used in the poems, rather than the truth, such as Du Fu's "Three Wan Li rivers flow into the sea, and five thousand mountains climb skyscrapers" ("In the autumn night, the hedge gate will dawn to meet the cold") and "Frost skin will slide around the rain for forty days, and the fish at its tip will be two thousand feet green" ("Cooper's Travels") and Li Bai's "Flying straight down three thousands of feet, it is suspected that the Milky Way will set for nine days.
The so-called overlapping type means that one or several numbers appear repeatedly in the same poem or even the same sentence, among which the repeated use of the word "one" is the most common. For example, the poet Yi Shunding used the same numeral "one" in the same position of four consecutive poems in "Sitting Alone on a Moonlight in Tiantongshan", while the poet Wang Jian in the Tang Dynasty repeatedly used eight "one" words in "Ancient Ballads", but it did not give people a repetitive feeling. Among them, Yi Shi wrote: "There is no dust in the green hills and no clouds in the blue sky; The moon is alone in the sky, and the mountain is alone. "And Wang's poem is:" One east and one west are full of water, and the end of the world is scattered. As soon as I went, I went to the street and knocked down all the trees in the pool. " Chen Ling and He, two other poets in the Qing Dynasty, repeatedly used the word "one" in a poem, which was neat and interesting, and naturally did not give people a stiff feeling. Among them, Chen Ling's Untitled Poem describes a vivid picture of a fisherman boating alone under the autumn moon and enjoying himself. The poem is full of emotion and scenery, and there are people and things, which can be drawn: "A sail, a paddle, a fishing boat, a fisherman and a hook. When you smile, a river is bright and a river is autumn. " (Some people say that this poem was written by Ji Xiaolan, and the wording is slightly different: "One Artemisia, one paddle, one fishing boat, one crossing person and one fishing hook. A pat and a smile, one person monopolizes a river and autumn "). He Shi is similar to Chen Shi, but has different artistic conception: "A flower, a willow, a fish and a bird fly at dusk." In addition, for example, Li Bai's "One Call, One Ileum, One Rest, Three Cars in March" ("Seeing Rhododendrons in Xuancheng") and Ren Yuan's "Autumn leaves, a little banana, a little sorrow, after three nights in a dream".
Poems such as "("[Water Fairy] Night Rain ") are similar to this, but each has its own wonderful features.
The so-called bedding style refers to deliberately using numbers to pave the way first, so that the first half of the poem appears easy to understand and plain as water; Finally, ending with an epigram makes the whole poem dull and surprising, and makes readers suddenly enlightened in disappointment, and fully appreciate the artistic beauty of "the mountains are heavy and the water is doubtful, and there is no way out, and the willow flowers are bright and the village is bright". For example, it is said that Jie Jin, a writer of the Ming Dynasty, once went to a barn to buy rice for his family when he was a child, but he was deliberately made difficult by several landlords and gentry. At this time, it happened that a group of sparrows flew around in the sky and landed on the wall of the barn. When Jie Jin saw this, he was moved by the scene in front of him and casually read: "One by one, there are still many on the wall." Hearing this, several gentry couldn't help laughing and said, "What poem is this!" " But just before their voices and laughter stopped, Jie Jin went on to sing the last two sentences of this poem: "Taiping eats all the royal millet, so few phoenixes!" Hearing this, the gentry's laughter came to an abrupt end and their faces suddenly changed. They knew that Jie Jin called them sparrows, which encroached on the royal grain, but there was nothing they could do. It is said that Tang Bohu, another gifted scholar in the Ming Dynasty, also wrote a similar digital poetry entitled "Mountaineering". The poem reads: "One after another, going up the mountain. Looking up at the red sun and white clouds can be seen everywhere. " The first two sentences of this poem are as popular as the vernacular, but the last two sentences are very vivid, which makes the whole poem colorful at once. In addition, it is said that Zhu Yuanzhang, the founding emperor of the Ming Dynasty, also wrote such a digital poetry: "When the chicken crows, pout; When the chicken crows, pout twice. " . Three calls for Fusang Day swept away the remnant star Xiao Yue. "The first two sentences of this poem are vulgar, and the language is as light as water, but the last two sentences are distinguished and quite imperial, which is in stark contrast.
To say that digital poetry is the most popular among the people, it is probably the following poem "Ode to Snow": "One is two, three or four, five is six, and seven or eight. Thousands of countless pieces, flying into the reed flowers. " The first three sentences of this poem are unremarkable, if counted by a child, it is hardly a poem; But the last sentence has a sudden peak, which is refreshing. Once again, I understand the beauty of "restraining before promoting" and what is called "poetry is precious and refined" In recent years, with the popularity of TV series such as Prime Minister Liu, Princess and Ji Xiaolan, this poem has spread more widely among the people and is almost a household name. However, people have different opinions about the author of this poem: some are Ji Xiaolan, a romantic genius in Qing Dynasty, some are Emperor Qianlong who likes arty and artistry, and some are Zheng Banqiao, a great poet who is one of the Eight Eccentrics in Yangzhou in Qing Dynasty. In the process of spreading, there are many differences in the words used in this poem: some "thousands of pieces" are "nine pieces count" or "nine pieces fly", some "gold" is also the word "gold", some "land" is also the word "mei", and some "du" is the word "end" or "du"
Another talented person in the Ming Dynasty, Guangdong Nanhai scholar Lun wrote a poem for Su Dongpo's "Birds Return to the Nest", which is similar to the poem: "One after another in the sky, three, four, five, six, seven and eight. There are so many birds in the phoenix that they peck up thousands of stones in the world. " But it is quite different from the four kinds of foreshadowing digital poetry mentioned above:
"One after another in the sky" is two; There are twelve "34", thirty "56" and fifty-six "78". The four groups of figures add up to just one hundred, which coincides with the number of "hundred birds" in the painting. This poem is ingenious and breathtaking to read. It can be regarded as a good example of arithmetic digital poetry. In addition, such as Su Shi's "three points in spring, two points in dust and one point in running water" ("Water") and Wu Ming's "half in hate, three points in yellow leaves and two points in dust" also won the beauty of this method.
These beautiful sentences with numbers in their poems are ingenious, natural and vivid, well-known, interesting to read and give people a different kind of artistic enjoyment.
According to legend, there was a poor scholar who was quite talented, but because of the prevalence of favoritism in the imperial examination, he tried every time. This year, after listening to Yue's incorruptibility and meritocracy, he packed his bags and went to Beijing to catch the exam.
However, due to the long journey, even if the scholar went through all the hardships, the exam was over in Beijing. The scholar finally impressed the examiner and allowed him to make up the exam.
The examiner's questions are related by ten numbers from one to ten. After listening to this, the scholar thought to himself: Why don't I talk about the reasons for stumbling in the exam all the way to get the examiner's understanding; So he said to himself:
"Two or three poets in a lonely boat, four oars and five sails, after six beaches and seven bays, it's a pity that it's ten minutes late."
Hearing this, the examiners were amazed, and they really learned a lot in this life! Then, he asked the scholar to make a couplet of ten to one. The scholar thought, just take this opportunity to show the difficulty of studying and taking the exam over the years. Langkou replied:
"Ten years of cold window, into the 98 academy, abandon worldly desires, study hard the Five Classics and Four Books, and take the exam twice. I must win today. "
After listening, the examiner repeatedly said that it was wonderful, and then responded. The scholars all answered the questions. In this way, this year's championship was taken away by the couplet master.