Although this is an old topic in Yuefu, Zhang has given it a brand-new connotation. The author uses five images: spring, river, flower, moon and night. These five images can be said to be the most touching and beautiful scenery, but the author is by no means sharing energy, but grasping the key points. The whole poem takes the temporal and spatial changes of the month as the main line and writes the month in turn. This kind of rising, hanging, slanting and falling are all spatial and a kind of spatial movement, but it is a time process to link these four. In other words, in this poem, the passage of time brings about the transformation of space, and the transformation of space is accompanied by the passage of time, and the two are intertwined and used for each other. in addition
In addition, the most amazing thing about this poem is its profound thinking based on the transformation of time and space, a confused and extremely far-reaching cosmic consciousness. "Jiang first saw the moon, and Jiang Chu took photos of people. Life is endless from generation to generation, and Jiang Yue is only similar year after year. I don't know who Jiang Yue is waiting for, but I see the Yangtze River delivering water. " Every word of it comes from time and space, which makes people realize the remoteness and eternity of the universe and the shortness and helplessness of life in a warm and sentimental atmosphere. There are confusing questions and quiet statements, which contain thoughts on the universe and life. Although the author didn't give you a clear answer, putting such a fact out will make you feel empathetic, and make you think of life, yourself and life while observing nature and time and space.
Zhang's Moonlit Night on the Spring River has influenced a large number of poets implicitly or explicitly since its publication. Li Bai wrote in "Drinking the Bright Moon Alone" that "invite the Bright Moon to drink wine and take my shadow to make the three of us". Su Dongpo wrote, "When will there be a bright moon? Ask heaven for wine. I don't know what year it is tonight. "
Modern poems in Tang poetry skillfully use metrical patterns to describe time and space from different angles. Because modern poetry pays attention to level and level confrontation, time images and space images are more likely to accompany it. If the sentence refers to time, duality usually involves space. "Gan Kun Wan Li's eyes, the time sequence is 100 years old." (Du Fu's Five Songs of Spring in Jiangcun "Gan Kun" is relative to "time series", and "ten thousand years" is relative to "hundred years". The first sentence, Gankun Wan Li is boundless, and the next sentence, the time series is a hundred years, time and space go hand in hand and grow together. This kind of writing is not only out of the poet's heart looking down around, but also out of the requirements of metrical couples and the resulting creative inertia.
Time and space in Tang poetry are both opposites and blends, and they often change between them. "Sorrow over the ages, a curtain of tears, melancholy in different times, different times" is used to express the generosity of ancient and modern times, in which ""refers to time, but the word "Wang" is added in front of it, which makes the time sequence spatial. The "location" in Wang Wei's "I will walk until the water stops me, and then sit and watch the rising clouds" (my retreat in Zhongnanshan) spatializes the time process of going to the water source, while "time" spatializes the spatial relationship when people look at Yun Qi. The third part of Du Fu's Ode to Monuments says: "Wanling Valley is near Jingmen, and Mrs. Guang was born in the village where she grew up. She came out of the purple palace and entered the desert. Now she has become a green grave in the yellow dusk. " Syntactically, the first sentence takes the mountain valley as the subject of the verb "go", which makes the relationship between the mountain valley and Jingmen dynamic, and the couplet "Zitai"
The spatial relationship between "Shuo Mei" and "Shuo Mei" is spatialized by "Yi Qu" and "Lian", including the time process, while "dusk" indicating a specific time period is spatialized by "verb". Because "dusk" must exist in space, it can be "oriented" through an ancient tomb that is said to be covered with grass forever. Through the spatiality of time and space, Du Fu integrated the past and present, Princess Ming's hometown and her old tomb in Shuomo into a complete world of this poem, transcending the barriers of time and space.
The degree of integration of time and space and the degree of emotional concentration are also closely related to the position of the creator. China literati have the habit of climbing mountains and waving hands since ancient times. Climbing can be far-sighted, open-minded, stimulate literary thinking and truly feel the universe.
Climbing the mountain breaks, transforms and combines the original relationships between emotion and things, heart and eyes, far and near, beginning and middle. Climbing high and looking far is first and foremost a spatial transformation. Height is the vertical extension of space from bottom to top; Far is the infinite expansion of space from point to surface. The combination of height and distance is a three-dimensional spatial combination of hyperplane. After climbing a mountain, people generally go through such a process: from low to high, from small to large, from near to far. From low to high is the change of people's position, from small to large, from near to far is the expansion of people's vision. In other words, from oneself to the field of vision to the scenery, changes have taken place with the rise. The result of this change is that it is not easy for people to be on the flat ground, especially in low and narrow places.
Because these changes can occur in mountain climbing, when these changes act on poets, they will have a feeling that was not easy to produce before. On the one hand, this feeling is enough to awaken the theme's long-term invitation from its social experience, on the other hand, it will produce a sense of loneliness independent of the world and a sense of insignificance of individuals in infinite time and space. The sublimity in the physical sense, with the help of the change of space scene, is often isomorphic with the psychological mood of climbers. Moreover, after climbing the mountain, tourists will not only look at the space scene, but also think about time by looking at the space. In a sense, the core significance of climbing is that tourists can think about history and reality from a new angle and examine their living conditions and quality of life.
Ancient literati often climbed mountains with a certain purpose, especially those who were stranded abroad and exiled far away. They have been weather-beaten and suffered a lot, and they all have a strong sense of return. However, it is not practical to return to China, so I have to look at Angelica from afar. For example, Wang Bo's "In the Mountains": "The sorrow of the Yangtze River has stagnated, and Wan Li's thoughts will return. The situation is high and the mountains are flying. " Bai Juyi's "Jiang Lou Wen Anvil": "Jiang people gave clothes late and began to smell the anvil in October. A high-rise building overnight is the heart of Wan Li's hometown. " Liu Zongyuan's "Seeing the Mountain with Master Haochu to See Friends and Relatives in Beijing": "The seaside mountain is like a sword (máng), and Qiu Lai is full of sorrow. If you want to be hundreds of billions, you can go to the peak to see your hometown. " These poems all want to go home, take Angelica from afar as an example.
Homesickness is just one of the contents of mountain climbing. In contrast, it is also the proper meaning of the outline question to express one's feelings of fatigue and depression and to express one's life predicament. Space-time in the universe, as the reverse of everything, contains endless life complex in the eyes of climbers.
Chen Ziang's Youzhou Tower is a typical poem full of emotion: Where were those lost times before me? Behind me, where are the future generations? I thought of heaven and earth, with no limit and no end. I was alone and my tears fell.
Judging from the whole poem, although the author writes time first and then space, space is already included in time, and space also includes time, which is the same. The words "before" and "after" in the first two sentences are time words with spatial connotations: "ancients" and "modern people" are diachronic expressions, while "invisible" is a spatial view. The combination of the words "disappear" and "before" and "after" makes these two time descriptions have the significance of spatial display. Looking at the last two sentences, "heaven and earth" is originally a spatial image, while "leisurely" has a long and lasting time significance. Explain "heaven and earth" with "leisure" and let space and time blend together; "Dui" is an individual existence in a space, but it is related to the "ancients" and "modern people" mentioned above, so this individual is a diachronic existence that cuts off "before" and "after". Therefore, spatial expression has temporal connotation. Furthermore, in the work, the author abandons the description of specific events, hides the emotional background, and only discusses the world, ancient and modern, and its destination lies in a word that indicates the existence of individuals. What is the unique result? I was alone, and my tears fell. This is like a focus, which brings together the ancient and modern world, that is, time and space. In other words, the whole poetic scene adopts the expression of convergence and contraction, from the vertical ancient and modern, horizontal heaven and earth step by step to the point of individual existence, and finally to the individual's tears, thus highly amplifying the individual's sadness and even filling the whole. By this time, the so-called time, space, ancient people and modern people, as emotional backgrounds, have gradually faded away. Only the real individual "I am alone" and my tears have fallen, and his sadness has brought people a strong shock and infection.
This poem has roots, and the earliest source is Qu Yuan's Journey: "Only the infinity of heaven and earth makes me sad for the constant diligence of life. I didn't smell it when I came. " However, these words did not have the same extensive influence as Chen Ziang's You Zhou Tower, which may be due to the following reasons: the former is sandwiched in a long poem and easily overlooked; And the latter is not as impressive as You Zhou Tower as a poem. It is that the feelings expressed in Youzhou Tower are more concentrated and profound than the former: the first two sentences highlight the existence of individuals at this moment with two words of "invisibility", and the last two sentences condense all feelings on "crying", which is very emotional and concentrated. Thirdly, the sentence pattern of Youzhou Tower is short before and long after, tight before and slow after, which is easy to read. The first two sentences are two five sentences, the sentence pattern is very short, and the last two sentences are two six-part sentences, with the addition of "zhi" and "er", which is slightly slower. This combination of tight front and slow back makes this poem read suddenly, gradually drifting away and more charming.
Du Fu's "climbing" is the poet's unique perception of time and space formed by climbing and overlooking. In the two sentences of "leaves are falling like a waterfall, but I watch the long river roll forward all the time", "under the sand" describes the spatial situation, while "rolling in" actually implies the concept of time, that is to say, the endless Yangtze River not only refers to the water of the Yangtze River, but also means "the deceased is like a husband, staying up all night". Therefore, the author put forward the idea of mourning for autumn from the endless falling wood, and remembered the shortness of life from the endless Yangtze River. Wan Li's Sad Autumn is about space, but the time factor of "autumn" is already included in space. "A Hundred Years of Sickness" describes the journey of life, focusing on time, but what stands out is the sick individuals existing at this moment, among which there are many spatial factors. It can be seen that Du Fu's treatment of space and time in this poem is very wonderful.
Cui Hao's The Yellow Crane Tower is also a masterpiece of time and space.
"Millennium" is a concept of time, and "white clouds in the sky" is a very obvious spatial image. Combining "One Thousand Years" with "White Clouds in the Sky" is actually a combination of time and space. This combination, especially the word "youyou", makes this overlapping word have both a long time and a long space. In other words, the empty white clouds cleverly sneaked into the river of passing time from the three-dimensional space, creating a sense of remoteness and eternity.
The whole poem has two joints in time and space: one is "white clouds" and the other is "smoke waves". Baiyun contains the first half of the poem, which enhances the feeling of modern people; "Smoke waves" spread in the second half of the picture, expressing the sadness of travel and service. Baiyun Millennium is a virtual reality, and Smoke on the River is a virtual reality. The previous sentence is about the barrier between heaven and man, reflecting the long-term emptiness of heaven and earth. The last sentence is about being in a foreign land, and it is difficult to return to your own thoughts. This is an introduction to the vague nothingness of rural customs.