Jiang Xue

Author: Liu Zongyuan

a hundred mountains and no bird, a thousand paths without a footprint.

a little boat, a bamboo cloak, fishing alone in the cold mountains and snows.

Note:

1. This is a poem written by Liu Zongyuan after he was demoted to Yongzhou, expressing his lonely and depressed mood through a fisherman who fished alone in Hanjiang River.

2. absolutely: there are none left.

3. Birds have disappeared: there are not any birds in the sky.

4. Path.

5. Trace: Trace. No one is there, no one is there.

6. suōl: hemp fiber, hat.

Translation:

There is no sign of birds in Wanling, Qian Shan, and there are no footprints of pedestrians in thousands of roads. On a lonely boat, a fisherman wearing a coir and a hat silently fished in the snow.

Appreciation:

This five-character quatrain was written during the poet's exile in Yongzhou. After Liu Zongyuan was demoted to Yongzhou, his spirit was greatly hit and depressed. This poem is to express his lofty and aloof feelings and express his political frustration and depression by singing the fisherman who lives in seclusion. The seclusion of the objective realm in the poem can better reflect the author's lonely mood. In simple and delicate language, the whole poem depicts a picture of snow fishing in Hanjiang River: there are no human beings and birds in Qian Shan Wanjing, and only lonely fishermen are fishing in the Jiang Xue. The vast and lonely background space highlights the solitary boat fishing alone. The poet painted a clean and beautiful world with a light touch of ink. Jiang Xue's Poetry

Jiang Xue's Poetry

Jiang Xue

Author: Liu Zongyuan

Original:

a hundred mountains and no bird, a thousand paths without a footprint.

a little boat, a bamboo cloak, an old man fishing in the cold river-snow.

note:

1. absolutely: none, no.

2. Ten thousand paths: empty fingers refer to thousands of roads.

3. Footprints of people.

4. Loneliness: loneliness.

5. bamboo hat: bamboo hat and bamboo hat. (Gun, ancient clothes used for rain protection; Dai Li, an ancient hat used for rain protection. )

6. Alone: Alone.

Poetry:

All the mountains and birds are cut off;

all the roads are empty.

Alone on the river, a fisherman wears a gun to Dai Li;

fishing alone is not afraid of snow and ice.

Appreciation:

In Yongzhenyuan, Tang Shunzong, Liu Zongyuan participated in the political reform movement headed by Wang Shuwen. Because of the joint counterattack of conservative forces and eunuchs, the innovation failed. Therefore, Liu Zongyuan was demoted to Yongzhou, which is known as the Southern Wilderness. He was called Sima when he was in office, but he was actually a criminal who had no real power and was monitored by local officials. There was no place for him in the official residence, so he had to settle down in the west wing of longxing temple, a monk temple.

Liu Zongyuan has been greatly stimulated and depressed mentally since he was banished to Yongzhou. He expressed his lofty and aloof feelings by describing the scenery of mountains and rivers and singing about fishermen living in seclusion between mountains and rivers, and expressed his depression and distress in political frustration. So, with a feeling of bitterness, he wrote this famous poem "Jiang Xue".

Liu Zongyuan's landscape poems have a remarkable feature, that is, the objective realm is relatively secluded, while the poet's subjective mood is relatively lonely, and sometimes even too lonely, too cold and cheerless, without any human fireworks. This song "Jiang Xue" is just like this. It takes only 2 words for the poet to describe a quiet and cold picture: on the snowy river, a small boat and an old fisherman are fishing alone in the cold river. What the poet shows the readers is something like this: the world is so pure and silent, spotless and silent; The fisherman's life is so lofty, and his character is so aloof.

In fact, this is a fantasy realm created by Liu Zongyuan because he hated the declining society of the Tang Dynasty at that time. Compared with the characters in Tao Yuanming's Peach Blossom Garden, I am afraid it is even more illusory and far away from the world. What the poet wants to describe in detail is very simple, but it is just a boat, an old fisherman wearing a hemp fiber and a Dai Li hat, fishing on the snowy river, and that's all. However, in order to highlight the main description object, the poet did not hesitate to describe its background in half the space, and made the background as vast as possible, almost to an infinite extent. The broader the background, the more prominent the main description object is. First of all, the poet used the words Qian Shan and Wanjing to set off the following two pictures of solitary boat and solo fishing. Without the words "thousand" and "ten thousand", the following words "solitary" and "unique" are bland and have no appeal. Secondly, birds flying on the mountain and people walking on the road are very common things and the most general image.

However, the poet put them under Qian Shan and Wanjing, and added a word "absolute" and "extinction", which suddenly turned the most common and generalized dynamic into extreme silence and absolute silence, forming an unusual scene. Therefore, the following two sentences used to be static descriptions. Because they are placed in this absolutely quiet and silent background, they are exquisite, lively and lively. It can also be said that the first two sentences were originally the vision of foil. According to the general understanding, it is enough to outline the outline, and it is not necessary to spend a lot of effort to carve it. However, the poet just doesn't handle it this way.

It's like making a movie, where every corner of the background is explained and reflected clearly with close-ups that have been magnified many times. The more specific and detailed the writing, the more exaggerated it becomes. The latter two sentences, originally the object of the poet's intentional description, turned out to be a long-distance lens, which reduced it by many times, giving readers a feeling of ethereal, visible and intangible. Only by writing in this way can we express the lofty and aloof thoughts and feelings that the author is eager to show to readers. As for the formation of this distant feeling, it is mainly the effect that the author puts a snow word at the end of the whole poem and connects it with the word Jiang.

In this poem, everything is covered with snow, the mountains are covered with snow, the roads are covered with snow, and Qian Shan and Wanjing are covered with snow, which makes birds fly away and people disappear. Even the awning and the fisherman's hat are covered with snow. However, the author did not clearly associate these scenes with snow. On the contrary, in this picture, there is only Jiang, only Jiang Xin. Jiang, of course, will not store snow, will not be covered by snow, and even if it falls into the river, it will immediately become water. However, the author just uses the word "cold river snow" to connect the two images with the farthest relationship, which gives people a feeling of being vague, distant and narrow, which forms a long-distance lens. This makes the main objects described in the poem more concentrated, dexterous and prominent.

Because even the river seems to be full of snow, even the places where there is no snow are full of snow, which completely describes the situation of heavy, dense, thick and thick snow, and completely sets off the atmosphere of water and sky. As for the use of a cold word on it, it is of course to point out the climate; But the poet's subjective intention is to write the fisherman's spiritual world quietly. Imagine that in such a cold and silent environment, the old fisherman was not afraid of the cold and the snow, forgot everything and devoted himself to fishing. Although his body was lonely, his personality seemed lofty and aloof, even a little awe-inspiring. This illumined and beautified fisherman image is actually the sustenance and portrayal of Liu Zongyuan's own thoughts and feelings. It can be seen that the word "Hanjiangxue" is the finishing touch, which organically links the two parts of the whole poem, not only forming a concise and summarized picture, but also shaping the complete and prominent image of the fisherman.

Describe the background with concrete and meticulous techniques, and describe the main image with long-distance pictures; Elaborate and extremely exaggerated generalization are intricately unified in one poem, which is the unique artistic feature of this landscape poem. Poems on the Mujiang River

Poems on the Mujiang River

Poems on the Mujiang River

Tang Bai Juyi

A setting sun is spreading in the water, and half the river is rustling and half the river is red.

On the third night of September, the dew is like a pearl and the moon is like a bow.

Note:

1. Sunset: the sunlight that will set.

2, rustling: green color.

3. pity: cute.

4. True pearls: pearls.

5. The moon is like a bow: on the third day of the ninth lunar month, it bends like a bow.

Translation:

An afterglow is spread on the river, sparkling under the sunlight. Half of them are deep blue and the other half are red. What is even more loving is the first moon night when the cool dew drops in September. Dew drops are like pearls, and a crescent moon is like a delicate bow.

Appreciation:

Mujiang Yin is one of Bai Juyi's miscellaneous poems. The characteristic of these poems is that they can truly and naturally express their innermost feelings through chanting one thing at a time and one song at a time.

The beauty of the whole poem is that it captures two beautiful pictures of nature and combines them. One is the gorgeous scene of the setting sun and the sunset glow reflecting the river, and the other is the hazy night when the crescent moon rises and the dew is crystal clear. The two have their own beautiful scenery separately, and reading together is even more wonderful. Because this poem permeates the relaxed and happy liberation mood and personality of the poet after he was forced to stay away from the imperial court, it makes the whole poem an artistic carrier of the poet's aesthetic psychological function in a specific situation.

The first two sentences are about the river in the setting sun. A setting sun is spread in the water, and it shines on the river. Instead of taking photos, it is spread. This is because the setting sun is close to the horizon and almost shines on the ground. It is really like spreading on the river, which is very vivid. This word shop is also gentle, writing the softness of the autumn sunset, giving people a cordial and leisurely feeling. Half the river is rustling and half the river is red, the weather is clear and windless, the river flows slowly, and the river is wrinkled with tiny ripples. The part that receives more light shows a red color; Where there is little light, there is a deep blue color. The poet grasped the two colors on the river, but showed the scene that the twilight river was sparkling and the light color changed rapidly under the setting sun. The poet was intoxicated and put his joy in the description of the scenery.

The last two sentences describe the night scene of the new moon rising. The poet lingered until the early moon rose and the cool dew fell, and a better realm appeared in front of him. The poet leaned over and looked: Hehe, the grass by the river is covered with crystal dew. How the drops of dew on the green grass look like pearls embedded in it! Using the real pearl as a metaphor, not only the roundness of the dew is written, but also the shining luster of the dew under the radiance of the new moon. Look up again: a crescent moon rises, which is really like hanging a delicate bow on the blue sky! The poet condensed the two scenes in the sky and the earth into one poem-dew like a pearl and moon like a bow. From the bow-like crescent moon, the author remembered that it was the third night of September, and could not help but blurt out his praise for its loveliness and express his feelings directly, which pushed his feelings to a climax and caused waves in poetry.

What a harmonious and peaceful artistic conception the poet creates through the description of the visual images of the dew and the moon! It is amazing to use such novel and ingenious metaphors to carefully paint and color nature. There seems to be a lack of time connection between describing the Mujiang River and praising the moon dew, but the night on the third night of September virtually connects time, which is connected with the dusk, the dew and the moon, which means that the poet has been enjoying it from dusk until the moon is exposed, which contains the poet's joy and love for nature.

Mr. Zong Baihua said: Artistic conception is not a natural reappearance of a single plane, but a deep creation. ("The Birth of China's Artistic Conception") If we say that in Xie Tiao's "Going to the Three Mountains Late and Returning to Wangjing Town" in the Southern Dynasties, we wrote the famous sentence of sunset scenery along the Chunjiang River: Yu Xia scattered into splendor, and Chengjiang was as quiet as practice, which was 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 condensed moment at sunset, like a faint sketch of the riverside; Then, Bai Juyi's literary trend of thought (in Wang Changling, see "Tangyin Guiqian", Volume II) is the artistic conception created by Bai Juyi's works, which is based on the aesthetic cohesion since the prosperous Tang Dynasty. It artistically shows a process of moving in time and space, which is more than a magnificent watercolor painting, just like a set of shots in a color film. Therefore, with the passage of a long shot, our aesthetic consciousness quickly shifts to the combination of long and short shots, and the dew is like a real pearl and a bow.

Hegel said: Poetry is not confined to a certain space or a certain moment in a 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, it depends on the heartfelt poem "Poor September 3rd Night" as the adhesive of inner feelings. It is this unique aesthetic feeling under the specific time and space consciousness that creates the two lens systems of half-river, half-river and half-river, and dew-like pearls and moons as a bow into a dynamic artistic whole. Eisenstein said: The antithesis 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 solid, which often brings people a vague and complex mixed emotion. You see, when the setting sun is reflected obliquely, and the rustling river spreading in the sunset disappears unpredictably in the poet's field of vision, 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, crystal dewdrops are condensed and shining on the flowers and plants along the river. It' s really a pearl in the spring, and it' s a painting. Every word is out of the ordinary. The poet couldn't help but blurt out his praise: What a lovely night! This is amazement and intoxication. The poet's incomparable joy and light mood, longing for detachment and quiet interest, all come clean but very subtle, which makes people ponder endlessly and comprehend endlessly. Here, we can witness Wen Yiduo's praise for "A Moonlit Night on a Spring River": a more exclusive cosmic consciousness, a deeper, broader and quieter realm. In the face of magical eternity, the author has only consternation, no vision and no sadness. What he got seemed to be a more mysterious and elegant and upright smile. He was more confused but satisfied. (Redemption of Palace Poems) Isn't it? When we read such a poem today, we can't help but have a mythical reverie: Is the crescent moon in the mysterious blue sky really those little angels flying in the sky? The bright bow opened by the little fairy, are those dewdrops the pellets they shot into the blue sky and scattered on the earth in the game? This is really a wonderful realm. Jiangcun

Du Fu Jiangcun

Qingjiangyi