The Peach Blossom Spring? -? Tao Yuanming's work?
"The Peach Blossom Spring" is one of the representative works of the Eastern Jin Dynasty scholar Tao Yuanming. It was written about the second year of Yongchu (421), that is, Liu Yu of the Southern Dynasty In the second year of the regicide and usurpation of the throne. Depicts a peach forest. Taking the Wuling fishermen's whereabouts in and out of the Peach Blossom Spring as clues, in chronological order, the tortuous and bizarre plots of discovering the Peach Blossom Spring, staying in the Peach Blossom Spring, leaving the Peach Blossom Spring, and finding the Peach Blossom Spring again depict a story of a self-reliant, self-sufficient world without class or exploitation. A society that is self-sufficient, peaceful and tranquil, and where everyone enjoys themselves is a sharp contrast to the dark society at that time. It is an ideal society that the author and the working people yearn for. It embodies people's pursuit and yearning, and also reflects people's Realistic dissatisfaction and resistance.
About the author
[2] Tao Yuanming (about 365-427), named Qian and courtesy name Yuanliang, was a poet, writer, prose writer, and prose writer in the late Eastern Jin Dynasty, the Southern Dynasty, and the early Song Dynasty. Home. Because there are five willow trees in front of his house, he calls himself Mr. Wuliu, and is also known as Mr. Jingjie in the world. A native of Chaisang, Xunyang (now Jiujiang City, Jiangxi Province) in the Eastern Jin Dynasty. He moved around several times and worked as a minor official in various places for several years. Later, he got tired of the secular world, resigned and returned home, where he lived in seclusion ever since. Pastoral life is the main theme of Tao Yuanming's poems. Related works include "Drinking", "Returning to the Garden and Living in the Fields", "The Peach Blossom Spring", "The Biography of Mr. Wuliu", "Returning to Come and Come Back" and "The Peach Blossom Spring Poems" (of which "The Peach Blossom Spring" is the Peach Blossom Spring Poems) (Preface), etc., known as the "pastoral poet". He is also the originator of the Pastoral School. He was the first pastoral poet.
Writing background
When he was young, Tao Yuanming had the ambition to "help the common people". However, he lived in an era when the Jin and Song Dynasties changed hands. The Eastern Jin Dynasty was extremely corrupt and blindly engaged in external affairs. Surrender and settle in a corner of the river. The ruling group lived a debauched life, fought against each other internally, warlords fought for years, and taxation and corvee were heavy, which deepened the exploitation and oppression of the people. In the turbulent years when the country was on the verge of collapse, Tao Yuanming's ambitions could not be realized at all. At the same time, the Eastern Jin Dynasty inherited the old system, implemented the clan system, and protected the privileges of the nobles and bureaucrats of the high-ranking gentry, resulting in intellectuals from small and medium-sized landowners having no opportunity to display their talents. A man like Tao Yuanming, whose ancestors and fathers had only held one official position as a prefect, and whose family had already declined, would of course have "unrewardable ambitions." In addition, he has an upright character, is honest and honest, and is unwilling to grovel to cling to the powerful. As a result, he has a sharp conflict with the dirty and dark real society, and develops an incompatible feeling. In the first year of Yixi (405), he resolutely and resolutely resigned as magistrate of Pengze County, which had only been in office for 81 days, and finally broke with the rulers. He retired to the countryside for a long time and worked in remote fields.
Although he is "far away and biased", his "strong ambition is always there" and he still cares about national affairs. In June of the second year of Yuanxi (420), Liu Yu deposed Emperor Gong of Jin as King Lingling and changed his reign name to "Yongchu". The following year, Liu Yu adopted conspiracy methods and killed Emperor Gong of Jin with poisoned wine. These cannot help but stir up waves in Tao Yuanming's thoughts. Starting from his inherent Confucian concepts, he became dissatisfied with Liu Yu's regime and deepened his hatred of the real society. However, he was unable to change and was unwilling to interfere with this status quo, so he had no choice but to use creation to express his feelings and create a beautiful realm that was opposed to the dirty and dark society to express his political ideals and beautiful tastes. "Peach Blossom Spring" was produced under this background.
Article Appreciation
The article begins with a beautiful and quiet peach blossom forest with "delicious grass and colorful fallen flowers" as a foreshadowing, leading to a simple and natural world outside. There, everything is so simple and beautiful, there are no taxes, no wars, no pursuit of fame, and no intrigues. Not even a bit of noise could be heard. The relationship between people is also so peaceful and sincere. The author did not explain the reason for all this, but the sentence "I don't know that there was a Han Dynasty, regardless of the Wei and Jin Dynasties" has vaguely revealed the news: in the final analysis, it is because there is no ruling group that stands above the people and attacks each other for selfish interests. . This imaginary paradise world is undoubtedly fascinating for people living in the real world of hypocrisy, darkness, frequent wars, and constant bloodshed. The author's simple and clean brushstrokes appropriately express the atmosphere of the Peach Blossom Spring, making the article more contagious. Of course, it can be seen from the sentence "The prefect sent people to follow him wherever he went, and he lost his way and could no longer find the way." It can be seen that this ideal state did not exist in reality at that time, but the author used it to The conception of the Datong Society artistically shows the style of the Datong Society. It is a spiritual sustenance for people who are dissatisfied with the dark reality. It expresses the author's longing for an ideal society and his dissatisfaction with the real society.
The Drunkard's Pavilion?
"The Drunkard's Pavilion" is a prose written by Ouyang Xiu, a writer in the Northern Song Dynasty. In the fifth year of the Qingli reign of Emperor Renzong of the Song Dynasty (1045), Fan Zhongyan and others who were political advisors were slandered and resigned. Ouyang Xiu wrote a letter to defend them and was demoted to Chuzhou as the governor for two years. After taking office, he was depressed, but he was still able to display his "lenient, simple but not disturbing" style and achieved certain political achievements. "The Drunkard's Pavilion" was written during this period. The article describes the profound beauty of Chuzhou's natural scenery in the four seasons of morning and dusk, the peaceful and tranquil life of the people in Chuzhou, especially the author's fun of traveling and feasting with the people in the mountains and forests. The whole text runs through the word "乐", which contains relatively complex and tortuous content.
One hints at a feudal local governor's sentiments of "having fun with the people", while the other hints at the unspeakable difficulties behind the sentimental landscape. At the age of forty, he calls himself a "drunkard" and travels frequently. In addition, his various behaviors of "drinking frequently and getting drunk" and "being dejected" all indicate that Ouyang Xiu uses the joy of mountains and rivers to relieve his guilt. The anguish of living in exile. The author is intoxicated in two places: one is intoxicated in the beautiful scenery of the mountains and rivers, and the other is intoxicated in having fun with the people.
About the author
Ouyang Xiu Ouyang Xiu (1007-1072), also known as Yongshu, called himself Drunkard, and in his later years he was also called Liuyi layman (I? "Ji Gu Lu" 1 Thousand volumes, ten thousand volumes of books, a harp, a game of chess, and a pot of wine, with an old man in between, this is called sixty-one). A native of Yongfeng, Jizhou (now Yongfeng, Jiangxi), he was a writer, politician, historian, poet and poet in the Northern Song Dynasty, and one of the Eight Great Masters of the Tang and Song Dynasties. The Eight Great Masters of the Tang and Song Dynasties are Han Yu and Liu Zongyuan of the Tang Dynasty, and Su Xun, Su Shi, and Su Zhe of the Song Dynasty (the father and son of Su Xun, Su Shi, and Su Che are called San Su), Ouyang Xiu, Wang Anshi, and Zeng Gong (who once worshiped Ouyang Xiu as their disciples). ).
Because there are 10,000 books, 1,000 volumes of inscriptions, a qin, a chess game, a pot of wine, and an old man in the house, it is called Liuyi. He calls himself a drunkard because he "drinks little and often gets drunk", which means he gets drunk easily, highlighting the word "drunk". Among the people who drank with him, Ouyang Xiu was the oldest, so he was given the title "Weng". His posthumous title was Wenzhong, and he was known as Ouyang Wenzhonggong in the world. During the Renzong period, he was promoted to Zhizhigao and Hanlin bachelors. During the Yingzong period, he was promoted to deputy envoy to the privy council and participated in political affairs. During the Shenzong period, he was moved to the Ministry of War to serve as the prince's junior master. His posthumous title was Wenzhong. He advocated innovation in both politics and literature. He was not only a supporter of Fan Zhongyan's Qingli New Deal, but also the leader of the poetry innovation movement in the Northern Song Dynasty. He was also pleased to reward the younger ones, and Su Shi and his son, Zeng Gong and Wang Anshi all came out of his sect. His creative achievements are also impressive, and his poems, lyrics, and prose are all top-notch at the moment.
The prose is fluent in reasoning and euphemistic in lyricism; the poetic style is similar to that of prose, emphasizing momentum but being smooth and natural; its words are deep, graceful and elegant, inheriting the style of the Southern Tang Dynasty. He co-edited "New Book of Tang" with Song Qi and authored "New History of Five Dynasties" alone. He also likes to collect epigraphic texts and compiles them into "Collection of Ancient Records". There is "Collected Works of Ouyang Wenzhong". The poem "Treading on the Sand". He also wrote the famous "The Drunkard Pavilion". After Ouyang Xiu's death, he was buried in Xinzheng, Kaifeng (now Xinzheng, Henan). Ouyang Xiu's cemetery now exists in Ouyangsi Village, Xindian Town, Xinzheng City, which is a national cultural relic protection unit.
Ouyang Xiu’s calligraphy works In addition, there is also an ancestral hall in the southern suburbs of Mianyang today, called Liuyi Hall. Ouyang Xiu wrote profusely throughout his life and made remarkable achievements. In addition to literature, Confucian studies can study the Book of Songs, the Book of Changes, and the Spring and Autumn Annals without adhering to the previous opinions and have original insights; epigraphy has contributed to the pioneering work by editing and sorting out epigraphic artifacts and inscriptions from the Zhou Dynasty to the Sui and Tang Dynasties. There are thousands of inscriptions on the tablets and more than 400 chapters in ten volumes of "Ji Gu Lu", which is referred to as "Ji Gu Lu". It is the earliest surviving work on epigraphy. His historical achievements are particularly great. In addition to participating in the revision of "New Book of Tang Dynasty" "In addition to 250 volumes, he also wrote his own "Historical Records of the Five Dynasties" ("New History of the Five Dynasties"), which summarizes the historical experience of the Five Dynasties and intends to draw lessons from it.
Creative background
"The Drunkard's Pavilion" was written in the sixth year of Qingli reign of Emperor Renzong of the Song Dynasty (AD 1046). At that time, Ouyang Xiu was appointed as the prefect of Chuzhou. Ouyang Xiu came to Chuzhou after he was demoted in the fifth year of Qingli. Before being demoted, he served as Taichang Prime Minister's Admonishment Court, You Zhengyan's Knowledge Zhigao, and Hebei Capital Transport Envoy. The reason why he was demoted was because he always supported Han Qi, Fan Zhongyan, Fu Bi and others in participating in the Northern Song Dynasty reform movement that implemented the New Deal, and opposed the conservative Lu Yijian, Xia Song and others. Han and Fan had already been demoted one after another before January of the fifth year of Qingli. By August of that year, Ouyang Xiu was charged with a crime involving his niece Zhang, and was dismissed from his official post and demoted. Release Chuzhou.
Ouyang Xiu implemented lenient politics and developed production in Chuzhou, which enabled the locals to live a peaceful and stable life, with abundant crops and intoxicating landscapes. This made Ouyang Xiu Feeling extremely happy. But at that time, the entire Northern Song Dynasty was politically dark and evil. Some people who were aspiring to reform and strengthen themselves were hit hard. He watched helplessly as the country's long-standing shortcomings could not be eliminated and the scene of decline grew day by day. This made him feel heavy. Worry and pain. This was his mood when he wrote "The Drunkard's Pavilion", a mixture of sadness and joy. These two aspects are blended together and reflected in his works.
Appreciation of the work
"The Drunkard's Pavilion" is a beautiful prose. This prose is very poetic and has a unique elegant style, which is indeed rare among ancient Chinese literary works. In the spring of the fifth year of Qingli, Ouyang Xiu was denounced again for supporting Fan Zhongyan and others, so he went out to Chuzhou. This article was written in the second year after arriving in Chuzhou. The failure of the "Qingli New Deal" made him feel depressed; it was also a comfort to him to go abroad to get rid of the party strife in the court. The article expresses the author's complex mood. This article uses the word "乐" throughout the article, and frankly states that "the drunkard's intention is not in wine, but in the mountains and rivers." The inner depression and anguish of political frustration and bumpy official career are expressed in the mountains and rivers, and melted into sharing the same feelings with the people. While enjoying himself, he painted beautiful pictures that were varied, beautiful and charming, reflecting the traditional Confucian thought. Just as "Shangshu" said: "Virtue is good governance, and government is to support the people." It shows that he is easy-going and happy with the situation. The broad-minded sentiment of sharing the joy of the people.
The full text consists of four paragraphs, clearly organized and extremely well-conceived.
The first paragraph of this article describes the location of the Drunkard Pavilion and introduces people and events. The Drunkard Pavilion is highlighted in five steps. First of all, it starts with the five words "Chuzhou is surrounded by mountains" to outline Chuzhou's geographical environment and point out that Zuiweng Pavilion is located among the mountains. The author takes a panoramic view of Chuzhou and has a bird's-eye view of the scenery embraced by the mountains. Then the author moved the "lens" panorama to a local part, first writing "the peaks in the southwest and the forest gullies are particularly beautiful". Drunken Old Pavilion is located among the peaks in the southwest with the most beautiful forest gullies, and the view is concentrated in the best place. Then write that Langya Mountain is "awesome yet profoundly beautiful" and point out that the mountain is "beautiful", echoing the "beauty" mentioned above. It also writes about Niangquan. Its name reveals the relationship between springs and wine. Good springs make good wine, and good wine makes people drunk. The name "Drunkard Pavilion" was revealed secretly. Then he writes about the Drunken Old Man's Pavilion, "Walking for six or seven miles, there are twists and turns, and there is a pavilion." It echoes the above sentence "Awesome but deep and beautiful". It can be seen that the Drunken Old Man's Pavilion is located in the best location with beautiful mountains and clear waters. A beautiful and unique backdrop has been arranged for the following activities. The author then turns to narrative and lyrical, using two short sentences to ask and answer himself, telling the origin of the pavilion: "Who created it? The monk of the mountain is Zhixian. Who named it? The prefect calls himself." At the same time, he points out "Drunk." "My intention is not in wine, but in the mountains and rivers. The joy of mountains and rivers is the wine that makes people happy." It explains the profound meaning of the word "drunkard" and directly connects the scene with the emotion. This section has a clever transition between layers, from mountains to peaks, from peaks to springs, from springs to pavilions, from pavilions to people, from people to wine, from wine to drunkards, and then from "the drunkard's intention is not to the wine." This leads to the core meaning of the full text "the joy of mountains and rivers". The sentences connect each other without any trace, giving people a complete impression of "the joy of landscape".
The second paragraph describes the different scenery in the mountains at dawn and dusk in four seasons. The author first uses the couplet sentence "The sun rises when the forest falls, and the clouds return and the caves rest in silence" to depict two contrasting scenes of morning and dusk in the mountains. Then he summed up the different scenery of the mountains in the four seasons of spring, summer, autumn and winter with the sentence "The wild fields are fragrant and fragrant, the beautiful trees are beautiful but densely shaded, the wind and frost are noble and clean, and the water falls and rocks emerge, these are the four seasons in the mountains." One picture per season. The following four sentences of "Going towards the North" are the summary. The author directly expresses his joyful mood intoxicated by the beautiful scenery. "The scenery in the four seasons is different, and the joy is endless." This is the embodiment of the "joy of mountains and rivers" written in the previous paragraph. Here, the couplet sentences are used to describe, the prose sentences are concluded, the rhythm is ups and downs, and the phonology is harmonious.
The third paragraph describes the entertainment of Chu people and the banquet of the prefect. The description in this paragraph shifts from scenery to personnel. First, I write about Chu people’s travels, depicting a peaceful and peaceful picture of people enjoying themselves. In the eyes of the prefect, the amusement scene took on a layer of political clarity. Then he wrote about the banquet hosted by the prefect and the joy of the soldiers feasting and drinking. The banquet was sumptuous and full of wild fun. The soldiers sat up and made a noise, enjoying themselves beyond measure. The prefect was drunk with wine in the music. This drunkenness was due to the joy of mountains and rivers, and he was even more drunk with the enjoyment of the officials and the people. It reflects the harmonious relationship between the prefect and his subordinates, and only those who have "political connections and people" can have such happiness.
The fourth paragraph describes the scene when the banquet is over and everyone returns. "However, birds know the joy of mountains and forests, but they don't know the joy of people; people know how to enjoy traveling with the prefect, but they don't know the joy of the prefect." The author cleverly uses the joy of birds to set off the joy of tourists, and also uses the joy of tourists Music sets off the happiness of the prefect. But the governor's joy is different and cannot be understood by everyone. The author did not reveal his true feelings, but only said implicitly: "The person who can share the joy when he is drunk, and can describe it in writing when he is awake, is the prefect." This sentence is related to the name of the Drunkard Pavilion, "The meaning of the Drunkard is not about wine, but about the mountains and rivers." " echoes back and forth, and is connected with "Churen Travel", "Prefect's Banquet", "All the Guests Happy" and "Prefect's Drunk" to form a lyrical clue, which tortuously expresses the author's complex inner thoughts and feelings.
< p>Artistic techniquesBeautiful artistic conception
The prose memorized by Drunken Old Pavilion should be poetry and create a beautiful artistic conception. The so-called artistic conception includes two categories: artistic conception and artistic conception. It is an artistic picture infiltrated with the author's subjective feelings. Excellent prose should have the beauty of beautiful scenery, give readers a unique aesthetic feeling, and be pleasing to the eye and heart. The ideological context of "The Drunkard's Pavilion" is the word "乐", the joy of "drunk", which is like a colorful thread connecting each picture. And "the drunkard's intention is not in wine", but "in the mountains and rivers". Letting go of the trees and getting drunk on the mountains and rivers is the true meaning of the author. The conception of the prose is like setting up a book, and the author writes the beautiful "situation" based on this "intention", so as to achieve the blending of emotion and scene, and the harmony of intention and scene. The author uses these aspects to describe the realm of prose.
The beauty of the mountains and rivers. In the author's painting, the far and near side of Drunkard Pavilion is a landscape painting. There are mountains, springs, forests, and pavilions. However, the author does not use ink in isolation, but interweaves them together, each with its own beauty, and yet unified in diversity. "Langya Mountain is a majestic and beautiful place with beautiful scenery, rolling hills, and verdant green. The mountains serve as the background, passing in a circle. The forest is deep, the road is winding, and the spring is winding, and "there is a pavilion hovering over the spring." ". In this way, mountains and springs depend on each other, and springs and pavilions complement each other. The landscape and pavilions in a painting form a poetic and beautiful artistic conception.
The beauty of the changes in morning and dusk. "The sun rises and the forest opens, and the clouds Returning to the dark cave, the changes in gloom are like morning and dusk in the mountains." He wrote the beautiful scenery of Zuiweng Pavilion changing in the morning and evening. Because the morning and evening are different, the author's tone and atmosphere of the pen are different. In the morning, there is tranquility, There is a breath of freshness, but there is a feeling of darkness and twilight in the evening. The author's observation of the changes in the scenery is deep and detailed, and his brushwork is like silk, and he writes different realms with different scenes.
The beauty of change. "The wild fields are fragrant and fragrant, the beautiful trees are beautiful and dark, the wind and frost are noble, and the water falls and the rocks emerge. There are only four seasons in the mountains." It describes the changes of the scenery in the four seasons.
The luxuriant grass and fragrant fragrance are the spring scenery; the tall trees and lush branches and leaves are the summer scenery; the bleak wind and the heavy frost paved roads are the autumn scenery; the water is thin and the rocks are dry, and the vegetation is withered and it is the winter scenery. The changes are consistent, giving people different aesthetic enjoyment. The four pictures contrast with each other. The sea of ??spring contrasts with the chilly autumn scenery; the lush summer scenery contrasts with the chilly winter scenery.
The beauty of contrast between movement and stillness. The article first talks about the contrast between scenery and scenery. The majestic Langya Mountain is static, and the gurgling spring water is dynamic. The mountain color is green and pleasing to the eye, and the sound of the spring is melodious, complementing each other. "The trees are shadowy and their chirping sounds are up and down." The contrast between the trees and the chirping of hundreds of birds complements each other. "The sun has set on the mountain, the figures are scattered, the governor has returned and the guests have followed" is the contrast between the scenery and the characters. "Those who drink wine, sit up and make noise among each other, it means that all the guests are happy. Those who have pale face and white hair and are slumped in the midst of it means that the prefect is drunk." The noisy movements of the guests contrast with the dejected tranquility of the prefect, which is full of life and interest.
Exquisite structure
Gold wire beads. Although "The Drunkard's Pavilion" sometimes reveals the mountain scenery, sometimes the water flows into the painting, and sometimes the human feelings are noisy on the paper, it seems scattered, but in fact it is not chaotic at all. The first reason is that the author has a golden thread in his hand. This golden thread is the author's subjective feeling - "Happiness", the "Happiness" of being drunk. Because of this, the origin, continuation, transfer, and integration of the article are all governed by the ups and downs of the author's subjective feelings and experiences. Writing about landscapes is to express the joy of "the heart of gain"; writing about tourists' endless journey is to express the joy of human feelings; writing about brewing springs for wine, spreading wild delicacies on the mat, and mingling with each other is expressing the "joy of feasting"; writing about the sound of singing Wandering and flying in the forest, it shows the "joy of birds", and it also expresses the "playing and enjoying" of the prefect's self-indulgence. Joy in all things, joy in them, the whole text is happy because of the scenery, and lyrical because of the music. In this way, the writing is written all the way, and it is developed around the "joy". It is not a miscellany of fragments, but a unified whole, just like traveling through thousands of times. Pearls and jade are embedded in golden threads, collecting thousands of rays of sunlight and condensing them on the condenser mirror. Precisely because there is a focal point and a main skeleton, the looseness of the writing will be transformed into a characteristic, making it appear that the writing is calm and balanced. The more loose the writing, the more flesh and blood the prose will have, adding vitality to the prose and enhancing the content of the prose. .
The winding path leads to a quiet place. There is a sentence in "The Drunkard Pavilion": "There are twists and turns, and there are pavilions." It is very appropriate to use this sentence to describe the structural characteristics of this prose. The author writes about the different scenery at dawn and dusk at four o'clock in the morning and the colorful scenery, which can be described as ingenuity and hard work. The author put a lot of thought into describing the location of the Drunkard's Pavilion. He did not write it directly, but wrote it in a tortuous way. At the beginning of the article, five layers of ink are laid out: "mountains around Chuzhou", one layer; "peaks in the southwest", one layer; deep and beautiful "Lang", one layer; gurgling spring water, one layer; "there are pavilions and wings", layer. The five layers of ink are not balanced and evenly distributed, but layer by layer, advancing step by step. First use a large lens, a long lens, then push it to a small lens, a short lens, and finally jump to a close-up, uneven and straight, with nine twists and turns. First, use a general description to describe the mountain scenery of Chuzhou with a generous stroke. The next word "you" is followed by articles one after another, bringing out the "peaks of the southwest". Say the word "wang" again, and your eyes will be focused. After using sight, he then used hearing, "the sound of water gurgling", and the brewing spring entered the painting. After that, with the word "hui" and the word "zhuan", the Drunken Old Pavilion is clearly visible and enters the scroll. When the author uses his pen, he seems to be hunting in the wilderness, gradually enclosing small areas. This not only allows people to understand the location of Zuiweng Pavilion, but also highlights its beauty through layers of contrast. Such description makes the "Ting" extraordinary; such use of pen makes "Wen" extraordinary. Another example is that at the end of the article, in order to highlight the "prefect's joy", the author also uses layers of brushwork. Use the joy of birds to reflect the happiness of everyone, and then use the happiness of everyone to reflect the happiness of the prefect. In this way, the happiness of the governor was pushed to the top under the support of many people, showing his superiority in subjective feelings and experiences.
Response well. There are foreshadowings in the front, which must be followed later; hiding the ink at the beginning and showing the openness at the end is the third characteristic of the structural arrangement of "The Drunkard's Pavilion". At the beginning of the article, it is written: "Who is named? The prefect calls himself." But the prefect said "who is named", he did not mention it for the time being, laying the groundwork and urging people to read. It is not until the end of the article that it is stated: "Who does the prefect call? Ouyang Xiuye ??of Luling." The effect of the beginning and the end is consistent. Another example is that "the music of the prefect" echoes the "joy of mountains and rivers". Music comes from mountains and rivers, so the music of the prefect has a basis. "Those who have pale faces and white hair, and are slumped in their midst, the prefect is drunk" refers to "the prefect and his guests come here to drink, and they often get drunk after drinking little, and they are the oldest." If he is old and indulges in the landscape, then the prefect is drunk. landing. Another example is "The sun sets over the mountains, and people's shadows are scattered." They leave one after another because it is late, which corresponds to the previous sentence "returning at dusk" and makes this sentence concrete. Paying attention to echoes and echoes everywhere will make the internal structure of the article clear and rigorous.
The language is excellent
The language of "The Drunken Old Man's Pavilion" is very distinctive, with a clear style, concise wording, and sonorous syllables. There is musical beauty.
First of all, the language of "The Drunkard's Pavilion" is highly summarized and rich in meaning. The most prominent thing is that the "drunkard's intention is not in wine" and "the truth comes to light" pioneered by the author in this article have been used by contemporary and later writers. For example, Su Shi wrote about the scene on the river at the turn of autumn and winter in the famous "Hou Chibi Fu" The scenery directly borrows the word "when everything comes to light".
And because the author's words are precise and the general content of the words is very broad, "the drunkard's intention is not in the wine" and "the truth comes to light" have evolved into idioms with strong stability and high standardization, exerting their extended meaning.
Secondly, the language of "The Drunkard's Pavilion" is concise, crystal clear and smooth. This is the result of the author being good at observing things and incisively capturing the essential characteristics of objects and refining them. For example, when writing about the difference in sceneries between morning and dusk, it can be summed up in just two sentences: "When the sun rises, the rain falls on the forest; when the clouds return, the cave becomes dark." Forests, rocks, morning air, and dusk mist are all common things in the mountains. When I write, I will cut off the scene and the situation. At the same time, "out" and "open" are associated, and "open" is the consequence of "out". "Gui" and "杝" are associated, and "gui" is the premise of "杝". The verbs are uncanny, causing each other to cause and effect, making the changing mountain scenery lifelike and imminent. Another example is when writing about the scenery of the four seasons. The author uniquely captures typical scenes with seasonal characteristics, using "fragrance" to describe spring, "complexity" to describe summer, "clean" to describe autumn, and "water" to describe winter, all of which are emotional. , precise ironing. Another example is "The trees are shaded and their voices are singing up and down." The first sentence describes the color, and the second sentence conveys the sound, both sound and color. The twilight scene is fully expressed in just eight characters. Just like "there is a pavilion with wings", with just one metaphor, the shape and style of the pavilion can be drawn like a bird spreading its wings, ready to fly in the sky. Filter out the moisture in the words and condense the capacity of the language so that a few words can understand a hundred meanings. One word is enough to speak thousands of words, reaching the level of exquisite craftsmanship.
Once again, the language of "The Drunkard's Pavilion" is melodious and sonorous. The whole text almost ends with "ye" at the end of the sentence, and it is consistent throughout the text. There is no redundancy, but it is clever and wonderful, with the charm of singing and sighing. Although it is prose, it borrows the language expression form of poetry. There is integrity in the prose, and it is varied and changeable. He arranged a lot of couplets to make the sentence structure neat and stable.
Although the author was influenced by parallel prose, he did not eat it without converting it, but created something, melted it into the bottom of the pen, and became natural. No pretense, no pretense.