The setting sun is setting in the isolated village, with light smoke and jackdaws on the old trees, and under the shadow of a flying dragon. ——Bai Pu, Yuan Dynasty, "Tian Jing Sha· Autumn" The sunset in the isolated village, the light smoke of jackdaws in the old trees, and the shadow of a flying dragon. The setting sun is setting in the isolated village, with light smoke and jackdaws on the old trees, and a shadow of a flying dragon. Green mountains and green waters, white grass, red leaves and yellow flowers. Translation and annotations of an ancient elementary school poem, Autumn Scenery
Translation
The sun gradually sets in the west, already holding the Western Mountains in its mouth, and the sunset glow on the horizon gradually begins to dissipate, leaving only a somewhat dim glow. The color reflects how lonely the quiet village in the distance is, dragging out the long shadow. The fog was rising lightly, and a few black crows were perching on the rickety old trees. In the distance, a wild goose flew down and crossed the sky. The mountains and rivers are beautiful; frost-white grass, fiery red maple leaves, and golden flowers are all swaying in the wind, and the colors are almost alluring. Appreciation
Bai Pu's poem "Tian Jing Sha·Autumn" and Ma Zhiyuan's "Tian Jing Sha·Autumn Thoughts" are similar in both writing method and artistic conception. Although the title of this song is "Autumn" and it expresses the meaning of autumn, there is no word "Autumn" in it. This song begins with a picture of autumn dusk, creating a tranquil and lonely atmosphere. Then, it selects typical autumn scenery in the form of a juxtaposed combination of nouns, and paints a colorful picture from far to near. Autumn landscape picture. The autumn scenery has also changed from the previous bleak and lonely to bright and beautiful.
This little poem has only five sentences and twenty-eight characters. Although it is short in length, it paints a wonderful picture of autumn scenery with a magical pen. The first three sentences focus on rendering a desolate scene in late autumn. At dusk: the blood-like remaining clouds reflected a lonely small village, and the faint smoke of the setting sun curled up. A few returning jackdaws stood quietly on the top of an old tree branch. Suddenly, a wailing solitary jackdaw appeared among the people. Flying far away in the shadow of the sunset, but in the next two sentences, the author turned his pen and wrote: The green mountains are quiet, the green water is long, the white grass is continuous, the red leaves are red, and the yellow flowers are blooming. In the twilight, these bright Color adds a lot of vitality to this desolate atmosphere. Abandoning the cliché of previous generations who were always sad to the end.
When Bai Pu writes about autumn scenes, he chooses words that are concise, and his words do not simply highlight the sadness of autumn. In the first two sentences of "The setting sun in an isolated village and the old trees with light smoke and jackdaws", *** uses six pictures: "the isolated village", "the setting sun", "the remaining clouds", "light smoke" and "old trees" ", "Jackdaw", and any one of these pictures represents the bleak atmosphere of autumn scenery. In order to liven up this bleak atmosphere, the author then chose "under the shadow of Feihong" as the conclusion of the first half. In this way, the originally bleak scene became active, and the lonely autumn scene seemed to show another kind of vivid vitality. Finally, in order to strengthen the author's image of the Mid-Autumn Festival as a beautiful and charming one, he ends the poem with "green mountains and green waters, white grass, red leaves and yellow flowers". These two sentences use the five colors of "green", "green", "white", "red" and "yellow", and the three colors of "white grass, red leaves and yellow flowers" are mixed with the two colors of "green mountains and green waters". Among the three colors, "green mountains and green waters" are broad pictures, while "white grass, red leaves and yellow flowers" are detailed pictures. They are so intertwined that the originally lonely and desolate autumn scenery suddenly becomes colorful and colorful. It can be seen from this that Bai Pu's Sanqu writing skills are superb.
If linked to Bai Pu's reluctance to be an official in the Yuan Dynasty, it is not difficult for readers to understand why there is such a huge contrast in the same autumn scenery. The "feihong" in the picture is the same as the "feihong" in Li Bai's "Sending Pei Shiba Tunan to Songshan": "It's hard to say how it feels to fly with a finger. There is no sooner or later when we return together, and there is Qingyuan in Yingshui". They have different approaches but similar effects, and they are all metaphors for the author himself. Bai Pu does not want to seek a position in the court, but hopes that he will be like a wild goose soaring high, flying away from that bleak, deserted, lifeless place, and find a happy land where he is satisfied and full of life. He also expresses the author's wishes Life has taken a wonderful turn. Therefore, readers can understand the land of "green mountains and green waters, white grass, red leaves and yellow flowers" "under the shadow" as the author's place of retreat and the scene in the author's heart. The mood is cheerful and peaceful, without any sense of negativity. It shows the author's love for the secluded life, so it should be a fictional writing. In this piece of music, the author very cleverly and discreetly puts the "scenery in his heart" together with the real environment at that time, creating a strong contrasting effect and implicitly revealing his love and hate.
Bai Pu (1226-about 1306) was originally named Heng, with the courtesy name Renfu, and later changed his name to Pu, with the courtesy name Taisu, and the pseudonym Langu. The Han nationality was originally from Chizhou (near Hequ in present-day Shanxi). He later moved to Zhending (present-day Zhengding County, Hebei). In his later years, he lived in Jinling (present-day Nanjing) and remained in office throughout his life. He was a famous writer, composer, and dramatist in the Yuan Dynasty. Together with Guan Hanqing, Ma Zhiyuan, and Zheng Guangzu, he was known as the Four Great Masters of Yuan Opera. The main representative works include "Tang Minghuang's Autumn Night with Wutong Rain", "Pei Shaojun's Horse on the Wall", "Dong Yueying's Story of the Flower Moon on the East Wall", etc.
Bai Pu The sun goes to Feiwei, and the moon comes to support me. Floating clouds cover the day, and the wanderer does not care to return. It's noon on the day of hoeing, and the sweat is dripping from the soil. The wandering clouds convey the love of an old friend. Rows of grass and trees, disappearing in smoke as the sun rises. The Yangtze River is sailing far away, and the setting sun is spring across the lakes. The sun rises in the southeast corner and shines on my Qin's Tower. The sun is setting over the mangroves and green mountains, and the grass in the long suburbs is endless green. What's more, the days of youth are approaching, and the peach blossoms are falling like red rain.
The sun and stars are hidden, and the mountains are invisible; a ray of setting sun spreads over the water, half of the river is rustling and half of the river is red. The spring breeze touches the green tombs, and the white sun sets in Liangzhou. Drunk at noon and not awake yet, the red sun sets and the evening falls, no one rolls the curtain at dusk. The sun is clear, and the shadows are spread on the rocks, but they are motionless; at sunrise, the flowers on the river are as red as fire, and in spring, the river is as green as blue.