The luck of the pulse, Mu Muliang Dynasty. Attack my spring clothes and say the eastern suburbs. The mountains are foggy and the weather is warm. There is a south wind, and the wings are new. Yangyang Pingze, but wash is Zhuo. The beautiful scenery is full of joy and expectation. People also have words, and contentment is always happy. Tao Ran waved his hand and enjoyed himself. Extend your eyes and flow, you want to know clearly. Children's leaves, leisurely singing. I love its quietness, I love it. But I hate the special world, and I can't catch it. Sooner or later, tell me. Anthers are divided, and forests and bamboos are like flies. Qing Qin lying on the bed, half a pot of turbid wine. Don't catch Huang Tang, I'm alone.
This poem imitates the format of the Book of Songs and uses a four-character style. The first sentence of the title of the poem takes the word "two", and there is a small preface before the poem to indicate the main idea of the whole article. Originally, after the Han and Wei Dynasties, four-character poems had gradually faded. Because compared with the new five-character poem, its rhythm is monotonous, and in order to supplement syllables, meaningless words are often added, which is not concise enough. However, in order to pursue peaceful, quiet, simple and distant artistic conception, Tao Yuanming often deliberately chooses four-character poems with simple and stable rhythm. Because it is a deliberate choice, its effect is more obvious than the book of songs itself.
The whole poem involves such an allusion: According to the Analects of Confucius, once Confucius and a group of disciples sat together to let everyone express their opinions. The last one is Ceng Dian. He said: "Those who are in late spring have already taken spring clothes, one for five or six people and one for six or seven boys. They took a bath, danced and sang back. " It means: in late spring, the weather is warm and you can wear spring clothes. With five or six adult friends, I took six or seven teenagers to take a bath in Yishui, south of Qufu, and then climbed the earthen altar to beg for rain, facing the spring breeze, and then sang songs all the way home. This imagined peaceful and quiet scene and carefree and chic behavior made Old Master Q, who has always claimed to be Yan Yi, moved to sigh and said, "I am with you" (my heart is the same as Ceng Dian's). The custom of washing at the water's edge on March 3rd became stronger and stronger. Because it's late spring and they are swimming by the water, this allusion is often quoted in the poems and songs about repairing mud in The Analects of Confucius. In the third year of Yuan Xing in the Eastern Jin Dynasty (404), Tao Yuanming was forty years old and was looking for firewood and mulberry in his hometown (now Jiujiang, Jiangxi). When he went to the eastern suburbs on 30th, he remembered what Ceng Dian said and wrote the poem "Fortune" by Ji You. The main idea of the preface before the poem is: in late spring, the scenery blends in, and you travel alone, accompanied by only the figure, happy and emotional, with mixed feelings in your heart. The whole poem consists of four chapters, which are exactly the first two chapters about joy and the last two chapters about sadness.
Let's start with a chapter or two. In the first four sentences of the first chapter, "fortune" means four-point operation; "Attack" refers to taking and releasing; "Bo Yan" is a commonly used word in The Book of Songs, which has no real meaning. The meaning of these four sentences is very simple. It is enough to write two sentences in five-character poems: good fortune and spring are suitable for the eastern suburbs. However, the poetic language should not only be concise, but also obey the specific lyric requirements. Writing four sentences slowly is the carefree feeling of the poet. The first two overlapping words "Pulse" and "Jiang Mumu" have a long tone, which also helps to create a gentle rhythm. Moreover, "Mai Mai" describes the step-by-step progress of time, and "Mu Mu" describes the tenderness and tranquility of spring, excluding the factors of restlessness and fierceness. It seems that the whole time and space have the same rhythm as the poet's mood. The last four sentences are about the scenery seen in the suburbs: the last mist is removed from the mountain peak, revealing a clear and beautiful face; Tianyu is lightly caged with a faint cloud, which is particularly lofty and ethereal; The south wind blew and left a mark on a big green seedling that was sprouting. Those seedlings are as happy as birds flapping their wings. These sentences describing the scenery, from simple to exquisite, seem casual, but they are just right. At the same time, this far-reaching picture is a symbol of the poet's spiritual world. It is vast, clear, calm and happy.
The second chapter turns to write about my journey by the water, which is similar to the saying in The Analects that "the bath is like an interpretation, and the wind is like a dance". "Pingze, Yangyang" refers to the vast lake where the poet washes (gargling here also refers to washing); "Good prospect" means that the distant scenery is vast, fascinating, eye-catching and refreshing. Two of these four sentences are very simple, but they are actually four verbs. "Nai" and "zai" have no practical significance, and mainly play the role of filling syllables and harmonizing tones. The two sentences describing the scenery are also very empty and cannot be effectively grasped by readers. But what is the actual effect? The magnificent water surface is integrated with the magnificent prospect, which shows the vastness and tolerance of nature. The poet bathed in the lake and looked at it from a distance. His spirit extends and spreads with his eyes, and he seems to be integrated with nature. These four sentences were originally intended to spread a complete and unspeakable feeling and atmosphere. If there are bright lines and color blocks somewhere, everything is ruined. The last four sentences are the resulting feelings: Didn't someone say that life is easy to be satisfied if everything is in line with their own wishes and not driven by worldly prosperity? I raised my glass and gulped it down, enjoying myself in a hazy drunkenness.
The above is the joy of the late spring outing in nature. As we all know, Tao Yuanming loves nature. In his suicide note to his sons when he was seriously ill, he also said that he was "happy again when he saw the trees in the shade and the birds changed their voices." However, Tao Yuanming's love for nature also contains a philosophy of life. In his view, because most people violate human nature, pursue endless desires, be hypocritical and pretentious, compare with each other, gain happiness, lose sorrow, so living here has produced defects and pains. Nature, on the other hand, operates and changes unconsciously according to its own laws, without desire and purpose, so nature is full of freedom and without defects. If people can assimilate with nature, they can overcome pain and achieve the highest realization of life. If we look at the first two chapters in this way, we may be able to understand it more deeply.
Then, why is Tao Yuanming "heart-to-heart" and sentimental? In the final analysis, people can't be completely divorced from society after all, just facing the natural life-even a hermit. The winter before Tao Yuanming wrote the poem "lucky strike" (in the second year of Yuanxing), the warlord Huan Xuan usurped the independence of Jin, with the title of Chu, demoted the Emperor Jin 'an as the King of Pinggu, moved to Jiangzhou, his base area, and settled in Xunyang. Soon another warlord, Emperor Wu of Song (later), started a crusade against Huan Xuan under the banner of Fuxing Gold. In the third year of Yuanxing, from summer to spring, the two armies were common in Xunyang area, and the war was extremely fierce. This turbulent and gloomy social reality is just the opposite of Tao Yuanming's gentle and calm nature. This cannot but cast a heavy shadow on the poet's mind. It is against this background that the sighs in chapter three or four hurt the memory of the past.
In the first four sentences of the third chapter, I wrote that I stared at the water waves in the lake and recalled the picture described by Ceng Dian in The Analects of Confucius: a group of people who were not so complicated finished their studies, swam in Yishui carefree and cheerfully, and then went home singing leisurely. What needs to be added is that bread here has a double meaning: on the one hand, it is personal peace and leisure, on the other hand, it is social peace and tranquility. This is the ideal realm that Ceng Dian (including Confucius) yearned for, but Tao Yuanming took it as something real to express his feelings. Around him, there is a noisy and turbulent bloody world; He himself can't realize his ambition to help the world, and he can't really be detached from things when he closes the door. Besides, he is lonely. In the preface, he said, "I travel alone", which is in sharp contrast to what Ceng Dian said, "There are five or six champions and six or seven boys". He can't help feeling sad. It says: "I love its quietness, I love it." To sum up Ceng Dian's narrative with a word "static" and express his yearning for this moment, he can't help it ("alternation" means "overlap"), because what he lacks most in his world is the peace of society and people's hearts; That kind of communication between friends who are harmonious but different from God is what he craves most. The last two sentences say: unfortunately, that era was divorced from itself and could not be traced back. This actually means that everything he yearns for can't appear in reality.
The fourth chapter describes the scene of returning from a spring outing. After wandering from morning till night, I returned home. Then describe the garden scenery and indoor furnishings in four sentences. On the surface, there is no description of the host's activities here, but our eyes follow the lens of the poem and see the flowers and plants on both sides of the path, the green trees and bamboos hiding from each other, a guqin and a half pot of muddy wine beside the bed. Don't we feel a quiet atmosphere and a sense of aloofness of the host? In the second chapter, the wine that made the poet "Tao Ran enjoy himself" reappeared here, but now it seems more sad. Is Tao Yuanming happy or sad in the wine? I'm afraid he can't tell himself. Later, "Huangtang" refers to the legendary Yellow Emperor and Tang Yao. It is said that in ancient times, they ruled with a peaceful society and a simple heart. However, I can't catch up with myself in this era, and I can only sigh alone. The meaning of these last two sentences is similar to that of the last two sentences in chapter 3, but they are all new objects of feeling, which strengthens the emotional recovery of nostalgia. But nostalgia is not the real purpose of Tao Yuanming. He only expressed his aversion to reality and his yearning for a utopian perfection through his admiration for the ancients, which is essentially related to the Peach Blossom Garden.
The emotion and content expressed in this poem are complex and profound. Poets naturally get comfort from sending their feelings, but they still can't forget the world and get rid of the oppression of reality; He fantasizes about a peaceful society, a world where the soul is not burdened, but he knows it is impossible. So in the end, he was still in pain. However, whether it is joy or pain, this poem is very dull, and the language has no meaning of carving. Tao Yuanming's pursuit of personality is sincerity and harmony, not joy and fear; The society he pursues is to enjoy himself in his own place, so in his poems, he has formed a unique style of diluting nature, peace and leisure. Any exaggerated and strong expression will destroy this pure and harmonious beauty, which Tao Yuanming does not take.