Frosty night, Jiang Feng, fishing fire, worrying about sleep.
Hanshan Temple outside Gusu City, the bell rang to the passenger ship at midnight.
One autumn night, the poet was boating on the Maple Bridge outside Suzhou. The beautiful autumn scenery of the water town in the south of the Yangtze River attracted this traveler with travel worries, and made him appreciate a poetic beauty with meaningful feelings, and wrote this poem with clear artistic conception.
The title is Sleeping at Night, which actually only describes the scene and feelings at midnight. The first sentence of this poem describes three closely related scenes at midnight: the setting of the moon, crows and the frosty sky. The first quarter moon rose early and sank in the middle of the night, leaving only a gray light and shadow in the whole sky. The crow in the tree was awakened by the change of light and shade before and after the setting of the moon, and called several crows. People's sense of cold nights has become particularly acute. The description of "frost all over the sky" does not conform to the reality of the natural landscape (frost is on the ground but not in the sky), but it completely conforms to the poet's feeling: the chill invading the bones and muscles in the middle of the night and the boats moored from all directions at night make him feel that the boundless night sky outside him is filled with frost all over the sky. The whole sentence was written by the moon and heard by the crow. It clearly reflects a successive process of time and feeling, and all these are harmoniously unified in the cold and cheerless atmosphere of autumn night in the water town and the loneliness of travelers. This shows the fine thinking of the poet.
The second sentence of this poem continues to describe the characteristic scene of "a night-mooring near maple bridge" and the feelings of travelers. In the dim night, the trees by the river can only see a vague outline. Perhaps the reason why they are called "Jiangfeng" is a guess caused by the place names in Qiao Feng, or the image of "Jiangfeng" is chosen to give readers a hint of crisp autumn. "There are maple trees on the banks of Zhanjiang River, which are thousands of miles away and hurt Chun Qing." These predecessors' poems can explain the emotional content precipitated by the word "Jiang Feng" and its association. Through the foggy river, we can see several "fishing fires", which are particularly eye-catching and fascinating because of the hazy and misty background around them. "Jiang Feng" and "Fishing Fire" are static and dynamic, one is dark and the other is on the river, and the scenery is moving. Just point out the travelers berthed on the boat and on the Maple Bridge. The word "melancholy sleep" refers to the travelers lying on the boat with melancholy. The word "right" in "melancholy sleep" contains the meaning of "companion", but it is not as exposed as the word "companion". There are indeed lonely travelers who linger in the face of Jiang Feng's fishing on a frosty night, but at the same time it implies the beauty of the journey.
The first scene of the poem is very dense. Fourteen words write six scenes, and the last one is particularly sparse. There is only one thing written in the two poems: sleeping in the night clock of the mountain temple. This is because the poet's most vivid, profound and poetic impression in a night-mooring near maple bridge is the midnight bell of Hanshan Temple. Moon setting, crow falling, frost and cold, river fishing, guest independence. However, it is not enough to convey its charm. In the dark night, people's hearing rises to the first place to feel the scene of external things, and the bell in the quiet night gives people a particularly strong impression. In this way, the "midnight bell" not only sets off the silence of the night, but also reveals the depth and clarity of the night. The poet's unspeakable feelings when lying down and listening to the bell are self-evident.
It seems that we can't ignore the Hanshan Temple outside Gusu here. Hanshan Temple, located in the west of Qiao Feng, was founded in the Liang Dynasty. Hanshan, a poet and monk in the early Tang Dynasty, once lived here, hence the name. The poetic beauty of Qiao Feng, accompanied by this ancient temple, has been enriched and charming with the color of history and culture. Therefore, the "midnight bell" of Hanshan Temple seems to echo history and infiltrate religion. It gives people a quaint and solemn feeling. It seems that the poet pointed out the origin of the clock with a poem. With the stroke of midnight in Hanshan Temple, the charm of "a night-mooring near maple bridge" has been perfectly expressed. This poem no longer stays at the level of pure landscape painting on autumn nights in Qiao Feng, but creates a typical artistic conception of blending scenes. Although the midnight bell has been practiced in Nan Shi, it is Zhang Ji's creation that becomes the artistic conception of poetry. At the same time or after Zhang Ji, although many poets wrote about it in Midnight, they did not reach Zhang Ji's level, let alone create a complete artistic conception. (Liu) According to
In the history of China literature, Tang poetry is a wonderful work that amazes the world. Anyone who knows a few words in China can recite a few Tang poems. Tang poetry is like a grain in a bowl, you can always get a few. For a long time, people in China grew up chewing Tang poetry. Speaking of Li Bai, Du Fu and Bai Juyi, just like pulling grandparents' home, there are always endless words. Although the style of Tang poetry is elegant and beautiful, it may enter the folk.
We can only marvel at today's Tang poetry. We marvel at how many poets were born in the Tang Dynasty and how the literary garden of the Tang Dynasty was full of wonderful poems. We are also amazed at how majestic, lingering, distant and distant the poets in the Tang Dynasty are! However, the dust of history has annihilated everything. We can't grasp how the ancients feel today. We can only open the curtain of history through the dust of history, recall the time when the bright moon passed several times in Qin dynasty, feel the vastness of the desert where the solitary smoke went straight to the yen, and appreciate the splendor and lonely autumn waters of the setting sun. A "Three Hundred Poems of Tang Poetry" gives us a general description of the context of Tang poetry. His bones are full of passion and fantasy, and his poems are full of passion. He is uninhibited, arrogant, and has the bearing that an emperor can't get on the boat. The poets in the prosperous Tang Dynasty were so peaceful and generous, and their poems inevitably revealed the successful broadmindedness and Yun Fan's heroic spirit of helping the sea. However, the poets in the late Tang Dynasty were inevitably infected with drowsiness, and their brushwork was no longer beautiful and elegant, and they were in a bitter situation.
The high yield and popularity of Tang poetry are related to the social background and fashion of the Tang Dynasty. The heyday of the Tang Dynasty provided a stage for a large number of literati pursuing official career to display their talents. The official career has made those literati poor and accomplished the glory of those long and short metrical poems. The sky in the Tang Dynasty is the sky of poetry, and poets are the most dazzling stars. People look up at the starry sky and are amazed at the splendid starry sky. When we look at the starry sky in the Tang Dynasty, we are surprised to find that the starry sky is not only brilliant, but also appears a lot.
Even today, we still regard Li Bai and Du Fu as the most dazzling Gemini in the Tang Dynasty, and Du Li's articles are also radiant. Lao Li and Du Fu really seem to be my brothers, and they don't get along well in officialdom. One was completely desperate, singing that I was born to be useful, and then I quit the Jianghu. One was fighting and killing, and the other was crying, but I was always worried about Chitose, singing that I had a vast building to keep out the cold. A bold and broad-minded, contemptuous of powerful people, ignited the passion of poetry, wrote the most romantic and brilliant chapter since Qu Zi, and a persistent, introverted, simple and true figure wrote the chapter of life with his own actions. Li Bai's poems belong to the sky, mountains and rivers, the roar of the wind and the call of the soul. Du Fu's poems belong to the earth, crops and people. Some people say that Li Bai was born in the Tao, with the immortal bones of the Tao in his bones, and he was wild and unruly. Writing is like a wild horse with three white hairs in thousands of feet. Du Fu is a Confucian WTO participant and a great scholar among Confucianism. As an official, he can fulfill his duties, benefit one side of the people and sympathize with their sufferings. Du Fu recorded the folk history of the Tang Dynasty in the form of poems, such as Three Officials, Three Farewells, Tragic Car Shop and so on. Is the most dazzling part in history. If Li Bai brought the romantic feelings of poetry to the extreme, then Du Fu pushed the realistic concern of poetry to ordinary people. In the brilliant starry sky of the Tang Dynasty, Du Li, the two twin constellations, together with Confucianism, reflected the most essential things in China culture.
In fact, there are different things in Tang poetry, which is also dazzling. Wang Wei is an anomaly in Tang poetry and China culture. Wang Wei belongs to Zen Buddhism, the crystallization of Buddhism and Taoism, and the China of Buddhism. Wang Wei's poems are in the realm of Zen. Wang Wei's poems are ethereal and clear, with indifferent surface and dull interest. He looks down on a cup of tea, but the fine products are rich and lasting. It is true that there are both mountains and rivers. And it is expressed through freshness and nature. Therefore, reading Wang Wei's poems will give you a feeling of being in a quieter place in Tonamiyama, which can wash away the secular dust and let the restless soul rest in peace. Wang Wei's poems are the habitat of human mind. Heidegger said that language is the place where people exist, and people should live poetically, so Wang Wei's poems can be used as apartments for human souls to settle our increasingly restless souls.
With his unique poetic writing, Wang Wei became another peak of Tang poetry, another dazzling superstar in the decadent starry sky of the Tang Dynasty, and together with Li Bai and Du Fu, he formed a three-legged superstar system. In this way, as the artistic peak of Tang poetry, there are three poetic superstars that embody the cultural characteristics of China, so when we look up at the splendid starry sky, we will always be amazed at this dazzling poetic superstar. I was amazed at the splendid poetry culture in the Tang Dynasty. Of course, good flowers need the help of green leaves. Li Bai, Du Fu and Wang Wei would not be so brilliant if there were no four outstanding poets in the early Tang Dynasty, no frontier poets, no palace writers and no poems by unknown poets.