Liu Yong
Southeast is the most beautiful city, the three Wu cities, Qiantang has been prosperous since ancient times. Smoked willow painted bridges, wind curtains and green curtains, there are hundreds of thousands of homes. Clouds and trees surround the dike and sand. Angry waves roll up frost and snow, and the sky is boundless. The city is lined with pearls, the households are full of luxury, and the luxury is high. There are many lakes and Qingjia. There are osmanthus seeds in three autumns and lotus flowers in ten miles. The Qiang pipe clears the sky, the watermelon song fills the night, and the old lotus babies play and fish. Thousands of horses and tall teeth. Get drunk, listen to flutes and drums, sing and enjoy the haze. There will be good scenery in the future, go back to Fengchi to praise it.
When people mention Liu Yong, they will have the image of a poet who "endures the fame and sings in a low voice" ("Crane Soaring to the Sky"), and they will think of " The lingering and pathos artistic style of "Willow Bank, Dawn Wind and Waning Moon" ("Yulin Bell"). In fact, a poet's experiences, feelings, and interests are multifaceted. He also wrote works such as "Song of Boiling the Sea" that reflect the sufferings of people's livelihood, and also left behind such a broad and magnificent masterpiece as "Looking at the Sea Tide". In "Looking at the Sea Tide", the author shows the prosperous and beautiful scenery of Hangzhou in the early Northern Song Dynasty. The picture is broad, wide open and close, straight up and down. His spirit and style are consistent with his numerous works that eulogize the emotions of separation and the nostalgia of the journey. , very different.
However, it may not be appropriate to equate "Looking at the Tide" with the ancient and bold works. Although there are famous lines in the poem such as "The raging waves roll up the frost and snow, and the sky is boundless", but in terms of the whole article, what stands out is not the momentum of vertical and horizontal manipulation, but the meticulously painted strokes; not the ambition to look down on all generations and overlook all directions. But the joy of admiring the haze. It is like a long landscape scroll, which is not arbitrarily rendered with freehand brushwork, but carefully outlined with meticulous brushwork. This has nothing to do with the subject matter, but it is also dictated by the spirit of the times. "The culture of the Chinese nation has evolved over thousands of years and reached its peak in the Zhao and Song Dynasties." (Chen Yinke said) But the peak was also the beginning of decline. During the Song Dynasty, China's feudal society passed the peak of its glory and began to decline. Correspondingly, the spiritual life of scholar-bureaucrats increasingly departed from the grand style of the Han and Tang Dynasties in the past and shifted to the "heaven and earth in a pot", and they were leisurely and contented. Ouyang Xiu pointed out in "Sixty-One Poetry Talks": "In the later years of the Tang Dynasty, poets no longer had the bold style of Li and Du, but they still strived to be more refined and higher-minded." The same was true for the two Song Dynasties. Although each poet's situation is different, in general, elegance, elegance, ease and ease are the mainstream and common characteristics of Song Dynasty poetry. It reflects the literati at that time who were committed to perfecting (rather than developing) culture. effort. In "Looking at the Sea", Liu Yong faced a wide range of subjects, but still focused on the pursuit of elegance. It is this spirit and style of the times that drives and embodies it. Starting from this overall understanding, let’s take a look at how Liu Yong “strives to be high with essence and spirit” in this poem.
"Looking at the Sea Tide", with only 107 words in total, not only lays out the prosperity of the Hangzhou city, but also describes the "peaceful atmosphere and all the music" (Chen Zhensun's "Zhi Zhai") "Book Record and Answers to Problems"); and also depicts the beauty of the West Lake scenery, making the mountains and waters look as if they are in the present.
The last column rewrites the prosperity scene. "The southeast is beautiful, the three Wu cities, Qiantang has been prosperous since ancient times." The opening three sentences overlook the southeast, survey the past and present, and give a general praise to Hangzhou from both time and space. The words are sonorous and full of charm. The four words "shaped victory" and "prosperity" further highlight the theme of the whole poem. The following is a three-level description from the city to the suburbs. "Smoke and willow painted bridges, wind curtains and green curtains, and hundreds of thousands of homes", this is a panoramic view of Hangzhou. Willows are like smoke, bridges are like paintings, and smoke-willow painted bridges point out the characteristics of Hangzhou's many willows and many bridges, forming a very poetic picture. The "Wind Curtain and Green Curtain" points out the exquisiteness of the residences from the appearance, while the "hundreds of thousands of homes" express the prosperity of the city. These three sentences describe scenery, city appearance, and city scale. Each sentence is realistic and full of image. "Clouds and trees surround the embankment and sand. Raging waves roll up frost and snow, and the sky is boundless." This is a picture of Qianjiang's autumn scenery. Yun Shu means there are many trees and they are as dense as clouds. Disha refers to the Qiantang River bank protection embankment. Dense trees surround the winding long embankment and stretch into the distance. The word "Rou" brings the originally static trees and embankment to life. It is similar to Wang Anshi's "A water protects the fields and surrounds them with green". Qianjiang Autumn Tide is famous for its turbulent waves. The author uses the word "anger" to describe the raging force of the tide, and uses the word "juan" to highlight the power of the huge waves. Each word is vivid and thrilling. The green embankments and raging tides, silent and moving, make the Qianjiang River's scenery seem present. "The city is lined with pearls and pearls, the households are full of Luoqi, and the rich and luxurious compete for it." This is a description of the prosperity of the city. The author does not choose scenes such as busy traffic, but seizes the precious items of Zhuji and Luoqi, and writes from "City List" to "Households are full" more effectively highlights the affluence of Hangzhou and the extravagant and extravagant life of the rich.
The poem mainly writes about the scenery of the West Lake, which is vivid and vivid, making people feel like they are in a painting. "It is difficult to paint and write poems in ancient and modern times." The author first starts with "Crossing Lakes and Qingjia" to outline the beauty of lakes and mountains. "Chonghu" refers to Lixi Lake and Waixi Lake separated by Baidi, and "Dieqi" refers to the mountains surrounding the lake. "Chonghu" is used together with "Dieqi" and ends with the word "Qingjia". It vividly demonstrates the freshness and beauty of the West Lake and the mountains. Then the author describes the scenery of the four seasons of the West Lake and the scenes on the lake. The lotus reflecting the sun and the fragrance of osmanthus are all typical scenes of the West Lake. The author begins with "There are three autumn osmanthus and ten miles of lotus." The scenery of lakes and mountains is further rendered.
These two sentences, one describes the autumn colors, the other describes the summer scenery; one describes the lake, the other describes the mountains; "Three Autumn" describes the long fragrance of osmanthus, and "Shili" describes the many lotus flowers. There is not much ink, but the meaning is rich. The few eight characters make the four sides of the West Lake beautiful. The scenery of the time vividly appeared on the paper, and it became a famous saying that was spread far and wide and recited through the ages. It is said that "when the gold master Liang heard the song, he was delighted to admire 'three autumns of osmanthus and ten miles of lotus flowers', so he decided to throw a whip to cross the river" (Luo Dajing, "Helin Jade Dew"). Poets of later generations also often borrowed, renovated and wrote new chapters. For example, Chen Dewu in the Southern Song Dynasty had the words "Lotus are ten miles away, osmanthus in three autumns, and the mountains are clear and green" ("Water Dragon Ode·West Lake Nostalgia"); Xie Yi's "Who sang the Hangzhou tune? Lotus" "Ten miles of laurels and three autumns" ("Chronicles"). "Qiang pipes clear the sky, water chestnuts sing throughout the night, and old lotus girls play and fish for lotuses." This is a description of the dynamic scenery on the lake: the sound of Qiang pipes on a clear day, water chestnuts singing leisurely at night, and old men fishing and lotus picking girls laughing. The author uses neat contrasting sentences and concise writing style to depict the joyful scenes on the lake during day, night, cloudy and clear days. It echoes the static landscape of the previous sentence "There are three autumn osmanthus and ten miles of lotus". It is full of color and sound, and highlights the alluring charm of the West Lake, which is dizzying for the eyes and ears.
This poem was written by Liu Yong for Sun Mian when he was a deputy privy envoy to Hangzhou, in order to extend his reputation. The following five sentences of "Thousands of Horses and High Teeth" are not only the original intention of writing, but also a summary of the whole article. "Gao Ya" is the banner in front of the army, here it refers to Sun Miao. "Listening to flutes and drums while drunk, chanting and appreciating the haze" not only outlines the elegance of a graceful and elegant official, but also echoes the above-mentioned beautiful scenery. It may be regarded as an integral part of the scenery on the lake - the picturesque West Lake. It will enhance people's aesthetic taste. "Fengchi" means Phoenix Pool, which refers to the imperial court. "There will be beautiful scenery in the future, and I will go back to Fengchi to praise it." This is not only an excuse to praise the landscape of the West Lake, but also implies that Sun Mian will return to the court soon. Although these five sentences have some admiration for Sun Mian, they are not explicit, and their mood and content are integrated with the whole chapter. This shows the author's extraordinary skill.
Overview of the whole poem, the layers are well-organized, opening and closing freely, and the narrative is descriptive but not stagnant; the materials are typical, the words and sentences are carefully chosen, and the poem is general and vivid. It uses expressive writing, neat dialogues, and beautiful melody to form a beautiful picture. As the saying goes, "it's important to be as good as the essence."
Sun He (who must be Sun Miao) commanded Qiantang, and Liu Qiqing wrote the poem "Looking at the Sea Tide" as a gift to him. This word spread widely, and when the gold master Liang heard the song, he was delighted to admire the osmanthus seeds and lotus flowers in Sanqiu, so he decided to throw a whip to cross the river. Recently, Xie Chuhou's poem said: "Who sings the music of Hangzhou, and the lotus flowers are ten miles away, and the osmanthus is three autumns. Who knows that the flowers and trees are heartless, and they affect the sorrow of the Yangtze River thousands of miles away." I said that although this word affects the sorrow of the Yangtze River, he is the go-between for the gold master to send him to his death. It's enough to hate. As for the fragrance of lotus and osmanthus, which embellishes the beauty of lakes and mountains and makes the scholar-bureaucrats indulge in singing, dancing and playing games, forgetting about the Central Plains, this is deeply detestable. Because and his poem says: "Killing Hu Kuai Jian is a sign of peace, and autumn is still in Niuzhu. But I hate that the lotus leaves the jade chariot, and I forget the mist of willows and the sorrow of Bian Palace."
" (Volume 1 of "Helin Jade Dew" by Luo Dajing)