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Perhaps it is the beauty of spring that allows poets to have incomparably rich poetic thoughts, and makes the poems left by poets in this season like a sea of stars.
From Han Yu's "The New Year is not blooming, and the grass sprouts are seen in early February", to Li Bai's "The old man leaves the Yellow Crane Tower in the West, and the fireworks go down to Yangzhou in March".
From Su Shi's "Artemisia is full of short reed buds, it is the time when the puffer fish wants to go", to Du Mu's "Thousands of miles of warblers cry green and red, and the water village mountain Guo wine flag wind".
...... Each sentence draws a beautiful picture, and each sentence tells an emotion about spring.
It is a kind of satisfaction to look at spring with a negative hand, and reading spring with ancient poems is a high-end enjoyment.
So in this issue, we might as well taste another Wing Chun work by a Qing Dynasty poet.
This poem uses 28 words to write the beauty of spring is particularly special, it is less intense, prosperous and noisy, and more remote, free and leisurely, making people feel like entering a spiritual "paradise" after reading.
Mountain Walk
Qing Shi Yan Zhang
The wild temple is divided into clear trees, and the mountain pavilion is over the sunset.
There are no guests in the late spring, and the pine flowers fall all the way.
Shi Yanzhang, a poet of the Qing Dynasty in the mainland, the word Shangbai, the word Qiyun, the number Yushan, the No. 1 Luo Jushi, the evening number Juzhai, the poem and Song Wan are equally famous, and has the title of "Southern Shi and Northern Song Dynasty" in history.
In the early Qing Dynasty, Shi Yanzhang's fame in the poetry world was very great. Shi Yanzhang adheres to the tradition of "poetic words and aspirations" in poetic thought, pays attention to writing poems to have something to say, and also follows the way of "reason", and opposes empty and flashy works.
The reason why his poems that implement leap chapters can be written at a high level is also related to the fact that he once concentrated on studying the works of Wang Wei and Meng Haoran in the Tang Dynasty.
Wang Wei and Meng Haoran are famous landscape poets in mainland China, and their poems are fresh and tranquil, full of free and easy flavor in the ethereal. And Shi Yanzhang can get the essence of the pen of the two big names, which is naturally "blue out of blue", which makes his own works full of aura.
The poem "Mountain Walk" we have shared here fully embodies Shi Yanzhang's poetic style.
The first line of the poem begins with a concrete image, which catches the reader's eye at the beginning: Noji divides the clear trees, and under the clear sky, among a large number of trees, you can see the Noji Temple standing tall.
It's a very three-dimensional picture. The author chooses two objects, "Haruki" and "Noji", and skillfully constructs a contrasting relationship between them.
First of all, the number of "clear trees" is different from "more", which opens up the space of the picture to the greatest extent and paints a piece of lush greenery on the paper.
In addition, the number of "Noji" is characterized by "individuality", which is a conspicuous decoration among the clear trees.
In this way, the word "fen" used in the poem is particularly appropriate. When it is used between the "tree" and the "temple", the scene of the clear tree surrounding the wild temple and the wild temple dividing the clear tree is very vivid.
Under the author's careful arrangement and description, the "temple" and "tree" complement each other, and the height of Noji Temple and the variety of clear trees can be said to be fully displayed in front of the reader's eyes, which really makes people surprised by the beauty of this scene.
The description of the first sentence is from a static point of view, while the following sentence involves a dynamic point of view: the mountain pavilion passes by the sunset, and the evening color glow flows past the mountain pavilion.
In fact, in terms of sentence structure and overall conception mode, the receiving sentence is similar to the first sentence. They are all selected from two different objects, and then become mutual references, on the basis of forming a contrasting relationship, highlighting their respective characteristics, and then completing the visual effect of the whole picture.
As far as the picture sense of this sentence itself is concerned, the sentence adds bright colors to the picture by borrowing the image of "sunset", plus a collocation of the word "pass", outlining the wonderful moment of sunset flowing.
"Sunset" is fluid, "Mountain Pavilion" is static, and when the two are still and moving, the whole picture becomes vivid.
The sunset surrounds the mountain pavilion, and the mountain pavilion divides the sunset, which is enough to stimulate the reader's imagination and make people feel immersive.
"There are no guests in the middle of spring, and the pine flowers fall all the way"; it is the time of the deep spring, but there are no other guests in the mountains, walking on the mountain road, only to see the pine flowers falling down with the wind.
I have to say that the landscape idylls of the mainland are indeed beautiful to a kind of earthly realm, no wonder it can become people's favorite type of poetry.
Reading such poems, people's spirits and souls can be released and cleansed, and they can be full of nutrients from them, so as to find the purest joy of life.
The deep mountains and the downtown are two worlds, and the spring in the mountains will come later, but it is enough to interpret the beauty of spring more pure and full.
In the deep mountains, because few people come, they have always maintained that tranquility and comfort, and everything can burst out of life without fear of interference, to bloom freely, to grow freely.
"There are no guests in the depths of spring" presents an ethereal and lonely picture, which not only allows us to see the lonely side of the author's body, but also allows us to see the relaxed side of the author's mood.
Perhaps the author is also looking forward to having guests come to the mountains and enjoy the beauty of this deep spring with him, but the person he is looking forward to must be a sage who can read nature and throw away the dust machine like him.
The last sentence uses the elegant picture of pine flowers falling to cover the whole text, and on the basis of supplementing the content of the previous sentence, the charm is left outside the poem.
The author is alone in admiring the beautiful scenery in the mountains, slowly moving forward in the falling pine flowers. This picture of people and scenery as one, while reflecting the author's leisurely image, also reflects the author's free and easy temperament of loving nature and indifferent to fame.
Reading this poem is like following the author to the mountain, and it is also like entering the Zen artistic conception of Wang Wei's pen, and it is very appropriate to use words such as "pleasing to the eye and forgetting yourself" to describe the overall feeling.
In April, spring turns in the mountains, and pine flowers adorn the placket; I wonder if you will like this poem very much? And briefly talk about your feelings in the comment area.
With poetry as a companion, enrich the soul, and carry out reading and writing to the end, we are waiting for you here in every issue, welcome everyone to pay attention to No. 1 Poetry Lane