Su Shi's thoughts during his time in Huangzhou flowed imperceptibly, and his feelings also changed in twists and turns. In particular, Su Shi's "Twenty Days of the First Month, To Qiting, The Three People of the County, Pan, Gu, and Guo Sent Yu to the East Zen Zhuang Courtyard of the Queen's City" written by Yuanfeng in the fourth year of Yuanfeng, "On the Twentieth Day of the First Month, With Pan and Guo Ersheng in the Suburbs of Seeking Spring, Remembering that Last Year was the same day to go to the Queen's City to write poems, nai and qian rhymes", and Yuanfeng's six years of "The twentieth day of the first month of the sixth year, come back to the East Gate, still use the former rhyme" The three rhyme poems can concentrate on the changes in his thoughts, emotions and mental processes.
The first song: "On the twentieth day of the first month, to Qiting, the three people of the county, Pan, Gu and Guo, sent Yu to the East Zen ZhuangYuan of the Queen City"
Ten days of spring cold do not go out, do not know that Jiang Liu has shaken the village. A little smell of the ice valley, as far as the green and green without burn marks.
Several acres of deserted gardens stayed for me, and half a bottle of turbid wine waited for Junwen. Last year today, guanshan road, drizzle plum blossoms are breaking the soul.
This poem was composed by Yuan Feng in the fourth year. From the content point of view, this poem was written a year after Su Shichu arrived in Huangzhou, and the poet described his feelings on the way to Qiting to visit his former friend Chen Yu. The poem sings about the spring scenery of Huangzhou, but it conveys a desolate mood.
The years are hurried, the spring and autumn are in order, even if it is a poetic scenery and the feelings of youyou Andhan swimming, it is inevitably greatly discounted in the face of the cruel reality. Missing his dead wife is painful for Su Shi, and who is demeaning Huangzhou is also cruel for Su Shi. In this barbaric land, on this special day, the fate of loneliness and suffering is naturally magnified by the poet. The hidden sentiment behind the beautiful rhetoric of this poem is bleakness. In addition, an unspeakable reason also surfaced - the twentieth day of the first month is the anniversary of the poet's dream of Wang Fu.
The second song: "On the twentieth day of the first month, he and Pan and Guo Ersheng were born in the suburbs to seek spring, and they suddenly remembered that last year was the same day to the Queen's City to compose poems, naihe and former rhymes"
Dongfeng refused to enter the East Gate, and the horse also went to the village. People are like Qiu Honglai has letters, and things are like spring dreams without a trace.
Three glasses of Jiangcheng liquor, wild old cang yan smiled warmly. It has been about every year for this meeting, so people do not need to give souls.
This poem was composed by Yuan Feng in the fifth year. The poet will always remember this day, the twentieth day of the first month. The poem shows that the block in the poet's chest is slowly diluting.
It is worth noting that the "three" of the "three cups" of liquor in the poem is not a virtual word, but a real word. Why not more than three cups? When the Song Dynasty people sacrificed, they would often pour three glasses of wine to worship their deceased relatives. Although Su Shi did not directly say the object of the three glasses of wine here, the implication was clearly that it was a memorial, and in connection with the same day of the dream of Wang Fu, it can be concluded that there is an inextricable connection between the two. The image of "the deceased" in "The old man" is also worth playing, and there are two common explanations: one refers to "old friends" and the other refers to "deceased people". The "old man" was interpreted as Pan Liquor Supervisor, Guo Yaoshi, and Gu Nongfu, who were not Su Shi's old friends, but were his close neighbors and new friends after he came to Huangzhou. Combined with words such as "broken soul" and "summoning souls", it seems to be an agreement with a deceased wife.
This poem is also specially marked as "going out in the countryside to find spring" and playing with friends, but the poem is written about breaking the soul, summoning the soul, and things like spring dreams, and all kinds of abnormal writing methods have to be suspicious. But Su Shi wrote it like this, indicating that on the surface he was going on a spring trip with his friends, but in fact he had something else in mind.
The third song: "On the twentieth day of the first month of the sixth year, the comeback to the East Gate, still using the former rhyme"
Chaotic mountains surround the water and invade the gate, in the village at the end of Huainan. Five acres gradually became the final plan, and nine re-swept away the old nest marks.
But when you see the familiar sand gulls, you have already felt that you have come to fish for more stone temperatures. Long and east wind about today, dark incense first returned to the jade plum soul.
This poem was composed in the sixth year of Yuan Feng. "Long and East Wind about today, dark incense first return to the jade plum soul" is usually interpreted as the poet used the Tang Dynasty Han Wei "夭桃莫 rely on the east wind potential, tune Ding He once used not talent" poetic meaning, revealing the desire to get useful. But the subtlety of this poem lies in the fact that "the long and the east wind are about today", what does the "east wind" mean?
To understand this question, we must first understand the rich meaning of the image of "East Wind". There are two common meanings of "East Wind": one refers to "Spring Wind" or a helpless and sad mood in the poet's heart; The second refers to the "magnate" and the conditions that promote the development of things. In this poem, "East Wind" is given a second interpretation. However, the author believes that the image of the "East Wind" here should be understood as the poet's inner secret and sad emotions are more accurate. "Dongfeng" not only refers to the "spring wind", which coincides with the early spring season on the twentieth day of the first month in time, but also contrasts with the scene of "a little smell of the ice valley, all the green and green without burning marks". The spring wind contains affection, and the east wind has righteousness. Su Shi "The East Wind knows that I want to go up the mountain, blowing off the sound of rain between the eaves", the "East Wind" here is to know people's hearts. Li Shangyin's "It is difficult to say goodbye when we meet, and the East Wind is powerless and full of flowers" does not simply refer to the simple "Spring Wind", and the "East Wind" here is full of sorrow and sorrow.
Similarly, this is also in line with the poet's mood of belittling Huangzhou and being lonely. The twentieth day of the first month is the anniversary of the dream of the deceased wife, the yin and yang are eternally separated, and the emotion of mourning the death is born spontaneously. Zhang Xian's "deep hatred and careful thinking, not as good as peach apricot, just like marrying the East Wind" in the "peach apricot" still understands the unreasonable words of "marrying the east wind", and writes the heroine's feelings of self-pity and self-pity and self-pity in loneliness. Zhang Xian was a predecessor of Su Shi's contemporaries, and Su Shi had no reason not to know this word. Therefore, it can be concluded that "Dongfeng" should be understood as "spring wind" in this poem, which is not only the harmonious spring wind that sends the willows and melts the ice valley, but also the emotional spring wind that evokes the poet's sorrow and sorrow and misses his dead wife.
The above three poems were written on the same day (the twentieth day of the first month) of each of the three years. The twentieth day of the first month is the anniversary of Su Shi Xining's eight-year dream of remembering his dead wife, and the background and hidden reasons of these three rhyme poems are all importantly related to the twentieth day of the first month. These three rhyme poems reflect the values of the unity of the three religions during Su Shi's Huangzhou period: "self-cultivation with Confucianism, treatment of the heart with Buddha, and health care with the Tao". To promote the transformation of his thinking, there are both external factors and internal factors, both objective conditions and subjective efforts.
After the "Wutai Poetry Case", Su Shi escaped to Huangzhou, at this time, he not only had his own life hanging in the balance, but also suffered from friends and family. He couldn't help but sigh that "he laughed at his life as a busy mouth, and his old career turned absurd." As long as he remembered that there were still those good gentlemen and city servants in the court who were staring at him, he shuddered, and he was careful in his speech and demeanor, cautious in dealing with the world, strictly guarding against secrets, and even swearing to "sweep away habits and not chant poetry"; Even the letters to friends were repeatedly exhorted: "Do not show people" and "Look at the fire", lest "those who do good things brew by chance will give birth to infinite things". It is undeniable that Su Shi's mood at this time is extremely bitter and angry, and only through self-deprecation can this resentment be dispelled and adjusted.
However, Su Shi gradually came out of the negative shadow with a positive attitude of facing life, blamed himself and thought about it, and carried out sincere and touching self-examination and inner observation. In a letter to his friend Li Zhiyi, he wrote: "Wood has galls, stones have halos, and rhinoceros have tongs, so as to take the beauty of people, and the disease of all things is also." Who lived in peace, silently looked at himself, looked back at the past thirty years, and there were many sick people. What I see under my feet is me, not me now. Scholar Yu Qiuyu said: "Su Dongpo's self-examination is not a psychological adjustment toward obedience, but an extremely sincere self-analysis, with the aim of finding a true self."
Su Shi never broke through from the surveillance of the eyes, ears and mouthpieces lurking around him, the riggers and villains living high in the temple, but he found his place from the nightmare of the "Wutai Poetry Case" and the reality of who belittled Huangzhou.
Life in Huangzhou was extremely hard, and Su Shi had to live a life of careful calculation. In a letter to Qin Guan, he recorded the embarrassment of arriving in Huangzhou: "When you first arrive in Huangzhou, you will be desperate. The population is large, and the private is very worried; But the pain is frugal, and the daily use must not exceed one hundred and fifty. Every month, he took 4,500 yuan, broken into thirty pieces, hung on the beams of the house, Pingdan, and picked a piece with a painting fork, that is, hid the fork, and still used a large bamboo tube not to store it inexhaustibly, so as to wait for the guests. He couldn't help but sigh: "Huangzhou is really at the bottom of the well!" In Xiao's sparse and closed environment, the mountains and rivers of Huangzhou gave him great comfort.
"Smell the ice valley a little, and let the qingqing not burn marks." The poet listens to the trickle of melting ice, the sound of babbling water. Looking around, the traces of the former arson have long been grassy and willow-lined. In particular, the word "exhaustion" shows that Su Shi's sleeping soul is awakened by the beauty of Huangzhou and the beautiful spring colors. These scenes full of fresh breath and full of vitality of life freed Su Shi from the shackles of the "Wutai Poetry Case", indicating that his life had entered a new stage.
Su Shi's metamorphosis and rebirth during his time in Huangzhou were inextricably linked to the infiltration of Buddhist Zen thought. Su Shi was deeply influenced by his family to practice Buddhism when he was young, and he read Buddhist books well when he became an adult. After the "Wutai Poetry Case", he was even more eager to seek a "way to renew himself" through Buddhism. Under the guidance of the elders of Ankoku-ji Temple, he began to learn the meditation practice of meditation and persevered for five years. Five years of cultivation have allowed him to "forget everything and me, and his body and mind are empty", and he has entered the empty and clear state of "one thought is pure, stained and self-defiled, and the appearance is clear, and there is nothing beautiful".
"The Buddhists advocate diligent self-cultivation in the three aspects of precepts, concentration, and wisdom. The precepts are the precepts of stopping evil; Concentration refers to the practice of practicing the mind to concentrate without scattering; Wisdom is the study and reflection to cultivate and increase the wisdom of Buddhism. Su Shi's cultivation began with the process of meditation, enlightenment, and enlightenment. Su Shi in his practice reflected on himself pertinently: he had been repeatedly slandered, and he had violated the "Qiyu Precepts" in the Five Precepts of Buddhism. He concluded: "It is right or wrong to learn oral practice, to speak in vain, to talk about the ancient and modern. For karmic reasons, the words that come out are like bells and bells, and the articles are pleasing to the ear and ear. If people are good and knowledgeable, they are poor day by day, and they are skillful in their own clouds, but they do not know that they are karma. ”
In addition, Su Shi began to integrate his thinking about the universe and life. Without the epiphany and contemplation of the previous time, without a mature mind and an open vision, there would be no generation of the ancient masterpiece "Chibi Fu". In the face of the history of the rivers and rivers that are rolling in the east and disappearing in the clouds, it is true that the short life of a person is insignificant compared with it, but Su Shi can see the dialectical relationship between "change" and "unchanged" from it. Contentment and happiness and peace with encounters can achieve spiritual satisfaction through self-regulation in a life with shortcomings.
Su Shi Yuanfeng's three poems of the fourth, fifth, and sixth years superficially depict the natural scenery of Early Spring in Huangzhou and record the picture of life during his time in Huangzhou. In essence, it implicitly conveys the poet's endless thoughts about his deceased wife, reflecting the process of his transformation and nirvana rebirth from loneliness and anger to expanse and transcendence during his time in Huangzhou.