Sizhou Dongcheng Evening Look丨 Ancient Poetry Appreciation

Sizhou Dongcheng evening look

Qin Guan (Song Dynasty)

The white water ring of the lonely city, the language of the ship people in the sunset.

The forest is picturesque, and it should be the mountain where huai flows.

About the Author:

Qin Guan (1049-1100) is too vain, and the character is less traveling, nicknamed Hangou Resident, known as Mr. Huaihai. Han Chinese, a native of Gaoyou (present-day Jiangsu) in the Northern Song Dynasty, a doctor of official Zhi Taixue, and an editor of the National History Museum. Qin Guan's life was bumpy, and the poems he wrote were high and heavy, and they were deeply moving. Wherever Qin Guansheng went, there were many relics. Such as the Qin Shaoyou Ancestral Hall in Hangzhou, Zhejiang, the Qin Shaoyou Statue in Lishui, the Huaihai Mr. Ancestral Hall, and the Yinghua Pavilion; the Qin Xueshi Ancestral Hall in Qingtian; the Three Absolute Monuments in Chenzhou, Hunan; the Haitang Pavilion, the Drunken Township Pavilion, the Huaihai Hall, and the Huaihai Academy in Hengxian County, Guangxi. The tomb of Qin Guan is on the north of Wuxi Huishan Mountain, and the tombstone reads "Qin Longtu Tomb" in several large characters. There are Qinjia Village, Qinjia Compound and Provincial Cultural Relics Protection Unit Guwen Youtai.

paraphrase:

The white river surrounded the city of Sizhou, lonely, looked so far away; under the light fog of the yellow coma, the boats were quietly moored, and from time to time the words of the boat people came.

Above the woods there was a shadow of daisy, verdant and picturesque; I thought it must be the green mountain at the turn of the Huai Shui.

Appreciation:

This is a poem about scenes. The main color of the picture is neither dazzling red and purple, nor the sentimental gray, but a thin layer of mist over the white water and green mountains, and the poet thus grasps the characteristics of the scenery after the sunset, creating a hazy and not illusory, idyllic and not lonely realm. This realm is consistent with the poet's state of mind at that time, as Liu Xun said in the "Wenxin Carved Dragon Search": "The mountains and rivers are turning, the trees are mixed with clouds, the eyes are both round and round, and the heart is also tuna." ”

According to the Records of Yuanhe County, during the Kaiyuan period of the Tang Dynasty (713-741), the city of Sizhou was moved from Suqian County to Linhuai (in present-day northeast Xuyi, Jiangsu). The Northern Song Dynasty's "Taiping Huanyu Record" says that Sizhou is one mile south to Huaishui, and it is separated from Xuyi. In the Qing Dynasty, the city fell into Hongze Lake. The poet was standing on the tower of Sizhou City, looking down into the distance, only to see that under the haze, the sparkling Huai River was like a meandering white belt, bypassing the towering Sizhou City, quietly flowing into the distance; the white sails on the river were dotted, and the people on the boat were faintly speaking; a little farther away was a jungle, and at the end of the forest, there was a faint blue color, which was the mountain at the bend of the Huai River.

The first two sentences focus on water. The word "faint" was used, which not only buckled the word "evening look" in the title, but also echoed the "Xi Fei" in the latter sentence, and then held out the Huai Shui as a belt, which contrasted with the isolated city, constituting a contrast between movement and static, vertical and horizontal on the picture. The original meaning of the stern is the stern and bow of the boat, which here refers to the boat on the Huai River. The poet may have suspected that the whole poem still lacked something to appeal to hearing, so he deliberately pointed out the word "human language". The human language here is not noisy and noisy, but the intermittent human language that floats far away. It not only makes the atmosphere of the whole poem not dull, but also makes the realm more quiet. The Tang Dynasty poet Lu Lun's poem "Late Ezhou" says that "the boat people are aware of the tide at night", which is the source of the sentence "񑘛舻".

Three or four sentences focus on the mountain. In the previous sentence, the poet does not write from the word "mountain", but writes a touch of cyan in the sky behind the forest, hinting at the mountains in the distance. The last sentence describing the landscape of the landscape, because of its short length, is the most taboo to flat and direct narration, at a glance, so the predecessor summed up the creative experience of the absolute sentence in this way: "The method of the absolute sentence should be gentle and looped. (Yuan Dynasty Yang Zai's "Number of Poetic Scholars") The poet has a deep understanding of this "three ambiguities". In his writing, the woods are just foils, and the mountains are the main body, but the "protagonist" is late and does not appear until the final scene. The last sentence of the poem not only answers the hint of the previous sentence, but also becomes a picture of a green mountain surrounded by white water, and as for the mountain itself, it is not added that it is left to the reader to imagine, which is in line with the requirements of the predecessors' so-called "sentences are absolutely endless" ("The Number of Poets").

Qin Guan is famous for his words, his poetic style is fresh and graceful, and the style of words is quite close, so the predecessors have comments such as "poetry is like words" and "poetry is like small words". In this poem, the "white water ring of the obscure and lonely city" is to "outside the slanting sun, the jackdaws are ten thousand points, and the flowing water surrounds the isolated village", "the forest is smeared" is to "the mountain smears the clouds", "it should be the Huai river flowing in the mountain" and "the Chenjiang River is fortunate to go around the Chenshan Mountain", and the similarities are quite obvious. But the tone of this poem is still clear, and there is no such poignant scenery and lingering melancholy that are common in Qin Guanzi.

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