When visiting the scenic spots in Rongzhou, it’s a good idea to sing about the fisherman’s family tradition and express gratitude to the country. Disciple, please ask: How is your family tradition, sir? This chapter is written to imitate Jinhua Taoist.
Only one wave causes thousands of waves to follow, just like a hook on a coir raincoat. The golden scales are in the depths, and they must hang down even a thousand feet. Swallowing and vomiting, believing and doubting, taking the bait too late. The water is cold, the river is calm, and the mountains are full of green mountains. I return home in the bright moonlight.
This poem is very profound in its conception. It is said to be based on the family tradition of the Taoist fisherman of Jinhua. In fact, it is a verse of the monk Chuanzi in the Tang Dynasty, in order to express that he was demoted at that time. The chest is hugged.
The Jinhua Taoist mentioned in the small preface before the poem is Zhang Zhihe, a poet in the Tang Dynasty, who was born in Jinhua, Wuzhou (now Jinhua, Zhejiang). According to the "New Tang Book", his original name was Gui Ling. He was promoted to the Ming Dynasty in the 16th year. Emperor Suzong received a special reward. Because of the name, he was later demoted to Nanpu Wei. He no longer served as an official and lived in the rivers and lakes. He called himself a Yanbo fisherman and wrote " Xuan Zhenzi", also named himself. He has written five poems about "The Fisherman", among which the poem "In front of Xisai Mountain, egrets fly, peach blossoms flow and mandarin fish fat. Green bamboo hats, green coir raincoats, the slanting wind and drizzle do not need to return" is the most famous. His poem expresses that "the body is not attached to the Tao, and the inorganic boat is also idle. It is far away from the water and let the wind return, and the five lakes are facing the three mountains in the evening." (Shi Jiaoran's "Feng He Lu Gong Zhen Qing Luo Xuan Zhen Zi Cui Meng Zhou Song") His taste has a great influence on future generations. In the first year of Yuanfu (1098) of Emperor Zhezong of the Song Dynasty, the valley was moved from Qianzhou to Rongzhou (the seat of governance is now Yibin, Sichuan). On my free days, I could climb up to see the sights, see the blue sky, feel the past and present, and yearn for fishing alone in the river and the sky. The free life of Wuhu and the harmony with Zhang Zhihe.
"Only one wave moves, and thousands of waves follow, and a coir raincoat is hooked on a thread." This is a picture of fishing alone in the cold river. It is a vast expanse of blue, sparkling, with a lone boat and a man with a coir raincoat floating on it, and you are surrounded by it. Between heaven and earth, fishing in the depths of the abyss, hooking into the moving water, ripples follow each other. Such an ethereal and free-spirited state and the green and red colors under the flowers in front of you are nothing short of a fairy-tale difference, making people feel proud and sing loudly. The two sentences "Golden Scales" describe the joy of fishing: Fish fly deep to the bottom and cannot afford to sink. In order to get the golden scales under the water, fishermen will not hesitate to hang a thousand feet of silk. At this moment, the fisherman is focused on one thought, his mind is clear, and he seems to be feeling the mood of the fish hovering around the hook: "Swallowing and spitting, trusting and doubting, taking the bait too late." This fictional description describes The fisherman closes his eyes and concentrates, and his heart swims with the fish. In this happiness, the fisherman looks up at the rivers, sky and mountains, and suddenly forgets about fish. The last three sentences are dyed with an ethereal and clear picture of Jiang Yu returning home at night: "The water is cold and the river is quiet, and the eyes are full of green mountains, and the moon is bright and returning." From the fish's initial trust and suspicion, the mood suddenly turns to the picture of Jiang Yu returning home at night, Although the writing style is abrupt, the meaning is not surprising, because the "fisherman" in the word originally meant more than fish. It is said that Zhang Zhihe did not set any bait when he fished, and went out to take advantage of the excitement, but returned when the excitement was exhausted, regardless of the income. Huang Tingjian inherited this family tradition of the fisherman. What he longed for was the kind of carefree life where he was surrounded by the river and the sky, freed from dust. So, it highlights that the fisherman is in such a quiet and distant realm, wandering without caring about anything else. Doesn't this show the fisherman's ultimate goal and Feng Ren's purpose?
Huang Tingjian praises Zhang Zhihe’s family tradition as a fisherman, but the lines of this poem are derived from the "Plucking Song" by Shang Decheng, a boatman from Huating, Xiuzhou. There are thirty-nine poems under this title, one of which goes: "Thousands of feet of silk droop straight down, and only one wave moves and thousands of waves follow. The night is still and the water is cold, the fish will not eat, and the full boat returns empty-laden at the bright moon." Obviously, Huang Tingjian's words The first poem is an amplification of "Puchao Song" by monk Chuanzi. Monk Chuanzi was a native of Huichang and Yuanhe in the Tang Dynasty. His "Biao Chao Ge" was originally a verse that saved people. Zen Buddhism pays attention to not being involved in reasoning and speaking, so metaphors are used in teaching and preaching. Therefore, Zen verses are often similar to poetry. According to the "Wudeng Huiyuan" record, an official once asked the monk Chuanzi: "What is the daily routine of a monk?" He replied: "The waves are clear, and the golden scales are rare." This metaphor means that people who convert to Buddhism To live a leisurely life without getting involved in fame or fortune is like sailing a boat on the water without touching the fish with the oar. So the meaning of this song "Song of Plucking" can also be divided into two levels of understanding. The first two sentences are a metaphor for the pursuit of fame and reputation, and the hustle and bustle of the world, and the last two sentences are a symbol of the utilitarian heart and the sudden enlightenment. Therefore, Huang Tingjian's borrowing of Chuanzi Monk's "Bai Chao Song" was not also a confession of his soul at that time of breaking through the world and giving up glory and wealth? In this way, he sublimated Zhang Zhihe's family tradition of a fisherman who had no ambition to fish and was carefree and free, into a spiritual state of getting rid of the world's net and enlightening himself to the saint.
Huang Tingjian wrote so freely and detachedly in this poem, but the actual life at that time was not that free. In the second year of Zhezong's Shaosheng reign (1095), the author was demoted to Qianzhou (today's Pengshui, Sichuan) for being accused of falsely revising the "Records of Shenzong". Three years later, he moved to Rongzhou. After being relegated to life, he gained a deeper understanding of the world and life, and felt that he was bound by the causes and conditions of the world, but could not obtain true freedom. He imagined a free and transcendent realm in his heart. The description of the ideal kingdom is to inject an anesthetic into one's painful soul. The preface "Singing the family tradition of the fisherman to express gratitude to the country" shows that the real motive of writing is to express his relief and repentance in the face of the beautiful scenery of the country. However, this self-deceptive fantasy of freedom only further illustrates the impact of reality on him. real constraints. Therefore, the seemingly ethereal and detached family tradition of the fisherman and Zen Buddhism in this poem are also marked by the trauma of the author's life at that time.
This poem is symbolic in its framing and setting. Although the description does not lose the vividness and completeness of the image, its intention is not in the specific scene itself but in the implications behind the image. What the author unfolds is a series of close-ups of jumping and traveling: the rippled water surface, the fisherman fishing alone in the sky, the fish that cannot afford to sink, the hesitant fish mood, the returning boat under the green mountains and the bright moon. These shots are organized into a clear and far-reaching landscape painting scroll, especially the last three lines: "The water is cold, the river is quiet, the eyes are full of green mountains, and the moon shines before returning", which directly describes the state of Zen enlightenment in the poet's way, using natural transcendence. The wonderful scene symbolizes one's own awakening and liberation, and the mind's ambition to transform from the ordinary to the holy. It is said that this poem was quite famous at that time. In the Southern Song Dynasty, Zhang Yuanqian changed the title of "Complaining Heartfelt Feelings" to "Fisherman's Family Tradition", which shows that it was highly praised.