Tao Yuan Xing (Nineteen Years) was written by Wang Wei, and was selected as the ninety-second poem of the whole Tang poetry 125. This poem expresses Tao Yuanming's narrative prose "Peach Blossom Garden" in the form of a poem, which arouses readers' imagination and is praised by later generations. There are also poems of the same name, Liu Yuxi and Wang Anshi's Peach Garden, which also have their own characteristics; Chushan's miniature sculpture "Peach Blossom Garden" opens a poetic realm through imagery. "But now, there are spring floods and floating peaches everywhere. Which way should we take to find the hidden source?" The confused artistic conception of an ideal society has left endless aftertaste.
original text
Taoyuanhang (19 years)
Author: Wei
A fisherman is drifting, enjoying the mountains in spring (1), and the peach trees on both sides lead him to an ancient source (2).
Looking at the brightly colored trees, he never considered the distance until he reached the end of the blue stream and suddenly found-strange people! (4).
This is a cave-the hole is so narrow that he has to climb in (5), but then it opens up on a wide and flat path.
In the distance, he faced a cloud on a tree and thousands of houses surrounded by flowers and bamboo.
The woodcutter told him his name in the old Chinese saying (9). These people all wore clothes from the Qin Dynasty.
Juren * * * lives in Wulingyuan (10) and lives in farms and gardens in another world (1 1).
They lived peacefully in the bright moon Panasonic (12) until the sunrise filled the low sky with cock crow and dog bark (13).
... hearing the news of a stranger, people gathered together (14), and everyone invited him home and asked him where he was born (15).
In the morning (16), the petals in alleys and paths were removed for him, and at dusk (17), fishermen and farmers brought him their goods.
They left this world a long time ago, and they came here to seek asylum (18). From then on, they lived like angels and lived happily away.
No one in the cave knows anything outside, and outsiders can only see empty mountains and thick clouds.
The fisherman didn't realize his great luck (19) and began to think about the connection between the country, the family and the secular (20).
When he told his relatives (2 1), he found his way out of the cave again, passing through mountains and rivers, and planned to come back one day.
He studied every step he took, remembered it firmly (22), and forgot that cliffs and peaks might change their appearance (23).
To be sure, to enter Qingxi, you have to go through the depths of the mountain and get to Yunlin (24) after many twists and turns.
But now, there are spring floods and floating peaches everywhere. Which way can we find the hidden source? .
To annotate ...
(1) Waterway: downstream.
(2) Ancient and modern: the ancient ferry.
(3) Sit: Because.
(4) When it comes to "Qingxi is exhausted, people are suddenly noticed". Meet people: meet passers-by.
(5) Wei: the land where mountains bend and water bends.
(6) Broad vision: refers to broad vision. Spin: Soon.
(7) Save the cloud tree: connect the cloud tree. Save, collect.
(8) Loose bamboo: refers to flowers and bamboo forests everywhere.
(9) kitchen knife: originally refers to firewood man, here refers to fisherman.
(10) Wulingyuan: refers to the Peach Blossom Garden, which is said to be in the southwest of Taoyuan County (Wuling County in Jin Dynasty) in Hunan Province. Wuling is now Changde, Hunan.
(1 1) Beyond things: the outside world.
(12) room: the window of the house.
(13) Noisy: crying is noisy.
(14) Custom: A fisherman who strays into the Peach Blossom Garden.
(15) Reference: led. Du Yi: refers to the native place of Taoyuan people.
Ping Ming: It's just dawn. Lv Xiang: Streets and alleys. Open: refers to opening the door.
(17) dusk: evening.
(18) Shelter: Move here to avoid disaster. Go: Leave.
(19) Spiritual realm: it refers to fairyland.
(20) dust heart: the feelings of ordinary people. Hometown: hometown.
(2 1) You Yan: I can't stay.
(22) self-assertion: self-assertion. Not lost: no longer lost.
(23) peak and valley: peak and valley.
(24) Yunlin: Mountain forests in the clouds.
(25) Peach blossom water: spring water. The river overflowed when the peach blossoms bloomed.
translate
Fishing boats go down the river in pursuit of beautiful spring scenery, and peach blossoms on the shore reflect the red on both sides of the ancient ferry. Flowers and trees are colorful, forgetting the distance; At the end of Qingxi, I suddenly saw a vague crowd. Walk into the deep and tortuous mountain pass, and then go forward, and you will be suddenly enlightened. From a distance, green trees gather like clouds, and when you enter the village, you will see bamboo and flowers in front of every household. The first time I heard about the dynasties after the Han Dynasty, villagers still wore clothes from the Qin Dynasty. They have lived in Wulingyuan for generations, where they have created an idyllic world. The bright moon is shining, and the Panasonic room is silent; When the sun rises, chickens and dogs crow in the village. The villagers greeted the foreigners in surprise, scrambling to invite them and asking about the world news. In the streets and lanes in the early morning, every family cleans the flower path; By the stream in the evening, Yuqiao returned to the village by boat. I fled the world because I escaped from troubled times, and I won't return it if I find this Taoyuan Wonderland. From then on, he lived in seclusion in the canyon, regardless of external changes; The world looks for a foreign land and looks at the clouds and the sky. Fishermen don't doubt that this is a rare fairyland, but they just cling to their homes. After leaving the cave, he decided to leave home, regardless of mountains and rivers, and came to this fairy source. If you think you won't get lost where you have been, how do you know that the peaks and valleys in front of you have completely changed? At that time, I remember that the mountain road was very deep, and it took several turns along Qingxi to reach Taolin. This day is also spring, and peach blossoms are still everywhere; Where is Xianyuan? I finally found it, and I don't know the way!
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This is a seven-character Yuefu poem written by Wang Wei when he was nineteen years old. The theme is taken from Tao Yuanming's narrative prose Peach Blossom Garden. In Qing Dynasty, Wuqiao once said in Poems Around the Furnace: "Meaning is like five grains. Text, and then cook; Poetry is brewed into wine. " A good poem should be like wine, which can be intoxicating after reading. Therefore, turning the content of prose into poetry is not only a matter of changing the language form, but also an artistic re-creation. It is precisely because of this successful artistic re-creation that Wang Wei's "Peach Blossom Spring" has independent artistic value and can be circulated together with the prose "Peach Blossom Spring".
The artistic re-creation in Peach Blossom Garden is mainly manifested in the development of the artistic conception of poetry; The artistic conception of this kind of poems is mainly reflected by one image after another.
At the beginning of the poem, a vivid picture of "fishing boat chasing water" is displayed: distant mountains and near water, mangrove forests and Qingxi, a fishing boat, leisurely strolling in the peach blossom forest on the shore. The poet painted a beautiful spring scene with gorgeous colors, paving the way for fishermen to "sit and watch mangroves" and "walk in Qingxi". Here, the gorgeous scenery and rich interest merge into a beautiful poetic realm, and the beginning of the event also contains it. The essential explanation in the prose: "Jin, Tai and Yuan dynasties made a living by fishing, followed the current, and forgot the distance ..." In the poem, it became the raw material for brewing "wine", which was transformed into moral and voiceover for readers to imagine and experience. Between the pictures, the poet skillfully uses some general and transitional descriptions to draw connections, provide clues, guide the reader's imagination and move forward with the development of the plot. The words "mountain pass" and "mountain opening" have played such a role. Through a general description, let the reader imagine the process of fishermen abandoning their boats and diving into the winding mountain pass, suddenly enlightened and discovering Taoyuan. In this way, the reader's imagination will follow into Taoyuan and naturally be led to the next picture. At this time, the panoramic view of Taoyuan is presented to people: the towering trees in the distance seem to gather in the blue sky and white clouds, and the nearby eyes are full of colorful and leafy bamboos. These two sentences, from far to near, clouds, trees, flowers and bamboo, set each other off into interest and are beautiful. There is a peaceful and quiet atmosphere and thriving vitality in the picture, which allows readers to gallop, comprehend, understand and think in their imagination. The so-called charm of poetry and mellow wine are also included. Then, the reader can imagine the fisherman entering the picture step by step and starting to see the characters. "The woodcutter told him their names in ancient Chinese. These people all wore clothes from the Qin Dynasty." It is written that Taoyuan people surprised foreigners, which is obviously different from the clothing feelings of fishermen when they first met "living people", and implies the meaning of "I don't know if there are Han people, no matter Wei and Jin Dynasties" in prose.
The twelve sentences in the middle are the main part of the whole poem. "Living in Wulingyuan * * *" inherits another meaning, and then points out that this is "pastoral from outside". Then, the scenes and life pictures of Taoyuan are continuously displayed. Moonlight, pine shadow, the room was silent, and the night in Taoyuan was very quiet; The sun, clouds, chickens and dogs crow, and the morning in Taoyuan is noisy. Two pictures, each with its own flavor. The night scene is all still life, and the morning scene is all dynamic and poetic, which shows Wang Wei's unique artistic style. The fisherman, the unexpected guest, surprised Taoyuan people. The sentence "shocked" is also an image, but it is not a scene but a character. A series of verbs such as "Jing", "Zheng", "Ji", "Jing" and "Wen" vividly depict people's dynamic outlook and emotional psychology, and show Taoyuan people's simple and enthusiastic character and care for their homes. The phrase "Pingming" further describes the beautiful environment and life of Taoyuan. "Sweeping flowers" and "entering water" are closely related to the characteristics of the scenery of Taohuayuan. The narrative of "They left this world long ago and came here to seek refuge, and lived like angels and lived happily away from the world" traces the origin of Taoyuan. "No one in the cave knows about foreign affairs, looking at the empty clouds in the distance", the narrative has a long rhyme and is full of vitality.
The last level, the rhythm of poetry is accelerated. Grasping the psychological activities of the characters, the author describes the fisherman's leaving Taoyuan, missing Taoyuan, looking for Taoyuan again, turning around, looking around, feeling infinitely disappointed, and so on. Love, scenery and things are completely integrated here. In the narrative process, the six sentences of "no doubt" express the regret that the fisherman easily left the "spiritual realm" and are full of yearning for the "immortal source" in Yunshan Road. However, times have changed, the homeland is hard to find, and Taoyuan is unknown. At this time, there was only chaos. As the end of the whole poem, the last four sentences blend with the beginning. At the beginning, I accidentally got lost in the mystery, and at the end, I intentionally got lost in the mystery, which made readers feel sorry. "But now, spring water is everywhere, peach blossoms are falling", erratic poems and blurred artistic conception have left endless aftertaste.
Comparing this poem "The Peach Blossom Spring" with Tao Yuanming's "The Peach Blossom Spring", we can say that both of them are excellent and have their own characteristics. Prose is good at narration and pays attention to style of writing. The story begins and ends, and the time, place, people and events are clearly explained. These are not specifically written in the poem, but they can be imagined from the artistic conception of the poem. What the poem shows is a painting, which arouses the artistic conception of the poem, arouses the imagination of readers, imagines and thinks about things outside the painting, and obtains the feeling of beauty from it. This is why poetry is poetry.
In Wang Wei's poems, Taoyuan is described as "spiritual realm" and "immortal source", which has been widely criticized by modern people. In fact, the "spiritual realm" in the poem also includes clouds, trees, flowers, bamboo, chickens and dogs, houses, alleys and pastoral areas. People in Taoyuan also work at sunrise and rest at sunset, and the atmosphere of pastoral life on earth is everywhere. It reflects Wang Wei's ideal life in his youth, and the theme is basically the same as the prose Peach Blossom Garden.
This poem opens the realm of poetry through vivid pictures, which can be said to be the embodiment of the characteristics of "painting in poetry" in Wang Wei's early works In addition, the whole poem has 32 sentences, and four or six sentences have a rhyme change, which is even and even, and the transformation is good. The brushwork of poetry is comfortable, calm and elegant, which is quite praised by later generations. Wang Shizhen in Qing Dynasty said: "Since the Tang and Song Dynasties, Wang Moshi (Wang Wei), Han Tuizhi (Han Yu) and Wang Anshi are the best writers of peach blossom. Looking back at two poems, the meaning of brushwork is gratifying. How pleasant it is to read French poetry; If they try their best to strengthen themselves, they will be red-faced and hot, which is why this prosperous Tang Dynasty is out of reach. " (Ikebukuro) The word "how much freedom" is a high evaluation. Weng Fanggang also spoke highly of this poem, saying, "Those who sing Taoyuan in ancient and modern times are right and perfect." (Zhou Shihua) This is a conclusive evaluation.
Brief introduction of the author
Wang Wei (70 1-76 1), whose real name is Moggi, whose real name is Shi Fo and whose real name is Vimalakīrti. Vimalakīrti is a layman of Mahayana Buddhism, a famous bodhisattva at home, and his free translation is famous for its cleanliness and pollution-free. It can be seen that Wang Wei's name has an indissoluble bond with Buddhism.
Wang Wei's achievements in poetry are various, including frontier poems, landscape poems, metrical poems and quatrains. His poems were called by Su Shi as "paintings in poems and poems in paintings". He really has his unique attainments in describing natural scenery. Whether it is the grandeur of famous mountains and rivers, the grandeur of frontier blockades, or the quietness of small bridges and flowing water, it can accurately and concisely create a perfect and vivid image, with less pen and ink, high artistic conception and complete integration of poetry and painting.
Landscape pastoral poetry school is one of the two major poetry schools in the prosperous Tang Dynasty. The main writers are Meng Haoran, Wang Wei, Chang Jian, Zuyong, Pei Di and others. Among them, Wang Wei and Meng Haoran have the highest achievements and the greatest influence, also known as "Wang Meng".