Appreciation of Wang Anshi's Ci "Guizhixiang"

Gui Zhi Xiang Jin Mausoleum Nostalgia is the work of Wang Anshi, a writer in the Song Dynasty. By praising the scenery of Jinling (now Nanjing, Jiangsu Province) and regretting the rise and fall of history, this word entrusted the author with his concern about the current politics at that time and the current politics of the country. Shang Kan wrote his views on landing in Jinling's old capital. Chengjiang, Cuifeng, Sailing, Sunset, Wine Flag, West Wind, Cloudy Pale and Heron Ascending outline the majestic scene of water, land and air in turn, and the realm is desolate. I wrote down my thoughts in Jinling. The word "Peng" makes a turning point, comparing the past and the present, criss-crossing time and space, and the reality and reality coexist, expressing the deep depression and heavy sigh of history and reality. The whole poem is a masterpiece with a blend of scenes, a broad realm, a gloomy and tragic style, and a harmonious combination of magnificent scenery and historical content. The following is an appreciation of Wang Anshi's poems in Guizhixiang. Welcome to reading.

original text

Guizhixiang Jinling Nostalgia (1)

I lost my sight when boarding the plane, so it was late autumn and early weather in my country. A thousand miles into a river is like practicing [5], and Qingfeng is like a cluster [6]. Sail back to the sunset, the west wind is behind you, and the wine flag is tilted. The colorful boat is cloudy, and the Milky Way heron rises, which is difficult to draw.

Miss the past, compete with each other, sigh at the building outside the door, and continue with sadness and hatred. Throughout the ages, we will share this honor and disgrace. The past of the Six Dynasties flows with the water [16], with cold smoke fading and green grass. Today, businesswoman ⒄ still sings from time to time and leaves her music in ⒅'s backyard.

To annotate ...

(1) Guizhi: epigraph name, also known as "relaxing the curtain and lightening the moon", was first seen in Wang Anshi's works. Jinling: Nanjing, Jiangsu Province today.

Climb the mountain near the water and overlook it. Eye contact: look far, look far.

(3) Old country: Old capital, old capital. Jinling is the old capital of the Six Dynasties, so it is called the old country.

(4) Chusu: The weather in Xiao Su has just begun. Su described the vegetation as withered, shrinking and cold, and the weather was as cold as usual.

5. A thousand miles into a river is like training: describe the Yangtze River as a long white silk. From Xie Tiao's "Going to Sanshan to Wangjing in the evening": "Yu Xia is scattered into Qi, and Chengjiang is quiet as practice." Chengjiang, the clear Yangtze River. Practice, Beth.

[6] Like a cluster: here, the peaks of the cluster seem to gather together. Cluster, cluster.

(7) Return to sail for zhào: coming and going ships. Boating tools, shaped like paddles, can also be extended to the boat.

(8) Oblique position: oblique insertion. Sit straight.

(9) Two sentences in "Colorful Boat": It refers to the painted boat walking in the fog, still in the clouds; Deng Hua reflects the water, the stars shine and egrets fly. These two sentences are translated into Qinhuai River, and the "colorful boat" is a boat that has been playing on the river for generations, which is different from the big boat on the river that "sails to the raft". It is also connected with the next "Shengshi", and it is appropriate to interpret Qinhuai River as a long river. Xinghe, Tianhe, here refers to Qinhuai River. Egret, egret, a kind of waterfowl. One refers to Bailuzhou (a small continent at the intersection of the Yangtze River and Qinhuai River).

⑽ drawing is difficult: it is also difficult to express it perfectly with pictures. Difficult: it is difficult to show it perfectly.

⑾ luxury struggle: (dignitaries in the Six Dynasties) strive to live a luxurious life. Competition: competing to emulate and chase.

⑿ The building outside the door refers to the tragedy of Chen's national subjugation in the Southern Dynasties. Out of Du Mu's Taicheng Qu: "Han Qinhu is outside the door and Zhang Lihua is at the head of the building." The founding general of Sui Dynasty led an army to attack Chen. He led his troops to the south gate of Zhuquemen, Jinling, where he was playing in the pavilion with his beloved concubine Zhang Lihua. And Zhang Lihua were captured by North Korea, and Chen died in the Sui Dynasty. Door, refers to the rosefinch door. Architecture refers to the Qi Jie Pavilion.

[13] Continuous sorrow: refers to the sorrow of the subjugation of the Six Dynasties.

[14] According to height: climb high. This means that the author climbs high and sees far.

⒂. Honor and disgrace: sigh the rise and fall of dynasties. Rong: Prosperity. Humiliation: extinction. This is the author's exclamation.

The phrase "Six Dynasties" means that the past of the Six Dynasties disappeared like running water, and now only cold smoke covers withered grass and condenses into a dark green, but the prosperity is gone. Six Dynasties: refers to the five dynasties of Wu, Eastern Jin, Southern Song, Qi, Liang and Chen. They all take Jinling as their capital.

Businesswoman: A singer in a restaurant or teahouse.

⒅ Legacy of the Back Garden: It refers to the song "Flowers in the Back Garden of Yushu" written by Chen Houzhu, with beautiful words, which later generations regard as the voice of national subjugation. The last three sentences are translated into Du Mu's poem Bo Qinhuai, "The merchant girl doesn't know the national subjugation and hate, but she still sings" backyard flowers "to cross the river".

Vernacular translation

I boarded the tower and looked from a distance. It was late autumn in Jinling, the capital city, and the weather had become cool. Thousands of miles into a river like white practice, Qingfeng stands in front like an arrow cluster. Sailboats shuttled back and forth in the sunset, the west wind rose, and oblique wine flags fluttered in the small streets. The original painting is like a light cloud floating, and the egret is like a milky way flying. It is difficult for Dan Qing's wonderful pen to describe this magnificent scenery.

Looking back, how magnificent Jinling, the ancient capital, was. Alas, in the attic outside the rosefinch gate, the monarchs of the Six Dynasties fell one after another. Since ancient times, many people have climbed here to reminisce about the past, and they are all sad for the honor and disgrace of past dynasties. The past of the Six Dynasties has faded away with the flowing water, leaving only cold smoke and bleak green grass. Today, business women still sing the legacy of backyard flowers from time to time.

Creation background

This word may have been written by Wang Anshi when he first learned about jiangning house. Wang Anshi was appointed as the magistrate of Jiangning for the first time in the fourth year of Song Yingzong Zhiping (1067). He wrote many works praising history and mourning the past. After nine years in Xining, Song Shenzong (1076), Wang Anshi was dismissed and went to jiangning house for the second time. This word is used as one of these two periods.

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As a reformer and thinker, Wang Anshi stands tall and sees 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.

Jinling was the ancient capital of the Six Dynasties. Since the capital was established here in the Three Kingdoms period, Eastern Jin, Song, Qi, Liang and Chen have successively established their capitals here. In the Zhao and Song Dynasties, the city was still crowded and brightly lit, showing a bustling atmosphere. Geographically, Jinling is called a magnificent place, where tigers live in the dragon's nest. River of no return, into the sea. Mountains, hills, rivers and lakes crisscross. Qinhuai River runs through the city like a jade belt, and Xuanwu Lake and Mochou Lake are like two pearls embedded in the left and right of the city. Wang Anshi wrote this political lyric poem, "The interest is empty", thinking that the country is still the same, personnel changes, and nostalgia for the past.

This word depicts the magnificent scenery of Jinling for the first time, turns to nostalgia for the second time, exposes the decadent life of the ruling class in the Six Dynasties, and gives a meaningful sigh for the rise and fall of the Six Dynasties. Climbing high and looking far, seeing things and expressing feelings are the ways used and liked by ancient literati in China. Liu Xie of the Southern Dynasties said: "The original purpose of climbing mountains is to cover things and make people interesting." (Wen Xin Diao Long Quan Fu). Ci begins with the word "seeing six ways", which opens up a lofty vision for Ci. "Old country in late autumn, weather in early autumn" points out the place and season. Because it is the old capital of the Six Dynasties, it is called "the old country". "Late autumn" is opposite to the next sentence "early autumn", and everything is dying, showing an atmosphere of "sad autumn". At this time, when you go to the temple building, you will be moved by things, and your words will have feelings, which will pave the way for the distant time described in the next movie. "A thousand miles into a river, like a practice, like a cluster of green peaks" and "a thousand miles" are the continuation of the first sentence "Climb high and look far and see clearly"-overlook a thousand miles; The panoramic scanning of "Chengjiang seems to be practicing, and Cuifeng seems to be clustered" has an open and lofty scene. "Chengjiang seems to be practicing" is different from Xie Tiao's poem "Chengjiang is as quiet as practicing". Compared with Cuifeng Cluster, not only the wording is rigorous and neat, but also the composition is so, the curve is stretched ("Chengjiang is like practice") and scattered points are spread ("Cuifeng is like cluster"). There is not only a flat development, but also a three-dimensional presentation, and a beautiful Jinling landscape is displayed in front of us. "Sailing towards the sunset and leaning against the west wind wine flag" is a concrete description of the scenery in the background. "Sunset" and "West Wind" point out that it is dusk, which has typical autumn scenery characteristics. "Wine Flag" and "Sailing" are journeys written in autumn dusk. People are in a hurry, and the picture is vividly written from pure natural activities to human activities. "Colorful boats are cloudy, herons rise to the Milky Way" is a big finishing touch. "Colorful Boat" and "Galaxy" are brightly colored; "The clouds are light and the wind is light" and "the heron rises" are dynamic and static. A mist hangs over the hull in the distance in the sky, and the egrets on the water have started up from the Milky Way, which not only vividly shows the whole picture of Qiu Jingtu in Jinling, but also further broadens the field of observation-in the vast space, with the sails drifting away, water and sky have merged into one, and it is impossible to tell where water and sky are. Compared with Wang Bo's Preface to Wang Teng-ting, "The sunset is lonely in Qi Fei, and the autumn water is * * * the sky is one color", their tolerance and vision are comparable. One is a parallel epigram that has been told through the ages, and the other is an unprecedented creation, which is exactly the same. As Lin Bu said in "Xiaoxiao Palace in Su Dong", "Autumn Mountain is boundless, Qiu Si is boundless", and what you see in front of you is too beautiful to describe, so you always praise "drawing is difficult" and end it.

I am nostalgic and lyrical. The phrase "think before and after" naturally transitions from what you see when you board the plane to what you think when you board the plane. Competition in the Prosperous Age covers the story of the rise and fall of the times, revealing that the prosperity of Jinling covers the life of indulging in money. Followed by a sigh, "sigh on the roof outside the door, sorrow and hatred continue", from the poem "Han Qinhu is outside the door, Zhang Lihua is on the roof" in Mututai's city song, which typically reproduces the sadness that Chen Houzhu turned a deaf ear to state affairs and was still having fun with his concubines in times of crisis. This is the artistic epitome of the tragedy of national subjugation, and the irony contains deep regret. "Mourning is greater than dying in the heart" means that the ruling class in the future did not take this as a lesson, spending money like water and indulging in debauchery, and the dynasties in the south of the Yangtze River fell one after another: they lamented one after another. The phrase "always look at the height" is a direct lyric, a memorial to historical sites, a recollection of the past, and an expression of dissatisfaction with the nostalgia of the previous generation. The phrase "the past of the Six Dynasties" is used in Gong Dou's "South Tour of Excitement". "I am sorry to ask about the past, but I can't see the river flowing backwards. At dusk, the east wind is all green, and the partridge flies to Yuewangtai, which means "cold smoke decays grass" to send melancholy feelings. After all, the past of the Six Dynasties passed away with the flowing water. Now, nothing can be seen except some bleak natural scenes. What's even sadder is that "today, business women still sing from time to time, and the songs in the backyard remain", which melts the poetry of "business women don't know how to hate death, but still sing flowers across the river in the backyard" in Bo Qinhuai by Du Mu. "Five Elements of Sui Shu" said: "In the early Ming Dynasty, my ancestors wrote new songs, and the words were very sad, which made the harem beauties learn to sing. In his words, he said,' The flowers in the back garden of Yushu will not bloom for long.' At that time, people thought that songs were prophetic, which was a sign that appeared soon. "Later," yushu backyard flower "became the voice of national subjugation. This sentence expresses the poet's deep affection: it is not the merchant women who forget the hatred of national subjugation, but the rulers who lead a drunken life and let the decadent voice of national subjugation fill the streets of Jinling.

At the same time, this word also has artistic achievements, which embodies the author's literary proposition of "washing old habits in five generations" The word is based on sound, but Wang Anshi said: "The ancient singers all spoke first, and then sounded, so they said,' Poetry expresses ambition, songs always speak, sounds always follow, and laws are harmonious'. Now it's' always listen to the voice', write the cavity first and then fill in the words. " (Zhao Lingzhi's Backstreet Record (Volume 7) is obviously not satisfied with taking words as a kind of music. This was heresy at that time, but it seems sharp and prescient today. 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. Looking at the fine print of Wan Yan Shu, he sighed, "Is this OK, Prime Minister?" (quoted from Wei Tai's Dong Xuanlu). So when he writes his own lyrics, he tries to avoid this disadvantage. His "Wash away the Old Habits of the Five Dynasties" (Liu Xizai's "Outline of Art", Volume IV) points out that all the way up laid the comprehensive stage of Su Shi's literati ci.

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 field of 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. The distant sails are like floating in the faint white clouds, and the flying egrets are like starting from the Milky Way. 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 and fresh realm 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." This meaning was also written by Du Mu in the Tang Dynasty. However, unlike Du Mu, the author does not blame the ignorance of business women, but refers to scolding, implying that geisha is still singing the voice of national subjugation, precisely because those in power indulge in debauchery and lead a drunken life. However, "bloom in the back garden of Yushu will not last long". If we don't change course and take measures to enrich Qiang Bing, it will be as sad as the Six Dynasties. This conclusion is tantamount to warning the authorities in the Northern Song Dynasty. Some people say that Zhang Wei's "Leaving the Pavilion" is the original of Wang Anshi's "Guizhixiang". From the perspective of language and syntax, Wang Ci was really influenced by Zhang Ci. Zhang Fang is just a negative sadness about the rise and fall of the Six Dynasties: "How many things happened in the Six Dynasties? 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. 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.

Famous comments

In the Song Dynasty, there were more than 13 poems written by Mr. Gui Zhixiang, among which Du was the most popular. Dongpo saw it and sighed, "This old man is a wild fox." (cited in the fourth volume of Linz Chronicle)

The etymology of Zhang Yan in Song Dynasty: Words are mainly based on meaning, or should copy the meaning of predecessors. For example, Dongpo's Mid-Autumn Water Tune (abbreviated), Wang's "Jinling Nostalgia Guizhixiang" (abbreviated), ... These figures are all empty and interesting, and it is not easy for people without pen power to get them.

Zhang Hui's speech in Ming Dynasty: Guizhixiang sent to the audience: the beauty of charm is beyond Qi Qing's reach.

Comments on Liang Qichao's "Drinking Ice Room" in Qing Dynasty: Gui Zhixiang delivered to the audience: Li Yian said that Fu Jie's articles were like the Western Han Dynasty, but if they were lyrics, people would never come. But this is a halal and elegant place, which should not be underestimated.

Modern Zhou's Dictionary of Appreciation of Tang and Song Ci: This word expresses the feelings of nostalgia people in Jinling, and it is an extraordinary masterpiece of the author. Wang Anshi's feelings of enjoying the natural scenery when he was frustrated and bored were fully revealed in his poems. The whole word comes straight to the point, the screenwriter, Jinling Resort, the ancient capital of the Southern Dynasties, went to Linjiang Range Rover on a late autumn evening. Although he takes climbing high and looking far as the theme, he takes the late autumn in his hometown as his eyes. Words such as "Zheng", "Chu" and "Su" gradually awaken its theme. The following two sentences, borrowed from Xie Jia's famous sentence in the Six Dynasties, seem to have come out: "Explaining the Tao makes people forget Xie Xuanhui.". That is to say, an "elephant training" and an "elephant cluster" have sprung up. Then I wrote about the color of the river. Looking at it, countless sails and shadows crisscross the sparkling river waves in the sunset. Looking closely, I saw that the west wind was tight, and the green flag of the restaurant was raised high, because the wind was blowing. The sail is a broad scene, the wine flag is a fine scene, and the poet's meaning is guided by scenery and personnel. A word "back" and a word "foundation" are used brilliantly, and the scenery along the river is vividly written, as if it were alive. At this point, the scenery is rough, and the following has changed. The combination of "colorful boat" and "Xinghe" adds a touch of bright color. But the word beat has reached the rest of the film, so the pen is also here. It is quite common for everyone to praise it with the phrase "drawing is difficult". "Colorful boats are cloudy", and the river sky at sunset reads: "The Milky Way rises with herons", which looks like a continent in the evening. The next film is another pen and ink, lamenting the historical fact that all the Six Dynasties died in debauchery. What is written is sadness, resentment, honor and disgrace, which makes later generations lament; There is no trace of the past, only autumn grass is blue, which is shocking. The "building outside the door" is also concise and powerful with Du Mu's "Taicheng Qu". The ending of this poem is more wonderful. The poet wrote: Today, the Six Dynasties are far away, and their legacy is still audible. Allusions are used here "A strong woman in business doesn't know how to hate her country, but also sings" backyard flowers "across the river!" This famous sentence sung by Tang Xian Komori in "The Smoke Cage is full of sand and the night is near Qinhuai Restaurant" has been repeatedly used by the poet, full of endless feelings and lasting forever.

Brief introduction of the author

Wang Anshi (1021-1086) was a statesman and writer in the Northern Song Dynasty. The word Fu Jie, named Mid-Levels, is called Mid-Levels lay man. He was made Duke of Shu and later changed to Duke of Jing. The world also calls it "king". Linchuan was born in Fuzhou (now Jiangxi). Li Qing was a scholar in the second year (1042), and successively served as judge of Huainan, magistrate of Yinxian County, judge of Zhou Shu, magistrate of Changzhou, and governor of Jiangdong Prison. In the fourth year of Zhiping (1067), he studied in jiangning house and was called a bachelor of Hanlin. In the second year of Xining (1069), he was promoted to participate in politics. From the third year of Xining (1070), he served as a member of the same school twice to publicize the new law. After nine years in Xining (1076), he lived in seclusion and died in Zhongshan, posthumous title, Jiangning (now Nanjing, Jiangsu), also known as Wang Wengong. Its reform is characterized by modern changes, and Lenin praised it as "1 1 century China's great reformer". He has made great achievements in literature and is one of the "Eight Masters in Tang and Song Dynasties". His poems are good at reasoning and rhetoric, and make good use of allusions; Few words, high style. There are Wang Linchuan's Collection and Mr. Linchuan's Song.