Author: Wang Wei
Its huge height is close to the city of heaven, from the mountain to the corner of the sea.
The white clouds merged behind, and the blue mist melted into the mountains and disappeared.
The central mountain peaks separate the southwest, and the valleys are different.
Want to find a house to live in the mountains, is it convenient for the water guide to ask the woodcutter?
I think the necklace is good, and the questioner can refer to the following appreciation: the artistic creation of poetry is to show the general with the individual and seek perfection with the imperfection. Liu Xie's so-called "less is more" and ancient painters' so-called "meaning is greater than image" all mean this. As a poet and painter, Wang Wei knows the mystery well, so he can describe the vast Zhongnanshan vividly with a five-character poem with only 40 words.
The first couplet, "Its huge height is close to the city of heaven, connecting Qian Shan to the corner of the sea", first exaggerates the outline of Zhong Nanshan. This rough outline can only be obtained from a distance, not from strong light. So this couplet is obviously about writing a vision.
"Taiyi" is another name for Zhong Nanshan. Although the south is high, the sky is far away. To call it "near the sky" is of course an artistic exaggeration. But this is to write a long-term vision. Looking south from the flat ground, its peak is indeed connected with the sky. So to say that it is "near the sky" is to exaggerate the truth. The same is true of the corner of the sea where thousands of waters converge in Qian Shan. Zhong Nanshan starts from Tianshui, Gansu Province in the west and reaches Shan County, Henan Province in the east, far away from the cape. It is not true that it "meets the corner of the sea", but it is also true that it "connects with other mountains until the corner of the sea". However, this is a long-term vision. Looking from Chang 'an to the south, there is no end in the west and no end in the east. Writing the final vision of South China with "connecting Qian Shan to the corner of the sea" is exaggerated but more and more true. For more appreciation of Tang poetry, please pay attention to Guo Xuexi's 300 Tang poems in Gutang. com。
In the second couplet, I wrote a close-up view, "Cloud, when I look back, it is close behind me". "Looking back" and the next sentence "Looking back" are dual, meaning "looking back". When Wang Wei entered Zhong Nanshan, he wrote "Looking Back" and looked at the road he had just walked. The poet is in the middle of Zhongnanshan Mountain, looking forward, white clouds are everywhere, and there is no road or other scenery, as if he could float in the ocean of white clouds after a few more steps; However, moving forward, the white clouds continue to be divided into two sides, which is beyond our reach; Looking back, the white clouds on both sides closed again and merged into a vast sea of clouds. This wonderful realm will not be unfamiliar to anyone who has experience in traveling mountains, but who can show it so vividly in just five words except Wang Wei?
The sentence "Fog disappeared when I entered them" and the previous sentence "Cloud, when I look back, is behind me" are intertextual, they are intertwined and complement each other. The poet walked out of the vast sea of clouds, and in front of him was a misty blue haze, as if he were moving forward and could touch the blue haze; However, when I walk in, I am not only invisible, but also invisible; Looking back, the green is closed again, hazy and long, but I can't reach it.
This pair of couplets is full of pregnancy, and it is written that it has vanished and changed shape. In other words, Zhong Nanshan has thousands of rocks and valleys, pines and cypresses, strange rocks and clear springs, exotic flowers and plants, and many scenic spots worth watching. Everything is shrouded in "white clouds" and foggy "green haze", which is invisible and unreal. Only in this way can we be more fascinating and eager to "see" further. On the other hand, the beautiful scenery we saw still makes people nostalgic and can't help looking back. Just now, the combination of white clouds and green haze put the scenery in front of Yumei's eyes with green gauze or ice gauze, from clear and hazy to hazy and hidden, which is even more memorable. The poet didn't say all this, but he left us a vast imaginary world in the "image" he had outlined.
The third high generalization, scale Wan Li. The first couplet wrote the height of Zhong Nanshan and the distance from west to east, which was seen from the north of the mountain. As for the width of the south from north to south, it is expressed by the phrase "a central mountain divides the wilderness" If you have the knowledge that "a central peak divides the wilderness" when crossing the mountains, the poet can stand on the "central peak" and look around. The east and west of Zhong Nanshan are far apart, while the north and south are so vast. Only based on the "peak" of "near the sky" can we have a panoramic view; And "harmony and weathering into many valleys" is a panoramic view. The so-called "sunny and rainy with the valley" does not mean "rising in the east and setting in the west", but uses the intensity of sunlight, with or without it, to show the Qian Shan Wangu.
There have always been different understandings and different evaluations about termination. Some people think that it is not unified and commensurate with the previous trinity, thus holding a negative attitude. Wang Fuzhi argued: "I need a place to spend the night. I called a woodcutter crossing the river. The vastness of the mountain is far from being known. This is the same as the first six sentences. The subject and object are clear, and the sense of non-monopoly is also described." Shen Deqian also said, "The last two sentences are not suitable for the whole body. Today, playing with its semantics, seeing that the mountains are far away and there are few people, the extraordinary scenery is comparable. " ("Don't Cut Tang Poetry" Volume 9)
These opinions are all good, but it seems that more can be understood by "playing with its semantics". First, the sentence "Need a place to spend the night" obviously has an omitted subject "I". Therefore, with this sentence, we can see "I" traveling in the mountains and there are "I" everywhere. We look at things with "I" and express our feelings because of the scenery. Secondly, "I need a place to spend the night" and "I call a woodcutter crossing the river", then "I" will stay in the mountains and travel tomorrow. The mountain scenery is pleasing to the eye and it is not difficult for poets to avoid the noise. Thirdly, the "water" of the poet "I call a woodcutter crossing the river" is actually a deep ditch and a big stream; So, how did he find the woodcutter? A "woodcutter" has to chop wood, have wood and have a stereo. It is not difficult to imagine that the poet happily found the woodcutter from the Woods "across the water" If there is a "woodcutter", we know there must be a "place for people" not too far away. So it's not hard to imagine the scene where the "woodcutter" answers and the poet looks away when he asks where to live.
Generally speaking, the main feature and advantage of this poem is that it is good at "seeking perfection with imperfection", thus receiving the artistic effects of "getting twice the result with half the effort" and "meaning is greater than image".