The first paragraph puts forward two versions of the origin of Shi Zhongshan's name, and questions these two versions. It can be divided into three layers. On the first floor, I quoted Shui Jing's words, explained the position of Shi Zhongshan, and pointed out Shi Zhongshan, which caused the following situation. On the second level, Li Daoyuan's view on the origin of the name is put forward, and people's skepticism about this view is pointed out, and Li's view is questioned by the fact that Zhong Qing can't make a sound when he is in the water, which shows that it is difficult to win people's trust. It is precisely because Li said that "people are always suspicious" that later people raised objections and drew Li Bo's statement from Li Daoyuan's statement. The third layer, put forward Li Bo's view and question it. Li Bo is also among the "people who are often suspicious", so there is a "visit to the legacy". There is no doubt that he kissed "visited" his legacy, "gripped" his stone and "listened" to his voice. The author shows his doubts about Li Bo, and refutes Li's statement that "there are stones everywhere, and stones can be detained", which shows that the statement that stones can be detained is not credible. These two statements seem to be on the same page, but in fact, there are first and then, and there are masters and times. There are also differences in the formulation of the two theories: using "people are often suspicious" to show people's doubts about Li's theory, and it is not clear whether the "people" here include the author, which is an objective narrative, and the author has not rashly judged the right or wrong of Li's theory; I use "I particularly doubt" to emphasize my denial of what Li said. The word "I" here clearly shows the author's attitude towards what Li said. Telling Li that "people are always suspicious" and "I am particularly suspicious" lead the author to realize that it paves the way for the second paragraph of "Laughing without believing" and night outing, and also ends with "sighing", "laughing", "simplicity" and "ugliness".
In the second paragraph, the author narrates a field trip to Shi Zhongshan to understand the origin of its name. It can be divided into three layers. The first floor ("Seven Years of Yuanfeng, the so-called Stone Bell Man") points out the time, companions and reasons for visiting Shi Zhongshan. Because of doubts about the origin of Shi Zhongshan's name, the author took advantage of his position in Linyou to send his eldest son Mai Su to visit Shi Zhongshan in Dexing, Raozhou, just to dispel doubts. This floor is right next to it. On the second floor ("The monk in the temple asked the child to hold an axe ... Gu Yu laughed but didn't believe it"), write an article "Visiting the Temple Monk". The monks in the temple "let the children hold axes" and knocked on stones to make a sound, indicating that they believed Li Bo's statement, which had a great influence. This paragraph responds to Li's "choose one or two and buckle it" and "laugh without believing", and takes care of the "buckle and listen" and "I am particularly suspicious" in the first paragraph respectively. Since the monk's practice is not satisfactory, here is the action of the author's moonlit investigation. On the third floor ("jathyapple's wise men and ancients were full of deception"), I wrote about my visit to Shi Zhongshan on a moonlit night. First of all, I explained that the time of my visit to Shi Zhongshan was "Mo jathyapple Ming" and my companion was my eldest son Mai Su. The way is "by boat" and the place is "under the cliff". Then write the scene under the cliff: what you see is a big stone that "stands on the side of thousands of feet, like a monster and wants to fight with people"; I heard the scream of the stork in the sky and the strange call of the stork in the valley, coughing and laughing like an old man. It depicts a gloomy night scene of Shi Zhongshan, which is far and near, high and low, dynamic and static, tangible and vivid, making people feel immersive. This description highlights the eerie environment atmosphere, highlights the difficulty of visiting in person, and lays the foundation for the following criticism that "the scholar-officials refused to spend the night under the boat cliff". On the other hand, when the writer "anxious to return" suddenly "shouted loudly on the water like a bell and drum", which frightened the boat people, but the writer was attracted. He "looked slowly" and found that "there is a cave at the foot of the mountain, but I don't know how deep it is, and the microwave is surging because of this", and he found out the reason for the "squeaking" sound. But things didn't stop there, and there were waves below. When the author "sailed back to the two mountains", he found that there was "a big stone flowing in the air, full of tricks, breathing with the wind and muffled cymbals" at the entrance. The "back" here does not mean "return", but "turn around". "Boat back to the two mountains" does not mean that the boat goes back to the middle of the two mountains, but that the boat turns around and turns between the two mountains. The author's investigation of these two sounds is extremely detailed and in-depth, which confirms Li's statement in the first paragraph: "Microwave enters the cloud" and "Breathe in and out with Feng Shui" take care of "cool breeze and drum waves" respectively; "At the foot of the mountain, there are caves full of rocks ... and the culvert is surging, so it is also" harmony "and" big stones flow in the air, but there are many tricks ",taking care of" water and stones are exciting "respectively; "Like a Bell and Drum" and "The Sound of muffled cymbals" take care of "sound like Hong Zhong" respectively. This not only confirms Li's theory, but also makes a detailed supplement to "Jane", paving the way for the last paragraph of "Jane". Finally, the dialogue between the writer and Mai Su. The "smile" of "saying that you are brave because you laugh" is different from the "laughing without believing" in front of you. The former is a smile expressing doubt and denial, and here is a relaxed and happy smile after dispelling doubts, which shows the author's pride and excitement after finding out the truth. In the conversation, the author associated these two voices with "Don't shoot King Zhou Jing" and "Zhong Song of Wei Zhuangzi", affirmed his own investigation results and pointed out the reason for naming Zhong Mingshan. He also affirmed Li Daoyuan's statement that "the ancients were not all deceivers", and the words vividly expressed the author's faith and joy. In this passage, the author confirmed and supplemented Li Daoyuan's statement with his own eyes and ears, further denied Li Bo's statement, and provided factual basis for the last paragraph.
In the third paragraph, I wrote my thoughts on the origin of Shi Zhongshan's name, indicating my writing intention. It can be divided into three layers. On the first floor, "it's okay to judge whether something is there without looking at it?" This sentence, with strong tone, expresses full affirmation by rhetorical question and points out the main idea of the whole article. It is the author's conclusion and summary after finding out the origin of Shi Zhongshan's name, and it is the author's experience. The second layer analyzes the reasons why the world can't know the origin of Shi Zhongshan's name accurately from two aspects. On the one hand, there are three reasons why the correct statement can't be circulated: first, "what Li Yuan saw and heard is almost the same as that of Yu Yu, but it is unknown", that is, Li Daoyuan's statement is correct, but unfortunately it is unknown, which leads to "people are often suspicious" and can't be recognized by people; Second, the scholar-officials did not make on-the-spot investigations, and "it is necessary to know when you wait for the cliff by boat at night"; Third, "fishermen and sailors know but don't talk." "Can't say" means you can't write, not you can't say. Li's theory is lost in the unknown. Scholar-officials can be "ignorant" for writing, while "fishermen and sailors" know but can't write. That's why Shi Zhongshan's name didn't spread around the world. Then use the word "two" to turn to the other side: "Ugly people try to get the truth with an axe", which means that "ugly people" like Li Bo make subjective assumptions and "think there is truth", which is the reason for Li Bo's wrong statement and later generations to spread the truth. The third layer points out the purpose of writing this travel note from the two aspects mentioned above. "Lamenting Li Yuan's simplicity" is to affirm Li Daoyuan's point of view, while lamenting that it is too simple. "Laughing at Li Bo's meanness" means denying Li Bo's point of view and laughing at his meanness. This shows that the purpose of writing this article is to spread my own views, confirm and supplement Li Daoyuan's views and correct Li Bo's views.
By combining discussion and narration, this paper analyzes and criticizes Li Daoyuan and Li Bo's views on Shi Zhongshan's name through a field trip to Shi Zhongshan at night, and puts forward the conclusion that "it is impossible to judge whether it exists unless you see it with your own eyes", which embodies the author's realistic spirit of paying attention to investigation and research and has educational significance. Unique structure. The structure of The Story of Shi Zhongshan is different from the general wandering prose, which records wandering first and then discusses wandering, but it is discussed first, leads to narration from discussion, and finally ends with discussion. The author begins the full text with three steps: "doubt-test-conclusion". The full text echoes from beginning to end, with strict logic and seamless integration. Li Daoyuan's statement was mentioned in the first sentence of this article, and others questioned it. This suspicion is not groundless, but based on the experiment done by Zhong Qing. This paves the way for the two sound sources that the author saw in the second paragraph of the article-caves and streams in big stones-and thus gives a sigh that "the ancients were not arrogant". At the end of the article, I once again lamented that what Li Yuan said was true, but it was too simple for the world to understand. In the first paragraph, the author expressed his "special doubt" about Li Bo's deduction of stones to infer the reason for Shi Zhongshan's name. In the second paragraph, the monk in Zhongsi asked the child to hold an axe and buckle the stone. The author still "laughs but doesn't believe" this verification method. After on-the-spot investigation and getting the truth, in the third paragraph, the author retaliated against the previous article "Laughing at Li Bochou". The full text, which consists of thoughts and feelings, narration and discussion, narration, description, discussion and lyricism, is an eternal masterpiece of reasoning things.
The writing is tortuous. The twists and turns in the style of writing are a prominent feature of this article. For example, quoting Li Daoyuan and Li Bo is boring, and the author adds two refutations, which are wonderful. This paper has three doubts about the old saying, which is not only different every time, but also tortuous even at the same time. For Li Daoyuan, people's doubts lead to their own doubts, which are expressed by metaphor; Li Bo was originally correcting Li Daoyuan's statement. When the author quoted, he added "I think I understand", and then the conversation changed-"I said it, but I particularly doubt it" and wrote the word "you", saying that it was even less credible than Li Daoyuan's statement; The monk told the boy in the temple to knock the so-called "stone clock" with an axe. He just shrugged off the sentence "Gu Yu laughed but didn't believe it", pointing at Li Bo, who won the double stone three hundred years ago, and refuted Li Bo's argument with all his words, which hit the nail on the head and was different from using metaphors for Li Daoyuan's statement. And this paragraph was inserted before the mountain tour, which also added waves to the article. In short, the things recorded and the issues discussed in this article are very common, but the whole article is full of twists and turns, and some places are ups and downs, which makes the discussion content very readable.
Clever decoration. This paper uses vivid metaphors (similes such as "the sound is like Hong Zhong", "the beast is like a strange ghost", "if the old man coughs and laughs in the valley", "if the bells and drums are incessant" and "if he is happy", and metaphors such as "the singer of Zhou has no lens and the singer of Wei Zhuangzi is bored"), and the image is anthropomorphic (". The scenery description in this paper is also vivid because of its clever decoration.
Flexible language. The language of the article is flexible, fluent, changeable and distinctive. The description of two kinds of bird calls and two kinds of underwater sounds is completely different: the description of perch is to call the bird's name first ("perch on the mountain"), then write the bird's surprise ("human voice is also shocking"), and finally write its call ("the sky above the sky"); When writing a stork, write it first ("If the old man coughs and laughs in the valley"), and then explain that the stork is barking ("Or this stork is also"). The former uses the onomatopoeic word "tick-tock" to describe its scream, while the latter uses "if the old man coughs and laughs" to describe its strange call. The descriptions of the two underwater sounds are completely different: the underwater sound in front is produced by the collision between "microwave" and "cave" at the foot of the mountain, and the underwater sound behind is produced by the interaction between "Feng Shui" and the cave of the middle stream rock, which is different from the sound source; The "endless bell and drum" in front is a loud voice, while the "boring and enjoying yourself" behind is a relatively low and melodious voice with different tones and volumes; In the front, I heard the sound first, and then I found the "cave" at the foot of the mountain. Later, I saw "big stones flowing" and "the air is full of tricks", and then I wrote "the sound of boredom", in a different order. Liu Kezhuang's Complete Works of Mr. Houcun (volume 1 10): Po Gong Lu: Argument, a famous saying in the world; Pen power is the best in the world; Kaifa is a wonderful work in the world. "
Zheng Zhihui's "Su Changgong Cooperation" Volume II: "Plain and straightforward narrative, but its twists and turns are gratifying. This is the trend of Zhang Zi, and Su Changgong's words are flying in ancient times. "
Yang Shen's "Three Models" Volume 14: "Throughout, we strive for the quiet victory of mountains and rivers, but compared with Li Bo, temple monks and Li Yuanzhi's simplicity, we can distinguish the bells of Zhou and Wei and Zhuangzi. At its turning point, people's doubts begin with their own doubts. When they see a big stone in the middle, they will release their doubts, so they will be remembered as unique. "
Yang Shen's "Three Models" Volume 14 quotes Zhong Xing's words: "Poor thing, the so-called body is not willing to let go. Also: It can be seen that into the badlands is not a good thing either. He is really modest and prudent. "
Yang Shen's "Three Models" Volume 14 quotes Yuan Hongdao: "If you are involved in famous mountains in the calendar, you should remember when you leave. Reading and breaking work gather in the account, and it will pass through the ages. "
Mao Kun's Eight Family Banknotes and Dongpo Banknotes in Tang and Song Dynasties, Volume 141: "There are also water classics in the wind, so it is very strange. "
The fifty-sixth volume of Yao Nai's Ancient Lexicon quoted Fang Bao as saying: "Zi Zhan is the best in the record."
Liu Dakui was quoted in Yao Nai's Compilation of Ancient Vocabulary (Volume 56): "If you want to fall out loudly on the water, there will be twists and turns, and' Xinghui' will feel even more dripping. In the two places of the clock, we must make the ancient clock two things true. With this humor, the lines in the article are full of fun. Bao Gong's first poem. "
Shen Deqian's Eight Readers of Tang and Song Dynasties (Volume 23): "Remember the landscape and realize the reading method. Whether it is simple or rough, you can ask the ancients for advice. It is a great pleasure to walk with your whole body and the last photo. "
Wu Chu Cai and Wu Diaohou's View on China's Ancient Literature (Volume 11): "The reason why the world doesn't know the name of Shi Zhong is that the old annotation was unknown at first, and then it was lost to shallow people's common views. It was a wonderful victory through the ages, but it was more or less buried. Po Gong experienced it personally, heard the truth and made a detailed investigation. In the past, countless mysteries were solved one by one. My heart is cold and my eyes are fast. "
Lv Liuliang's Eight Selections of Ancient Chinese Literature in Late Village: "I am convinced that this is true. Li turned over Li, and Sue turned over Li. However, if you take what you have and don't prepare what you used to have, Daoyuan will also be simplified. The text is the most bizarre, unique in ancient and modern times. "