Analysis:
This old friend prepared a delicious meal and invited me to his hospitable farm.
Green Woods surround the village and green hills are located outside the city.
Open the window facing the valley vegetable garden and pass the glass to talk about crops.
Please come here to see chrysanthemums when the ninth festival comes.
"Don't laugh at the farmers' wine, and leave enough chickens and dolphins in good years." At first glance, it seems unremarkable, like "prepare chicken rice for me, old friend, you entertain me on your farm", as if it were an ordinary note, effortless. However, from the first sentence here, the poet wrote that he had visited the village and suddenly came to the farmhouse. The host warmly entertained the guests, played up the happy atmosphere after the harvest of the farmhouse, and made a strong foreshadowing for the next trip and lyric. "Lajiu" refers to rice wine brewed in the twelfth lunar month (December of the lunar calendar). This is a gratifying sight after the rice harvest. After drinking in spring, the wax wine looks a little cloudy, but it has the mellow beauty of famous wine. What's more, the owner of the farmhouse is so hospitable and the food is very rich! Dolphin refers to pigs. Here, "full of chickens and dolphins" is an extremely rich dish to describe farmers' hospitality.
"There is no doubt about mountains and rivers, and there is another village." This is a well-known sentence. The beauty of it lies not only in its skillful description of difficult scenes and antitheses, but also in its "magnificent language with nothing to do", which is natural, philosophical and chewy. Bringing this kind of natural scenery into poetry has long been described by poets in the Tang Dynasty, such as Wang Wei's "Shimen Jingshe": "I love to show off in the distance, but my first suspicion is different; An Zhiqing turned around and suddenly connected with Qian Shan. " In the hands of poets in the Song Dynasty, there are also descriptions, such as On the River by Wang Anshi: "Castle Peak can't bypass the road, and suddenly Qian Fan looms". There are also poets who are close to Lu You's age. His poems have the charm of the Tang Dynasty, and he once wrote the poem "When there is no road in the distant mountains, there is a village in the winding path". But in the development of artistic conception, it can be said that these poems are far less than Lu You. Through the word "doubt", the above sentence depicts the lost feeling of Xuxingshan Village overlapping with the surrounding mountains and lingering water. The next sentence is a continuation of the beautiful spring scenery you can see when you walk. In this way, the image of feeling and visual image are organically combined to form a beautiful, moving and wonderful picture. The evaluation of these two sentences in Tang and Song poetry is: "Like a projectile, he is not only good at writing difficult scenes." This evaluation is very insightful. This couplet is not only extremely natural, but also shallow and rich in meaning; It seems easy, but it is unexpected. So it has been widely loved by people for thousands of years, and now it has become a widely circulated idiom. When people recite these two poems, they not only appreciate the indescribable beautiful natural scenery of the mountain village, but also realize the enlightenment of its philosophical thought-as long as people face up to reality, face many difficulties and obstacles, do not flinch, do not fear, dare to explore and forge ahead, then the front will be a brand-new realm full of light and hope.
"Xiao Gu follows the Spring Society, and the clothes are simple and ancient." Poetry turns from scenery description to lyricism, from scenery outside the village to feelings inside the village. "Spring Festival" is a custom in ancient China. In the Southern Song Dynasty, Chen's Chronicle of Years Old said that "the last five days of beginning of spring were the Spring Festival Society". In other words, the fifth day in beginning of spring is the Spring Festival Social Day. When this day comes, the flute and drums in the village resound through the sky, full of festive atmosphere. The villagers must also make sacrifices to the land god and pray for a bumper harvest in agriculture. This simple and ancient custom was still very popular in the rural areas of Jiangnan at that time. This poem not only reflects the farmers' desire for a bumper harvest, but also expresses the poet's sincere feelings of loving rural life.
From now on, if you ride leisurely on the moon, you will knock on the door all night with your cane. This is the summary of the whole poem, and it is also the expression of the mood of roaming in the mountain village. What's it like to visit the village? The beautiful scenery of the mountain village and the simple beauty of rural customs left a beautiful and unforgettable impression on the poet. What about the future? The poem ends with the feeling of frequent night trips, with endless aftertaste. If the ending of Meng Haoran's poem "Wait until the mountain holiday, I will come back at chrysanthemum time" is straightforward, then the ending of Lu You's poem is more euphemistic with a pen. The poet confided that if I have the opportunity to go out on a moonlit night in the future, I will knock on the door at any time with a cane. This conclusion points out the theme of visiting the village in the poem. "Knocking at night" echoes the first sentence "farmer", which is not only complete, but also more intriguing. zhihai.heshang/Article/fytd/kycj/20060 1/ 18333
On Meng Haoran's Passing the Village for the Aged
Lin Geng
However, Meng Haoran's style has injected deep injustice into the quiet surface, which is inseparable from his life experience and personality. Of course, Meng Haoran occasionally has some childish and unforgettable works, and this song "Crossing the Old Village" is one of the representatives.
This old friend prepared a delicious meal and invited me to his hospitable farm.
Green Woods surround the village and green hills are located outside the city.
Open the window facing the valley vegetable garden and pass the glass to talk about crops.
Please come here to see chrysanthemums when the ninth festival comes.
This is Meng Haoran's masterpiece. Especially the first four sentences, I was most impressed. These four sentences were wrongly collected by Wang Wei in the form of quatrains, which shows that this poem is very similar to Wang Wei's works. Wang and Meng also said that they had been together for a long time, because later generations paid special attention to Wang Wei's hermit poems. In fact, even in terms of reclusive poems, Wang Wei's style is obviously different from Meng Haoran's. The former is more natural and refreshing, while the latter is more profound and profound. As for Wang Wei's other aspects, such as some frontier themes, seven-character archaic novels and seven-character quatrains, such as "hunting watch" and "sending the governor of Zhao to represent the state" in the Five Laws, they are far from Meng Haoran. Most of Meng Haoran's poems take seclusion as the theme and five laws as the genre. Careful style often gives people a deeper sense of loneliness. His indifference is sometimes even fierce, just like his masterpieces "Docking in Tonglu" and "Friends in Yangzhou":
Monkeys whimper on the dark mountain, and the river rushes in the dark.
The wind on both sides of the strait rustled the branches and leaves, and the moonlight reflected on the river, a boat on a river.
Jiande's scenery is good, but it's not my hometown. I still miss my old friends in Yangzhou.
There will be tears, looking for the nearest touch of the sea.
The images here are also rare in Wang Wei's poems. However, Meng Haoran's style has injected deep injustice into the quiet surface, which is inseparable from his life experience and personality. Of course, Meng Haoran occasionally has some childish and unforgettable works, and this song "Crossing the Old Village" is one of the representatives.
To illustrate this poem's naivety and forgetfulness, it's best to compare it with another poem by Meng Haoran, Qiu Deng Wan Shan Send Zhang Wu:
Facing the white Yun Qi Fu Feifei on the mountain ridge, I can enjoy myself as a hermit.
Now, when I climb this mountain to see you, my heart flies high with the geese.
Sadness is often the mood of dusk, and the mood is often the atmosphere of autumn.
I looked down at the riverbank and took a flat-headed rest with the folks who came home.
There are trees on the horizon like a row of grass and rivers like a moon.
I hope you will pick me up, bring a basket of wine and get drunk on the Double Ninth Festival.
This is also a masterpiece. But in this poem, the poet is lonely. Although he is "I look down on the riverbank and return to my hometown", he can only be "you found your hiding place" He saw such a beautiful world at the top of the mountain, but only in the white clouds. As "Recruit Hermits" said:
There are many osmanthus trees and quiet mountains ... When Wang returns, he can't stay in the mountains for long.
Although the mountain is noble and clean, the poet can't help but feel a chill. So, although this poem and Passing the Old Village all boil down to the hope of drinking with friends on the Double Ninth Festival, one is in the lonely mountain and the other is in the human farm. One is to look forward to warmth with a indifferent mood, and the other is to forget in friendship and nature. Most of Meng Haoran's works actually belong to the former. Therefore, the poem "Passing through the Old Village" shows the joy that a lonely poet can get when he comes to this world, and this world only exists on a simple farm, and only this simple farm can truly accept our unfortunate poet.
Tao Yuanming has a well-known poem "Return", in which the poet abandoned his official position and ran back to the countryside. At that time, he was filled with joy. It is not difficult for us to understand why Meng Haoran is so full of joy in Passing through the Old Village. It is this joy that makes Meng Haoran sing a beautiful country with quiet life, and this kind of beauty can only be truly deeply felt by a simple heart. Such an ordinary village, which has neither striking places of interest nor any surprises, is just a nursery and a road for Asama and some villagers. Who really loves this world? Meng Haoran did write about this simple world. This is similar to Tao Yuanming's Peach Blossom Garden. It is not easy for a poet to write a world. Here, we should really sing it wholeheartedly, and we should achieve a high degree of unity between the poet's world outlook and the simple life in the countryside, so as to reproduce a typical quiet country and an ideal world through the poet's inner world. Meng Haoran didn't make any confession here, but its artistic image did tell us.
To further understand this poem, we must analyze it more concretely.
The first sentence or two of this poem seems very dull, and its simple language and simple family hospitality, the so-called:
This old friend prepared a delicious meal and invited me to his hospitable farm.
It is a good beginning for the whole poem to unfold in a civilian life atmosphere. Through the description of such concrete and subtle things as chicken and millet, the image of the whole family is aroused. It is harmonious, real and cheerful here. So there appeared a famous sentence that has been circulated for thousands of years:
Green Woods surround the village and green hills are located outside the city.
This is the soul of the whole poem and the peak of the blending of thoughts, feelings and artistic images. To know the real benefits of these two poems, we quote a few words from Ma Zhiyuan's "Two-tone Night Boat Qiu Si":
Don't mess with the door in the world of mortals, the green trees should cover the corners, and the green hills should fill the gaps in the huts.
This is also the swan song in Sanqu. If viewed separately, Ma Zhiyuan's poems may be more attractive because they are fresher here. But in contrast, we will feel that Meng Haoran's poems are more vigorous and have no traces of how to process them. However, the whole farm is vivid, which shows a deeper effort here. This, of course, is also due to Ma Zhiyuan's writing from the corner of the hut. The hut is a small world for hermits, but this small world is closely connected with nature, which is gratifying. However, Meng Haoran wrote about the whole countryside. In a more universal world, Meng Haoran's poems are more human and life-like, which is also the deeper reason.
"We look at the green trees around your village and the pale blue of the surrounding mountains", which not only writes a clear-cut close-up and prospect, but also the green trees around the village and the green hills leaning against the green trees just set each other off and are a harmonious and simple beauty. Here, we can say they are soul mates. The so-called "seeing each other late, only Jingting Mountain". Green trees, like mother's tenderness, embrace this village; Castle Peak is like a sentry, watching the village from a distance. Their hearts are in this village, so the battlefield is left out in the cold. Only here can we understand why when we say "we look at the green trees around your village", we say "there is light blue in the surrounding mountains", which is already outside the city. This poem is to set off the smallness of the battlefield; Castle peak, green trees, villages, and then water * * * blend into one, and musquash should stand silently as if nothing had happened. This is really a kind picture. At the same time, surrounded by green hills and trees, how kind we will feel to this village, as if we should have known them long ago. So we feel the green of every meadow, the growth of every crop, and the earthy smell of every path. These are not written in poetry, but exist in the glimpse of green hills and the embrace of green trees. And our unfortunate poet, like a poor child, suddenly went to the paradise he really loved. He wants to look around and ask questions. So:
Open the window facing the valley vegetable garden and pass the glass to talk about crops.
He doesn't know how many words have been said here. He forgot the world before him. So:
Please come here to see chrysanthemums when the ninth festival comes.
He said he would come again next time. Of course he will come again. Isn't this the most sincere and touching language? Anyone with a little childlike innocence will know what a child really wants to say when he leaves his beloved place where he played all day. "We look at the green trees around your village and the pale blue of the surrounding mountains." The world will live in the poet's heart forever, so this poem will live in our hearts forever. Pep/200410/CA547221Meng Haoran was a famous poet in the Tang Dynasty. "Five-character poems are called the best in the world". (Wang Shiyuan's Preface to Meng Haoran's Collection) Among them, the achievements of the five laws are relatively high, and this article happens to be a masterpiece of the five laws. However, at first glance, the benefits of his works are often not obvious. If poetry should be mellow wine, Meng Haoran's works may be said to be like a clear spring. To taste its color and fragrance, you need to make greater efforts to recite it. This is closely related to Meng Haoran's style feature-"lightness".
Passing through the Old Village may not be the lightest of Meng's poems, but he narrates it flatly in clean language, with few exaggerated sentences and exciting words, which is considered as "too light to see the poem" (Meng Haoran of Wen Yiduo). So, where is its poetry?
"The language is light and the taste is not light." (Shen Deqian's Tang Poems) When reading Meng Haoran's poems, we should appreciate their inner charm through their faint appearances.
"Prepare chicken and rice for me, old friend. You entertain me on your farm." This beginning seems to be a diary in a diary. The old friend "invited" and I "arrived". There is no rendering in the text, it is simple and casual. This is just a possible form between friends who don't need to be polite. And invited by "Chicken Millet". It not only shows the unique flavor of Tianjia, but also sees the simplicity of hospitality. This kind of "chicken and millet" banquet is still a way to entertain guests in rural China today. It is this kind of hospitality without ceremony and ostentation and extravagance that makes the hearts of friends more open to each other. This beginning is calm and natural, but it is an excellent introduction to the content of life to be developed, showing the characteristics of the atmosphere, which needs to be further enriched and developed below.
"We look at the green trees around your village and the pale blue of the distant mountains." It is a fresh and pleasant feeling to walk into the village and look around. These two sentences, the last one is close to the border and surrounded by green trees, which is unique and unique; The next sentence is light, accompanied by green hills abroad, which makes the village not lonely and shows a broad prospect. The village is located in Pingchou, far away from Qingshan, giving people the feeling of lightness and tranquility, but it is by no means indifferent and aloof. Ma Zhiyuan, a native of the Yuan Dynasty, may have dug up a Sanqu from here: "The world of mortals doesn't mess with doors, green trees should build corners, and green hills are making up for the lack of walls, which is more comparable to the bamboo fence thatched cottage." Dewdrop with rich melody, that content of which is often shown on the tip of a bamboo pole, can be use to further explore the connotation of Meng Haoran's two poems, because it is a bit like show the muddy artistic conception of Meng Hao-Ran's poems in a film "split shot". However, Meng Haoran and Ma Zhiyuan lived in different times after all. Ma Zhiyuan was in the Yuan Dynasty where ethnic contradictions and class contradictions were unprecedentedly sharp. Through the realm he described, he showed his boredom and evasive attitude towards the world of mortals. Meng Shi, on the other hand, didn't take "don't provoke the world of mortals" seriously, but painted battlements to set off the "old village". This is because in the prosperous Tang Dynasty, things around were kind and beautiful in people's minds.
It is precisely because the "old friend village" appeared in such a natural and social environment that the host and guest raised their glasses at the window: "We opened your window, crossed the garden and fields, and talked about mulberry and hemp with cups in our hands", which was particularly enjoyable. For these two sentences, people pay more attention to "talking about Sang Ma" and think that it is "caring for each other without miscellaneous words" and indifferent to farming, which is really good. But there are threshing floors and vegetable gardens in front of the entrance window, surrounded by green shade, giving people a spacious and stretched feeling. If you say Sang Ma, you will feel more idyllic, which will arouse your concern about farming and share the joy of harvest. Therefore, we can not only appreciate the stronger local flavor, the flavor of labor production, but also smell the soil flavor on the nursery, see the growth and harvest of crops, and even feel the characteristics of regions and seasons. With the combination of these two sentences and the first two sentences, green trees, green hills, cottages, nurseries and Sang Ma blend together harmoniously, forming a beautiful and quiet pastoral landscape, while the laughter of the host and guest and the words about Sang Ma seem to be in our ears. It is different from the almost fantastic Peach Blossom Garden, but it is more realistic in the prosperous Tang society. The artistic beauty he described seems to be getting closer to life and can arouse people's good memories of the countryside. It is in this world that poets who once lamented that "the Lord of the realm is harsh on us, and the people who handle affairs are not like us" not only forgot the setbacks encountered in political pursuit, but also forgot the gains and losses of fame and fortune, even the lonely and depressed mood in seclusion. It seems not hard to imagine that his thoughts are relaxed, and even his actions are flexible, from his view of mountains and rivers, from his * * * words about wine with friends in Sang Ma. The environment and atmosphere of the farm show its conquering power here. "I was exiled by a wise ruler because I made a mistake. I have been ill for so long that I can't see a friend." Meng Haoran had to retire because he was disappointed in seeking an official position. Although living in an environment of "thatched doors, pine and cypress trails, isolation and seclusion", the contradiction between being an official and living in seclusion has been entangled in his thoughts. Now this kind of farm life in the "old village" seems to have freed him for a while, and it has also made him convert.
"When I have a holiday in the mountains, I'll come back at chrysanthemum time." Meng Haoran's conversion performance is like this. When he left, he directly announced that he would come again soon. This expression of truth is a touching language from generate, a soul that has been baptized by a healthy life, and has almost recovered its innocence. The poet came at the invitation of an old friend, but when he went, he was not worried about his master's loss and made an appointment to start again. In contrast, the attraction of the world to him, the enthusiasm of old friends, the pleasure of being a guest, and the cordial harmony between the host and the guest are all on the paper. This can't help but remind people of Du Fu's "being drunk by the mud of abundance, beautiful, strict and sincere". "When the moon rises, I will stay, but I still ask for help." Du's heavenly father keeps people, and he is anxious; Montessori made an appointment with an old friend again to soften his words. DUZH's stagnation and Meng Zhiyi's indifference are different. Maybe we can get some news from here.
An ordinary farm, an ordinary dinner of chicken and millet is so poetic. It describes the prospect of the eyes, and the level of description is completely natural in spoken language. The pen and the pen are very relaxed, and even the form of rhythmic poetry is free and flexible. You only think that this brisk and approachable style is in line with the simple pastoral he described, which shows that the form and content are highly adapted, but it is also lively and kind, not dull. Plain contains deep affection. On the one hand, although there are almost no traces of hard exercise in every sentence, on the other hand, every sentence will hardly appear weak. For example, the first two sentences of the poem only write the invitation of friends, but they can show the simple peasant atmosphere; Three or four sentences only write green trees and green mountains, but you can see a new world; Five or six sentences only write wine gossip, but they can show the comfortable fit between mood and environment; Seven or eight sentences only say that Chongyang will come again, but naturally they show their attachment to this village and old friends. These sentences are balanced evenly, and together with * * * they form a complete artistic conception, combining beautiful rural scenery with simple and sincere friendship. This is the so-called "wonderful writing, no grammar." (Shen Deqian's "Tang Poetry" is not strange ... If the public loses, it will be a coincidence and misfortune. " (Pi Rixiu's Yunzhou Meng Ting Ji) He deeply integrated the artistic beauty into the flesh and blood of the whole poem, which seemed natural and natural. This kind is not dazzling, does not show off skills, and does not rely on one or two carefully crafted sentences to prop up the facade. It is the embodiment of superb artistic level. Wang Shizhen said it was mysterious, thinking that it was "the hue is empty, like a gazelle, and there is no trace to be found". In fact, it is Meng Haoran's artistic effect not to carve the form and words deliberately, but there are still his "traces". Some of his poems similar to this one can bring you into a poetic realm, so that you can see the image and feel the charm, but it is not enough to attribute its poems, images and charm to one or two well-written sentences, or to say that it is due to the performance of a single skill. For example, a beautiful woman, her beauty is perfect, not because a certain part is particularly touching. Instead of putting on airs, she was amazed by a natural color and charm. It is precisely because of the true reflection that the words are scattered and pure, which makes the whole poem show its charm from "light touch" without "heavy makeup"
Meng Haoran's works indicate that Tang poetry has reached a mature stage through the efforts of four outstanding poets, Shen Song and Chen Ziang. It formed a complete artistic style of poetry in the prosperous Tang Dynasty. Further development is the poems of Li Bai, Wang Wei and Du Fu, which are colorful, far-reaching and even magnificent, all based on harmony and unity. Du Li and others did not copy Meng Haoran's "lightness" in form, but they absorbed and developed the profound, simple and natural qualities contained in Meng Haoran's poems. chuanjiang.blog.enorth/article/ 1408.s