Late Autumn Night
[Author] Bai Juyi ? [Dynasty] Tang Dynasty
The blue sky is melting and the moon is still, and the lonely shadow of a person is hanging in the moon.
The remaining chrysanthemums bloom beside the sparse hedges, and the fallen tung trees under the leaves fall into the cold well.
Sai Hongfei is anxious to realize that autumn is over, and the neighboring chicken crows late to know that the night will last forever.
Concentrating on emotion without words or thoughts, the wind blows and the clothes are white and cold.
Appreciation of "Late Autumn Night"
The Li family is accustomed to regard Bai Ju and Yuan Zhen as a poetic school, and summarize them in popular terms. In fact, although Yuan and Bai are famous for their popular poetry, their temperaments, personalities, interests, hobbies, habits, origins, and experiences are different, and their poetic styles are also very different. Su Shi once said: "Yuan is light on vulgarity and Bai is vulgar." ("Yuan is light on vulgarity and Bai is vulgar.") The so-called lightness does not mean frivolity or frivolity, but lightness and lightness. Although it is also vulgar, it is bright and colorful, and has the beauty of slender and complicated tapestry; while Bai Juyi advocated a light character. Therefore, Yuan Zhen is gaudy and vulgar, while Bai Juyi is bland and vulgar. Yuan is good at coloring and Bai is good at line drawing. Tian Wen, a poetry critic of the Qing Dynasty, commented in "Gu Huantang Collection": "Lotte's poems are very clear and lovely, and they often use the things in front of them as insights, which others have not said." Therefore, the popular meaning of Bai's poems is shallow, light, and light. Qing, which is very different from the lightness, density and beauty of Yuan poetry. Bai Juyi also bluntly said that his "poems are tasteless and tasteless, and they are often ridiculed by everyone" ("My Poems Are Clumsy Because I Have Pregnancy"). Lightness is a major characteristic of Bai poetry. It is light, flavorful and very charming. Not only that, Bai Juyi not only claimed that his poetic style advocates the word "light", but at the same time, he also publicly rejected the word "yin". But this kind of beauty is not gorgeous and slender, but a kind of erotic style. Therefore, in his preface to Yuan Zhen, he claimed that his poems are "obscene and beautiful, without a single word" ("He Dao") Preface to Ten Poems"). In "Celin" written to the emperor, he also emphasized "delete obscene words and cut off the algae". In Bai Juyi's poems, although beauty is occasionally seen, it does not dominate. "Late Autumn Night" is an excellent piece that combines popularity and elegance. Its characteristics can be summarized as light, light, clear and beautiful.
The so-called shallow means that it is simple and popular, catchy, without allusions, and does not use Austrian language; the so-called light means that it enters lightly and comes out lightly, without strong colors or colorful words; the so-called clear means , means that the atmosphere is refreshing, fresh and clear, not artificial, and natural; the so-called beauty means radiant, innocent and pure, brilliant in literary talent, and beautiful in appearance. The first couplet describes a bright moon hanging high in the vast blue sky, bright, beautiful and silent, bringing readers into a vast, bright, clear, peaceful and profound realm. Meditating under the moon, looking into space from a distance, leisurely and fascinated, I can't help but feel lonely and worried, but I have no words to the moon, only the shadow and form. Here, the poet outlines the lonely and lonely state of mind. This state of mind is very harmonious in tone with the quiet moonlit night. The couplet says that the chrysanthemums are in bloom. According to common sense, the autumn chrysanthemums are proud of the frost and snow, and stand alone. But at this time, the remaining chrysanthemums are blooming, and they are still leaning against the sparse fence. It can be seen that the withering stage is not far away. However, it can still last for a while, but as for the aging sycamore, it can no longer withstand the invasion of cold air, and its leaves have withered and fallen on the cold well. Here, "flowers bloom" versus "under the leaves", "chrysanthemums" versus "fading tung trees", "next to sparse fence" versus "falling into the cold well", further exaggerate a desolate and cold atmosphere. Although it is a description of a scene, it contains a hint of sadness, echoing the word "sorrow" written in the first couplet. The neck couplet changes from plants to animals. The pheasants outside the Great Wall, flying rapidly across the sky from north to south, feel that the late autumn is over in order to avoid the cold invasion; due to the short days and long nights, the crow of the neighbor's roosters has also been postponed. Here, "Saihong is in a hurry" is used to contrast with "neighbor's cock crows late", and "feeling the end of autumn" is used to contrast with "knowing that the night will last forever" to contrast the coldness of the late autumn night, thus deepening the poetic sentiment to a newer realm. The last couplet goes back to writing about people. This is the "sad man" written in the first couplet. He is "speechless" and lonely. Just when he was thinking a lot, the bleak autumn wind blew in waves and blew on the white dew. The cold air hit him and his clothes felt cold.
There is no clear boundary between vulgarity and elegance, but they are opposite and complementary to each other. The elegance comes from the vulgar, and the elegance contains vulgarity, which is the best. Huang Tingqiang emphasized "taking vulgarity as elegance" ("Yang Mingshu Yun Again·Introduction"), and Wu Na also emphasized "from vulgarity to elegance" ("Preface to Article Differentiation of Style") ). The key to turning vulgarity into elegance lies in the word "hua". Zhang Wei, a poetry critic of the Tang Dynasty, regarded Yuan Zhen as a person who "entered the family" in "Preface to the Poet's Host and Guest Picture", and "regarded Bai Juyi as the master of enlightenment", that is, both Yuan and Bai were regarded as famous poets who reached the hall of elegance. It can be seen that elegance does not exclude the popular. The most pure elegance is often ancient and dignified, but lacks clarity and popularity; if elegance contains vulgarity, incorporates vulgarity into elegance, and returns from elegance to vulgarity, there will be no trace of vulgarity, but a vulgar taste and no vulgar appearance. , and has a vulgar charm. This kind of vulgarity is the ultimate elegance and the ultimate vulgarity. Because it is no longer a pure vulgarity, but an elegant vulgarity, which is higher than ordinary vulgarity. "Late Autumn Night" is a masterpiece of both elegance and vulgarity, and is both elegant and vulgar. Just as the Qing Dynasty poetry critic Ye Xie commented in "Original Poems": "The white slang is vulgar but the elegance is also in it." This is the case with this poem. A brief introduction to Bai Juyi, the author of "Late Autumn Night"
Bai Juyi (772-846), also known as Lotte, also known as Xiangshan Jushi, also known as Mr. Zuiyin, was a native of Xinzheng, Henan (now Xinzheng City, Zhengzhou, Henan). He was a great figure in the Tang Dynasty of my country. A realist poet and one of the three major poets of the Tang Dynasty. Bai Juyi was born in Dongguozhai, Xinzheng, Zhengzhou (now Dongguosi Village, Xinzheng City) in the first month of the seventh year of Dali (772) of Emperor Daizong of the Tang Dynasty.
Bai's ancestral home is Taiyuan, Shanxi. Bai Juyi's grandfather Bai Kun immigrated to Xiagui (now north of Weinan City, Shaanxi). Bai Quan later served as the county magistrate of Gong County (now Gongyi City, Zhengzhou, Henan Province), and was a good friend of the magistrate of Xinzheng County, his neighbor at that time. Seeing the beautiful mountains and clear waters of Xinzheng, he moved to Xinzheng. Bai Juyi himself was born in Xinzheng, Henan Province. After his death, he was buried in Luoyang, Henan. The memorial hall of Bai Juyi's former residence is located on the outskirts of Luoyang, and Baiyuan (Bai Juyi's Tomb) is located on Pipa Peak in Xiangshan Mountain in the south of Luoyang City. Bai Juyi's poetry has a wide range of themes, diverse forms, and simple and popular language. He is known as the "Poetry Demon" and the "Poetry King". He became a bachelor of the Hanlin Academy and a doctor of Zuo Zanshan. There is "Bai's Changqing Collection" handed down from generation to generation, and his representative poems include "Song of Everlasting Sorrow", "Charcoal Seller", "Pipa Play" and so on.
Bai Juyi's other works
○ Song of Everlasting Regret
○ Spring Trip to Qiantang Lake
○ Grass/Farewell to the Ancient Grass
○ Viewing the Cutting Mai
○ Reminiscing about Jiangnan·Jiangnan is good
○ More works by Bai Juyi