Xing Han surname Wang, character Haozhi, born in May 1947, dong'a county, Shandong Province. Professor of the College of Literature of Xinjiang Normal University. One of the founders of the Chinese Poetry Society, the second and third vice presidents, is now an advisor; one of the founders of the Xinjiang Poetry Society, and is now the president; and the consultant of the "Xiaolou Listening to the Rain" poetry platform. There are more than 20 kinds of public publications, such as "Research on Western Poetry in the Qing Dynasty" and "Tianshan Dongwang Collection".
<h1 class="pgc-h-arrow-right" data-track="6" > Xie Lingyun landscape poem dual sentence</h1>
Star Han
For poetry, duality is a need for rhetoric, and confrontation is a requirement of grammar. It can be said that the battle is a demanding couple. The requirements for battle are roughly the same number of words, symmetrical structure, literal relative, consistent part of speech, relative to equality, and avoid homogeneous opposites of the same word. In the so-called part-of-speech consistency, the number words, color words, and orientation words are generally not opposed to other word classes. I thought du Fu's "Absolute Sentence": "Two yellow orioles singing green willows, a line of egrets on the blue sky." The window contains the West Ridge Thousand Autumn Snow, and the door is docked east Wu Wanli Ship. The four-sentence poem became a model for learning about the warrior. The duality of Xie Lingyun's landscape poems is measured by the requirements of the battle, which does not completely match, and each time there is a "missing item", so it can only be called a duality. However, the duality of Xie Lingyun's poems is more rigorous than that of ordinary couplets, so there is this article in order to be correct to the Fang family.
Shen Yue's "Biography of Xie Lingyun of the Book of Song" refers to the poetry creation of Yan Yanzhi and Xie Lingyun of the Southern Dynasty and song dynasty, "Fu five colors are announced, the eight tones are harmonious, and the Laws of Hu Xuanhuang are lu, and each is suitable for things." If you want to change the phase of the palace feather, the low ang knot, if there is a floating sound in front, then the back must be cut. Within one sentence, the rhyme is as special as possible; in the two sentences, the weight is different, and the magic reaches this purpose, and the text can be spoken." The gist of these words is: various colors contrast with each other, and the sound coordination and smoothness of various musical instruments are due to the fact that the color and sound are suitable utensils according to it. In order to make the flat voice in a couplet of verses change back and forth, high and low symmetrically interchangeable, the previous sentence is a flat sound, then the latter sentence must use a flat sound. Within one line, the five words have different rhymes, and in the two sentences, the horns are completely different. Only by comprehending these mysteries can we talk about the writing of poetry.
It can be seen that Xie Lingyun consciously pursues the refinement of duality, forms a neat and harmonious expression form and a mutual contrast in content, enhances the sense of rhythm and musical beauty, and maximizes the high degree of perfection in the form of expression.
First look at a famous song "Climbing the Pool":
The submerged and feminine posture, the feihong sounded far away.
Bo Xiao was ashamed of the clouds, and the Qichuan river was sinking.
Entering the morality and wisdom is clumsy, and the ability to return farmland is not responsible.
Yulu anti-poor sea, lying on the empty forest.
The pillow is not waiting, and the opening is temporarily peeping.
Listen to the waves, look up at the rugged mountains.
The first scene is changed to the wind, and the new yang changes the old yin.
Ponds grow spring grass, and garden willows turn into songbirds.
Qi Qi sang sadly, and Qi Qi felt Chu Yin.
Soju is easy to be permanent, and it is difficult to be isolated.
Holding the exercise is the only thing in the past, and there is no sign of boredom in the present.
Compared with the law sentences, the flat servants should be "two or four different sounds", then the sentences of "subliminal charm and charm", "Bo Xiao is ashamed of the clouds", "entering the wisdom of virtue", "the first scenery of the gexu wind", and "the pond is born of spring grass" obviously do not meet the requirements of the law sentence; but the sentences of "Feihong Xiangyuanyin", "Xinyang Changing the Old Yin", "Chu Yin of the Sense of Chu Yin", and "Feeling Difficult in the Heart of the Group" are also "light and heavy"!
The rhyme of this poem, and what kind of rhyme book Xie Lingyun refers to, is unknown. However, we know from the later "Guangyun" that its rhyme is all in the "Invasion twenty-first", and this work has not crossed the thunder pool one step.
Tang Dynasty Cui Hao's "Yellow Crane Tower", measured by legal poems, can be described as "full of paper with sound disease". "The people of the past have gone by the Yellow Crane", two or four in unison on the ping; the sentence "The yellow crane is gone and never returns", the last six words are all slang sounds; "The white clouds are thousands of years in the air" and the "three flat tones" that poets are taboo again appear. However, because of its "high temperament and lofty temperament", it was rated by posterity as "the seven-word poetry of the Tang Dynasty, when Cui Hao's "Yellow Crane Tower" was the first" (Yan Yu's "Canglang Poetry")," "This poem is the root of the later seven laws, taking its qi bureau to carry out" (Qing Zha Shenxing's "Chubai'an Poetry Review"). Historical poetry critics still place this poem in the position of "seven laws". If we measure Xie Lingyun's ancient poem in this way, its position in literary history should be similar to Cui Hao's "Yellow Crane Tower", and it is not impossible to say that it was an early "law of exclusion".
Before Xie Lingyun, gu shi's exploration of battles had never stopped. "The World Speaks New Language and Literature": "Xie Gong gathered his children and asked: 'What is the best sentence in Mao's poem?'" Xie Xuan said: "In the past, I was in the past, Yang Liuyi, but now I come to think, rain and snow." Probably Xie Xuan had the life experience of "driving for ten years, not giving up the danger of singing, and whenever there is a conquest, please be a military front" ("Jin Shu Xie Xuan Biography"),in order to appreciate the depth and thickness of these poems. However, I still think that the beauty of these poems cannot be excluded from the duality of the verses, and Xie Xuancai gave them high praise. Eastern Han Xin Yannian "Yulin Lang": "Long sleeves with belts, wide sleeves and happy clothes." Blue field jade on the head, big Qin zhu behind the ear. This "restaurant beard" costume and headdress, written in a dual sentence, when more impressive to the reader. The World Speaks a New Language. "Xun Minghe (Cain) and Lu Shilong (Yun) did not know each other, and Zhang Maoxian (Hua) sat down. Zhang Ling's common language, with its great talent, should not be used as a common language. Lu raised his hand and said, "Lu Shilong in the clouds." Xun replied: "Sunxia Xun Minghe." Lu Yun, zi Shilong, a native of Huating Township, Haiyan County, Wu County, Huating is also known as "Yunjian"; Xun Yin, the character Minghe, is a yingchuan person, close to Luoyang, so it claims to be from "Sunxia". Xun Yin and Lu Yun responded to each other with their respective places of origin and names. This kind of astronomy versus astronomy, azimuth word adversarial word, and animal-to-animal confrontation required for this later confrontation is already the ultimate. All of the above explorations of the battle, it is not surprising that the couplet in Xie Lingyun's poem appeared later.
The poem Climbing the Pond Upstairs has 22 sentences, of which 18 are even sentences, and what is rare is that the first couplet that is not easy to open is subliminal and charming, feihong sounds far away and the tail link that is not easy to close, Holding the alone in the past, no boring signs in the present, are also all dual. Even the "festival" and "voyeuristic" in the unconventional "Pillow Obscurity Festival, Opening the Temporary Peeping Pro" seem to be juxtaposed today. The "Soju" and "outliers" in "Soju is easy to permanent, outliers are difficult to deal with" seem to be opposites of verbs today. In "Listening to the waves with your ears and looking up at the ruggedness", there are later requirements for "form" relative and juxtaposed phrases. "Qi Qi hurts the song, and the song is felt chu yin" has overlapping characters relative to the special place name. These should be said to be intentional by the author.
Looking at "Into the Mouth of Pengli Lake", the whole poem is:
Guests are tired of water, and the tide is difficult to discuss.
The island suddenly turned, and the shore collapsed repeatedly.
Take the moon to listen to the mourning, and the dew is full of fangs.
Spring Festival Gala Green Field Show, Rock High White Cloud Tun.
A thousand memorial gatherings, the morning of the sense of all.
Climb the cliff to look at the stone mirror, and lead the leaves into the pine door.
The Three Rivers have many things to do, and the Nine Sects are empty.
The spirit creature is rare and strange, and the strange secret soul is the soul.
The golden ointment extinguishes the light, and the water is blue and warm.
In vain, a thousand miles of music, the strings are desperate for Nathan.
The whole poem has 20 sentences, except for the first and last couplets, all dual. Among them, there are quantitative words relative, such as "thousand thoughts" to "ten thousand senses", "three rivers" to "nine schools", which is quite ingenious.
"Shibi Jingshe Also In the Lake", a full poem of 16 sentences, 12 sentences dual. "The Lonely Island in the River" is a full poem of 14 sentences and 10 sentences of duality. "You Nan Ting" is a full poem of 18 sentences and 10 sentences of duality. "From Jinzhu Stream to Cross the Ridge Stream" is a full poem of 22 sentences and 12 sentences of duality. The whole poem of "Nanrise" has 16 sentences and 10 sentences of duality. "Looking at the Lake in the South Mountain to the North Mountain" is a full poem of 22 sentences and 16 sentences of duality. It can be seen that the pursuit of duality in landscape poetry is Xie Lingyun's conscious behavior.
Xie Lingyun's good sentences of later generations, such as: "White clouds embrace the stone, green xiaomei Qinglian" ("Passing Through the Shi Ning Villa"), "Xiaoshuang Maple Leaf Dan, Xi Yu Lan Qi Yin" ("Late Out of the West Shooting Hall"),"The clouds and the sun shine together, the empty water is clear and fresh" ("The Lonely Island in the Middle of the Dengjiang River"),"The Forest Is Dark, the Clouds And The Sunset Is Harvested" ("Shibi Jingshe Returns to the Lake"), "The Spring Evening Green Field Show, the Rock High Baiyun Tun" "(Into the Mouth of Pengli Lake"), "The Pond Grows Spring Grass, and the Garden Willows Change Birds" ("Climbing the Pond Upstairs"), "Residual Red By the Path Tunnel, The first green is mixed and shallow" ("Reading Zhai"),"the wild sand bank is pure, the sky is high and the moon is bright" ("The First Go to the County)"; "The dense forest contains yuqing, the distant peak is hidden and half-rule" ("You Nanting" ;) "Near the stream trickling stones, the distant mountains reflect the sparse wood" ("Over the White Shore Pavilion", etc., the language is neat and concise, the realm is fresh and natural, just like a vivid picture, showing people the beauty of nature from different angles. It is not difficult to see that these sentences all appear in the form of duality.
Xie Lingyun opened a new generation of poetry. In the process of Xie Lingyun's vigorous creation of landscape poems, in order to adapt to the expression of new subject matter content and new aesthetic tastes, "Li Cai hundred words are even, competing for the oddity of a sentence; love must be extremely beautiful to write, and words must be exhausted and new" (Liu Xun's "Wenxin Carved Dragon • Ming Poem"). The gist of these sentences is: pay attention to the dual rhetoric of the whole text, strive for the strange police strategy of one sentence; we must try our best to portray the shape in the scene, and we must try our best to seek novelty in the use of words. This new feature, the "couple of a hundred words", the emergence of dual sentences in poetry, is indispensable.
In the history of Chinese poetry, there are many poets, and there are relatively few great poets. Whether a poet can be called a great poet is measured by the degree of influence his poetry has had on future generations of poets. "As for the Song Dynasty, the temperament gradually fades, the voice is open, and the poetry is also turned" (Shen Deqian, "Speaking Poetry"). This kind of "transition" is to carry forward the past and the future. Xie Lingyun's influence on future generations is not insignificant. Both Li Bai and Du Fu were deeply influenced by Xie Lingyun. According to some statistics, there are more than 30 poems in Li Bai's poems that directly mention Xie Lingyun. Du Fu learned Xie Shi more profoundly than Li Bai, and he succeeded. I am afraid that he is also the only disciple of Xie Lingyun's poetry. This point has long been pointed out by previous generations of scholars. Chen Zuoming's "Selected Ancient Poems of Cai Shu Tang" said that the style of the poems was detailed, and the thousand autumns fell down, and Shaoling was alone.
In the art of Xie Lingyun's poetry, Du Fu learned Xie Ti and Xie Fa second. Du Xue Xie Fa mainly inherited Xie Lingyun's poetic method from the two aspects of writing and sound law. Huang Jie, a scholar of Xie Lingyun's research, pointed out: "Double-voice overlapping rhymes, during the Six Dynasties, poets and writers paid great attention. After the Tang and Song dynasties, this way was not transmitted, but the Ministry of Works was alone, and it was still intended. There are many such pairs in the connaught poems. This kind of "double-tone overlapping rhyme" in terms of vocal rhythm is especially evident in the confrontation.
The ancient vowel of the two words is the same as the double sound. The ancient vowel of the two words is the same as the overlapping rhyme. The poet takes advantage of the characteristics of this word and cleverly arranges it into the poem, making the poem sonorous and pleasant, strengthening the rhythm, and slowing down the rhythm of the tense poem.
First look at the double-voice overlapping rhymes in the Xie Lingyun dual:
The traceability touch is urgent, and the obstacle is wrong. ("Fuchunzhu")
Imagine Kunshan, the middle edge of the Burmese district. ("Climbing the Lonely Island in the River")
The island suddenly turned, and the shore collapsed repeatedly. ("Into the Mouth of Pengli Lake")
In the above three examples, "Panic" is the same button double sound, "reference error" is the same position double sound, "imagination" is the same position double sound, "Burmese" is the same button double sound, "round" is the same button double sound, and "crashing" is the same button double sound.
Shallow rocks and shallow waters, sunset mountains. ("Nanase")
The forest is full of wilderness, and the mourning birds are screaming at each other. ("Nanase")
In the previous two examples, "babbling", overlapping rhymes; "shining", overlapping rhymes. "Woro", overlapping rhymes; "shouting", overlapping rhymes.
Du Fu learned xie's double-voiced confrontation, and here are two examples:
Hardship hated the frost sideburns, and poured out the newly stopped cloudy wine glass. (Ascend)
The wind and dust are extremely sound, and it is difficult to pass the depression. ("Sufu")
In the previous two examples, "difficult" and "sloppy" rhyme opposite. "荏荏" and "Depression", double-voiced rhymes.
The author is insensitive, learning from the sages, and also in the creation of rhythmic poems, pay attention to the opposite of double-voice rhyme.
There are mountains outside the mountain, and the sense of sending guests among the guests is vast. ("Yellow Crane Tower Sends Yu Kui Yin Brother Back to Malaysia")
The rocks flutter around the song, and the wind turns the autumn colors and walks colorfully. ("Denliu State Fish Peak")
In the above two examples, "sweaty" and "vast" are stacked rhymes opposite, and "fading" and "colorful" are double-voiced overlapping rhymes.
The success or failure of a poem accounts for a large proportion of the merits of the battle. The advantages and disadvantages of the battle are related to the amount of reading and the depth of understanding of life. The so-called "use of the magic, there is a heart" (Yue Fei), this is also the meaning.
If you let Xinghan say that he relies on the old and sells the old, it is that today's young people learn to write poetry, they must read more of the famous works of their predecessors, and be more grounded in order to achieve their own poetry creation.
Author/XingHan Editor/Zhang Xuefang Proofreader/Feng Xiao