To annotate ...
1 Sunset: Sunlight about to fall.
2 rustle: green.
3 poor: cute.
4 true pearls: pearls.
⑤ The moon is like a bow: On the third day of the ninth lunar month, the first quarter of the moon is bowed.
translate
A touch of afterglow sprinkled on the river, shining in the sun. Half is dark blue and the other half is red. What is even more loving is that on the first moonlit night in September, the cool dew falls. Dewdrops are like pearls, and crescent moons are like delicate bows.
Make an appreciative comment
Mu Jiang Yin is one of Bai Juyi's Miscellaneous Poems. The characteristic of these poems is that they recite one thing one by one and sing their true and natural feelings one by one.
The beauty of the whole poem lies in taking two beautiful pictures of nature and combining them. One is the gorgeous scene of the sunset reflected on the river, and the other is the hazy night when the crescent moon rises and the dew is crystal clear. Both of them have their own beautiful scenery, and reading together is even more wonderful. Because this poem permeated the relaxed and happy liberation mood and personality of the poet after he was forced to stay away from the imperial court, the whole poem became the artistic carrier of the poet's aesthetic psychological function in a specific situation.
The first two sentences are about the river at sunset. "A sunset is spreading in the water". The sunset shines on the river, but it means "spreading" instead of "taking pictures". This is because the "sunset" is very close to the horizon, almost touching the ground, and it really looks like it is "paved" on the river. The word "shop" is also gentle, which says the softness of autumn sunset, giving people a cordial and leisurely feeling. "Half the river is rustling, half the river is red", the weather is clear and windless, the river flows slowly, and there are tiny ripples on the river. The part that receives more light shows "red"; Where there is little light, there is dark blue. The poet grasped the two colors on the river, but showed the scene that the river was sparkling at dusk and the color changed rapidly in the sunset. The poet was intoxicated and put his happiness in the description of the scenery.
The last two sentences are about the night scene when the new moon rises. The poet lingered until the early moon rose, the cool dew fell and a better realm appeared in front of him. The poet leaned over and looked at it: Hehe, the grass by the river is covered with crystal dew. Dewdrops on the green grass look like pearls embedded in it! With the metaphor of "real pearl", not only the roundness of dew is written, but also the luster of dew shining under the new moon. Look up again: a crescent moon rises, just like hanging a delicate bow in the blue sky! The poet condensed the two scenes of heaven and earth into a poem ── "Dewdrops are like pearls, and the moon is like a bow". From the crescent moon bent like a bow, the author remembered that it was "the third night of September", and could not help but blurt out his lovely praise for it, expressing his feelings directly, pushing his feelings to a climax and causing waves in his poems.
What a harmonious and peaceful artistic conception the poet created by describing the two visual images of "dew" and "moon"! With such a novel and ingenious metaphor, it is amazing to describe and color nature in detail. There seems to be a lack of time connection between describing the sunset river and praising the moon dew, but the night on the third day of September virtually connects time, with the dusk above and the dewdrop moon below, which means that the poet enjoys the moon from dusk until it is exposed, which contains the poet's joy and love for nature. ?
Mr. Zong Baihua said: "Artistic conception is not a natural reproduction of a single plane, but a deep creation." (The birth of China's artistic conception) If the famous sentence about the sunset scenery along the Chunjiang River in Xie Tiao's "Shangsanshan Evening Wangjing Town" in the Southern Dynasties: "Yu Xia is magnificent, and Chengjiang is quiet as practice", it is purely the accumulation and externalization of the literary and artistic thoughts of that era (Zhong Rong's "Poetry") in Xie Tiao's aesthetic consciousness; It only describes a concentrated moment at sunset, like a faint sketch by the river; Then, Bai Juyi's "A wisp of setting sun is sprinkled in the water, half the river is rustling, and half the river is red" is the literary trend of thought since the prosperous Tang Dynasty, that is, "Seeking images, being at ease in the environment, knowing God from things, and getting from the heart" (for Wang Changling, see "Tang Yin Deception", Volume II). In Bai Juyi's works, the artistic conception is condensed by aesthetics. It artistically shows a process of moving in time and space, which is not only a magnificent watercolor painting, but also a set of shots in a color film. As a result, with the passage of a long shot, our aesthetic consciousness quickly shifted to the "dew like a pearl, moon like a bow" shaken by the combination of long and short shots. ?
Hegel said: "Poetry is not limited to a certain moment in a certain space and plot like painting, which makes it possible to express it according to the inner depth of the object written and the breadth of its development in time." (Aesthetics, Volume III, Page 6) Among them, the poem "It's three nights in September" is used as the adhesive of inner feelings. It is this unique aesthetic feeling under the specific time and space consciousness that makes the two lens systems "half river shaking and half river red" and "dew like a pearl and the moon like a bow" create a dynamic artistic whole. Eisenstein said: "The opposite of two montage shots is not the sum of two numbers, but more like the product of two numbers." This can be understood as an artistic structure with multi-dimensional intersection and two-way feedback of any artistic style, and its artistic implication will be more mellow, rich and three-dimensional, which often brings people a vague and complicated mixed emotion. You see, when the setting sun is reflected, the Shasha River spreading in the sunset disappears into the poet's field of vision unpredictably, and another beautiful and quiet montage lens is gently shaken and stretched out in front of the poet. Looking up, the curved crescent moon hangs and floats in the vast blue sky; Looking down, the crystal dew is condensed and shining on the flowers and plants by the river. It is really "a pearl in spring, a painting on the wall, in a word, all out of the normal environment." The poet could not help but blurt out his praise: "What a lovely night!" This is surprise and intoxication. The poet's incomparable joy and faint artistic conception, his yearning for detachment from things and his quiet interest are clean but very subtle, which makes people ponder and comprehend endlessly. Here, we can witness Wen Yiduo's praise of "Moonlit Night on a Spring River": "A more exclusive cosmic consciousness, a deeper, more spacious and quieter realm. In the face of magical eternity, the author has only consternation, no embarrassment and no sadness. " What he got seemed to be a more mysterious, elegant and upright smile. He is more confused, but he is satisfied. (Palace Poetry Redemption) Isn't it? When we read such a poem today, we can't help but have a mythical reverie: Are the crescent moon in the mysterious blue sky really those little angels flying in the sky? The little fairy opened the open bow. Are those dewdrops small balls that they shot into the blue sky and scattered on the earth in the game? This is really a wonderful realm.