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Tianjingsha·Autumn Thoughts

Yuanma Zhiyuan

Withered vines and old trees, crows dim, small bridges and flowing water, people's homes, west wind and thin horses on the ancient roads. The sun sets in the west, and the heartbroken people are at the end of the world!

Vernacular translation

Withered vines twine around the old trees, and crows returning to their nests at dusk are perched on the branches. Under the small bridge, the water is gurgling, and there are several families next to it. On the ancient and desolate road, the autumn wind was bleak, and a tired and thin horse carried the wanderer forward. The sun sets slowly to the west, and the extremely sad traveler is still wandering at the end of the world!

Creative background

Ma Zhiyuan was keen on fame when he was young, but due to the high-pressure national policies implemented by the Yuan rulers, he never succeeded. He lived a wandering life almost all his life, which made him depressed and embarrassed. So while wandering alone on his journey, he wrote the song "Tian Jing Sha·Autumn Thoughts".

"Tianjingsha·Autumn Thoughts" is a short poem composed by Ma Zhiyuan, a Yuan Dynasty composer. This song juxtaposes a variety of scenes to form a picture of an autumn suburban sunset, in which a wanderer riding a skinny horse appears on a desolate background. It reveals a sad mood and expresses the feeling of a wanderer wandering far away in the world. The sad and melancholy feeling of missing my hometown in autumn and being tired of wandering. The syntax of this Xiaoling is unique. The first three sentences are all composed of noun phrases. Nine kinds of scenery are listed in one sentence. The words are simple but full of meaning. The whole song has only five sentences and twenty-eight characters. The language is extremely concise but the capacity is huge. The meaning is far-reaching, the structure is exquisite, and the rhythm is coherent. It is praised by later generations as the "ancestor of Qiu Si".

Overall Appreciation

This Sanqu Xiaoling is very short, with only five sentences and 28 characters in one sentence. There is no word "Autumn" in the whole song, but it depicts a It is a desolate and moving picture of the sunset in the autumn suburbs, and it accurately conveys the miserable mood of the traveler. This successful composition, praised as the ancestor of Qiu Si, embodies the artistic characteristics of Chinese classical poetry in many aspects.

1. The scenery is used to convey feelings, and the feelings are embodied in the scenery. The blend of scenery and scenery forms a desolate and tragic artistic conception.

Chinese classical poetry pays great attention to the creation of artistic conception. Artistic conception is an important category in the aesthetics of Chinese classical poetry. Its essential characteristics are the blending of scenes and the unity of mind and matter. Whether emotion and scenery can be combined wonderfully becomes the key to forming an artistic conception. Wang Fuzhi of the Qing Dynasty said in "Jiang Zhai Poetry Talk": "Scenes are called two, but they are inseparable. The poet is divine in poetry, and the wonderful combination is boundless." Wang Guowei's "Removed Manuscripts of Human Words" said: "All scenery words are love words." The first four sentences of Ma Zhiyuan's poem are all about scenery. These scenery words are all love words. Words such as "withered", "old", "faint" and "thin" make the rich autumn colors contain an infinite desolate and tragic mood. The last sentence "The heartbroken man is at the end of the world" is the finishing touch of the song, making the scenery described in the first four sentences an environment for human activities and a trigger for the sad emotions in the heartbroken man at the end of the world. The scenery on the song is what Ma Zhiyuan saw during his journey, and it is what he sees. But at the same time, it is the carrier of emotions and the object in the heart. There is emotion in the scene in the whole song, scenery in the emotion, and the scenes are wonderfully combined, forming a moving artistic realm.

2. Use numerous dense images to express the author’s pain of traveling and sorrow of autumn, making the work full of rich poetic sentiment.

Image refers to the artistic image that appears in poetry to convey the author's emotions and embody the author's thoughts. Chinese classical poetry is often characterized by the use of complex and dense imagery. Many poets in ancient China often arranged numerous images closely in their poems to express their ideas. Ma Zhiyuan's song clearly reflects this feature. There are ten images arranged in the short twenty-eight characters. These images are not only the real environment of the heartbroken man's life, but also the carrier of the heavy sorrow and sadness in his heart. Without these images, the song would cease to exist.

Coexisting with the complexity of the image is the simplicity of its meaning. In the same work, the status of different images is relatively balanced, and there is no deliberately prominent individual. Their emotional directions tend to be consistent, that is, many images often convey the same emotional tone of the author at the same time. So is this song. In order to express his melancholy and sentimental feelings, the author chooses many objects to put into the poem. These objects can convey the author's inner emotions. The combination of emotion and scenery makes the emotional direction of the images in the work consistent and single. Many images are connected by the author's same emotional clues to form a complete picture.

The combination of complexity and simplicity of imagery is an important reason for the profound meaning, harmonious realm and strong poetic flavor of Chinese classical poetry.

The arrangement of images in classical poetry is often characterized by being numerous but not chaotic, with clear layers. This orderliness is due to the author's habit of arranging images in the normal order of time and space.

Some people call Ma Zhiyuan's "Tian Jing Sha·Autumn Thoughts" a "parallel image combination". In fact, the juxtaposition still reflects a certain order. There are ten images in the whole song, and the first nine are naturally divided into three groups. The vines twine around the trees, and the crows fall on the trees. The first group is arranged from bottom to top; the bridge, the water under the bridge, and the houses by the water are arranged from near to far; the ancient post road, the west wind thin horse on the road, the third group The groups are arranged from far away to the present, with slight changes in between. Because the "west wind" is inserted in the middle to describe the touch, the description angle is changed, thus increasing the jumping feeling of the image, but this jumping is still local and does not exceed the scope of the autumn scenery.

The last image, "the sunset", is the background of the whole song. It unites all the first nine images, creating a scene of both space and time. Since it is also the product of looking far away, the work as a whole also shows a spatial arrangement sequence from near to far. From old trees to flowing water, to ancient roads, and then to the sunset, the author's vision expands step by step. This is also one of the manifestations of the orderliness of imagery.

3. He is good at processing and refining, and uses extremely concise line drawing techniques to outline a picture of a wanderer's journey in late autumn.

The images appearing in the small order of Ma Zhiyuan's "Tianjingsha·Autumn Thoughts" are not new. Among them, the word "ancient road" first appeared in the poem "Recalling Qin'e·Xiao Shengyan" signed by Li Bai, "I enjoy traveling to the original Qingqiu Festival, and the sound of Xianyang's ancient road is excruciating". Zhang Yan of the Song Dynasty also wrote in the poem "Heaven in the Hug: Yangbao Wanli" that "the old Liuguan River is an ancient road in the setting sun, and the waves are still straight even when the wind is calm." There is a song "When Viewing Flowers" in Dong Jieyuan's "The Romance of the West Chamber": "At sunset, the forest is noisy with evening crows, and the wind sleeves are blowing on the thin horse. Once you reach the end of the world, you will see the desolate ancient shore, with decaying grass and frost slippery. I caught a glimpse of a solitary forest at the end of the painting, and the cockroaches are falling. There is light sand in the desert. An old man is fishing for shrimps, and the hut is reflected in the flowing water." Six of these images appear in Ma Qu. There is also "Zui Zhong Tian" written by an unknown person in the Yuan Dynasty (see "New Sound of Yuefu"): "The old trees are hanging with vines, and the setting sun reflects the remaining clouds. The plain forest is faintly noisy with crows. The mountains in the area are picturesque, and there are lazy whips to promote weight loss. Horse. Sunset, bamboo fence and thatched house." There are also six images that are the same as the horse song.

It is very obvious that "Drunken Heaven" is derived from "When Viewing Flowers", and traces of imitation are still there. Although the images appearing in the second song have many similarities with Ma Qu, but In comparison, none of them are as simple, natural and concise as "Tianjingsha·Autumn Thoughts".

There is no doubt that Ma Zhiyuan was influenced and inspired by Dong Qu when he created "Tianjingsha·Autumn Thoughts", but he did not just imitate it blindly, but remade it based on his own life experience and aesthetic vision. creation. In the selection of scenery, in order to highlight and intensify the desolate and miserable emotions, he selected ten images that best reflected the desolate and depressing scenery of autumn and the lonely and melancholy feelings of the travellers. He concentrated his emotions in these Among the ten images, the theme of the whole song is finally revealed with a clear stroke. He deleted some scenes that, although beautiful, did not fit the emotion expressed. For example, the thatched cottage reflects the flowers, the sunset reflects the clouds, and the mountains in the area are picturesque, which makes the image of the whole song unified in expressing emotions.

In the refinement of words and sentences, Ma Zhiyuan fully demonstrated his talent. Among the eighteen characters in the first three sentences, they are all nouns and adjectives, without any verbs. The relationship between various scenes and their respective dynamics and shape, it all depends on the reader to grasp according to the organization and order of the images and their own life experience. This wonderful way of using calligraphy is really rare in ancient times. In Wen Tingyun's "Morning Journey to Shangshan", "The sound of chickens in that cottage and the moon, and the traces of people in Banqiao frost" is similar to Ma Qu's use of calligraphy, but its capacity is still not as good as that of Ma Qu. big. The conciseness of Ma Qu's wording has reached an irreducible level, using the fewest words to express rich emotions. This is one of the reasons for the artistic success of the song "Tian Jing Sha·Qiu Si".

Fourth, use the aesthetic emotional experience method of "Sad Autumn" to express the tragic feelings of the wandering children, so that personal emotions can gain universal social significance.

Autumn sadness is a sad and melancholy emotional experience that people have when facing autumn scenery. Because autumn scenery (especially late autumn) is mostly desolate, bleak, and gloomy, it is often associated with dusk, setting sun, fallen leaves, Accompanied by dead branches, it has become a symbol of the decline of all things. Therefore, on the one hand, autumn scenery can indeed give people a sense of physical coldness, and on the other hand, it can trigger all kinds of inherent sadness in people's hearts. Song Yu was the first Chinese sentimentalist literature to use sadness in autumn as the main form of aesthetic experience. By describing the bleak scene of "vegetations falling and decaying" in autumn, he expressed his frustration with his career in life, and he faced himself The desolate and desolate mood caused by the autumn scenery is described as being like traveling on a long journey, "Liaosuxi (desolate), as if traveling on a long distance", "Lonely and empty (solitary and empty), traveling without friends". This shows that the emotional experiences of Bei Qiu and Bei Yuan Xing are similar. After Song Yu, sadness in autumn gradually became one of the most common forms of aesthetic experience among Chinese literati, and sadness in autumn was closely linked to the sigh of life experience. Du Fu's "A Thousand Miles of Sad Autumn" is an example. The same goes for Ma Zhiyuan's little order. Although the imagery in the song is not new and the emotions expressed are not new, because it uses refined artistic expressions to express a traditional emotional experience of Chinese literati, it has gained immortal vitality and can arouse future generations. The cries of the literati.

Through the above analysis, it can be seen that "Tianjingsha·Autumn Thoughts" is one of the most mature works of Chinese classical poetry. Although it is a Yuan song (qu style), it actually embodies the artistic characteristics of Chinese classical poetry in many aspects.