"Jiang Xue" is a five-character landscape poem by Liu Zongyuan, a poet of the Tang Dynasty. The following is an appreciation of the ancient poem "Jiang Xue" that I collected and compiled. I hope it will be helpful to you!
Jiang Xue
Liu Zongyuan
Thousands of birds have disappeared, and thousands of people have disappeared.
A man in a boat with a coir raincoat fishing alone in the snow in the cold river.
Introduction to ancient poetry
"Snow on the River" is a five-character landscape poem by Liu Zongyuan, a poet of the Tang Dynasty. It describes a cold river in a world of ice and snow, with no pedestrians or birds, only an old man. Being alone in a boat, fishing in silence. This is a picture of the snow scene in Jiangxiang. The mountains are covered with snow and the roads are all white. The birds disappeared and the traces of people disappeared. The distant scenery is vast and the surrounding scenery is lonely and cold. The artistic conception is secluded and the mood is desolate. The image of the fisherman is carefully crafted, clear and complete. The poem adopts rhyme, which is vigorous and powerful. Poets from past dynasties all praised it. Masters of painting through the ages also competed with each other to draw many touching pictures of rivers, sky and snow scenes with this theme. It is known as the best five-character quatrain in the Tang Dynasty. This is a poem written by Liu Zongyuan after he was demoted to Yongzhou. He used the fisherman fishing alone in the cold river to express his loneliness and depression. It expresses the author's noble sentiments.
Translation/Translation
In all the mountains, the birds are all cut off; in all the roads, there is no trace of human beings.
In a lonely boat on the river, the fisherman wears a raincoat and a hat; fishing alone, he is not afraid of ice and snow.
Comments
Jue: None, none. Traces of people: traces of people. Extinction: disappear, no more.
There are no birds flying over thousands of mountains: There are no traces of flying birds across thousands of mountains and ridges.
Ten Thousand Paths: a virtual finger, referring to thousands of roads.
No trace of human beings: There is no trace of human beings.
Gu: Solitary.
Zhou: small boat.
Coir raincoat: coir raincoat and bamboo hat "coir raincoat" means clothes used to prevent rain in ancient times; "coir raincoat" means hat used to prevent rain in ancient times.
Du: Alone.
Fishing: fishing.
Appreciation 1:
This is a five-character quatrain in oblique rhyme, which is one of Liu Zongyuan's masterpieces. It was probably written when he was exiled to Yongzhou (now Lingling, Hunan).
After Liu Zongyuan was demoted to Yongzhou, he was greatly stimulated and depressed mentally, so he used to describe the landscape and sing about the fishermen living in seclusion among the mountains and rivers to express his noble and aloof emotions. , to express his depression and anguish of political frustration. Therefore, Liu Zongyuan's landscape poems have a distinctive feature, that is, the objective realm is relatively secluded, while the poet's subjective mood appears relatively lonely, and sometimes even too lonely, too deserted, without any human atmosphere. . This is obviously inseparable from his life experiences and the development and changes of his entire thoughts and feelings.
This song "Jiang Snow" is exactly like this. The poet only used twenty words to bring us to a quiet and cold place. What appears before the readers' eyes is this picture: On a river covered with heavy snow, an old fisherman fishes alone in a small boat in the middle of the cold river. What the poet shows readers is the following: the world between heaven and earth is so pure and silent, spotless and silent; the life of the fisherman is so noble, and the character of the fisherman is so aloof. In fact, this is a fantasy realm created by Liu Zongyuan out of his hatred of the Tang Dynasty society, which was declining day by day. Compared with the characters in Tao Yuanming's "Peach Blossom Spring", this is probably even more illusory and far away from the world. What the poet wants to describe in detail is extremely simple. It is just a small boat and an old fisherman wearing a raincoat and a hat, fishing on the snowy river, that's all. However, in order to highlight the main object of description, the poet did not hesitate to use half of the page to describe its background, and made the background as broad and broad as possible, almost to the extent of being boundless. The broader the background, the more prominent the main subject of description will be. First of all, the poet uses the words "thousands of mountains" and "ten thousand paths" to set off the images of "lonely boat" and "solitary fishing" in the following two sentences. Without the words "thousand" and "ten thousand", the words "lone" and "lone" below would be bland and have no appeal. Secondly, the birds flying on the mountains and the traces of people on the road are originally very common things and the most general images. However, the poet put them under "thousands of mountains" and "ten thousand paths", and added the words "absolute" and "extinction", which gave the most common and general dynamics at once. It turned into extreme silence, absolute silence, forming an unusual scene. Therefore, the following two sentences were originally static descriptions, but because they were placed against this absolutely quiet and silent background, they appeared exquisite and translucent, animated, floating and active on the screen. It can also be said that the first two sentences are originally a distant view. According to the general understanding, it only needs to outline an outline, and there is no need to spend a lot of effort to carve it carefully. However, the poet happens not to handle it this way. It's like shooting a movie, using a close-up lens that is magnified many times to explain and reflect every corner of the background clearly. The more specific and detailed the writing, the more general and exaggerated it appears.
In the last two sentences, the poet originally intended to highlight the object of description, but in the end, he used a long-distance lens to shrink it many times, giving the reader an ethereal, transparent, visible but inaccessible feeling. Only by writing in this way can we express the aloof and aloof thoughts and feelings that the author is eager to show readers, free from the secular and transcendent. As for the formation of this long-distance feeling, it is mainly caused by the author placing the word "snow" at the end of the whole poem and connecting it with the word "jiang".
In this poem, the thing that covers everything and encompasses everything is snow, the mountains are snow, the roads are also snow, and "thousands of mountains" and "ten thousand paths" are all snow, which makes "birds fly" "Extinct", "The traces of people are extinct". Even the boat awning and the fisherman's coir raincoat were of course covered with snow. However, the author does not clearly connect these scenery with "snow". On the contrary, in this picture, there is only Jiang, only Jiang Xin. Of course, the river will not store snow or be covered by snow, and even if snow falls into the river, it will immediately turn into water. However, the author chose to use the three words "Hanjiang Snow" to link the two most distant images of "Jiang" and "Snow" together, which gave people a feeling of being relatively empty, distant and relatively distant. The feeling of zooming out, which creates a long-distance shot. This makes the main objects described in the poem more concentrated, clever and prominent. Because even the river seems to be full of snow, and even the places where there is no snow are full of snow, this completely describes the situation of heavy, dense, thick and thick snow, and makes the water and sky irrespective of each other. The vast atmosphere above and below is also completely highlighted. As for the use of the word "cold" above, it is certainly to point out the climate; but the poet's subjective intention is to quietly write about the spiritual world of the fisherman. Just imagine, in such a cold and silent environment, the old fisherman was not afraid of the cold weather or the heavy snow. He forgot about everything and concentrated on fishing. Although his body was lonely, his character seemed aloof and aloof, even a little awe-inspiring and inviolable. This transformed and beautified image of the fisherman is actually the sustenance and portrayal of Liu Zongyuan's own thoughts and feelings. It can be seen that the three characters "Hanjiang Snow" are the "finishing touch". It organically connects the two parts of the whole poem, not only forming a condensed and summarized picture, but also shaping the fisherman's complete and outstanding character. image.
Use specific and meticulous techniques to describe the background, and use distant images to describe the main images; meticulous craftsmanship and extreme exaggeration are intricately unified in one poem, which is the essence of this landscape poem. The unique artistic characteristics of poetry.
Appreciation 2:
This five-character ancient poem was written by Liu Zongyuan, a famous poet in the mid-Tang Dynasty of my country. The author also used a landscape painting to describe his lonely situation and extremely lonely mood. Like the previous song "The Fisherman" he wrote, it was both written in the Yongzhou period.
The author was in a silver-white world with flying snowflakes. There were no shadows of birds or footprints of pedestrians. There was only a very small black shadow on the screen, which turned out to be a fisherman wearing a raincoat and a hat on a lone boat in the cold river. This is like a light ink painting.
The words "thousand" and "ten thousand" in the first and second sentences of this poem contrast with each other. First, write about the majestic mountains and mountains, and then write about the paths in the mountains, embedding an originally quiet and vast panoramic landscape into the picture in the form of couplets. The next two sentences turn to describe the scenery on the river: there is only a solitary boat in the river, and on the boat there is an old man wearing a raincoat and a hat, and a fishing rod for the old man to fish. The author gradually and cleverly reduces the focal length of the picture. Snow is depicted from the side, and the word snow does not appear until the end. The first words of these two sentences, "lone" and "lone", are also very eye-catching. The only moving things in the painting are the falling snow. The old man fishing on the boat was staring motionlessly at the fish float in the river. What a severe, quiet, and cold world this is.
The surrounding cold snowy mountains and cold rivers are undoubtedly the real social environment of the author; and the motionless old fishing man in the snow is undoubtedly the embodiment of the lonely and frustrated author. This painting is actually an extremely vivid psychological sketch that has been admired and passed down as a masterpiece for generations to come.