Judging from the images, most of the images in Xie Lingyun's poems have the characteristics of seclusion and preciseness, and these images often contain many changing factors. Let's have a look!
In history, few people praised or criticized the objective description in Xie Lingyun's landscape poems alone. On the contrary, they tend to pay more attention to emotional factors. For example, Shen Yue pointed out that Xie Lingyun was famous for his "Celebration Meeting" at that time. Later, Zhong Rong also thought that "only when people are prosperous can they be talented". The so-called "Xing" and "Xing Hui" mean that emotions are naturally triggered by scenery. The most representative is the saying that "spring grass grows in a pond", which is said to be "God helps". Ye Song Meng De explained: "The work in this language is meaningless. It suddenly meets the scene, so that it becomes a chapter, and it is very emotional." Wang Fuzhi once spoke highly of this emotion naturally caused by foreign objects: "Thank you for your poem ... Love moves and stops, and there is nothing in it, which is vivid and vivid; The scene is taken at the moment when the eyes touch each other, and the appearance is not deceptive. And love is real, and love can also be beautiful; The scenery is not stagnant, and the scenery is always affectionate. " The emotion in Xie Lingyun's landscape poems is rarely dealt with by system theory.
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From the image point of view, the scenery that triggered the poet's "xing" has profound and steep characteristics, such as:
The torrent is raging and the shade is extremely dense. ("Lu Ji Shan")
The stone divides the water, and the forest is lost. (Looking at the Lake from Nanshan to Beishan)
There are dense stones near the stream, and sparse trees are reflected in the mountains in the distance. ("Crossing Bai Causeway Pavilion")
Even the rocks felt that the road was blocked, and the dense bamboo made the path lost. ("Climbing the Highest Top of Shimen")
The Woods and valleys gather in the evening scenery, and the sunset clouds float in the night sky. ("Shek Pik Jing She Return to the Lake")
It's cold and humid. Wei Jian's water has been lost again and again, while Lin Jiong's rocks are denser. ("Climbing Yongjia Green Mountain")
Turbulence is becoming more and more inevitable, and the island is charming. Clouds and the sun set each other off, and the water was clear. (Island in the River)
The dense forest is bright, and the far peak is hidden. You Nanting)
The white clouds embrace the secluded stones, and the greenery is clear. ("Were Shu Ning")
The wild sand bank is clean, and it's Gao Yueming. ("Going to the County for the first time")
Paths, sidewalks, dense forests, secluded paths, white clouds, secluded rocks, sunset, dusk, dusk and autumn moon, similar images appear in almost every travel note of Xie Lingyun. The preference for quietness shows the inheritance and similarity of aesthetic taste with metaphysical poets, and also entrusts the poet's yearning for seclusion away from the secular life. In the poet Yongjia's works for one year and after returning to the photo, almost every article has poems that promote his seclusion feelings, such as: "Always be simple in everything" (crossing the Bai 'an Pavilion), "Think lightly when encountering problems" (returning the stone house to the lake for work), and "believing in peace at first, and getting the rest of my life" (going to an isolated island in the river). This feeling is quite similar to Tao Yuanming's thought of "going back and forth", but the difference is that Tao Qian is carefree in the homely garden, while Xie Lingyun is not interested in ordinary rural scenery. It is hard to say that there is no anger in the poet's posturing. What is intriguing is that the phrase "Spring grass grows in the pond", which is known as "God helps", is not a quiet scene far from the world. A relatively complete description of the scenery in the poem is "one scene changes into artistic conception, and the new yang changes into the old yin." Spring grass grows in the pool and birds sing in the garden, which can be described as spring scenery in my hometown. This can be counted as an accident with Xie Lingyun's consistent "if you want to find mountains and rivers, you must build a quiet and steep". Through this accident, we can see that the focus of the poet's attention is not the difference between secluded landscapes and ordinary pastoral areas, but the fit between the scenery and the poet's mood. The special moment of early recovery from a long illness makes the poet full of poetry about home gardens, but what are the characteristics of these ordinary landscapes that make the poet feel deeply? On the surface, poetry is only a still life seen when climbing stairs for a while, while the words "change", "change", "life" and "change" reveal the changes before and after the poet associates with things through stillness. It is the change of things that causes the poet's deep feelings. In the poet's works, those quiet and clear still lives contain many factors of change, either the moment when they are ready to go, or the aftersound after a certain change. For example:
Birds sing at night, but the trees fall and the wind blows. (Sleeping on Shimen Rock)
The cloud under the rock is harmonious, and the flower is still dew. ("Crossing Lingxi from Jinzhuxi")
It's hard to stay on the cliff, but the forest is deep and easy to run. (Shimen New Camp Residence)
The Woods and valleys gather in the evening scenery, and the sunset clouds float in the night sky. ("Shek Pik Jing She Return to the Lake")
Hua Meng, wandering thunder. ("Spilly Zhao Ti Jing She")
When there are no streams to add waves, the Yun Sheng Mountains overlap. ("Climbing the Stone Drum Mountain")
Two streams were piled with stones, and three mountains were dumped by flying springs. ("Looking at two streams in three waterfalls")
This silence is not only different from the silence of Tao Yuanming's "warm and distant village, the smoke from the kitchen in Yiyi market", but also different from the silence of "dogs barking in deep alleys, chickens crowing and mulberry trees jumping". Whether it is still life or moving scenery, Tao's poems are full of tranquility and leisure, while Xie's poems are full of turmoil and anxiety. This kind of commotion and anxiety comes not so much from mountains and rivers as from sadness and injustice about one's unfortunate political fate. They may be diluted by metaphysics or Buddhism, but they cannot be fully digested. Uncle Song? Xie Lingyun said, "The imperial court only takes the literal meaning, not what should be done. I claim that I can participate in power, but I don't know, I am always angry. "
Zhang Pu also said in "Xie Jiming": "He lives in the Jin Dynasty, and he is a public figure in the world. How about walking, being the emperor, being an equal guest, holding the plate with his head down, being invisible and sincere. Take advantage of Emperor Wen's succession to the throne and lightly slaughter the minister. With Xie Hou, I knew nothing about the past, so I had to be at its mercy and slandered Meng Huo and Cheng Peng rolling in the deep. Open the way through logging and record all the crimes ... it's useless to build a disaster, and resentment comes from different generations. Clothes are difficult for ministers, many are difficult for talents, and the new dynasty is difficult. "
If the historical materials are circumstantial evidence, the poet himself reveals this injustice in his poems: "Recalling the mountains and complaining." (Lu Yingshanzhong) Mr. Zhang once noticed the strangeness of mountains in Xie Lingyun's works: "In particular, the mountains in his works are rarely quiet, but mostly stacked, sharp and powerful." These image characteristics reflect the inner injustice and contradiction of the poet.
Therefore, it can be said that the quiet and beautiful scenery in Xie Lingyun's landscape poems actually contains the connotation of change and the poet's inner anxiety and resentment.
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This kind of resentment and anxiety, which pervades "moving around, ethereal and ethereal" (Wang Fu's original words), makes his poems expressing Hyunri also infected with lyricism. For example, at the end of "Looking at the Lake from Nanshan to Beishan": "It is important to see things early if you are tireless. I go far without hesitation, but I hate it. Lonely travel is not a sigh, and whoever rewards the waste will pass. " The sentence "Hua Fu" with metaphysical connotation is used together with the next sentence to convey the joy of traveling far away from the crowd, while the pain of traveling alone arouses the poet's injustice to the reality, thus asking "Who can tell the truth by rewarding and discarding", and the anger contained in it is faintly visible. Swimming the Redstone into the Sailing Sea is a rare work by Xie Lingyun to describe the scenery of the sea. In the face of the vast sea, the poet can't help but gain the heroism of a winner, and the sentence "Please attach a statement, but thank you for cutting the sky" comes out of "Zhuangzi? Mountain wood, Taigong teaches Confucius that "straight wood is cut first, and the spring is exhausted first". Taking this as a warning, the poet has both metaphysical interest in decorating wisdom with stupidity to avoid harm to the world and anger at the sinister reality. Another example is "Qi Qi's sad song, full of Chu's feelings" in "Climbing the Pool upstairs" According to the traditional understanding, the former is that "the Duke of Zhou was changed, and Chen Houji was demoted first, which made it difficult" ("Biography of Poems and Mao"), while the latter is that "the people who lived on the hill harmed Qu Yuan" (. When it comes to Duke Zhou and Qu Yuan, seemingly fearful and ridiculous, in fact, there is stubbornness between the lines. "Mr. Ge Xiaoyin once pointed out:" ... there are many poems that combine the theme of getting rid of worldly troubles with sightseeing and write scenery in metaphysical words. These metaphysical words are different from the literati's simple pursuit of nature in the Eastern Jin Dynasty, and most of them reflect his inner contradictions and anguish, which makes his landscape poems form a lyrical pattern with scenery. "
If the lyric function of metaphysical words is still vague, the use of personification undoubtedly clearly shows the development of the poet's aesthetic association and aesthetic emotion. "White clouds embrace secluded rocks, green is about to drip, and blue waves are rippling" is a kind of enjoyment of fresh and beautiful scenery in The Beginning of Shuning; In Seeing the Lake from Nanshan to Beishan, "seagulls play on the spring shore and chickens crow in the wind", which not only vividly describes the vitality of spring, but also shows the poet's joy; In The Year of Death, "The bright moon shines on the snow, and the north wind is strong and sad" has some metaphors about the sinister situation, so the apparent sadness about the passage of time is also mixed with helplessness and injustice about the official career. Later, Xiao Xie's "Yu Xia scattered into Qi, Chengjiang was as quiet as practice", which originated from the inheritance and development of Daxie. In the history of China's poetry, Xie Lingyun was an early poet who used anthropomorphic techniques to write landscapes. Later generations generally evaluate it from the perspective of vivid images. In fact, personification is not only a rhetorical skill, but also the emotional factors it contains deserve careful appreciation.
In fact, even if there is no personification, Xie Lingyun's landscape poems contain many emotions in the vividness of objects. Among the metaphysical poets before Xie Lingyun, the concept of "the charm of mountains and rivers is vivid" contains the requirement of visualizing and vivifying mountains and rivers, because nature itself has the characteristics of different shapes and vivid charm, while the vividness of metaphysical poetry is superficial and hazy. Many works in Lanting Gathering reflect this point, such as one of the nine chapters in Sun Chuo's Answer to Xu Xun: "Look up to great achievements and overlook all things in the times." Missed the opportunity and gave birth. Wisdom is confused by profit, and knowledge is bent by emotion. Wild cold withered, dynasty smoldering. If you lose, you will be shocked, and you will be drunk. "Guo Yuheng refers to him as" empty talk about Hyunri, but actually poetic ". Hyunri mentioned in this poem was triggered by "looking up at great creation and overlooking time and things", but the poet's touch was indifferent, because he wanted to talk about metaphysics, and the characteristics of "great creation" and "time and things" were not mentioned at all.
Many works in Lanting Gathering Situation reveal more meanings than answering Xu Xun: "Look up at the blue sky and overlook the green water bank. No point of view, and reasonable, self-sufficient. This is a great feat, which is unbalanced. Although the crowd is uneven, I am nothing more than a relative. " Although the art of this poem is rough, it uses words such as "Bi", "Green" and "Liao Lang" to publicize Hyunri's emphasis on landscape forms, which is based on his understanding of the harmony of all things. This kind of concern can't be compared with the exquisite description of later generations, but by comparing Sun Chuo's answer to Xu Xun, we can see that the perceptual form of landscape not only pays attention to Hyunri, but also begins to enter the poet's field of vision.
For Xie Lingyun, the vividness of objects is his conscious pursuit. Among Xie Lingyun's poems compiled in Selected Poems of Pre-Qin, Han, Wei, Jin, Southern and Northern Dynasties by Qi, 90 capital cities, which can be called landscape poems, contain vivid poems. Although there are many rigid descriptions, and most of them are vivid images of dynamic local objects, this vividness is enough to reflect the strengthening of aesthetic attitude towards mountains and rivers. The emergence and prosperity of metaphysical poetry and landscape poetry is not only the result of the influence of metaphysics or Buddhism in a specific class, but also the product of a specific space. It is the Xiushan Lishui in the south of the Yangtze River that evokes the freshness and pleasure of northern literati. Therefore, the sensual pleasure of the materiality of landscape is the starting point of the development of metaphysical poetry and landscape poetry. Ignoring this most basic fact, it is difficult to understand why the literati in the Six Dynasties were so attached to mountains and rivers and enjoyed it. If they just think and understand, why do they become mountains and rivers?
From The Book of Songs and Songs of the South to later poems about immortals and metaphysical words, mountains and rivers all entered poetry until Xie Lingyun expressed his feelings through the vivid expression of things. "The wild sand shore is clean, the sky is high and the autumn is bright" (the first time I went to the county seat) is clear, "the clouds under the rock are harmonious, and the flowers are still there" (walking across the Lingxi from Jinzhuxi) is quiet and beautiful, "Birds know the night, trees know the wind" (sleeping on Shimen Rock) is suitable for both movement and movement. "Appreciate beauty with emotion" ("From Jinzhujian to Lingxi"), the poet himself expressed the deep feelings behind these subtle descriptions. Because of the affectionate investment, the vivid landscape has become the object of beauty. After the great thanks, many poets, such as Xiao Xie, He Xun, Yin Keng and even Tang Dynasty poets, developed in the direction of vivid images, and gradually poured more personalized colors on this basis, and finally reached the peak of scene blending. Dayu's initial contribution should be understood from this angle.
In a word, Xie Lingyun's landscape poems are both metaphysical lyrical and anthropomorphic, and the most fundamental thing is the vivid expression of things. Although vivid local images are mostly dynamic, they are enough to reflect the strengthening of aesthetic attitude towards mountains and rivers.
It should be noted that many poets in history used "similarity" to evaluate the vivid characteristics of objects in Xie Lingyun's works, such as Wen Xin Diao Long? The saying that "Wen Gui is similar in appearance" is generally regarded as an evaluation of Xie Lingyun, and later generations regard it as a criticism of his lack of conveying the charm of mountains and rivers. In fact, "at that time, the similarity between form and spirit was not yet divided, and it was still in chaotic unity", "Liu Xie said that the similarity was to force Xiao to be outside." Shape, shape and state. The artistic pursuit of forcing foreign objects, whether it is the expression of poetry to natural things or the author of painting, has two aspects: external appearance and internal intention. "