The place of the poem "Wild Hope" in the history of poetry is very important.
Donggao looked at the twilight and leaned on what he wanted.
The trees are all autumn colors, and the mountains are only falling.
Shepherds drive calves back, and hunting horses bring birds back.
Looking at each other without acquaintance, long song Huai Tse-wei.
Reading this poem extensively, the feeling is general, there is no kit kat or colorful dictionary. In the era of Tang Feige and good sentences, it seems that it is not very remarkable.
Indeed it is.
However, the importance of "Wild Hope" is not its own artistic achievement, its importance lies in Wang Ji's work.
Why? Because Wang Ji was the younger brother of Wang Tong of the Sui Dynasty and the uncle of Wang Bo, one of the four masters of the early Tang Dynasty. The Four Masters of the Early Tang Dynasty were the pioneers of the reform of the early Tang Dynasty literary style, and the guide of Tang poetry from content to positive and healthy. However, during the early Tang Dynasty, the main criticism of the content of the Liang body was the most important reform in the Poetry Of the Tang Dynasty, but it occurred among the court poets, that is, the creation of the Pingshu Gelu. The establishment of the Ping shu Ge Law was during the Wu Zhou Period.
The "laws" and "laws and poems" that we usually read were only introduced in the Wuzhou period when the corresponding rules of the law were introduced. Before this, in the early Tang Dynasty, although there were also frequent masterpieces, the controversy of various styles and contents was also overwhelming and uncertain. In terms of format, starting from the court poets Du Zhenyan, Song Zhiqing, and Shen Qi, there was the stereotype of Ge Lu poetry, and the dispute over the content of the poetic style was not until Du Fu's "Drama for Six Absolute Sentences" was finalized, which determined the future direction of Tang poetry.
Wang Ji died in 644, half a century before the court poets came up with the norms of legal poetry, but his "Wild Hope" was a five-word poem that completely conformed to the rules of the grammatical poetry.
This is the veritable first of the five laws, the first in time, and there is no controversy. At least we do not have any five-sentence poems in existing archaeological findings that predate "Wild Hope".
Of course, this is not to say that Wang Ji is a later person who traveled through the past (friends who have watched more TV dramas may have this idea), but it is a direct proof that the Ping shu Ge Law is not something that some people have nothing to do in the court, and some rules are set to restrict the thinking of poets around the world (anti-Gelug slogan). The law of the flat grid is a musical formula that has been sorted out and generalized on a large number of previous poems—not completely inductive, but definitely from creation.
"Wild Hope" is proof of this.
<h1 class= "pgc-h-arrow-right" > because of this importance, we must start with pingshu in our appreciation of this poem</h1>
"Donggao Bo Twilight" Ping Shu is "Ping Ping 仄仄仄", here the second word "Gao" and the fourth word "Twilight" of the ping 仄 are opposite, in line with the principle of the replacement of ping and servant, so this is a legal sentence. The word "thin" is a sound word in ancient rhymes, and the three tails are actually a variation of the flat and flat form, and the first sentence should actually be "ping ping ping". Based on the relationship between the verses and the verses, we can infer the peace of the whole poem:
Mediocre, mediocre, mediocre.
Ping Ping Ping, Ping Ping Ping.
Looking at the second sentence, "Migrating to rely on desires and desires", Ping Shu is "仄仄仄平平", which is completely in line with the principle of "relative" of the GeLu poem, while the third sentence ,"The trees are all autumn colors" is "仄仄平平仄", which is also in line with the principle of "sticking to each other". The fourth sentence, "Mountains and mountains only fall in the sun", is also opposite to the third sentence. This completes a whole set of flat relations. The next four sentences move on to the next reincarnation. Therefore, from the perspective of the ordinary, this poem fully conforms to the rules of the rhythmic poem (substitution, relative, phase sticking).
Then look at the rhyme. "Yi", "Hui", "Gui", and "Wei" all belong to the "five micro" parts of Pingshui rhyme, and they are flat rhymes, which also meet the rhyming requirements of near-body grammar poems.
At the same time, the jaw link (three or four sentences) and the neck link (five or six sentences) "The trees are all autumn colors, and the mountains and mountains are only falling." "The shepherd drives the calves back, and the hunting horses bring the birds back." Both are strictly matched formats, and they also meet the requirements of the binary battle in the law poems of the Ping shu Ge.
So in every way, this is a perfectly qualified five-word poem.
This spontaneous five-word poem appeared in the first half century of the emergence of the Pingshu Grammar, and it can also be said that it was a model for the establishment of the rules of the Later Grammar.
<h1 class="pgc-h-arrow-right" > let's look at the content of the poem</h1>
Wang Ji was an alcoholic, and could become an official for sake of liquor, or he could be a subordinate to a good winemaker for sake, although his rank was much higher. His personality is full of the demeanor of a famous scholar of the Wei and Jin Dynasties (he was indeed born high), so he was doomed to have a low reputation in the official arena and society, not as good as his brother Wang Tong, and even his nephew Wang Bo.
This is a person who yearns for the hidden wind of Gao Shi in the high-spirited period of the advent of the Tang Dynasty, and can only be said to have been born in the wrong era.
"Donggao is thin and twilight, and he wants to rely on it." The first link explains the time and place and the reason for writing the poem. "Donggao" is Donggao Mountain, after Wang Ji became a subordinate of the master of brewing, not long after, this master died, but his wife continued to brew, Wang Ji continued to be an official. Until this lady also passed away and the wine broke, Wang Ji resigned his official post and went into hiding, and devoted himself to cultivating Donggao Mountain.
Here is the scenery written in Donggao Mountain, called "Wild Hope".
In the evening of Donggao Mountain, I look around here. "Migration" is to move, "leaning" is to lean, and "leaning" is to move around and stop. It's the meaning of wandering. I'm wandering here, where do I go from here?
This poem was probably written when he had just resigned, and Wang Ji's heart did not care about the career path, otherwise there would not be so many absurd experiences. Maybe he just hesitated to choose this place to go into hiding?
"The trees are all autumn colors, and the mountains are only falling." The jaw link began to write "looking" at the scenery, which was to undertake the first link. Every tree is dyed with autumn colors, and the mountains are covered with the afterglow of the setting sun. This is a very atmospheric and open visual description, which determines the order of writing scenes from large to small, from static to moving.
"The shepherd drives the calves back, and the hunting horses bring the birds back." The neck link continues to write the scene, from the previous big weather into the detailed description. The cattle herders drove the calves home, and the hunters rode their horses and returned home with full loads.
This is a relatively lively picture of late return, but does this kind of hilarity have anything to do with Wang Ji? Apparently not. Because he had just arrived in this place, he was not familiar with people.
"We don't know each other, and we sing a long song." Look left and right don't know, forget it, I still learn Boyi Shuqi, sing the song Tsai Wei go.
The story of Boyi Shuqi is known to everyone, they are because "do not eat Zhou Huang", Cai Wei and eat, singing songs and starving to death in Shouyang Mountain, so here Wang Ji quotes "Cai Wei" is not the meaning of nostalgia for the old dynasty? Not really. How could he be a casual person who went out to become an official every day for a bucket of wine, how could he be as stubborn and conservative as Bo Yi Shuqi? Most of his references to this story here are written about his loneliness in the state of seclusion and solitude of Bo YiShuqi.
In fact, it was different later. After he lived here for a long time, he met many friends, and there are also manifestations in the poems. For example, "Autumn Night Happy To Meet the King's Virgin":
The north field is gone, and the east is returned.
When the autumn moon is full, it is more worth the night of the fireflies.
The moonlight met the old king's head, it is estimated that it is also a day of hard work, the moonlight is clear, the fireflies are flying, the whole scene is so quiet and peaceful, plain but full of vitality. The poet and the virgin are happy, or will smile, needless to say, or Lala homely, chat about the weather, this autumn night under the moon, the scene is quiet and vivid.
This is a completely different kind of peaceful and integrated mentality.
As for the difference in personal understanding of "Wild Hope", there is no problem. Because after the birth of a poet's work, the understanding of posterity after reading it is more based on their own inner feelings. If I want to read something, I will have a biased understanding of what.
Many people understand "Wild Hope" as a career of unhappiness, hesitation, and confusion, which cannot be wrong. But we must be clear that Wang Ji really doesn't care about ShiTu at all, he is a person similar to Tao Yuanming. This is evident in the poems.
The pastoral poetry school founded by Tao Yuanming actually has a heritage, sheng tang is naturally represented by Wang Wei and Meng Haoran, and in the early Tang Dynasty, the person who inherits the pastoral poetry school is Wang Ji. If we look at the poems of Tao Yuanming, Wang Ji, and Wang Wei in contrast, we will experience the feeling of gradually withdrawing the feeling of writing pastoral scenery, from Tao Yuanming's xuanyan reasoning to Wang Wei's poems without self, Wang Ji plays a role in connection and evolution.
The artistic standard of the poem "Wild Hope" is average (relative to the Sheng Tang Dynasty), but it has an irreplaceable position in the history of poetry with the name of the first of the five laws. This is its importance, and its author Wang Ji is taken for granted by leaving a history of poetry.