The degree of singing of yuanqu has always been inferior to that of Tang poems and Song ci, and the scattered works we are most familiar with seem to be Ma Zhiyuan's "Tianjing Sha Qiusi": "Dead vines and old trees are faint crows, small bridges and flowing water people's homes, and the ancient road west wind is thin horses." As the sun sets, the broken intestines are at the end of the world. Ma Zhiyuan's song is indeed very expressive, the first three sentences do not have a verb, only list nine things, but combined together, they can use simple language to depict an incomparably desolate and beautiful mood, the wandering wanderer mood is expressed to the fullest, very easy to resonate with the reader.
Therefore, this song is extremely popular, and the evaluation of later generations is also very high, Zhou Deqing even praised it as the "ancestor of autumn thought", and a generation of traditional Chinese studies master Wang Guowei also praised this song as "purely natural, as if the Tang Dynasty had no words".
In fact, in addition to Ma Zhiyuan's "Tianjing Sha Qiusi", Bai Pu also has four very famous "Tianjing Sha", which are written in spring, summer, autumn and winter, and are also very well written, perhaps not as famous as Ma Zhiyuan's, but they also have their own characteristics and are worth reading. Because it is spring, I will throw bricks and jade, and together with everyone, focus on the artistic characteristics of this "TianjingSha Spring", and the other three, attached to the end of the text, are briefly appreciated for everyone to appreciate.
Tianjing Sand Spring
White Plain
Spring mountain warm sun and wind, dry pavilion curtains, willow swing courtyard. Warblers and dancing swallows, small bridges flowing red.
Note: Lóng [lóng], refers to the curtain on the window, the lily, that is, the window.
The first sentence, "Spring Mountain Warm Day and Wind", from a distance into the pen, explains the background of the season, depicts a picture of the spring scenery of the distant mountains and green trees, just in the sunny, spring breeze and sunny days, the distant view is a thriving and beautiful picture. When we read this sentence, it is as if we follow the footsteps of the poet and are in the bright spring light. In this sentence, Bai Pu mainly pointed out to us that spring is coming.
Then two sentences, "The curtain of the Pavilion of the Pavilion, the courtyard of the Willow Swing", the lens from far and near, write the near terrace, courtyard. In the warm spring sun and wind, the poet walked up to the pavilion, opened the window, lowered the curtain, stood by the railing, and admired the beautiful spring light. Secondly, in the elegant and chic courtyard, there are new poplar hairs, weeping willow buds, especially in the swing under the tree, blown by the spring wind, floating back and forth, as if a group of young girls are playing on the swing, which is really full of poetry.
The last two sentences, "Crying warblers and dancing swallows, small bridges flowing red", the poet's gaze shifted from the courtyard to the vast clear sky, to the distant wilderness, he saw: the melodious crying yellow warbler on the branches, the spring swallows flying leisurely in the sky, the babbling creek, is the clear flowing water, the flowing water is the pink petals blown down by the spring wind, so the poet is completely intoxicated in this beautiful scenery, and we readers also feel the endless aftertaste.
Bai Pu's "Tianjing Sand" with the theme of "Spring" is like a splashed ink landscape, only a few strokes, it outlines a fresh and elegant artistic conception, timeless and beautiful, and it is really evocative. There are at least two wonderful things in this song that make this piece extremely famous:
First, in the style of white painting, the representative scenes of spring are described from different spatial levels. Specifically, the first sentence is the long-range scene, which is also the background of the whole song; the second and third sentences are close-ups, although there is no explicit character, but the appearance of the character has been implied; the last two sentences are the middle scene, the warbling swallow dance, full of infinite vitality, this delicate and beautiful scene, only the poet's delicate feelings can depict so moving.
Second, the whole word adopts the rhetorical method of "lijin". The so-called Liejin is a special rhetorical way in classical Chinese poetry, and the contemporary rhetorical master Tan Yongxiang interpreted "Liejin" as: "A peculiar sentence pattern in classical poetry works, that is, the whole sentence is composed of nouns or noun phrases, there is no verb or adjective predicate in it, but it can also play the effect of writing scene lyricism and narrative narration", in fact, the simple understanding is that there is no verb, just like "the old trees of the dead vines and crows, the small bridges and flowing water people, the ancient road west wind thin horses". When used properly, The techniques of Liejin can receive good results, which can show the condensed beauty, the simple beauty, the implicit beauty, the ethereal beauty and the artistic beauty, and stimulate the reader's infinite imagination, bringing people a kind of aftertaste with endless words and meanings.
After saying this song "Tianjing Sand Spring", let's briefly look at Bai Pu's other three songs, "Summer, Autumn and Winter".
"Tianjing Sha Xia": "Clouds harvest rain over the waves, the building is high and the water is cold and sweet, and the green trees are shaded and painted with eaves." Sha kitchen vine mound, jade man Luo fan light silk [jiān]. ”
This "summer", Bai Pu chose a chic angle, for us to outline a quiet summer beauty, this song does not have the dry heat and noise of summer, only the freshness after the rain and clouds.
"Tianjing Sha Qiu": "The lonely village is remnants of the sun, the old trees and crows are lightly smoked, and a little bit of feihong shadow is under the shadow." Green mountains and green water, white grass, red leaves and yellow flowers. ”
Bai Pu's xiaoling, using a variety of color elements, shows us a colorful autumn, this style of unique brushwork, this kind of endless artistic conception, in the hazy sunset, as if there is a "earth and heaven" like tranquility, this small song, because it is too charming, is known as a work comparable to Ma Zhiyuan's "Tianjing Sha Qiusi".
"Tianjing Sand Winter": "A sound of painting horns, the twilight of the crescent moon in the half-court, the waterfront in front of the Snow Mountain." Bamboo hedge huts, lonely villages with fading grass. ”
The lens selected by this little song is a dusk suburb, through the cold moon, snowy mountains, waterfronts, huts, decaying grass, isolated villages and other poignant images, showing us a winter crescent moon dusk map, so that people can produce a sad and lonely feeling after reading.
Which of these four songs do you prefer?