Su Shi, who lived a long and arbitrary life, although there were many tribulations, but his optimistic and bold personality, coupled with his talent, made countless poems and works passed down to future generations and were regarded as classics by future generations. His poems have a wide range of subjects and very different styles. But there is fresh and vulgar, sometimes lamenting the depth of the relationship of "ten years of life and death", and sometimes there is the arrogance and uninhibitedness of "the old man talks about the madness of the teenager", a word of poetry, all of which highlight Su Shi's magnificent life.
Among his many excellent works, this poem "Bu Suanzi Huangzhou Dinghuiyuan Residence" was given by Huang Tingjian as "the meaning is high, it seems that it is not a fireworks cannibal language, there are not thousands of books in the chest, there is no dust and tacky under the pen, who can go so far!" "Highly rated. The whole word borrows things from Bixing, writes Jing Xinghuai, entrusts things to yongren, blends things and me, contains deep and broad meanings, and has a clear style, which is a famous passage in the word.
Bu Operator Huangzhou Dinghui Courtyard Residence
Song Dynasty: Su Shi
The lack of moon hanging sparse tong, leaking the first quiet of people. When you see the ghosts alone, the shadows are lonely.
Startled but turned back, there is hatred and no one to save. Picking all the cold branches refuses to perch, and the lonely sandbar is cold.
According to historical records, this word was composed in Huangzhou in December of the fifth year (1082) of the fifth year (1082) of Emperor Yuanfeng of song or the sixth year of Yuanfeng (1083), and Dinghuiyuan was also used as Dinghuiyuan in the southeast of today's Huanggang County, Hubei Province, and Su Shi also had an article "You Dinghuiyuan Record". It can be seen from the above that this poem was composed by Su Shi when he first degraded Huangzhou Yuju DinghuiYuan. Su Shi was demoted to deputy envoy of the Huangzhou Regiment for the so-called "Wutai Poetry Case". Su Shi moved to Huangzhou from February of the third year of Yuanfeng (1080) to June of the seventh year of Yuanfeng (1084) and lived in Huangzhou for more than four years.
After Su Shi was demoted to Huangzhou, although his life had problems, he was optimistic and open-minded, and he could lead his family to tide over the difficulties of life through his own efforts. But the loneliness and loneliness in the depths of the heart are incomprehensible to others. In this poem, the author borrows the image of the lonely hong on the night of the moon to convey the state of mind of being lonely and self-promising and contemptuous of the vulgar.
Shang Yan wrote about the scenery seen in the courtyard late at night. "Lack of moon hanging tung, missing the first quiet of people", creating a lonely atmosphere of late night people and moon hanging tung, paving the way for the appearance of "'Ghost People'" and ''Lonely Hong''. "Leak" refers to the leaky pot used by the ancients for timing: "leaky break" refers to late night. When the leaky pot was exhausted and the people were deeper, Su Shi stepped out of the courtyard and looked up at the moon, which was a very lonely night.
Yue'er also seemed to be interested, revealing a clear light from the sparse tung trees, as if hanging among the branches. These two sentences are extraordinary, rendering a realm of lonely birth. The next two sentences, "When you see the ghosts alone, the shadows are ethereal" is surrounded by such tranquility and silence, and at this moment when everything is dreaming, no one wanders lonely in the moonlight like himself, like a lonely goose flying through the sky.
First of all, he pointed out the image of a "ghost person" who came and went alone and had a huge heart, and then flew from "ghost person" to lonely hong, so that the two images corresponded and matched, reminiscent of the lonely and high state of mind of "youren", just like the shadow of the lonely hong. These two sentences are not only realistic, but also through the correspondence and grafting of human and bird images, they are very symbolic and poetically beautiful to strengthen the otherworldliness of "ghost people". Things and I are the same, complementing each other, making the image of loneliness more concrete and touching.
Xia, even more wrote Hong with people, "startled but turned back, there is hatred and no one to save", this is to write his own lonely state of mind. When people are lonely, they will always look around, look back, and find more loneliness, "there is hatred and no one to save", no one can understand their lonely heart. The world is ignorant of the sound, lonely and suffering, why is it unbearable?
"Pick all the cold branches and refuse to roost, the lonely sandbar is cold" writes that Lonely Hong encountered misfortune, harbored hatred, and was terrified, flying around among the cold branches, picking up all the cold branches and refusing to roost, so he had to stay in the lonely and desolate sandbank to spend such a cold night. Here, the lyricist uses symbolic techniques to ingenuity through Hong's loneliness, startled to look back, embrace hatred and choose a place to stay, expressing the author's derogatory lonely situation in the Huangzhou period and the state of mind of lofty self-promise and unwillingness to follow the tide. The author and Gu Hong cherish each other, use anthropomorphic techniques to express Gu Hong's psychological activities, and objectify his subjective feelings, showing superb artistic skills.
The realm of this poem is high, and the predecessor said that it is "like non-eating fireworks cannibal language". This high and free, unworldly realm benefits from exquisite artistic skills. The author"sings the story of sexual spirits", taking the god outside the topic, setting the context in the intention, and supporting the people; in the description of the background of the lonely hong and the moon and night environment, the narrative of the selection of scenes is simple and condensed, ethereal and flying, implicitly implied, vivid and vivid, with a high degree of typicality.