Nineteen Ancient Poems by Anonymous in the Eastern Han Dynasty
Few people go, and those who come are close.
Looking straight outside Guo's door, I saw the mountains.
The ancient tomb plows the fields, and the pine and cypress destroy the wages.
White hate too much, worried about killing people.
Thinking about going home, I want to go home for no reason.
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This is the fourteenth of Nineteen Ancient Poems. Judging from the scope of subject matter, artistic realm and language style, some of them are similar to the thirteenth "Nineteen Ancient Poems Driving East Gate", which was written by a wanderer. Walking out of the suburbs and seeing the ruins of the tomb, I feel that the world is difficult and life is like a letter. On the issue of life and death, I angrily expressed my sadness that I couldn't get in the chaos.
Although the authors of Nineteen Songs are not necessarily speculative philosophers, they are lost in thought because of extreme human worries, and the broad imagination of Taoism and the long-term conception of fame and fortune since the pre-Qin period have made them think about life and death in many ways, and finally confuse the exploration of the Olympic area of life with the sad songs about the difficult road to life. This is the ideological feature of the poem "Studying in Japan", and it is also a portrayal of the mental state of the middle and lower intellectuals at that time.
Of course, the same is exploration, the same is elegy, and the methods are different. Due to the different mentality of the authors in each work of Nineteen Poems, the construction of the core concept of self-reflection is also different: some are intentional, affectionate and some are successful; Some are consistent and not good at twists and turns; Some adopt layer-by-layer layout and tighten the hoop; Have a plenty of hair like a pen, upside down, on the surface, it seems to be free, but at a deeper level, there is obviously an internal context. The song "I am thin when I am gone" is more different from the upward trend in terms of mentality. Please see, at the beginning, the days of departure are sparse, the days of newcomers are close, and the life of writing is highly summarized, which has enveloped the whole poem and is quite different from other 18 poems. Other 18 songs, mostly in the form of metaphor, gradually changed from revealing the superficial image of natural scenery to digging deep into the social connotation of scenery. This aesthetic mentality and its artistic treatment have become an excellent tradition of China's poetry. Therefore, the ancients said that when poetry flourished, it was full of spirituality (Li Zhonghua's "Yi Zhen Zhai Shi Hua"). There is truth. But then again, the power of poetry can't be limited to Bixing. Even if it comes straight to the point, it will become a masterpiece as long as it is handled well. Cut to the chase, you can use narrative techniques, such as entering the car to have a chat, walking for a while, turning from walking for a while to looking around, and expanding your understanding of life; You can also use a philosophical epigram that covers the whole text and is full of images as the introduction, that is, the first two sentences of "going to the sky to be sparse" to be discussed next.
Few people go, and those who come are close. These two sentences are intertwined, mutually causal and complementary. Heaven and earth are like the reverse of everything; Life is like a hundred generations of passers-by, which is extremely short, not to mention being in a troubled era when white bones are exposed in the wild and chickens crow thousands of miles away (Cao Cao's Hao). After a long time, the impression of the dead will inevitably change from vague to empty and disillusioned. The new generation who were not familiar with them will be impressed after repeated contact. The past is the past, and the coming is the coming. When we get to today, we have the past; Of course there will be tomorrow today. This is not only similar to Wang Xizhi's Preface to the Orchid Pavilion, but also similar to today's view of the past. In addition, it also shows that in the late Eastern Han Dynasty and even in the Wei and Jin Dynasties, their psychological space was indeed vast. They like to explore life and think about fate. According to the chronological order of this poem, the author should first write about Guo Men, and see the ancient tombs everywhere, which suddenly aroused the pain of life and death, and then pushed it away, giving play to the philosophy of world metabolism and impermanence of time. However, the author did not write like this, but waved the pen of thunder. At first glance, the two sentences he wrote are so vast, spanning ancient and modern times, implying infinite joys and sorrows in the world. Technically speaking, it is virtual with real, and virtual with real; Judging from the author's mentality, it is at the beginning of the poem that the mobility of human metabolism is pointed out from a macro perspective, thus making an insightful observation and endoscopic reflection on it.
It shows that the rise of the image at the beginning is no accident. It shows that the author is anxious about the enlightenment of life in his eyeful grave. The author was really shocked by the picture in front of him. It is precisely because this enlightenment and anxiety come from the grim life picture in front of us and the image of determination buried in the poet's memory warehouse for a long time that the coverage of this beginning is extremely broad, the momentum is extremely abundant, and the thinking tentacles are mysterious. This is exactly what the Tang Dynasty poet Gao Sengjiaoran said: The poet's thinking is at the beginning, and the situation is high, so a poem is high. (Poetic Style) After the author went abroad, almost everything he saw and thought was related to his coming and going, his life and death. Burying the grave of the deceased is the ultimate destination of life, but the deceased is still difficult to protect. Their graves were razed to arable land, and the pines and cypresses beside the graves were also destroyed and turned into firewood. Life, along with their graves, goes by with time, and new fields increase with time. In the face of such a bleak phenomenon, in the face of that era, it happened that the world was in chaos ("Wen Xin Diao Long Shi Ming"), the land was in war and the people were in vain. The poet's disillusionment with the fish and dragons coming and going in front of him can not help but arouse a deeper understanding, and his sorrow is even deeper. Since the disaster of newcomers is approaching step by step, we can't help but meditate on the metabolism of ancient and modern times; Since he saw and heard that Bai Yang was blown away by the strong wind, he couldn't help feeling Bai Yang's sadness and hurting his life. Hengtai has always been described by its rustling sound. Because of this, the poet couldn't help being immersed in the accumulation of a tragic aesthetic mentality, and finally sighed with emotion: Bai Yang not only hates Taiwan, but Mix is worried about killing people! There are many things in front of the tomb, which only comes down to Baiyang; But writing poplars only highlights the rustling. There is a saying in Jing Ke that the wind is rustling and the water is cool. Borrowed here, it became a very peaceful voice, and it also became an aspen-like cry symbolizing the underground dead. The deceased passed away, and their loved ones were getting thinner, but the sadness was clear. This is the arrival of relatives. One is a stranger, and the other is a relative, which shows the contrast between the typical scenes of ancient tomb metabolism, and is more concentrated in the rustle of Bai Yang. Needless to say, this result inspired the poet. Zhu Yun, a man of A Qing Dynasty, said: At this point, I can stop writing; But he went on to say: when the last two sentences fell, there were infinite twists and turns. (Nineteen Ancient Poems) is indeed reasonable.
The so-called last two sentences are so dull, but full of infinite bitterness: I miss my hometown for no reason and want to go home. From the performance point of view, these two sentences seem to be comfortable with the last article, and they are indeed a drop of what Zhu Jun said; The introduction of this great turning point shows the leap of poetry, which is not a pen of freedom, but has a profound internal connection with the above. Since life is like a letter, the metabolism is not alive, and the years pass so quickly, the wanderer who has been staying for a long time can't help but be shocked. The only hope is to return to my hometown as soon as possible so as to enjoy the reunion of flesh and blood in the chaos. At this time, the old people should not be exhausted by death, and the new students who have never met can be close again, which will be beautiful. However, it is painful not to go back and there are many failures. Although these failures are not detailed, they are only a passing, and they have become two words full of infinite bitterness: no reason! However, this poet who gazes intently at the grave and reflects on himself in life has a bright future.
He had to leave his fantasy in emptiness and his heart in the ethereal universe. At the same time, he can only let his long life continue indefinitely, let the dream of going home haunt his pillow day by day, and let the New Year in the guest force him day by day.
In the vast mobile world of ancient and modern metabolism, the poet's experience is small, but his psychological time and space are very broad. He put his long-term wandering career in the downstream of time, and put his foreign country and his hometown in the convection of two spaces. More importantly, the metabolism of the universe caused his subjective enlightenment, and the poet's anxiety deepened the sadness of the scene. In the sad atmosphere, stood an unknown poet, who was immersed in meditation and purified and sublimated his tragic character. At this point, it can be considered as the communication between mind and reality.
Downstream, convection and horizontal note all show that the author of this ancient poem has a discerning eye. He not only looked directly at the mound grave, but also faced Austria in the vast universe. With anger and anxiety, he observed and pursued the secret.