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.
One autumn night, the poet anchored at Fengqiao outside Suzhou. The beautiful scenery of autumn night in Jiangnan water town attracted this traveler with travel worries, which made him appreciate a poetic beauty with meaningful feelings and wrote this poem with clear artistic conception.
The title is "Sleeping at Night", in fact, it only describes the sight and feeling at midnight. The first sentence of the poem describes three closely related scenes at midnight: the setting of the moon, crows and frost all over the 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 tree perches probably because of the change of light and shade before and after the setting of the moon, and after being awakened, it makes several crows. The moon sets in the middle of the night, and the frost is black. In the dark and quiet environment, people's feeling of cold at night becomes 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 feelings: the chill that attacks the bones and muscles in the middle of the night and the boats that the poet berthed from all directions at night make him feel that the boundless night sky outside him is filled with frost. The whole sentence, written by the setting moon, written by crows and written by frost all over the sky, clearly reflects a continuous process of time and feeling. And all this is harmoniously unified in the cold and cheerless atmosphere of autumn night in the water town and the lonely feeling of travelers. From here we can see the poet's meticulous thinking.
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 name Qiao Feng, or the image of "Jiangfeng" is chosen to give readers a hint of autumn. "There is a maple on Zhanjiang River, which hurts spring thoughts" and "There is no sorrow on the green maple". These poems of predecessors can explain the emotional content precipitated by the word "Jiang Feng" and its association. Through the misty river, you can see several "fishing fires" dotted around, which are particularly eye-catching and charming because of the hazy and misty background around. "River Wind" and "Fishing Fire", one is quiet and one is moving, one is dark and the other is on the river. The combination of scenery is quite intentional. When I wrote this article, I pointed out the passengers moored at Qiao Feng Bridge. "Sleeping in sorrow" refers to a traveler lying on a boat with sadness. The word "right" in "opposite" contains the meaning of "partner", but it is not as exposed as the word "partner". There are indeed lonely travelers here, who are haunted by lingering light worries when fishing on frosty nights, but at the same time they imply a fresh feeling for the beautiful scenery of the journey. From the seemingly objective word "right", it seems that we can feel a silent blend and fit between the passengers inside the ship and the scenery outside the ship.
The scenery in front of the poem is very dense, and six scenes are written in fourteen words, but the pictures behind it are particularly sparse. The two poems only wrote one thing: sleeping in the night clock of the mountain temple. This is because the midnight bell of Hanshan Temple is the most vivid, profound and poetic impression the poet got in a night-mooring near maple bridge. Moonsetting, Frosty Night, Fishing by the River, Lonely Boat and other scenes. It shows the characteristics of night parking near Fengqiao in all aspects, but it is not enough to convey its charm. In the dark, people's hearing rises to the first place in the feeling of external things. And the silent night bell gives people a particularly strong impression. In this way, the "Midnight Bell" not only sets off the quietness of the night, but also reveals the depth and clarity of the night. The poet's unspeakable feelings when lying listening to the bell are beyond words.
It seems that "Hanshan Temple outside Gusu City" cannot be ignored 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, together with this ancient temple, has brought the color of history and culture, making it more rich and moving. Therefore, the "midnight bell" of Hanshan Temple seems to echo the echo of history, permeated with religious feelings, giving people a sense of simplicity and solemnity. It seems that the poet pointed out the source of the bell with a poem. With the stroke of midnight in Hanshan Temple, the charm of "a night-mooring near maple bridge" can be 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 custom of midnight was recorded as early as in heather, it was Zhang Ji's creation to write it into poetry and become the eye of poetic artistic conception. At the same time or after Zhang Ji, although many poets described 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 magnificent peak that amazed the world. Most literate people in China can recite several Tang poems. Tang poetry is like grains in a bowl. You can always catch a few grains. 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' daily life, there are always endless words. Although Tang poetry is elegant and beautiful in literary quality, it can enter the folk and is an art that can be hung on the lips of ordinary people. This is the beauty of Tang poetry.
We can only marvel at today's Tang poetry. Marvel Comics lamented that there were many poets in the Tang Dynasty, and 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 look back through the dust of history, lift the curtain of history, think about the bright moon in Qin Dynasty, feel the boundless desert where the solitary smoke sets and the yen sets, and appreciate the splendor of the sunset and the solitary autumn water in Qi Fei. A "Three Hundred Poems of Tang Poetry" gives us a general outline of the ups and downs of Tang poetry. Poets in the early Tang Dynasty were always so young, full of passion and fantasy in their bones. Their poems are full of excitement, they are bold and unrestrained, they are arrogant, and they don't want to get on the boat. The poets in the prosperous Tang Dynasty were so peaceful and generous, and their poems inevitably showed successful broadmindedness, with Yun Fan's heroic spirit of helping the sea. However, the poets in the late Tang Dynasty inevitably fell into heavy lethargy, and their brushwork was no longer elegant and elegant, and they fell into a bitter situation, which had a great relationship with the loneliness of Si Liu.
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. Rich official career enables those literati to write those long and short metrical poems beautifully and brilliantly one after another. 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 marvel 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 has many constellations, which are impressive and dazzling.
Even today, we still regard Li Bai and Du Fu as the most dazzling Gemini in the Tang Dynasty, and Du Li's articles shine brilliantly. Lao Li and Lao Du really seem to be my brothers, and they don't get along well in officialdom. One is complete despair, singing that I was born useful, and then quitting the Jianghu. The other one is walking around, crying, but always worrying about Chitose, singing a farewell song in the thousand buildings of Ande. As a brother on an equal footing with other poets, a man who is bold and broad-minded and despises powerful people has ignited the passion of poetry and written the most romantic and brilliant chapter since his submission, a chapter that is persistent, restrained, simple and true, and writes life with his own actions. Li Bai's poems belong to the sky, the moon, mountains and rivers, the roar of the wind and the call of the soul, and Du Fu's poems belong to the earth, crops and people. Some people say that Li Bai was born in Tao, and the spirit of Tao is in his bones. He is wild and unrestrained, and his heart is open and unrestrained. His writing style is like a powerful and unconstrained style, with white hair as long as three thousands of feet. Du Fu's accession to the WTO is a Confucian scholar. 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, and drew a series of sad folk pictures with the solemn and stirring of "Three Officials", "Three Farewells" and "Military Vehicle Shop". Du Fu's poems can go into history, which is the history in poetry and 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 bright starry sky of the Tang Dynasty, Du Li, the twin constellations, together with Confucianism, reflected the most essential things of 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 have entered the realm of Zen. Wang Wei's poems are ethereal, bright and clean, with indifferent surface, but full of machine interest and meaning. A cup of tea is rudely looked down upon, but a good cup of tea is rich and lasting. It's really the river that transcends heaven and earth, and the color of the mountains there is yes and no. Wang Wei's poems melt the interest belonging to the soul into nature and express it through fresh 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 worldly dust and rest your restless mind. Wang Wei's poems are the habitat of human mind. Heidegger said that language is a place of existence, and people should live poetically, so Wang Wei's poems can be used as apartments for people's hearts and provide protection for our increasingly restless souls.
Wang Wei, with his unique poetic writing, became another peak of Tang poetry, another dazzling superstar in the decadent starry sky of Tang Dynasty, and together with Li Bai and Du Fu, formed a three-legged superstar system. In this way, Tang poetry, as the artistic peak of the Tang Dynasty, has three poetic superstars that embody the cultural characteristics of China. So when we look up at the bright stars, we are always amazed at the dazzling poetic superstars and the splendid poetic 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 writers in the palace and no poems by famous and unknown poets.
65438+February 9, 2004