1, from making short accounts in the sound of ancient wood.
2. The author is Zhinan, a monk.
The writer is from Southern Song Dynasty.
4. The full text of the original poem:
The shade of ancient wood is a short awning, and the stick thistle helps me cross the east of the bridge.
The clothes are wet and the apricot blossoms are raining, and the face is not cold.
Second, expand the scope of knowledge:
1, vernacular translation: In the shade of towering old trees, I tied a covered boat and walked slowly across the bridge and eastward with a cane made of quinoa. In the spring of March, apricot blossoms are in full bloom, and the drizzle seems to intentionally wet my clothes and keep falling; The wind blowing gently on people's faces and the warm wind with the fresh breath of willows are refreshing.
2. Introduction to the work: The quatrains with short eaves in the middle of ancient trees is a seven-character quatrains created by the Southern Song Dynasty monk Zhi Nan. This poem describes the process of the author's visit, shows the softness and warmth of the spring breeze with anthropomorphic methods, and expresses the author's love for nature.
3. About the author: Zhinan: a poet and monk in the Southern Song Dynasty. Zhinan is his dharma name and his life experience is unknown. The living condition of Zhinan is not verified, and it is not as healthy as the "Four Poets of Zhongxing" and "Mr. Er Quan" in the literary world at that time. But this short poem, with its delicate feelings and true description of early spring and February, put its name into the history of Song poetry.
Zhao, a poet in the Song Dynasty, once wrote in "Poems of Entertainment Hall": "Monks yearn for southern poetry, and Zhu Wengong tasted it:' Southern poetry is more beautiful, Gree is leisurely, and there is no smell of vegetables and bamboo shoots. Like a cloud, "I want wet clothes, I want rain and apricot blossoms, and the willows are not cold." Give it deep love. The criterion for Zhu to appreciate his poems is "whether it is bookish or not", which is actually one of the problems discussed in the poetry theory of Song Dynasty. Su Shi said in "Giving Poems to Monks, Taoists and General Affairs": "The language has been foggy since ancient times, and the gas contains vegetables and bamboo shoots for the public." Note: "It means there is no sour stuffing." May be the first to put forward this proposition. He commented on a sentence by Si Kongtu in the Tang Dynasty, "The piano is quiet in the court, and the stone altar is high in shadow". He said: "I have tasted the Five Old Peaks, and I have been to the White Crane Yard, where the pine trees are everywhere. I didn't see anyone, but I heard its voice, and then I knew the function of this sentence. But I hate it cold and awkward. " (Shu Tu Shi) clearly shows this tendency. His view of opposing monks' angry poems has also been endorsed by many poets. For example, Ye Mengde's "Shi Lin Shi Hua" said: "There are many monks who study poetry in modern times, and they don't feel detached and complacent. They often copy the legacy of literati. I also made a monk's body with a particularly vulgar rhythm, which the world calls sour stuffing. " Investigating the connotation of bookish spirit refers to the loneliness of feelings, the coldness of realm and so on. This is a state closely related to the life and spirit of monks, and it is a specific "wind flow under the forest", which seems to have its rationality. Therefore, Hu Zai's previous episode of Tiaoxi Fishing in Conghua quoted Xiqing's poem in Volume 57, saying: "Dongpo's monk poems should not be bookish, so that poets can learn from them. If you misunderstand this time, you will make it a language in the world network. I don't know whether the family style and the weather under the forest by the water are indispensable. If you wash away the rhyme and make it the same as the custom, what is enough! " Yuan Haowen put it more bluntly in "Preface to Mu 'an Poems": "The poems of monks are different from those of poets because they are angry with books." Indeed, if we admit that life is the only source of all literature and art, then why not admit the bookishness that best reflects the living conditions of poets and monks? In fact, what Su Shi scholars say is to incorporate all poetry creation into the aesthetic taste and standards of literati and obliterate its due uniqueness. This is even inconsistent with Su Shi's thought of pursuing diversity, which is often expressed in his poetics. Therefore, we would rather understand it as his momentary remarks, because, judging from some of his specific works, there is no lack of "bookishness". Back to this poem of Zhinan, Zhu praised it for not being bookish and said it from the standpoint of a scholar-bureaucrat. This means that wise nan is a versatile poet, and monks can write good poems whether they are bookish or not.