The Law of Appreciation of Ancient Poetry

I know two ancient poems. One is Wang Anshi's "Jinling Nostalgia".

One is Su Shi's Nian Nu Jiao.

Gui Zhi Xiang Jin Mausoleum Nostalgia by Wang Anshi

This is the late autumn in the ancient country, and the weather is very early. Thousands of miles are like a river, like clusters of Qingfeng. Sailing towards the sunset, leaning against the west wind and leaning against the wine flag. It's hard to draw a picture when the boat is light and the heron rises to the Milky Way.

Miss the past, compete for prosperity, sigh outside the door, and continue to hate. Throughout the ages, depending on the level, share weal and woe. The past of the Six Dynasties flows with the water, cold smoke and green grass. Today, business women still sing from time to time, leaving a legacy in the backyard.

The first part of the word is mainly about scenery. The author climbed into the distance in a cool late autumn weather and saw the most distinctive scenery of Jinling: the Yangtze River is as clear as plain white satin, and the green peaks on both sides seem to be scrambling to gather; At sunset, the sails in the river come and go, and the flags of restaurants on the shore fly against the west wind. At first glance, all kinds of boats are hidden in the light clouds; A flock of egrets rose in the sky of the galactic continent. Such a magnificent scenery is really "difficult to draw"!

In the next sentence, the author turned to the theme of nostalgia. The word "nostalgia for the past" opens the contrast between time and space, pointing out that the rulers of the Six Dynasties competed to live a luxurious and dissolute life, so that, like Chen Houzhu, the enemy was already in Enemy at the Gates, and he was still having fun with a group of concubines (the meaning of "outside the building" was translated from Du Mu's Taicheng Qu: "Han Qinhu is outside the door, Zhang Lihua is in the building"). The last six monarchs were like merry-go-round. The author deeply laments: Throughout the ages, people have been climbing to mourn, but they all feel ups and downs in the air. The old story of the Six Dynasties, with the river that died in the East gone forever, left only a few wisps of cold smoke and a piece of green grass. Finally, the author points out that the lesson of national subjugation in the Six Dynasties has been forgotten by borrowing the poem "A businesswoman doesn't know how to hate national subjugation, but still sings the garden flowers across the river" in Bo Qinhuai by Du Mu. The three sentences at the end of this sentence profoundly satirize the present.

Wang Anshi was appointed as the magistrate of Jiangning at the beginning of Zongning (the governor is now Nanjing) and entered the center two years later. This word is used as a magistrate. As a great reformer and thinker, he stood tall and saw far. Through the understanding of the historical lessons of the Six Dynasties, this word expresses his dissatisfaction with the social reality of the Northern Song Dynasty and reveals his awareness of being prepared for danger in times of peace. At the same time, this word also has artistic achievements, which embodies the author's literary proposition of "washing old habits in five generations" Although there were some famous poets such as Yan Shu and Liu Yong in the Northern Song Dynasty, they did not break through the barrier of "Ci is a colorful subject" and their ci style was weak. Wang Anshi's whole poem has a broad artistic conception, and the magnificent scenery blends harmoniously with the historical content, forming its own style. Poems in past dynasties quoted ancient and modern times as saying, "Jinling remembers the past, and sent more than 30 people with cinnamon sticks, and Wang Nai sang a swan song." Although Wang Anshi wrote a few words in his life, this word can be sung through the ages.

First of all, the scenery of this poem is magnificent and the weather is vast, which fully shows the author's high foothold and broad mind. The first three sentences are generally written. In a few words, the season, place and weather are clearly explained, and the whole word is put in a perspective overlooking the fence. In a crisp autumn atmosphere, the momentum is extraordinary. The following "A thousand miles into a river is like a practice" describes water, and "Qingfeng is like a cluster" describes mountains, which describes the situation of mountains and rivers in Jinling as a whole and depicts a broad background for the whole poem. Navigation is a concrete description of the scenery under this background. On the river, countless sails are sailing in a hurry in the afterglow of the sunset. Compared with "Western jackdaw is somewhat west outside the sunset, and the water flows around the lonely village" (Qin Guan's Man Ting Fang), the former is vast and magnificent, while the latter is sad and has a different style. However, many jagged wine flags on both sides of the Yangtze River are floating in the wind. Compared with Du Mu's "Wine Flag Wind in Guo Shan in Water Village", the difference between bodybuilding and bodybuilding is obvious. As for "colorful boats are cloudy, herons rise to the Milky Way", just like the focal plane is further pushed away, with the sails drifting away, the poet's vision is also expanded, so that water and heaven can be integrated into one, and the myriad manners of the Yangtze River are written in a broader space. From a distance, the sails are like floating in the faint white clouds, and the flying egrets are like starting from the Milky Way.

After reading this, I can't help but think of Wang Bo's Preface to Wang Tengting: "The sunset is lonely in Qi Fei, and the autumn water is the same as the sky." One is eternal parallel prose, and the other is unprecedented ci creation, which is really the same.

The word scenery is mixed with reality, alternating with shades, interlaced with distance, combined with reality, and the shades are appropriate, which constitutes a wonderful landscape map of Jinling. Its broad, fresh realm, vigorous and magnificent style are incomparable to those works such as Small Garden Fragrant Path and Falling Moon.

Secondly, the idea is novel and far-sighted, which shows the insight of a sober politician. The comments made by Gui Zhixiang in his next films are by no means lamenting personal joys and sorrows, but reflecting his concern and anxiety about the future of the country and the nation. The first three sentences, "I miss the luxury struggle in the past, sigh on the roof outside the door, and complain constantly", were read by exposing the rulers of the Six Dynasties who built Jinling as their capital and took advantage of the beautiful mountains and rivers in the south of the Yangtze River to make a mistake. People who sigh are contemptuous of their tragedy after tragedy, which is both sad and hateful. The criticism of this sentence is that since ancient times, literati and poets have only lamented the rise and fall of dynasties in the face of Jinling mountains and rivers, failed to jump out of the small circle of honor and disgrace, and failed to stand at the proper height, so it is difficult to learn historical lessons from the successive collapse of the Six Dynasties. Now, the past of the Six Dynasties has gone with the flowing water, leaving only a few lifeless strands of hay shrouded in cold smoke. This song "Cold Smoke Rotting Grass Coagulating Green" clearly reveals the author's dissatisfaction with the failure to make great efforts to govern the country in the Northern Song Dynasty. The whole word focuses on the conclusion: "Today, business women still sing all the time, and the music stays in the backyard." The so-called "backyard heritage" is Chen Houzhu's colourful song "Flowers in the Back Garden of Yushu". In this sense, Du Mu, a man in the Tang Dynasty, also wrote: "Business women don't know how to hate their country, but they still sing backyard flowers across the river." However, unlike Du Mu, the author does not accuse business women of ignorance, but refers to scolding, suggesting that geisha are still singing the voice of national subjugation, precisely because those in power indulge in debauchery and lead a life of drunkenness. However, it will be as sad and hateful as the Six Dynasties if we don't change our ways and take measures to enrich Qiang Bing. This conclusion is tantamount to warning the authorities in the Northern Song Dynasty. Some people say that Li is the prototype of Wang Anshi's item. From the perspective of language and syntax, Wang Ci was really influenced by Zhang Ci. However, Zhang Sheng is only a kind of negative sadness about the rise and fall of the Six Dynasties: "What happened in the Six Dynasties is gossip. Looking at the floor, there is nothing to say when it is cold. " The ideological realm of these two words can hardly be mentioned in the same breath.

Third, the composition pays attention to the writing of prose, which is coherent and extremely similar. In the first sentence of the last movie, the word "seeing is wrong" enveloped the whole article, and an article was born. The second sentence "old country" points to Jinling, paving the way for the next discussion of homesickness. The following scenery is written from a general perspective, followed by close-up and prospect, and finally stopped at "painting difficulty", which not only summarizes the above scenery, but also naturally turns to the following discussion. This arrangement is very appropriate and natural. The following film opens a discussion: Jinling is so magnificent, but it is a historical witness to the successive demise of the Six Dynasties. The three sentences of "thinking about the past and thinking about the future" show the attitude towards the rise and fall of the Six Dynasties, and the two sentences of "leaning on the sky to shine through the ages" write the views on the works that have always paid tribute to Jinling. The following is to turn it into reality, and the sentence goes back to today. The head and tail are round, the structure is precise, and the layers are unfolded. There are scenes in the lyrics, such as Yan Shu's "Walking on the Sand": "A sad dream wakes up and the sunset shines deep in the courtyard", which is an inexplicable spring worry; There is a love complex, such as Liu Yong's "Wu Fengqi": "Clothes are getting wider and wider without regrets, and people are haggard for Iraq", which shows a single-minded and sincere love. Guizhixiang ends with a discussion, in which the author's views on major practical and political issues are entrusted. These characteristics of the text structure of Guizhixiang reflect that the development of Ci is characterized by prose after entering slow Ci.

Fourth, allusions are appropriate and natural. "A thousand miles into a river is like practicing" is a poem in Xie Tiao's "Going to Three Mountains at Night and Returning to Wangjing": "Yu Xia is scattered into beautiful scenery, and Chengjiang is as quiet as practicing." The Star River Herons Rise is based on a poem written by Li Bai when he boarded the Phoenix Terrace in Nanjing: "Three mountains and a half fall out of the sky, like this egret is divided into Dao Jiang". "Sighing on the roof outside the door, sorrow and hatred continue" is an allusion of the Sui Dynasty's destruction of the past: when Enemy at the Gates was in China, the heartless General Sui was still singing and dancing with his beloved concubine Zhang Lihua. Du Mu's "Taicheng Qu" once recited this matter: "Han Qinhu is outside the door and Zhang Lihua is at the top of the building." However, Wang Anshi skillfully only borrowed the word "building outside the door", saying that the army was under pressure and the building was decadent and shameless, which showed the collapse of the Six Dynasties very succinctly and vividly. The word "sorrow and hatred" summarizes the history of the Southern Dynasties. The end of the sentence is based on Du Mu's poem "Bo Qinhuai", but it is endowed with more profound and incisive ideological content. Before Wang Anshi, it was rare to use four allusions in one word.

Wang Anshi's "Guizhixiang" has great originality in artistic style, getting rid of the delicate and elegant style of ci, and "sweeping away the old habits of the Five Dynasties". In terms of interest and cognition, it is Jinling's farewell song of nostalgia, because it stands high and looks far, which symbolizes reality and deeply cherishes the future. No wonder Su Shi saw it and praised "this old man is a wild fox."

Su Dongpo's Niannujiao Chibi Nostalgia

The river of no return, a romantic figure with a long history. To the west of the old base, humanity is the Red Cliff in Zhou Lang. Rock clouds break, waves beat the shore, and thousands of piles of snow are rolled up. As picturesque as a mountain, how many heroes there are at one time!

Looking back on Zhou Yu's spring breeze era, young and beautiful Joe just married him, and he was full of heroic spirit. Feather fan nylon scarf, talking and laughing, lost in the smoke. Old country fugue, affectionate Ying Xiao Wo, early life in France and China. Things are like a dream, a bottle or a month.

This masterpiece, which is known as "the swan song of the ages", is the most widely circulated and influential work in Song Ci, and is also the most outstanding representative of bold and unconstrained Ci. In July of the fifth year of Yuanfeng (1082), Su Shi was exiled to Huangzhou and visited Chibi Collection outside Huang Feng. This word has a deafening effect on the ci world of the Northern Song Dynasty, which was once full of sentimental feelings.

The opening scene is lyrical, spanning Wan Li from ancient times to modern times, connecting the endless rivers with historical celebrities, and arranging an extremely broad and long time and space background. Not only let people see the surging river, but also let people see the outstanding spirit of romantic figures, which brings readers into historical meditation and arouses people's thinking about life. It is magnificent and the pen is as big as citron. Then use the word "old base" to point out that this is the legendary ancient red cliff battlefield, in order to express our feelings of cherishing the past. "Human nature is", and the writing is very measured. "Red Cliff in Zhou Lang" is not only a combination of words, but also a foreshadowing for Xiatan to remember Gong Jin. The next three sentences "shake" show the magnificent scenery of Chibi: the steep cliff rises high, the turbulent waves beat the riverbank violently, and the turbulent river rolls up thousands of turbulent snow waves. This vivid description from different angles, appealing to different feelings, swept away the mediocre and depressing atmosphere, immediately brought readers into a thrilling and dangerous realm, broadened their minds and inspired their spirit! Fan a few words, always tie up the top and lift the next piece. "Picturesque scenery" is a kind of exquisite and blurted praise, and it is a natural conclusion drawn by the author and readers from the magnificent picture of nature provided by the above art. The scenery around Chibi, where Zhou Lang is active, is full of sound and shape. With its breathtaking scenery, it symbolizes Zhou Yu's extraordinary spirit, exaggerates the atmosphere for the appearance of many heroes, and paves the way for the later writing and lyricism.

The first part focuses on the scenery, and the next part takes five sentences of "yao si" as the introduction, focusing on shaping the image of the young general Zhou Yu. On the basis of historical facts, the author selects materials that can express the personality of the characters, and vividly depicts the characters from several aspects through artistic concentration, refining and processing. According to historical records, in the third year of Jian 'an, Sun Ce of Soochow personally married Zhou Yu, who was 24 years old at that time, and awarded him the title of "Jianwei corps commander", and together with him captured Anhui City. Zhou Yu married Xiao Qiao when he won the battle of Wancheng, and it was ten years before he commanded the famous Battle of Red Cliffs. Here, ten years of events come together. Before writing "Battle of Red Cliffs", I suddenly inserted the life details of "Xiao Qiao's first marriage" to set off the protagonist with beauty, and saw Zhou Yu's handsome, young and promising, which was enviable enough; At the same time, it also reminds people that winning the war against Cao is the guarantee to seize Jiangdong and develop a victorious situation, otherwise it will inevitably lead to serious consequences, such as Du Mu's poem Red Cliff. This can make people realize the significance of this war. "Proud and heroic, feather fan with black silk scarf" is a description of Zhou Yu's elegant clothing and elegant demeanor from the portrait expression. Black silk scarf, black silk headscarf and "kudzu towel hair fan" are the common features of Confucian generals since the Three Kingdoms. Focusing on their appearance and costumes, Zhou Yu, as a commander-in-chief, is natural and calm in the face of the battle, which shows that he is confident of winning the war. "Laughing and laughing, vanishing in smoke" captures the characteristics of the war between fire and water and accurately summarizes the victory scene of the whole war. Only the word "grey" is used to describe Cao Jun's fiasco. The next three sentences, by paying tribute to Zhou Lang, are linked with the author himself, expressing the poet's frustration and unfulfilled ambition. "Affectionate Ying Xiao Wo, early birth to Fahua" is an inverted sentence, but it is actually "affectionate Ying Xiao Wo, early birth to Fahua". This sentence regrets the life experience, saying that life is short and impermanent, and deeply and painfully laments the wasted years. "A Dream on Earth" expresses the poet's infinite feelings about his bumpy life experience in a gloomy way. "A statue of the Yangtze River last month" is the end of the whole word, expressing emotion through wine, thinking about the past and the present, and feeling depressed. "Jump" means to spill wine on the ground.

This word is full of emotions from ancient times to the present, vigorous and desolate, majestic and lofty, which brings people into picturesque scenery and profound historical meditation, arouses readers' infinite feelings and thoughts on life, integrates scenery, personnel exclamation and philosophy, and gives people artistic power that shocks the soul.

———————— Here's another one for you.

Zhou Bangyan's "Xihe Jinling Nostalgia"

Zhou Bangyan's Xihe Jinling Nostalgia is a famous poem in Song Dynasty. This word comes from Jinling, the old capital of the Six Dynasties. Through the description of today's sad scenery, it expresses the feelings of historical changes and the rise and fall of dynasties, which has a profound sense of history and vicissitudes. The first piece of the word is about natural scenery, and it says, "Beautiful land, who remembers the great events of the Southern Dynasties?" The problem has always touched the whole body, pointing out that the object of chanting is Jinling, the old capital of the Southern Dynasties. According to this train of thought, the following may recall the prosperity of the past, but the author changed a pen and wrote the present scene of Jinling. Eight sentences, such as "Mountain Surrounding", select three scenes of mountains, water and trees for close-up, so that the whole film focuses on the description of natural scenery and shows the constancy of nature, thus secretly lining out the changes of historical personnel. The next poem is about human scenery, expressing historical changes with desolate historic sites. On this basis, it uses scenery to express feelings and show ups and downs of generosity. In the sentence of "leisure", the prosperity of the Six Dynasties has gone, leaving only the desolate old traces of the past, and half of the ancient camp was submerged in dense fog. "Late at night" two sentences, write Leng Yue boundless, timeless, more beautiful. A few words in "Wine Flag" show the changes of personnel by comparing different landscapes in ancient and modern times, as if describing the changes of the times and the rise and fall of dynasties. This poem uses the poems of Mochou Le written by Gu Yuefu, Stone Town written by Liu Yuxi and Wuyi Lane, and integrates the previous three poems. But it doesn't feel stiff, and there is no trace of axe chisel, reaching a mysterious realm of turbidity and no trace.