The four spirits of Yongjia in the Southern Song Dynasty, including Zhao Shixiu, Weng Chuan, Xu Jie, and Xu Zhao, were all poets from Yongjia, Zhejiang, and their works all had a very obvious personal style and had a very high status in the poetry world. And the most famous of these is the Weng Scroll.
Weng Scroll, Zi Ji Gu, Zi Ling Shu, Southern Song Dynasty poet, was born in Yueqing to an ordinary family of petty officials. Weng's father was a local petty official in the Southern Song Dynasty, and he was not very tall and could only barely make ends meet. Although Weng Xuan received a Confucian education from an early age, he only took the imperial examination once in his life.
For the ancient readers, the normal state of concentrating on examinations and examinations, Weng Chuan's trip was already relatively special. Why didn't Weng Xuan continue to take the imperial examination? Some people say that it is because the family is really difficult, and they can't come up with so much money for him to go to Beijing again and again to take the exam. Some people also say that it is because Weng Shu personally loves to write poetry too much, and he puts all his heart on writing poetry, so he does not want to take the imperial examination again. Or maybe it was because of this that among the Four Spirits of Yongjia, he was the most accomplished.
Weng Scroll is good at writing landscape idylls, although the length is not long, but it is fresh and beautiful, full of feelings, and it is very expressive. Later generations praised his landscape poetry, which can be painted as a landscape painting, which shows the agility of his landscape poetry. For example, his "Wild Hope" is his masterpiece in this regard.
《Ambition》
[Song Dynasty] Weng Scroll
One day autumn color cold clear bay,
Countless peaks near and far.
Idle up the mountain to see the wild water,
Suddenly see the green mountains under the water.
"Wild Hope" people, looking at Shinoya. Weng Scroll's seven masterpieces express the scenery he saw and his inner feelings when he ascended to his hometown of Yongjia in autumn. The poet uses white painting techniques, simple imagery, and ordinary words to form a fresh and beautiful landscape painting, showing the characteristics of Weng Scroll's poetry with a spirit and a beautiful atmosphere in idleness.
The first sentence, "One day in autumn, cold and sunny bay", is not a strange language, but the poetry is quite interesting. Autumn colors are ubiquitous, and describing it as "one day" shows its infinity. However, the autumn color is originally nothing, with a "cold" word, even if the invisible autumn color becomes real: the inlet in the sunny day has brought a chill, then is not the autumn color dissolved into the water? Du Mu has the sentence "Silver Candle Autumn Light Cold Painting Screen", the cold light of autumn can naturally make people cold; and "Autumn Color Cold Qingwan" relies on the poet's imagination to combine the invisible autumn color with the real Qingwan, and communicates the visual autumn color with the feeling of cold and warm, resulting in this seemingly easy but intriguing verse.
The second sentence is "Countless peaks near and far." "Cut to the point and look around. The first sentence is hun writing autumn colors, this sentence is specifically written about mountains, but it also includes the mountains that overlap near and far into the poem, and it has the nature of hun writing. In the autumn colors of the sky, looking at the mountains, there is a great sense of Jin people looking at the mountains and sighing at the beautiful scenery, which shows the author's interest in Tao Qing landscape. In the last two sentences, one with water and one summarizing the mountains. The green mountains are lined up, and it is very clear to see and enjoy; the green level is paved, it is difficult to see the whole view, and it is slightly insufficient.
The third and fourth sentences "Idle up the mountain to see the wild water, and suddenly see the green mountains at the bottom of the water." "If you look at it literally, it doesn't seem to be outstanding, but it tastes like chewing an olive, which is quite evocative." In particular, the concluding sentence not only vividly portrays the beautiful scenery of the mountains and rivers in the Yongjia area of southern Zhejiang, and the mountains and rivers are interdependent, but also through the reflection of the underwater peaks, it is more and more clear of the water and the verdant of the mountains. The poet creatively changed the viewing perspective, looking at the mountains from the bottom of the water, making the aesthetic object have a tortuous and hazy beauty; The reflection of the green water and the high clear sky and the abrupt mountains shine together, harmoniously blending the masculine beauty and feminine beauty into the same picture, which greatly enriches the sentiment of poetry and the beauty of the picture.
Weng Chuan is a person who is attached to natural landscapes, and he once stated his ambition in a poem "Xingle Works": "There is no need to talk about the world, and there is no need to talk about the world, and there is no mechanism to lie in the mountains and forests." "His final destination is indeed to live in the idyllic mountains and rivers, which is why he writes the landscapes and rivers so beautifully." This "Wild Hope" is also like this, its strength lies in its fact that it is not carved, but it can not see the traces of the bitter chanting sentences that are often found in the "Four Spirits of Yongjia". The whole article is fresh and natural to read, without pretense, and the words used in the sentences are simple and understandable, which is easy to catch. It may be true to say that the poet's pattern realm is still too narrow and lacks grandeur; but the world of poetry is vast, and in the almost vast and endless artistic space, why should there be such a delicate and delicate corner?