Hu Jingzhi
Famous poems are handed down from generation to generation, and later generations use them to paint, and the poetic realm becomes a painting realm. However, it is an interesting question whether poetry can be completely transformed into painting. In my opinion, poetry and painting have similarities, but they are not exactly the same. In Song Dynasty, the Palace Painting Academy once selected palace painters with the theme of "crossing wild water without a boat to cross itself" and "crossing wild water without a boat to cross the sun" (see painting inheritance). Most of the painters who took part in the examination conceived the idea of "tying the shore side of the ship empty", and cleverly drew a curled heron between the sides of the ship, or a roosting crow on the back of the canopy, implying that there was no one on board, and the heron dared to curl up here and the crow lived here. It means "there is no one on board". Only Zhong Kui's painters are clever. "The original person lies at the stern of the boat and crosses the solitary flute, which means that there is no boat person and no pedestrian ear. It can also be seen that the boat is very idle. "This painting creates such an artistic conception: it is not that there is no one on board, but that there is no one to cross, and the ship is free. This is a re-creation of Crossing the Wild without a Boat, which is quite innovative and rare. However, Wei's poem "Crossing the River without a Boat" combines the artistic conception of "spring tide comes late and rain comes in a hurry", and it is not an isolated picture. Not to mention the flying trend of "spring tides bring rain late and rush", which is difficult to show in paintings; As far as the phrase "no one crosses the boat in the wild" is concerned, the poem does not assert that there must be a boat on board. If the weather is fine after the rain, the boat is carefree and the flute is idle, it is also reasonable; However, if the ship is drifting in the wind and rain, it is unreasonable to lie on the boat and play the flute while it is still at ease.
What Wei said in this poem is that there is no one on board, no one is going to cross it, or both. The poet is not interested in this. Readers can imagine from their own aesthetic experience that the so-called "the viewer knows" naturally leaves room for the painter to re-create.
After leaving Suzhou for thirty years, I always miss my hometown. Whenever I think of my hometown, I naturally think of a night-mooring near maple bridge, a famous poem by Zhang Ji, a poet in the Tang Dynasty:
Crows fell on the moon, crowed coldly, slept on maple trees, and slept in fishing lanes by the river.
In the lonely Hanshan Temple outside Suzhou, the bell that rang in the middle of the night reached the passenger ship.
When I meditated, I unconsciously entered the realm of poetry, which evoked my fond memories of my hometown: the small fishing fire by the river in the quiet night, the Wu Peng boat leaving at night, the crow at the top of the tree in the temple in the morning, and the bell ringing day and night in the Antang next door ... re-evoked my nostalgia for youth!
Of course, I also remembered the Maple Bridge I once saw. However, the Maple Bridge in my memory is not as beautiful as Zhang Ji described. Qiao Feng, I've only been there once. It was in my forties, and I just turned ten. At that time, Suzhou had just broken free from the Japanese invaders, and the famous historical site Qiao Feng was devastated and in a state of decline: the bridge was overgrown with weeds, the trees along the river withered, and the river was deserted; The gate of Hanshan Temple is locked, so I can't get in, and I can't hear the bell.
After more than 30 years, I have never been to Qiao Feng again. A few years ago, after seeing others visiting Qiao Feng, the article wrote: I have been longing for fame for a long time, but I was disappointed when I visited Qiao Feng. I left on impulse and returned disappointed. The world created by Zhang Ji in a night-mooring near maple bridge is fascinating, but the Maple Bridge in real life is completely different. In the comparison between art and reality, there is disappointment and disappointment.
In fact, the charm of art and the value of life are interlinked, but they are not the same. The artistic realm of literary creation can and should be higher than the real life scene, and we don't have to deny the value of life itself; On the other hand, we don't have to deny the unique value of art itself because literature is not completely equivalent to life. A night-mooring near maple bridge has its unique artistic charm, which is irreplaceable by Qiao Feng itself.
The night parking map near Fengqiao Bridge is not complicated, but the scenery is just: the moon sets, crows, frosty days, river maple, fishing fires, temples, bells, passenger ships, and so on. These may all be what the poet Zhang Ji saw and heard when he stayed at night near Fengqiao. At that time, the scenery in Qiao Feng might be like this. However, the artistic conception created by this little poem is only the reappearance of Qiao Feng night scene at that time? This is worth pondering.
Zhang Ji was born in Xiangyang, Hubei Province in the Tang Dynasty. At the end of Tianbao, he lived in Jiangnan, passed by Suzhou and stopped in Qiao Feng. He spent a sleepless night here and wrote this short poem.
The journey is hard, the night is quiet, and you can sleep peacefully. However, when the poet first came to the famous city of Gusu, he was deeply impressed by the beautiful scenery of Qiao Feng. Coupled with the late autumn, I am also in this situation, and I have a lot of thoughts. I can't help it Faced with this situation, it is difficult for poets to fall asleep. What the poet saw and heard stirred up inner waves and produced his unique experience. The poet turned this experience into an artistic image and wrote this poem. Therefore, this poem is not only about "eyes looking", but also about "mind". It is not only the reappearance of Qiao Feng night scene, but also the expression of the author's thoughts and feelings. What appears in the poem is the night view of Maple Bridge in the poet's eyes and heart, which brings the poet a feeling of * * * color; The poet's thoughts and feelings melt into the artistic conception of the whole poem.
Cold night.
The setting of the moon is what the poet sees and is a visual image in the poem, but it is not completely static, but gives people a sense of movement: the moon is slowly setting. The pentameter is what the poet heard. In the poem, it is an auditory image and dynamic: the crow is dumb with its mouth open. The frosty sky is not only seen by the poet, but also felt by the poet. This is the image of a variety of emotions in the poem: ice-cold, ecstasy, chilly, conducive to feeling cold.
The moon falls and crows are frosty all over the sky. These single images are connected and combined to form the scene of late autumn dawn.
The moon will set, but it will not. This is the time when it will be bright but not bright. At this time, all is silent and the earth is asleep. Most people should not wake up, but the poet didn't fall asleep. Wu Ti broke the silence, but also showed the coldness this morning. Frost and fog all over the sky indicate that the season has entered late autumn. It is late in autumn, but the poet is still a stranger, moored at Fengqiao, experiencing the loneliness and peace on the river.
"Jiang Feng sleeps in the fire".
On the river bank, maple trees are faintly visible; The river is hazy, fishing boats are patches, and fishing fires are a little bit. Jiang Feng and Yu Huo are both visual images. But the "worrying about sleeping" mentioned here is not only the quiet confrontation between Jiang Feng and Yu Huo, but also the poet sleeping in the cabin silently worried about Jiang Feng and Yu Huo. The two-phase confrontation between Jiang Feng and Yu Huo affects the minds of travelers in different places. Therefore, Jiang Feng's fishing scene itself contains the poet's worries about travel.
The phrase "Jiang Feng sleeps when fishing" was once recorded as "Jiang Cun sleeps when fishing" (Wu Zhuan in Song Dynasty). There must be many people who said this later, even Yu Yue, a great scholar in Qing Dynasty, held this view. Others continue to research and find that there are two places near Qiao Feng, one is Qiao Feng and the other is Jiangcun Bridge. So it is concluded that "Jiangfeng" is also a combination of the two places. Some people even infer that Wuti in Cold Night is also a village name, which is located in the west of Qiao Feng. In this way, the "crow at sunset" only means that the moon falls in that place; "Jiangfeng Fishing Fire" is nothing more than a fishing fire between Jiangcun and Qiao Feng.
I'm not sure whether the poet Zhang Ji did a historical and social investigation in a night stop near Fengqiao before and after, and recorded those place names in his poems. However, if we have a factual understanding of a night berth near Fengqiao, what artistic value does it have?
In fact, Jiang Feng and Yu Huo, just like the setting of the moon, crows and frosty days, are just some individual images that constitute the artistic conception of the whole poem, not necessarily the records of place names or even real things. Commenting on this poem, the Qing people said: "There are many saplings in the south of the Yangtze River, and the autumn leaves are full of frost, bright red and lovely, and the poet refers to the maple. I don't know that sex is the most disgusting and humid in the mountains where maple trees are born. It can't be planted on the river bank. " From the botanical point of view, this accusation may be justified, but artistic creation does not have to stick to facts, and even, in order to create artistic conception, many images can be invented. Even though sapium sebiferum was planted on both sides of Qiao Feng Bridge, the images of "poet refers to maple" and "Jiang Feng" appeared in the poem.
Hanshan Temple outside Gusu City.
Qiao Feng is outside Gusu, and Hanshan Temple is near Qiao Feng. Hanshan Temple is an ancient temple in Qiao Feng, which is said to be named after the famous monk Hanshan once lived here. The phrase Hanshan Temple outside Gusu City only points out that the poet is anchored in a famous ancient temple, but it is an organic part of the artistic conception of the whole poem and cannot be isolated.
Zhang Ji's berth is near Hanshan Temple outside Gusu City, which proves that the title of this poem "a night-mooring near maple bridge" is quite appropriate. The earliest version of this poem is "Miracle between ZTE" (edited by Tang Zhongwu), entitled "Sleeping in Songjiang", which seems to be out of place with Hanshan Temple outside Gusu.
Later classics, such as The Painting of Continued Wu Junru and Wu Junzhi in Song Dynasty, all recorded this poem with the title of Sleeping at Night. Qiao Feng didn't have this name, but it was called Qiao Feng very late. Is it true? There has been a lot of debate about this, so I won't say it here.
The midnight bell of the passenger ship.
Hanshan Temple is about a mile away from Qiao Feng. The midnight bell goes through the darkness, across the river, and reaches the passenger ship. In the dark night, people can see moonlight and fishing fire. However, the stroke of midnight gives people the most prominent and profound impression. Whether you like it or not, it always breaks the silence and keeps the sound. It beats the wanderer's heart, multiplying sadness and loneliness. Although there is no picture of a sleepless traveler in the poem, it naturally haunts your mind. In the artistic conception of the whole poem, the image from midnight to passenger ship is in the most central position, which gives people the deepest impression.
Speaking of the image of "midnight", there has been a constant debate. Ouyang Xiu, a great poet in the Song Dynasty, quoted his predecessors as saying that he doubted whether Zhang Ji really heard midnight: "The sentence is good, but it is not the time to ring the bell" ("Poems on June 1"). Many people in the past dynasties argued with Ouyang Xiu, such as Ye Mengde and Hu Zai, which were proved from two aspects: First, the fact in life: Hanshan Temple was still playing midnight in the Song Dynasty, which can be seen as early as the Tang Dynasty. The Midnight Bell written by Zhang Ji is a true story in life. 2. Facts in the Tang Poetry: There are many poets who wrote midnight bells in the Tang Dynasty, and images of midnight bells appear from time to time in the poems: "Midnight bells leave the mountain" (Huang Furan), "After midnight bells" (Bai Juyi), "I didn't lie down to smell midnight bells" (Wang Jian), "Listening to the midnight bells in Lushan Mountain far away" (ancient jade) and "Midnight bells are melodious and separated from the water".
Sikong Shu, Xu Hun, Wen and others also have the image of midnight.
In fact, Ouyang Xiu's approval of Zhang Ji's censure is not enough, but Ye Mengde, Hu Zai and others' defense of Zhang Ji is not necessarily strong, because the methodology of both sides is the same:
The artistic value is evaluated by whether A Midnight Bell conforms to real life. However, the value of art does not depend on whether it completely reproduces the facts of life. When Zhang Ji stayed at night near Fengqiao, he may or may not have heard the midnight bell, but he put the auditory image he heard in the poem elsewhere. Or just a fiction, creating the image of midnight. In any case, midnight is only the material for poets to create artistic conception and express their thoughts and feelings. Hu Yinglin of Amin Dynasty put it well: Zhang Ji "knocked on the passenger ship in the middle of the night" and "many people talked, all of whom were fooled by the old man. Poetry must be based on scenes, but how can he have leisure time in the tone of melody, the combination of interest and image, and the pure fact? No matter what is right or wrong in the middle of the night, whether the bell is heard or not is unknown "(Shi Yu Waipian, Volume 4). The image of "Midnight" first appeared in Tang poetry, or Zhang Ji's "a night-mooring near maple bridge", and everything else was after Zhang Ji. In the Tang and Five Dynasties, poems with the image of "midnight" continued, which can be seen in the poems of Lu You, Sun Yong and Hu Cheng in the Song Dynasty, Tang Yin and Ju Jie in the Ming Dynasty, and Vae and Wang Shizhen in the Qing Dynasty. Zhang Ji created the image of midnight in his poems, not for realism, but to connect and combine with other images to form a whole image, and to express his concern about the overnight trip near Fengqiao.
The truth of art is not necessarily the fact of life. Lu Xun put it well: Literary creation "can be combined and expressed, as long as it is realistic, it is not necessarily true" (to Xu Maoyong).
The so-called "conjugation" refers to the connection and combination of different images; The so-called "writing" is to express thoughts and feelings. Although a night-mooring near maple bridge is a short poem, it is also written according to the artistic laws of "combination" and "description". The single images of midnight bell, crow and Jiang Feng may be the poet's "eyes" or the poet's "past events", which is not important. It is important to show your "mind" whether you look at the future or the past. The image of night crying already existed in Yuefu of the Six Dynasties (Liu Yiqing's Night Crying), which was used to express the sadness, hatred and lovesickness of parting. Since then, crying at night and lovesickness have gradually formed a fixed association, which has been continuously used by poets of all ages. Before Zhang Ji, Yu Xin, Li Bai and Du Fu all created the image of the night crow many times. In a night-mooring near maple bridge, Zhang Ji "combined" crows, moonset and frosty days. Just to "express" the troubles of traveling. Jiang Feng's image is not so good! As early as Chu Ci (Evocation of Soul), "Jiang Feng" was already associated with "Injury to Spring", and later generations associated "Jiang Feng" with "Qiu Si", and Jiang Feng and sadness became fixed associations. In a night stop near Fengqiao, Zhang Ji "combined" Jiang Feng with fishing fire and midnight bell to "express" tourists' worries.
The thoughts and feelings expressed in a night-mooring near maple bridge are certainly not so simple. Facing the night view of Qiao Feng, the beauty in my heart will also arise spontaneously. However, the beauty of the night scene is intertwined with the sadness of touching the scene, which runs through the whole poem and occupies a dominant position. The moon setting, crows, frosty days, river peaks, fishing fires, bells and passenger ships written in the poem all have the feeling of "sorrow", which is what the poet saw, heard, felt and thought when he was "worried about sleeping".
So, what is the "worry" written by Zhang Ji in this poem? When Zhang Jiliu lived in Suzhou, he also wrote a poem "Nagato is a thing", which reproduced the tragic scene caused by the Anshi Rebellion in the south of the Yangtze River, and his anxiety and anger were beyond words. The melancholy in a night-mooring near maple bridge may be similar to this. However, the artistic conception of the whole poem does not focus on this, and there is no need to demand profound meaning.
The night parking near Fengqiao is worrying. Different readers can supplement it with their own aesthetic experience.
Famous literati in past dynasties wrote many poems about Qiao Feng or Hanshan Temple, including Wei, Lu You, Gao Qi, Tang Yin and so on, but none of them surpassed Zhang Ji. In the early Qing Dynasty, Wang Shizhen wrote two poems when he was young, Hanshan Temple on a rainy night. The artistic conception is quite close to that of a night-mooring near maple bridge, but his feelings are too narrow. Sixty years later, Bao, who was moored at the Qiao Feng Bridge, recalled the past and was filled with emotion. He wrote: "The road is near Hanshan, the boat is moored at night, and the bell is still ringing." Who is a good poet? Tang Zhangji has been away from the spring breeze for 60 years. "Looking back, all the poems about Qiao Feng and Hanshan Temple are not as good as Zhang Ji's poems, which can arouse our deep thought.