"Poetry on the Qin" was written by Su Shi. Through asking questions, the poet cleverly and vividly explained that it is the combination of the qin and the fingers that produces the exquisite sound of the qin. The following is the "Qin Poems" I brought to you, I hope it can help everyone!

"Qin Poems"

Song Dynasty: Su Shi

Ruoyan Qin There is the sound of a harp, why not let it play when you put it in a box?

If the sound of words is on your fingers, why not listen to it on your fingers?

Translation of "Poetry on the Qin"

Then if the sound comes from the fingers, why don’t people listen to it on the fingers?

"Poetry on the Qin" 》Note

If: if.

He: Why.

Even fingers can't do it. It also depends on people's thoughts, emotions and technical proficiency. It is not difficult to master the piano, and everyone has fingers. However, due to the great differences in people's thoughts, feelings and playing skills, whether the music played is pleasant or not is completely different. The poem uses two questions to make readers think. In fact, this is a complex aesthetic issue: the subjective and objective relationship that produces artistic beauty

Physical meaning

The sound quality of the sound is different from the material of the medium. The pitch is generally related to the size of the object, Thickness, thickness, length, and tightness are related. Big, thick, thick, long, and loose things vibrate slowly and have low frequency; conversely, the frequency is high. Loudness is related to the frequency of the vibration of the object.

Appreciation of "Qin Poetry"

Wei Yingwu of the Tang Dynasty wrote a poem "Listening to the sound of Jialing River water sent to the master": "Drilling the rock to release the rushing water is called the trace of the ancient god Yu. It is noisy at night in the mountain store, and it is uneasy to sleep alone. The nature of water Since the clouds are still, there is no sound in the stone. How can the two stir up and the thunder turns to the sky and the mountain is startled? The Taoism is old, and I have feelings for this thing." This writer's doubts and understanding of the relationship between water and stone are the same as Su Shi's. Finger. This is actually a profound philosophical question, because from the perspective of Buddhism, everything is caused by the combination of causes and conditions, and things only exist because of the connection between them. That is to say, the so-called "four majors", Volume 5 of "Golden Guangming Sutra of the Most Victorious King" says: "For example, the organs are changed by karma, and the earth, fire, water, and wind are formed into the body. Following the causes and conditions, different results will occur, and they will conflict with each other in one place. Harmful, like four poisonous snakes with one basket. "The Sutra of Perfect Enlightenment says: "Always think about this, I am in this body, the four elements are in harmony." The Shurangama Sutra once explained what "turbidity" is. For example, pure water has its original nature, that is, the relationship between dust and gray sand is blocked, and the two bodies are not consistent in nature. Some people in the world take the dust and throw it into pure water. The dust is blocked and the water is no longer clean. , looks bubbly, and is called turbidity. That is to say, "turbidity" is formed by the interaction between dust and clear water. Another paragraph of discussion is more clear: "For example, qin, harp, harp, and pipa, although they have wonderful sounds, if there are no wonderful fingers, they will not be able to produce them." Su Shi's poem is simply the visualization of this statement.

Literally, if the piano can make sounds on its own, then why does it lose the sound when you put it in a box? If the sound is made by your fingers, then why can't it be passed by? How can you hear the music directly with your ears close to your fingers?

Su Shi’s thinking in this poem is: How does the piano make sound? According to scientific evidence, in fact, the piano can play beautiful music. This is not only It requires the piano, but also relies on human fingers to play and strike the steel wire to produce vibrations. The simultaneous existence of human fingers and the piano is the material basis for the sound of the piano. Only when the two complement each other can beautiful music be played.

Because the thickness of the steel wire is different, when you press different keys, the mallet will hit the corresponding steel and make different sounds.

In terms of Zen theory, the poet uses the sound of the piano to explain Zen theory. By asking questions, the poet cleverly and vividly explained that it is the combination of the piano and the fingers that produces the exquisite sound of the piano. On the one hand, whether it is a simple piano or a simple finger, it is an objective existence, and its presence can produce the sound of the piano. This is "being"; but the piano and the finger are both inseparable. What produces beautiful music on its own is "nothing"; on the other hand, the exquisite sound of the piano is indeed emitted from the piano and the fingers. The sound of the piano is latent in the piano and the fingers. This is "have". Without any one of the piano and the fingers, the beautiful body of the piano cannot be produced. This is "nothing" again. It is this kind of "creating something out of nothing", "being comes from nothing", "the mutual creation of existence and non-existence", and "the combination of existence and non-existence" that produces the wonderful sound of the piano, thus revealing the combination of "being" and "nothing", "being" The universal truth that only the unity of "nothing" can generate all things. It should be noted that the sound of the piano is latent on the piano and needs to be plucked by the fingers, that is, it relies on the push of "something" to make the sound. However, just having fingers will not help. The "something" must rely on the "nothing", that is, the sound latent in the body of the piano. Make a sound. In short, the interdependence of existence and non-existence is the basis for the creation of all things.

The poem is very philosophical and full of Zen ideas.

Buddhism regards existence as non-being, life as destruction, and pursues the soundless formlessness that never arises or diminishes. The reality of music is nothingness, so music does not matter whether it is real or not. We must "harmonize the soundless music, and take contentment as harmony" and "reverse hearing." Self-nature, nature becomes the supreme way." Through inner feelings, one can achieve self-sufficiency and realize the Zen path. "Inscribed on Shen Junqin" denies the relationship between the qin and the finger and the sound of music. Its thoughts are consistent with the "Shrangyan Sutra": "Sound has no cessation, and sound has no birth. The two circles of birth and death are separated, and this is always true." Connected.

Introduction to the author of "Qin Shi"

Su Shi (1037-1101), a writer, calligrapher, painter and gourmet in the Northern Song Dynasty. His courtesy name is Zizhan and his nickname is Dongpo Jushi. Han nationality, Sichuan native, buried in Yingchang (now Jiaxian County, Pingdingshan City, Henan Province). He had a bumpy official career throughout his life, but he was knowledgeable and talented. He was excellent in poetry, calligraphy and painting. His writing is unbridled, clear and fluent. Together with Ouyang Xiu, he is called Ou Su, and he is one of the "Eight Great Masters of the Tang and Song Dynasties". His poetry is fresh and vigorous, good at using exaggeration and metaphor, and his artistic expression is unique. He is also called Su Huang together with Huang Tingjian; He started a bold and unrestrained school and had a huge influence on later generations. Together with Xin Qiji, he was called Su Xin. His calligraphy was good at running script and regular script. He was able to create his own ideas. His pen was rich and ups and downs, and he had an innocent taste. He was called Song Dynasty together with Huang Tingjian, Mi Fu and Cai Xiang. The four schools have the same painting studies and literature, advocate spiritual similarity in painting, and advocate "scholar painting". He is the author of "The Complete Works of Su Dongpo" and "Su Dongpo Yuefu".