What is the beauty of the famous saying "There are no birds in a hundred mountains, and there are no footprints in a thousand paths"? What emotions did the poet express?

The beauty of the famous sentence "There are no birds in a hundred mountains, and there are no footprints in a thousand paths" lies in that it outlines a picture with a few strokes and expresses the poet's spiritual sustenance like a fisherman.

original text

Xue Jiang

Liu Zongyuan? Tang dynasty

There are no birds flying over those mountains, and there are no traces of people in those paths.

A boat on the river, a fisherman wearing his webworm moth; Fishing alone is not afraid of snow and ice.

translate

On all the mountains, birds are gone, and on all the roads, there are no traces of people.

On a lonely boat on the river, an old man in a hat was fishing alone in the snow.

To annotate ...

Absolutely: no, no.

Wan Jing: Virtual refers to thousands of ways.

Footprints of people.

Loneliness: loneliness.

Basket: Bi Yi, Dai Li: Bamboo hat.

One person: One person.

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The landscape poems written by Liu Zongyuan have a remarkable feature, that is, the objective realm is relatively quiet, while the poet's subjective state of mind is relatively lonely, sometimes even too lonely, too cold and cheerless, without any human fireworks. This song "Jiang Xue" is like this. The poet painted a quiet and cold picture in only 20 words: on the snowy river, a boat and an old fisherman were fishing alone on the cold river.

What the poet shows his readers is this: the world is so pure and silent, spotless and silent; The fisherman's life is so noble, and his character is so aloof. In fact, this is an imaginary realm created by Liu Zongyuan because he hated the declining society of the Tang Dynasty at that time. Compared with the characters in Tao Yuanming's Peach Blossom Garden, I'm afraid they are still illusory and far away from the world. What the poet wants to describe in detail is very simple, but it is just a boat, an old fisherman wearing hemp fiber and Li hat, fishing on the snowy river, and that's all. However, in order to highlight the main description object, the poet did not hesitate to use half of the space to describe its background, and made the background as broad as possible, almost to an infinite extent. The wider the background, the more prominent the main description object.

First of all, the poet used the words "Qianshan" and "Wanjing" to set off the following two pictures of "boating alone" and "fishing alone". Without the words "thousand" and "ten thousand", the words "loneliness" and "independence" at the back will appear bland and uninspiring. Secondly, birds flying on the mountain and people walking on the road are very common things and the most general image. But the poet put them under the "Qianshan" and "Wanjing" and added the word "absolutely" and "extinct", which suddenly turned the most common and summarized dynamic into extreme silence and absolute silence, forming an unusual scene. So the following two sentences used to be static descriptions. Because they are exquisite, lively and active in this absolutely silent background. It can also be said that the first two sentences were originally a foil. According to the general understanding, it is enough to outline the outline, and there is no need to make great efforts to carve it. However, poets just don't handle it this way. It's like making a movie. How many close-ups are used to explain and reflect every corner of the background? The more specific and detailed you write, the more exaggerated you are. The last two sentences, originally the object of the poet's intentional description, turned into a long-distance lens, which was reduced many times, giving readers an ethereal feeling, visible and intangible. Only by writing in this way can we express the lofty and detached thoughts and feelings that the author is eager to show to readers. As for the formation of this sense of remoteness, it is mainly the effect that the author adds a word "snow" at the end of the whole poem, which is connected with the word "Jiang".

The word "snow" covers the whole poem. "Qian Shan" and "Wanjing" are all snow, which makes "birds fly away" and "people disappear". Even the awning and fisherman's hat are covered with snow. But the author did not explicitly associate these scenes with "snow". On the contrary, in this painting, there is only Jiang and only Rulu. Of course, the river will not store snow, and it will not be covered by snow. Even if it falls into the river, it will immediately become water. However, the author only used the word "cold river snow" to connect the two farthest images, giving people a vague, distant and narrow feeling and forming a long-distance lens. This makes the main object described in the poem more concentrated, dexterous and prominent. Because even the river seems to be covered with snow, even the places where there is no snow are covered with snow, which completely describes the dense and thick snow and completely sets off the atmosphere of water and sky. As for the word "cold" used above, it is of course to point out the climate; But the poet's subjective intention is to write the fisherman's spiritual world quietly. Imagine, in such a cold and quiet environment, the old fisherman is not afraid of the cold and the snow, forgetting everything and devoting himself to fishing. Although his body is lonely, his personality is lofty and aloof, even a little awe-inspiring.

This illuminated and beautified image of the fisherman is actually the sustenance and portrayal of Liu Zongyuan's own thoughts and feelings. It can be seen that the word "Hanjiangxue" is the "finishing touch", which organically links the front and back parts of the whole poem, not only forming a concise and general picture, but also shaping a complete and prominent image of the fisherman. Describe the background in a concrete and meticulous way, and depict the subject image in a long-distance picture; Fine and extremely exaggerated generalizations are intricately unified in a poem, which is the unique artistic feature of this landscape poem.

Creation background

This poem was written during Liu Zongyuan's exile in Yongzhou (AD 805-8 15). During Yongzhen Yuan's reign (805), Liu Zongyuan took part in Yongzhen Innovation Movement initiated by Wang Group, and soon the reform failed. Liu Zongyuan was demoted to Yongzhou Sima and exiled for ten years. The oppression of the sinister environment did not crush him. He expresses the value and ideal interest of life through poetry.

Brief introduction of the author

Liu Zongyuan (773-8 19), a native of Hedong (now Yuncheng, Shanxi) in the Tang Dynasty, was an outstanding poet, philosopher, Confucian scholar and even an outstanding politician, and was one of the eight masters in the Tang and Song Dynasties. His famous works include more than 600 pieces, including Eight Chapters of Yongzhou, which were compiled into 30 volumes by later generations and named "Liuhe East Collection". Because he was from Hedong, he was called Liu Liuzhou, and because he was finally appointed as the secretariat of Liuzhou. Liu Zongyuan was born in the Liu family in Hedong, and was called "Liu Liu" with Liu Yuxi, "Liu Han" with Han Yu, and "Wang Meng" with Wang Wei, Meng Haoran and Wei. Liu Zongyuan left more than 600 poems in his life, and his achievements in writing were greater than poems. Nearly a hundred parallel essays, argumentative essays, sharp and ironic.