The second part of Su Shi's poem "Jiangchengzi? The first clearing of the rain in Phoenix Mountain" is divided into (five) levels to describe the music, which are (1) written from the general melody of the music: hence the name "Ai Zheng" ". 2. Write it from the emotion conveyed by the music: the old saying is "Bitterness contains emotion". 3. Write it from the perspective of the listener: "Who can listen to it" means that the music is sad and who can bear to listen to it. 4. Go one step further The sadness of the music is exaggerated, and the ignorant nature is also moved by it: the mist is restrained by it, and the clouds are colored by it. 5. To sum up, this sad music is like the goddess of Xiangshui pouring out her sorrow. . The lyrics are written here, pushing the sadness and movingness of the music to the highest peak step by step. It seems that such sad and moving music does not exist in the world, but can only come from the hands of gods like the goddess of Xiangshui. At the same time, "Yi Yue". "It's Xiang Ling" is a line that wraps up the music, and it also metaphors the beauty of the zither player being like Xiang Ling. "If you want to wait until the end of the music to ask for it, but no one can see it, the number of peaks is green." The words are endless but the meaning is endless.)

Original text:

"Jiangchengzi? It's clearing after rain in Phoenix Mountain"

Su Shi of the Song Dynasty

On the lake, he and Zhang Xian wrote the same poem, and they heard the zither being played.

It starts to clear up after rain in Phoenix Mountain, the water and wind are clear, and the sunset is bright. A hibiscus bloomed gracefully. A pair of egrets flew from nowhere, admiring Pingting if you wanted to.

Suddenly I heard mourning kites being played on the river. They were bitter and sentimental. Who should listen to them? The smoke gathers and the clouds gather, it is Xiang Ling as promised. I want to wait until the end of the song to ask for it, but no one can see it, and the peaks are green.

Note:

Lake: refers to West Lake in Hangzhou. Zhang Xian: a famous poet.

Phoenix Mountain: south of West Lake in Hangzhou.

Fuyu: Lotus.

Pingting: Beautiful posture, this refers to a beautiful woman.

Jiang Shang: Yuan Wen of the Song Dynasty quoted it as "Feast on the Banquet" in "Weng Mou Xian Commentary".

Xiang Ling: The goddess of Xiangshui. According to legend, she was originally the concubine of Shun. "Chu Ci·Nine Songs" contains "Mrs. Xiang".

I would like to wait for three sentences: I adapted the meaning of the sentence from the poem "Xiang Ling Drum and Seed" written by Qian Qi of the Tang Dynasty: "At the end of the song, no one can be seen, and there are several green peaks on the river."

Translation:

At the foot of Phoenix Mountain, it is clear after the rain, the clouds are clear, the wind is clear, and the sunset is bright. A lotus flower, although it has bloomed, is still beautiful and pure. A pair of egrets flew by somewhere, and they also came to admire the beauty of the kite player. Suddenly I heard the sad tune on the river, full of sorrow, who could bear to listen to it. The mist is restrained by it, and the clouds are faded by it. This song is like the goddess of Xiangshui playing the harp to express her sorrow. When the song ends, she has drifted away, and only the green mountain peaks are still standing quietly. By the lake, it seems that the sad music is still rippling in the mountains and waters.

Appreciation:

This word was written by Su Shi when he was appointed as the general magistrate of Hangzhou from the fifth year to the seventh year of Xining (1072), and Zhang Xian, a famous person who was over eighty years old at that time, (990-1078) Made while traveling to the West Lake. Alias ??of the work: I wrote the same poem as Zhang Xian on the lake, and heard about playing the zheng from time to time.

The author interestingly sticks to the title of "hearing the zither playing" and describes the beauty of the zither players and the moving music from many aspects. In the poem, the zither player is placed in the beautiful lakes and mountains, which are sunny after the rain and the sunset, so that the characters and the scenery complement each other, and the music and the mountains and rivers complement each other. In the description of the characters, the author uses metaphors and foil techniques.

The first three sentences describe the scenery of mountains and lakes, which are just background images of the characters. The two sentences "a hibiscus" follow immediately, which not only describe the lotus on the water surface, but also use the hibiscus out of the water as a metaphor for the beauty playing the kite, which has the artistic effect of pun. From a structural point of view, this scene is described on the surface, but in fact it turns to the description of the kite player. It can be said that it is seamless. According to "Mozhuang Manlu", the kite player is in her thirties, "elegant and graceful, and full of attitude." Here, the metaphor of "a flower blooming over Shang Yingying" is not only accurate, but also very interesting. Then, the egret seems to be admiring intentionally to highlight the beauty of the kite player. The two egrets in the poem actually refer to the situation of two guests staring blankly.

The next film focuses on music. It is written based on the overall melody of the music, so it is called "Ai Zheng". It is written based on the emotions conveyed by the music, so it is said that "bitter (very, extremely) contains emotions"; it is said "who can be sent to listen", which means that the music is sad, who Can bear to listen, is written from the perspective of the listener; here we further exaggerate the sadness of the music, saying that the ignorant nature is also moved by it: the mist is restrained by it, and the clouds are faded by it; finally, to sum up, this sadness The music is like the goddess of Xiangshui pouring out her sorrow. Xiang Ling is an allusion to Emperor E and Nvying.

The lyrics are written here, pushing the sadness and movingness of the music to the highest peak step by step. It seems that such sad and moving music does not belong to the world, but can only come from the hands of gods like the goddess of Xiangshui. At the same time, the phrase "according to the agreement is Xiang Ling" is a metaphor for the beauty of the kite player being like Xiang Ling. At the end of the poem, the sentence "according to the promise" is waiting to be written about the person, but it adopts a hard-to-get approach. Not only does it not describe the person from the front, but it writes that the person playing the kite has drifted away, and only the green mountain peaks are still standing quietly. By the lake, it seems that the sad music is still rippling in the mountains and waters. The two lines "when no one is there, one can count the green peaks" are taken from the poem "Provincial Examination of Xiangling Gusel" written by Qian Qi, a poet from the Tang Dynasty. "At the end of the song, when no one is there, one can count the green peaks on the river", it is so natural, appropriate and without revealing any trace. It not only has a moving image, but also implicitly inherits the sentence "Yi Yue is Xiang Ling" in structure, combining the upper and lower allusions. "Several peaks are green" echoes the beginning of the poem "It begins to clear after rain in Phoenix Mountain" describing the scene of rain passing through the green mountains, which can be said to be said forever.

About the author:

Su Shi (1037-1101) was a writer, calligrapher and painter in the Northern Song Dynasty. His courtesy name was Zizhan, his nickname was Dongpo Jushi, and he was a native of Meishan, Meizhou (now part of Sichuan). Su Xunzi. Jiayou Jinshi. During the reign of Emperor Shenzong, he served as Wai Lang, a member of the ancestral hall. Because he opposed Wang Anshi's new law, he sought a foreign position and served as general magistrate of Hangzhou, where he knew Mizhou, Xuzhou and Huzhou. Later, he was demoted to Huangzhou for writing poems that "slandered the imperial court". Zhezong was a bachelor of the Hanlin Academy at that time. He went to Hangzhou, Yingzhou, etc., and became the Minister of the Ministry of Rites. Later he was demoted to Huizhou and Danzhou. He died of illness in Changzhou the second year after returning to the north. In the Southern Song Dynasty, he was posthumously named Wenzhong. Together with his father and younger brother, they are collectively known as "Sansu". Politically, it belongs to the old party, but it also has demands for reforming bad governance. His writing was unbridled, clear and fluent, and he was one of the "Eight Great Masters of Tang and Song Dynasties". His poems are fresh and vigorous, good at using exaggerated metaphors, and have a unique style in artistic expression. A few poems can also reflect the sufferings of the people and accuse the rulers of their luxury and arrogance. The Ci is bold and unrestrained, which has a great influence on future generations. "Nian Nujiao·Chibi Nostalgia" and "Shui Diao Ge Tou·Bingchen Mid-Autumn Festival" are widely recited. He is good at running script and regular script, adopting the styles of Li Yong, Xu Hao, Yan Zhenqing and Yang Ning, and is able to create his own ideas. The writing style is plump and full of ups and downs, giving it an innocent and lively feel. Together with Cai Xiang, Huang Tingjian and Mi Fu, they are known as the "Four Families of the Song Dynasty". He is good at painting bamboo and is a scholar of literature. He also likes to paint dead wood and strange rocks. When discussing painting, he advocates "spiritual resemblance" and believes that "discussing painting is based on physical resemblance, seeing children as neighbors"; he speaks highly of the artistic attainments of "paintings within poems, poetry within paintings". Poems include "Seven Collections of Dongpo" and so on. Existing handwritings include "Essays and Posts in Appreciation to Civil Teachers", "Ji Dao Wen in Honor of Huang", "Ode to the Former Chibi", "Poems and Posts on Cold Food in Huangzhou", etc. His paintings include "Pictures of Dead Trees and Strange Rocks", "Pictures of Bamboos and Stones", etc.