Why does Japan love the poem "a night-mooring near maple bridge" and it is written in Japanese textbooks? what do you think?

China and Japan, separated only by a strip of water, established cultural exchanges thousands of years ago. Although the communication between Qin and Han dynasties only existed in a few words on the yellow scroll, it was fortunate that there was a prosperous Tang Dynasty. The Tang Dynasty was the peak of Sino-Japanese exchanges, and in these exchanges, the introduction of Tang poetry undoubtedly became the most striking phenomenon.

Japanese writers are more or less nourished by China's ancient poems. Today, there are still many China poems selected from Japanese primary and secondary school textbooks, among which there are many famous poems, such as Li Bai, Du Fu and Bai Juyi. However, Zhang Ji, as an unknown scholar, is a household name among the Japanese with a a night-mooring near maple bridge that has been sung for thousands of years.

As early as the Qing Dynasty, Yu Yue recorded in the newly-built Hanshan Temple that "a son of three feet cannot be praised as a poem". This seems particularly inadequate. In the 1920s, Japan built a new Hanshan Temple in imitation of Suzhou Hanshan Temple, and the bell tower built according to the temple was called "Midnight Bell", so it was necessary to take this "bell" home. What was the charm of the midnight bell of Hanshan Temple in those days, which can still reverberate in the hearts of Japanese readers thousands of years later?

First, the emotional foundation of faint homesickness

The emotion in a night-mooring near maple bridge is not unique. It is still the most common homesickness in Tang poetry, and this kind of emotion can be seen everywhere in Tang poetry. People in China are homesick. In world literature, even only China people have so much nostalgia for their homeland. Japanese people attach importance to family and have a deep family concept, which may be the emotional basis for them to appreciate homesick Tang poetry. A night-mooring near maple bridge, written by Zhang Jiyong with a light pen, washed away the deep sadness and replaced it with shallow sadness. On the night of the full moon, one boat at a time, only the tossing and turning scholar is quietly on the river, disturbed by insomnia.

The frustration of life is mixed with homesickness, and everything is silent. Only the bell of Hanshan Temple comes, breaking the silence and breaking the emotional addiction. China's poems pay attention to "happiness without lewdness, sadness without injury". This subtle and beautiful homesickness seems to knock out Japanese readers' attachment to home and their sad experience of eternal silence like a silver bell. This homesickness is the emotional basis for this poem to be appreciated by Chinese and Japanese readers.

Second, the aesthetic tendency with a long aftertaste.

Matsuo Bashō, a famous Japanese haiku poet, has a well-known poem "Gu Chi": "The frog of Gu Chi leaps in and spreads in silence". The spread of this short haiku in China shows that Chinese and Japanese readers have a * * * connection in aesthetic inclination. This is also an ancient pool, and everything is silent. A frog jumped into the water. It used to be an eternal and lonely ancient pool, but now it is a frog entering the water. The clear voice hit the condensation point of the past and the future, leaving ripples and a more silent and empty ancient pool, just like the bell from Hanshan Temple, echoing a more troubled sleeping night.

It is a consistent aesthetic tradition of China's classical poetry to pay attention to the aftertaste of "words are not full of meaning". From Zhong Rong's theory of interest, Si Kongtu's theory of verve, Yan Yu's theory of Wu Miao, Wang Shizhen's theory of verve and Wang Guowei's theory of artistic conception, it has been an aesthetic tradition handed down by the whole nation for thousands of years and branded into the genes of national culture. In Japanese haiku, there is also the pursuit of "meaning beyond rhyme". In their poetic literary theory, they clearly put forward the aesthetic concept of "lingering sadness" and emphasized the echoes outside poetic language.

Perhaps it is this * * * aesthetic tendency that makes Zhang Ji, a little-known scholar, occupy an unshakable position in the history of Tang poetry, and also makes him occupy a place with Du Li and others in foreign textbooks.

Third, the image connotation of "Looking at the Moon and Thinking about the Distance"

The moon in China is really different from that of foreigners, because it is full of beautiful and sad thoughts. Since Li Bai wrote a short poem about temples with frosty moonlight and homesickness for the bright moon, it seems that watching the moon is no longer just about enjoying the scenery. In this poem, even if there is no moon, the poet should say "the moon falls" and "the frost is all over the sky" The advantage is that when reading this sentence, future generations can understand the poet's feelings by analyzing the connotation of images on the basis of aesthetic psychology.

The setting of the moon, the fishing fire in Jiangfeng, the quiet autumn night in the south of the Yangtze River, and the lonely boat passengers who have insomnia on the river constitute a landscape map of frustrated literati, and the midnight bell is bound to be the most important blank.

The reason why Japanese readers can appreciate the connection between images and emotions in China's poems is that it is not uncommon for such quiet images to be combined with sad emotions in Japanese poems. For example, Matsuo Bashō's "Clouds Like Smoke/Float One by One/Clear Moon Mountain", clouds like smoke, clear moon mountain, Matsuo Bashō's poems also convey a ray of sadness. The image connotation of * * is also one of the reasons why a night berth near Fengqiao can last for thousands of years.

Time goes by and the stars run. One thousand years have passed on that autumn night. The scholar would not have thought that a thousand years later, the poems he wrote on that sleepless night carried thoughts that crossed time and space. The bell of that night floated for thousands of years, echoing the emptiness of the cycle from generation to generation.