Pine and cypress in the East Garden, with no posture in the grass.
First frost is different, you can see the tall branches.
Even foresters don't realize that being alone is strange.
Hold a pot and hang a cold ke. From a distance, it will be restored.
In my dream room, there is nothing to worry about.
I didn't read this poem because I was drinking. Except for the Mid-Autumn Festival, I haven't had a good drink for more than a month. Of course, I was unhappy after drinking too much. Tao Yuanming's twenty drinking poems are of the highest overall quality in the history of China's poetry, and Du Fu's eight poems about autumn prosperity may be slightly comparable to this. Dongpo also has peace poems, and he will write more when he has time. Although drinking poems have some connection with wine, they are really Tao Yuanming's swan song of thinking about life.
First of all, you should know that Yuan Ming is by no means a narrow-minded person. Although, as Lu Xun said, he also has angry poems of King Kong, his heart is really disdainful of competing with worldly trivialities. This is a basic emotional presupposition that we should have when reading this poem. Otherwise, it is easy to regard this poem as a decadent work of an angry drunkard who feels illusory life after getting drunk. This is the impression that many people read Tao poetry for the first time. The inner clarity, purity and lofty ambition in Shi Tao's poems need painful life experience and good life texture for a long time to understand.
This poem is about pine trees, and Tao Yuanming especially likes to sing it. There are many poems about pine trees in Tao Yuanming's poems. What Tao Yuanming likes is very different from people. For example, pine trees, such as chrysanthemums, began to be reshaped in the literary history of thousands of years, with brand-new emotional attributes. In his east garden, there is a pine tree like this. The pine trees in Dongyuan are covered by other vegetation in summer when the branches are luxuriant. It has no fruit and bright colors, and it is the same in all seasons. In the noisy spring and summer, it inevitably disappeared. In late autumn, the harsh frost made the glitz disappear, and the "high branches" of pine trees began to stand out. The sentence "Li Anlin" is a transition. It is written that pine trees are ordinary people, the lush forests are not watched, and the prosperity is dying, which is amazing. The last two sentences are the crowning touch, especially the sentence "Carry a pot and hang a cold ke, hope to return from afar", which is the essence of the whole poem.
The poet came to the East Garden with a hip flask and came to the pine trees with the same seasons. At this time, he was afraid that he was slightly drunk or drunk. A big difference between Yuan Ming's drinking and many drinking poems of later generations is that he drinks alone most of the time, but reading poems of past dynasties, drinking is mostly a joyous feast, calling friends, and making a lot of noise, such as Wang Wei's "Journey to Youth" in which the sentence "When you meet, the horse hangs on the willow", which is my favorite song, Nirvana's "Youth Smell" shows madness. There is a very interesting phenomenon. A person can always leave a famous article when drinking, such as Li Bai's "Carry a pot, lift my cup". I asked Mingyue to bring my shadow to us and Dongpo's Mid-Autumn disciples. Group drinking seems to be mostly for entertainment, and there are few excellent works. When I was a teenager, I loved gathering people to drink and drank too much, and I often didn't know why. After middle age, it is difficult to carry a cup alone. The hip flask is hung on the branch, and Yuan Ming used "when you see far away", which is an inverted sentence and should be pronounced "when you see far away", that is, looking at the distance from time to time. What's wonderful about this sentence? Mr. Ye Jiaying appreciates this sentence, which is regarded as an eternal masterpiece. He thinks Yuan Ming conveys the most difficult feelings and excitement in people's hearts. I'm afraid not many people can understand it. Most of Yuan Ming's poems are easy to understand, but the realm is extremely difficult to understand. This sentence is a typical example.
In my opinion, the sentence "carrying a pot" conveys a stone-like purity! Yuan Ming likes to write dusk. As you can imagine, it was an autumn dusk, just like when you walked silently into the night. A pot, a tree, a person, there is no noise at this time, only the emptiness in the distance, and perhaps the lonely mountain in the evening. At this time, lonely people are shameful. As Zhang Chu sang, this is a season that should not be lonely, so their loneliness makes them ashamed, because they are ashamed to oppose life and boredom, and wither in people's eyes for beauty. Like Haizi, riding a horse and chopping wood, blooming in front of flowers. Zhang Chu and Haizi are both enthusiastic people about the world. They have never stood on the opposite side of plain life, nor are they proud of cooking oil and flowers with great enthusiasm. They remain silent about their ideals. They don't criticize or resist, thinking it is meaningless. They embraced life warmly and then resolutely left. The cover-up of grass, the ignorance of laity and the prominent posture mentioned in this poem make people feel that Yuan Ming is standing on the opposite side of the world, and feel aggrieved and resentful. If we focus on the humanities in Wei and Jin Dynasties, he is only above average, and hanging a pot really improves the character of this poem. At this time, he won't care about these annihilation or surprises. Life is like a dream (the last sentence), and it is meaningless to be tied down by worldly fatigue. In life, we are sad or happy, or happy or sad. What we care about is not the overlap of life, but the constant exposure of ourselves. No matter how much competition there is, it is not as good as the unchanging prospect beside the pine tree at the moment. At this time, the East Garden, as Heidegger said, makes existence appear, makes it clear and self-evident, and achieves no cover, thus asking questions becomes memories. The long ideological journey is "homecoming", as Holdrin said in his poem "Homecoming": "People who live near the source can never move." 10. 19