There are two small flaws in Wang Wei's poems after the rain. Have you noticed them?

Someone asked: From the content, what is the poem "Autumn Night in the Mountain"? Why was it criticized by Wang Ruanting?

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Wang Wei is the most famous pastoral poet in the prosperous Tang Dynasty, and Autumn Night in a Mountain Residence is one of his representative works. Su Shi once praised Wang Wei's poems for their pictures and poems, but why did Wang Ruanting criticize them? First of all, let's enjoy this poem:

The empty mountains are bathed in a new rain, and feel the early autumn at night. The bright moon shed clear light from the cracks and cleared the fountain on the rocks. The bamboo forest is sonorous, the washerwoman returns, and the lotus leaves are swaying to get on the canoe. Spring spring might as well give it a rest, and the autumn sun can stay on the hills for a long time.

Formally, this is a five-character poem; From the content, this is an idyllic poem.

? First, form is the standard five laws.

Friends who like metrical poems all know that five-character metrical poems should pay attention to four elements: levelness, rhyme, antithesis and adhesion. If there are flaws, it can't be said to be the standard five-character law.

Although in Tang Gaozong's time, metrical poems became a compulsory item in the imperial examination for Jinshi. However, there were still many metrical poems in the prosperous Tang Dynasty. For example, the first half of Cui Hao's Yellow Crane Tower is an ancient poem, while Li Bai's Overnight in Niuzhu is completely irrelevant, and On Climbing Nanjing to the Phoenix Terrace is also incoherent.

However, Wang Wei's Autumn Night in the Deep Mountains has no flaws, and even awkward sentences are not used. The first sentence doesn't rhyme, but 2, 4, 6 and 8 rhyme. The antithesis of couplets in the middle is also very neat:

Moonlight in its groves of pine, Qingquan Stone Flow. Bamboo shouts-return-happy girl, lotus moves-falls-fishing boat.

In addition, it is rare that Wang Wei also pays great attention to the changes in the syntactic structure of Zhonglian: the couplet is 22 1 and the neck couplet is 2 12.

But there is one thing to be avoided. The first two words of the first four sentences are nouns with the same structure: empty mountain, weather, bright moon and clear spring. This form is called sipingtou.

Four connected sentences, if the first two words have the same structure and part of speech, are called Siping tou. For example, the first six sentences of "Night in Heyuan" by Chen Shidao, a bachelor of Su's degree, are all guilty of this disease:

Drums are blaring, lights are on the market, and cars cover the fire. Huang Peng strives for victory, while thinking about forcing the people to be clear. Mei Liuchun is still superficial, and Guan Shanyue speaks for itself. When writing poetry, it will be miserable.

The first two words of the first six sentences are: drumming, riding, Huang Peng, Bian Si, Liu Mei and Guan Shan are all nouns, so Ji Xiaolan commented:

"The first six sentences are all flat tones, which is in the way."

However, Sipingtou is not a serious disease. In fact, it is quite common in Tang poetry. However, poetry is short in space and pays attention to change, so it is better to pay attention to it when creating poetry.

Second, look at an autumn night in the mountains from the content.

From the content, Autumn Night in a Mountain Residence is a standard pastoral poem. Have vision, hearing, association and lyricism.

1, an empty mountain after the rain, standing in the autumn evening.

The first couplet broke the title, and after the rain, the empty mountain wrote the mountain residence; Stand on an autumn night and make it clear.

2. Moonlight in the pine forest and crystal stone in the stream.

Zhuan Xu made a sentence and then wrote Autumn Flood: Moonlight in Pine Woods. The crystal stone is in its stream, and the first sentence takes care of mountains and rain. And the word "empty" was written in these two sentences.

Zhuan Xu drew a picture for readers, which was very vivid.

3. The bamboo whispers that the laundry girl returns, and the lotus leaves bend in front of the fishing boat.

From "emptiness" to existence, from static rotation. It can be seen that Wang Wei's mountain residence is not an out-of-touch place.

The neckline has hearing, "the bamboo is noisy and the lotus is moving." Is it intuitive to go fishing back to the girl? Listening? Or the poet's guess? Let readers associate.

It's getting late in the mountains, and the return of Huannv can be solved. I wonder who gets off the fishing boat at night. Do fishermen want to go fishing at night? Or a poet friend going boating? Wang Wei's poems present a free and happy life.

4. My friend's prince, what does it matter if spring is over and you are still here? .

The allusions of Huainan Mountain in Chu Ci were reversed by the tail couplet;

When Wang comes back, he won't stay in the mountains for long!

You said you couldn't stay, but I have such wonderful scenery here, of course I can stay. Wang Sun is me. He can be anyone who loves life.

Third, the composition and content

The first six sentences of this poem are all about scenery, and the last two are lyrical, expressing the desire to get tired of officialdom and retire to the mountains. Huang Sheng's Three Hundred Tang Poems in Qing Dynasty commented on this composition like this:

Look at the meaning of the caudal joint.

Li Shangyin's Tears is very representative of the first six poems describing scenery or narration, with lyrical opinions at the end:

Yongxiang resented for many years, leaving his feelings behind and thinking about the storm all day. There are infinite marks on the bamboo in Xiangjiang River, which are sprinkled in front of the first monument. People went to Qiu Zi to enter the fort, and soldiers heard songs at night. Chao Lai Ba Shui Qiao asked that the jade green robe had not arrived.

Yongxiang, Historical Records: "Yongxiang's prisoner is Mrs. Qi"; Bamboo marks on Xiangjiang River, according to legend: "Shunnan patrolled and buried Cangwu, Yao's two women, tears stained with bamboo, and the text was marked with spots"; Xian's first monument, The Book of Jin: "When Yang Hucheng died, the people erected a monument in Xian Mountain. Those who look at their monuments will cry "; People go to Zitai to tell the story of Wang Zhaojun. Xiang Yu's story was heard at night in Zhang Chu.

The first six sentences are all insinuations of tears. There are seven or eight sentences in this poem that are cross sentences, and the eighth sentence is in reverse order. It is also "see the end of the couplet."

Friends who like to write poems can experience the composition of these two poems.

However, for this poem by Wang Wei, the Qing Dynasty poet Wang Ruanting raised a little objection in the Notes on Samadha in Tang Xian:

There are too many scenes to write, which are not the best.

Wang Ruanting, formerly known as Wang Shizhen and Wang Shizhen, was named Ruanting, also known as Yuyang Mountain. He thinks that this poem of Wang Wei is not his best work because it has too many scenes.

Shen Deqian, another famous scholar in Qing Dynasty, also thought:

China's second couplet is not suitable for simply writing about scenery. Shi Shuo Xi Yu

Generally speaking, in the middle of the five laws or seven laws, there are often two scenarios. If you write about scenery or lyric, it gives people the feeling of lack of change. For example, Du Fu's Eight Poems of Autumn Prosperity:

Yulu withered maple forest, Wushan Wuxia bleak. Between the river and the sky, the waves are rough and the clouds are covered with fog.

Cong Ju shed tears the other day. She was alone in the boat. Cold clothes push knives and rulers everywhere, and Baidicheng is anxious.

Scenery written by Zhuan Xu: The river and sky are choppy, and clouds cover the fog.

The scene of the neck couplet is affectionate: Cong Ju cries every other day, and the boat alone is the heart of hometown.

Concluding remarks

The most admirable thing about Wang Wei's Autumn Night in a Mountain is his unique skill in landscape writing, so Su Shi commented:

Taste rubbings with pictures in them; Look at the picture. There are poems in it.

The Five-Seven Rhymes are two poetic styles that began to be standardized and reached its peak in the Tang Dynasty. Later generations often take the right path and learn rhyme from Du Fu. But later, poets became more and more particular, but they could pick out some "poetic diseases" in Tang poetry. Of course, even the poems of Li Bai and Du Fu will not be perfect in every capital.

What do you think of Yu Yangshan's point that "China couplets should not simply write about scenery" and the four nods in the first four sentences? Have you ever noticed when writing poetry?

As for the meaning of seclusion in the mountains and not wanting to be an official, it is a cliche of the ancients.

Laojie taste

Lu Yao know, Mary would have seen the heart. These two poems are not simple. The author turned out to be a poet and monk in the Song Dynasty.

Did Confucius scold him for sleeping during the day or drawing in the bedroom?