Tell a fisherman's fortune

Appreciation of the Original and Translation of Liu Zongyuan's Fisherman

Fisherman's original text: An old fisherman spent the night here. Under the western cliff, Xiao Ji was silent and burned his bamboo pole. The sun disappears like a cloud, and there is a noise from the green mountains and green waters. Looking back, the fishing boat has drifted below the horizon, and white clouds are floating in the mountains, chasing each other.

Fisherman's Translation and Annotation The fisherman rests in Xishan Mountain at night, draws clear Hunan water in the morning and cooks with bamboo as firewood. The sun came out, the clouds disappeared, and the sound of sculling came from the green landscape. Looking back, the fishing boat has floated down in the horizon, and the white clouds on the mountain are floating at will, chasing each other.

Note 1: near. Xiyan: It refers to the Xishan Mountain in Yongzhou. Please refer to the author's Travel Notes at the Beginning of the Xishan Banquet. Ji 2: Get water. Xiang: The water of Xiangjiang River. Chu: Xishan belongs to Chu in ancient times. 3 stitches: dissipate. It can also be used as "elimination". 4(m÷I) is an onomatopoeic word, which means the sound of paddles and the sound of people shouting. In the Tang Dynasty, Xiang Zhong's bangzi was Yi Naiqu (see Yuan Jie's Xu Naiqu Preface). 5 downstream: downstream. 6 unintentional: Tao Yuanming's "Return to Xi Ci": "Clouds have no intention." Generally refers to the state of mind of forgetting what Zhuangzi said. Su Shi's Poem of Liu Shuzi's Later Fisherman says: "Poetry is interesting in strangeness and abnormality. It's interesting to be familiar with this poem. However, the last two sentences are unnecessary. Yan Yu's Cang Hua once said: "If Dongpo deletes the last two sentences to save his son, he will believe it.". However, Liu Chenweng thought: "This poem is not like the late Tang Dynasty, and it is the last two sentences. Since then, there have been two opinions about the last two sentences of this poem.

The background of fisherman's creation Liu Zongyuan's landscape poems were written in Yongzhou (now Lingling, Hunan). In 806 AD (the first year of Yuanhe in Tang Xianzong), Liu Zongyuan was demoted to Yongzhou because of his participation in the innovation of Yongzheng. He suffered a heavy political blow, left his feelings in a foreign land, wrote the famous Eight Chapters of Yongzhou, and wrote many poems describing Yongzhou's lakes and mountains. The Fisherman is one of the representative works.

The fisherman's appreciation of this little poem is full of interest. The poet painted a charming morning scene of mountains and rivers with simple and elegant pen and ink, from which his deep and warm inner world was revealed.

This poem is about the fisherman, who is the core image of the whole poem. However, the poet did not describe the fisherman in isolation, and the interest of his works did not stop at the image of the fisherman. Generally speaking, the whole poem is composed of tireless fishermen and the mountains and rivers where fishermen live, both of which have left traces of development and change according to their own laws and characteristics. But at the same time, the poet integrated them, and the fisherman and the natural scenery became an inseparable whole, showing the rhythm of life and inner interest. From night to morning, it is the most abundant moment of human activities, and it is the moment when everything recovers and is full of vitality. This poem takes this as a clue and unfolds the landscape. Therefore, the ever-changing behavior and actions of fishermen and the infinite changes of natural scenery have a common time base and have reached an extremely harmonious unity.

The whole poem consists of six sentences, which are divided into three levels in chronological order. "An old fisherman spent the night here. Under the west cliff, Xiao Xiang burned the bamboo pole. This is a scene from night to dawn. Fisherman is the most striking image in these two sentences. He stayed on the hillside all night, pumping water and burning bamboo in the morning, vividly showing the flow of time with a busy figure. With the activities of fishermen, the poet's brushwork naturally extended to Xiyan, Qing Xiang and Chuzhou. The west extension is the western mountain of Yongzhou. Liu Zongyuan once found the joy of the Western Hills in the article Travel Notes at the Beginning of the Western Hills Banquet, describing the sublimity of the Western Hills: living at the top of the Western Hills, "the soil of several States is under the table"; The Hunan water flowing down from the mountain is "clear at the bottom, though it is five or six feet deep" (for Zhong Xiang Ji, see Taiping Yulan, Volume 65). The word "Qing" in the poem precisely shows this characteristic of Hunan water. In addition, Yongzhou area (now Lingling, Hunan) is rich in Zhu Xiang, and the scattered images of mountains, water and bamboo that seem to appear inadvertently in the poem clearly form a fresh and complete picture in the reader's mind: veiled mist covers mountains, flowing water and Zhu Xiang ... Si Kongtu said in the poem: "There is an original, if it is unknown, it is like desire." "These two sentences not only set up a beautiful and pleasing spatial picture scroll, but also lead to the following description of sunrise, which has a sense of time like the beginning of night and the dew of morning light. It can be said that it has laid a positive and leisurely tone for the whole poem in time and space.

"Then, at sunrise, he walked through the fog, and only his oars creaked, in the green mountains and rivers. This is the most wonderful sentence to see the poet's skill and the essence of the whole poem. If arranged from the content, these two sentences describe the following scenes: on the one hand, natural scenery: cigarettes sell sunrises, mountains and rivers are green; On the one hand, it is the whereabouts of fishermen: fishing boats leave the shore and there is a loud noise in space. However, the poet did not organize his poems according to this kind of life logic, but started from his own feelings and presented two scenes alternately, which showed the subtle changes in nature more clearly. The previous sentences, "Work at sunrise, rest at sunset" and "No one is seen", one is a common sight in the morning, and the other is a sudden realization that I don't know when the fishing boat will quietly leave. There is no necessary connection between the two, but now the same sentence has aroused people's imagination: it seems that at the moment of sunrise, the sky is dark and everything suddenly becomes clear, making people suddenly find that the fishing boat is gone. The sudden feeling of "not seeing people" became a symbol, which opened the boundary before and after sunrise. The sunrise process in real life is strengthened by art and appears in front of readers with an exaggerated rhythm. Followed by "one nai one" and "landscape green", there is a strange dependence on the sound heard in the ears and the scenery seen in the eyes. In the morning, with the change of the sky, the color of the landscape changes from dark to bright, which is a gradual process. However, in the poem, everything is green, accompanied by the sound of breaking the still air. The word "green" not only shows the function of color, but also gives people a sense of movement. This can't help but remind people of Wang Anshi's famous sentence: "Spring breeze is green in Jiang Nanan". Wang Anshi endowed the word "green" with dynamics through the fluttering of the spring breeze, while Liu Zongyuan endowed it with not only dynamics, but also a sense of instant quickness, which vividly showed the scene of sunrise and made people feel more magical. Lessing, a literary theorist during the German Enlightenment, once said: "All objects exist not only in space, but also in time. An object is also persistent, and every moment in its duration can present a different appearance and have a different relationship with other things. ..... In its constant imitation, poetry can only use a certain attribute of the object, and the selected attribute should be from the perspective that poetry should be used to arouse the most vivid perceptual image of the object. (laocoon) Liu Zongyuan still didn't show the splendor of sunrise, nor did he describe the bright world after sunrise. He just gave full play to the specialty of language art, seized the most dynamic and lively sunrise moment, and made the common natural scenes in life more beautiful than reality, giving people a strong appeal. Su Dongpo's evaluation of this poem is: "The poem is about strangeness, and the abnormal combination of Taoism and Taoism is interesting. If you are familiar with this poem, it is interesting. " This is an appropriate comment.

"I turned around and saw the waves moving like from the sky, and the clouds on the cliff drifted casually. After sunrise, the picture is more open. At this time, the fishing boat has entered the middle stream. Looking back, I saw pieces of white clouds floating on the top of the mountain, as if inadvertently moving back and forth, poetic and picturesque. Su Dongpo thought this ending was "unnecessary" and caused controversy. For a time, Hu Yinglin, Wang Shizhen, Shi Qi, and others expressed their opinions, but their arguments were limited to artistic interest, without a deep understanding of Liu Zongyuan's situation and state of mind in writing this poem. In his poems, Liu Zongyuan talked many times about his depressed mood after being relegated. In the second book with Yang Hui, he wrote: "Yongzhou has been seven years, and fleas panic at night. "There is a sharp contradiction between ideal ambition and cold reality. In the case of extreme grief and indignation, he "should have hoed lotus seeds and made Xishui Spring a nursery for Ru, but that's the gap." In the Travel Notes of the First Banquet in the Western Hills, Liu Zongyuan revealed more clearly: "I am a humble person, living in a state of constant concern, so I will give up and swim for a long time." It can be seen that he is not wandering between mountains and rivers with a calm and indifferent heart, but is trying to find comfort. However, as he lamented in "Twenty Rhymes of Traveling to Chaoyang Rock and Climbing to Xiting": "Abandoning the seclusion and climbing to the outer suburbs", in fact, he did not really get rid of it. Sometimes, he thinks of his misfortune because of the experience of one mountain and one water, so he is filled with emotion. Sometimes when he trudges to the west, he will feel something. Therefore, rather than expressing a simple mood with strange scenery, it is better to say that the fisherman revealed a fiery and restless heart behind his back. This is a warm yearning and an urgent pursuit. The free life interest shown in the poem is too precious and beautiful for a poet in prison. Therefore, after writing the sentence "Japan Surprise", the poet did not want to rest, but expressed his wishes more openly. He turned to the sentence "Clouds come out of the hole unintentionally" in Tao Yuanming's "Gui Xi Ci", which opened up poetry and made such a conclusion. Only by truly understanding Liu Zongyuan's realistic situation can we understand his intention of breaking sentences. From beginning to end, the poet showed the mutual affection between the fisherman and nature, which was not only out of the need of artistic expression, but also out of the desire for free life. This also shows that to deeply understand the artistic style of a work, it is often inseparable from an accurate grasp of the author's thoughts and feelings.

Poetry: Fisherman's Poetry Author: Tang Dynasty Liu Zongyuan Poetry Classification: 300 Tang poems, landscapes, writers