"The Fisherman" Author: Liu Zongyuan
The fisherman sleeps next to Xiyan at night, and at dawn he draws Qingxiang and burns Chu bamboo.
The cigarettes are sold out and no one is seen at sunrise, but there is a sound of green mountains and rivers.
Looking back at the middle stream under the sky, the unintentional clouds on the rock are chasing each other. All comments: In the evening, the fisherman anchored his boat and rested at the foot of the Western Mountain; at dawn, he drew up the clear water from the Xiangjiang River and lit the bamboos.
The smoke and clouds disappeared, the sun rose, and his figure was nowhere to be seen; only the sound of a scull was heard, and suddenly the mountains were green and the water was green.
Looking back, he had already sailed the boat to the middle of the sky; on the top of the rock, there were only careless white clouds chasing each other. Annotated translation ① This article was written in Yongzhou. Xiyan is probably the Xishan Mountain in Yongzhou, which can be found in the author's "Shide Xishan Banquet Travel Notes".
②Xiang: the water of the Xiangjiang River
③游Nai: onomatopoeia, one says it refers to the sound of oars, and the other says it refers to the sound of people shouting. In the Tang Dynasty, there was "E Nai Qu" in Xiangzhong Baoge (see Yuan Jie's "E Nai Qu Preface").
④Wu Xin: Tao Yuanming's "Returning to Lai Ci": "The clouds came out of Xiu without intention." Generally speaking, it refers to the state of mind in which things and myself are forgotten as mentioned by Zhuangzi. Su Shi's "Shu Liu Zihou's "The Fisherman" Poetry" says: "The poem is based on strange interest, and the unusual and Taoist interest is the interest. If you are familiar with this poem, it has strange interest. However, the last two sentences are not necessary." Yan Yu's "Cang" From this point on, "Langshihua" said: "Dongpo deleted the last two sentences and revived Zihou, and he must be convinced." However, Liu Chenweng thought: "The spirit of this poem is not that of the late Tang Dynasty, but the difference lies in the last two sentences." After that, There have always been two opinions regarding the last two lines of this poem. Poetry Appreciation: This poem, like the poem "Snow on the River", both express the poet's own mood and interest. However, "Snow on the River" is written in a static manner, while this poem changes continuously from scene to scene, making it smooth, lively and vivid. The two poems, one static and one moving, perfectly complement each other and perfectly express the ideal life state that the poet yearns for: independence from the world, return to nature, unrestrained, freedom, self-reliance, and self-enjoyment. They should be regarded as the representative of romantic poetry. Two masterpieces.
Su Shi once said, "Liu Zihou's poems in his later years are very similar to those of Tao Yuanming." "("Dongpo's Inscription and Postscript"). The two poems "Snow on the River" and "The Fisherman" can be said to reflect the life interests of the hermits. Liu Zongyuan stayed in Yongzhou for ten years. As a demoted Sima, he was almost completely abandoned politically. Therefore, he was able to relax and indulge in the mountains and rivers, which was indeed somewhat similar to Tao Yuanming's seclusion. Therefore, Tao's poems sometimes became his model for writing poems.
But Tao Yuanming was a real hermit, and there were many differences between Liu Zhi and Tao. For example, Tao does not believe in Buddhism, but Liu does. Tao was a true hermit, Liu was not a hermit, but a relegated official. Even so, Liu and Tao have similarities in their thoughts and interests. For example, the yearning for a realm of independence and freedom is the eternal pursuit of literati in ancient and modern times, and even in the future. In terms of artistic expression, the majesty and purity of "Jiang Xue" and the richness of "The Fisherman" are different from the peace and indifference of Tao's poems. But their poems are both rich in connotation. Therefore, Su Shi said that Liu Zongyuan's poems "emanate from the simplicity of ancient times, and send the taste to indifference" ("After the Collected Poems of Huang Zisi").
Old fisherman. Du Fu of Tang Dynasty's "Qiu Xing" poem No. 7: "There is only a bird path in the sky, and there is only one fisherman in the rivers and lakes." Chapter 103 of "Water Margin": "Five people walked all the way to the fishing boat. Li Jun asked: :'Fisherman, is there a big carp? '" Liu Bannong's "Poem on a Tour to Xiangshan" No. 6: "A fisherman was smoking yellow cigarettes by the net."
The title of this poem is fisherman, and the fisherman is used throughout. The core image at the beginning and end of the poem. However, the poet did not paint the fisherman's portrait in isolation, nor did the interest of the work lie solely on the image of the fisherman. Looking at it completely, what constitutes the whole poem is not only the hardworking fisherman, but also the landscape and world in which the fisherman is surrounded. These two have left traces of their development and change in the poem according to their respective laws and characteristics. But at the same time, the poet melts the two completely, and the fisherman and the natural scene form an inseparable whole, which simultaneously shows the rhythm of life and the inherent interest. The transition from night to morning is the time when human activities are most abundant, when all things are revived and full of vitality. This poem takes this as a clue to the development of the scenery. Therefore, the fisherman's constantly changing behavior and the endless changes in the natural scenery have the same time basis, achieving an extremely harmonious unity.
There are six sentences in the whole poem, which are divided into three levels in chronological order. "The fisherman stays near the western rock at night, and at dawn he draws clear water and burns bamboos from Chu." This is a scene from night to dawn. The fisherman is the most eye-catching image in these two sentences. He sleeps on the side of the mountain at night and gets up in the morning to draw water and burn bamboo. His busy figure vividly shows the flow of time. Along with the activities of the fisherman, the poet's brushwork naturally extended to Xiyan, Qingxiang and Chuzhu. Describes the height of the Western Mountain: Living on the top of the Western Mountain, "all the soil in several states is under the quilt"; and the Xiang River flowing under the mountain is "very clear, although it is five or six feet deep, you can see the bottom" ("Xiang") "Zhongji", see "Taiping Yulan" Volume 65). The word "Qing" in the poem shows this characteristic of Xiangshui River.
In addition, the Yongzhou area (today's Lingling and other places in Hunan) is rich in Hunan bamboo. Therefore, scattered objects such as mountains, water, and bamboo that seem to appear inadvertently in the poems clearly form a fresh and complete picture in the readers' minds: lightness The gauze-like mist covers the mountains, flowing water, and Xiang bamboos... Sikong Tu said in "Poetry": "There are authentic traces, if it is unknown, the image is ready to come out, and the creation is amazing." This poem can be summarized The artistic expression characteristics of the second sentence. These two sentences not only create a beautiful and pleasing space picture, but also lead to the following description of the sunrise with the flowing sense of time such as the beginning of night and the light dew of morning light. It can be said that in terms of time and space, it lays the foundation for the whole poem to be active and vivid. A refreshing tone.
"When the cigarettes are sold out and no one is seen at sunrise, the sound of mountains and rivers is green." This is the most wonderful line that shows the poet's skill, and it is also the essence of the whole poem. If we organize it from the content, the description of these two lines The scenes are as follows: on the one hand, it is the natural scenery: the cigarettes are burning, the sun rises, and the mountains and rivers are suddenly green; on the other hand, it is the whereabouts of the fisherman: the fishing boat is leaving the shore, and a oar sound is heard in the space. However, the poet did not follow such a logic of life to organize the poems. Instead, he started from his own feelings and presented two scenes alternately, which more clearly showed the subtle changes that occur in nature. In the previous sentence, the words "smoking sunrise" and "no people" refer to common scenes in the early morning, and the sudden awareness of not knowing when the fishing boat will quietly leave. The two are not necessarily connected, but now they are in the same sentence. But it arouses people's imagination: as if at the moment of sunrise, the sky becomes dark and suddenly bright, and everything suddenly appears from the hazy, and then people suddenly realize that the fishing boat is no longer anywhere. The sudden feeling of "no one" has become a symbol, demarcating the boundary between before and after sunrise. The sunrise process in real life has been enhanced by art and appears before our eyes with an exaggerated rhythm. The following "ye is a sound" and "green mountains and rivers" create a strange interdependence between the sounds heard in the ears and the scenery seen in the eyes. In the early morning, the landscape changes from dark to bright as the sky changes. This is a gradual process, but in the poem, with a sound that cuts through the quiet sky, everything becomes green. The word "green" not only presents The function of color also gives people a sense of dynamics. This can't help but remind people of Wang Anshi's famous poem: "The spring breeze turns green to the south bank of the river." Wang Anshi used the blowing of the spring breeze to give the word "green" dynamic, while Liu Zongyuan used the sudden rise of sound to not only give it dynamic, but also give it a moment. The rapid transformation vividly displays the sunrise scene, which makes people feel even more magical. When pointing out the difference between poetry and painting, Lessing, a literary theorist during the German Enlightenment, once said: "All objects not only exist in space, but also exist in time. Objects also last, and every object during its duration It can take on different appearances and have different relationships with other things in an instant... In its continuous imitation, poetry can only use a certain attribute of the object, and the choice should be from the poem. Use its perspective to see the attribute that can evoke the most vivid perceptual image of the object." ("Laoco?n") Liu Zongyuan did not remain still to express the magnificent splendor of the sunrise, or to describe the light after the sunrise. World, he gives full play to his expertise in language art, seizes the most energetic and lively sunrise moments, and makes the common natural scenes in life more beautiful than reality, giving people a strong appeal. Su Dongpo commented on this poem: "Poems are based on strangeness and interest, and abnormality and Taoism are the interest. If you are familiar with this poem, you will find it interesting." ("Lengzhai Poetry Talk") This is an appropriate comment.
“Looking back at the middle stream under the sky, the unintentional clouds are chasing each other on the rocks.” After sunrise, the picture becomes more open. At this time, the fishing boat had entered the middle stream. Looking back, I saw patches of white clouds floating on the top of the mountain, as if they were chasing each other carelessly. The poetic state was extremely leisurely and tranquil. Su Dongpo thought that this ending was "even if it is not necessary", which aroused a debate. For a time, Song Yanyu, Liu Chenweng, Ming Dynasty Hu Yinglin, Wang Shizhen, Qing Dynasty Wang Shizhen, Shen Deqian and others all expressed their own opinions and had different opinions, but their arguments were limited. In terms of artistic taste, I did not have a deep understanding of Liu Zongyuan's situation and mood when he wrote this poem. In his poems, Liu Zongyuan repeatedly talked about his heavy and depressed mood after being demoted. In "The Second Letter with Yang Jizhi", he wrote: "It has been seven years since I arrived in Yongzhou, and the fleas are in panic at night." The ideals, ambitions and The cold reality produced sharp contradictions. In the case of extreme grief and indignation, he "just used it as a hoe and a hoe to cut the streams and springs into a garden for farmers, and then dredged ditches and ponds, planted trees, sang songs, sat fishing, and watched." The blue sky and white clouds are suitable for this." In "Shide Xishan Banquet Travel Notes", Liu Zongyuan expressed it more clearly: "Since I have been killing people, I live in this state, and I am always worried about chestnuts, so I give to others. "Wandering for a long time", it can be seen that he is not wandering among the mountains and rivers with a calm and indifferent heart, but is forcing forgiveness in order to find solace. However, as he lamented in "Twenty Rhymes of Traveling to Chaoyang Rock and Climbing the West Pavilion": "Relegation and abandonment are not in hiding, and ascending to Zhi is not in the suburbs." In fact, he did not obtain real relief. Sometimes, He thought about his own misfortune because of the encounters in the mountains and rivers, and he was filled with regret and emotion. Sometimes he felt something unexpected while trekking up the mountain, and could not help but reveal his injustice and resistance. Because of this, he had a stronger desire to get rid of this situation. A kind of mental depression. Therefore, instead of saying that "The Fisherman" expresses a leisurely mood with its strange and interesting scenery, it is better to say that it reveals a hot and restless heart hidden behind it. This is a passionate yearning and an eager pursuit. The free and comfortable life shown in the poem is really too precious and beautiful for the poet who is in a state of imprisonment.
Therefore, after writing the strange sentence about the sunrise, the poet did not want to give up, so he took pleasure in expressing his wishes more openly. He used the sentence "Yun Wuxin came out of Xiu" in Tao Yuanming's "Return to Come" to start the sentence. The poetic realm has such an ending. Only by truly understanding Liu Zongyuan's real situation can we understand the intention of his conclusion. The poet expresses the mutual understanding between the fisherman and nature from beginning to end, not only for the needs of artistic expression, but also reflects his desire for a free life. This also shows that to deeply understand the artistic style of a work, it is often inseparable from an accurate grasp of the author's thoughts and feelings. Liu Zongyuan (773-819), whose courtesy name was Zihou, was known as "Liu Hedong" in the world. Because he was appointed as the governor of Liuzhou, he was also called "Liu Liuzhou". The Tang Dynasty writers, philosophers, essayists and thinkers, together with Han Yu, initiated the ancient prose movement in the Tang Dynasty, and were called "Han Liu". Together with Liu Yuxi, he was called "Liu Liu". Together with Wang Wei, Meng Haoran and Wei Yingwu, he is also known as "Wang Meng Wei Liu". Together with Han Yu in the Tang Dynasty and Ouyang Xiu, Su Shi, Su Xun, Su Che, Wang Anshi, and Zeng Gong in the Song Dynasty, they are also known as the "Eight Great Masters of the Tang and Song Dynasties"; their ancestral home is Hedong (now Ruicheng and Yunhe area, Shanxi Province). Han nationality. Emperor Taizong of the Tang Dynasty was born in Chang'an, Kyoto (now Xi'an, Shaanxi Province) in the eighth year of Dali (773).
Liu Zongyuan was born in a eunuch family. He had few talents and great ambitions. In his early years, he was admitted to Jinshi, and his writing skills were based on eloquent diction. In the ninth year of Zhenyuan (793), he became a Jinshi. In the fourteenth year, he was admitted to the Bo Xue Hong Ci Department and was awarded the Zhengzi of Jixian Dian. He was once a captain of Lantian, and later became an official in the court. He actively participated in the political reform of Wang Shuwen Group and became a member of the Ministry of Rites, Wai Lang. In September of the first year of Yongzhen (805), the reform failed and he was demoted to the governor of Shaozhou. In November, Liu Zongyuan was demoted to Sima of Yongzhou (his current location is Lingling District, Yongzhou City, Hunan Province). During this period, he wrote the famous "Yongzhou" "Eight Notes" ("The Banquet Travel Notes of Shide Xishan", "The Notes of Comu Lake", "The Notes of the West Hills of Komu Lake", "The Notes of Xiao Shitan", "The Notes of the Yuan Family's Thirst", "The Notes of the Shi Canal", "The Notes of the Stone Stream") ", "Little Rock Mountain Chronicles"). In the spring of the tenth year of Yuanhe (815), he returned to the capital and became the governor of Liuzhou, with outstanding political achievements. Xianzong died in Liuzhou on the eighth day of November in the fourteenth year of Yuanhe (November 28, 819). He had many contacts, and Liu Yuxi and Bai Juyi were both his good friends.
Liu Zongyuan wrote more than 600 poems and essays in his lifetime, and his achievements in writing were greater than those in poetry. There are nearly a hundred parallel prose pieces. The prose is highly argumentative, sharp and satirical. The travel notes describe the scenery, and many people rely on it. His philosophical works include "Tian Shuo", "Tian Shi", "Feudal Theory", etc. Liu Zongyuan's works were preserved and compiled into collections by Liu Yuxi in the Tang Dynasty. There is "Liuhe East Collection".