Tianjingsha · Autumn Thoughts is one of the songs created by Ma Zhiyuan, a writer of Yuan Opera. This song is composed of many scenes, which are juxtaposed to form a picture of the autumn sunset. The wanderer from Tianya will ride a thin horse on a bleak background, revealing a sad mood. The following is an appreciation of the ancient poem "Heaven Clean Sand in Autumn". Please refer to it!
To express the sadness of a wandering wanderer who misses his hometown in autumn and is tired of wandering. This Xiaoling has a unique syntax. The first three sentences are all composed of nominal phrases, and a total of nine kinds of scenery are listed, which are simple and meaningful. The whole song has only five sentences and 28 words. The language is extremely concise, but the capacity is huge. The meaning is profound, the structure is exquisite, and the setbacks are subtle. It is known as the "ancestor of autumn thinking" by later generations.
Appreciation and Analysis of Ancient Poems of Autumn Thoughts on Clean Sky and Sand
Tianjingsha (1) · Qiushi
Withered vines, old trees, faint crows (2), small bridges, flowing water, and people (3), old roads, westerlies, and lean horses (4). When the sun sets, the heartbroken person is at the end of the world (5).
Word and sentence annotation
(1) Tianjingsha: Qupai name, which is out of tune. It is also called "Saishang Autumn".
⑵ Withered vine: withered branches. Corvus: Corvus at dusk. Dusk: In the evening.
⑶ People: farmers. This sentence expresses the poet's longing for a warm family.
⑷ Ancient road: an ancient and desolate road. West wind: cold and bleak autumn wind. Thin horse: a skinny horse.
(5) Heartbreaker: It refers to a person who is extremely sad and sorrowful. Here, it refers to a traveler who wanders around the world and is extremely sad. Tianya: a place far away from home.
Vernacular translation
The withered vine twines around the old tree, and the crows returning home at dusk live on the branches. Under the small bridge, the flowing water is murmuring, and there are several families nearby. On the ancient desolate road, the autumn wind is bleak, and a tired thin horse carries a wanderer forward. The setting sun slowly sets to the west, and the extremely sad travelers are still wandering in the horizon.
Overall appreciation
The song is very short, with only five sentences and twenty-eight words in total, and there is no word "autumn" in the whole song, but it depicts a bleak and moving picture of sunset in autumn suburbs, and accurately conveys the sad mood of tourists. This song, praised as the success of the ancestor of autumn thoughts, reflects the artistic characteristics of Chinese classical poetry in many ways.
1、 The combination of scenery and emotion forms a bleak and sad artistic conception.
Chinese classical poetry is very particular about the creation of artistic conception. Artistic conception is an important category in the aesthetics of Chinese classical poetry. Its essential characteristics lie in the combination of feelings and scenes, and the unity of mind and matter. The key to the formation of artistic conception is whether the feeling and the scenery can be well combined. In Jiang Zhai's Poems, Wang Fuzhi of the Qing Dynasty said, "Scenes are called two and cannot be separated from each other. Those who are inspired by poetry are wonderful and boundless." Wang Guowei's "Essays on the World of Poetry" said, "All scenery words are love words." The first four sentences of Ma Zhiyuan's short order all describe scenery. These scenery words are love words, "dry", "old", "faint" and "thin" Such words make the rich autumn scenery contain an infinite feeling of desolation and sorrow. The last sentence, "Heartbroken People Are at the End of the World", as a curved eye, is more of a finishing touch, making the scene described in the first four sentences the environment for human activities and the trigger of the sad feelings of Heartbroken People at the End of the World. The scenery on the song is not only what Ma Zhiyuan saw during his journey, but also what he saw. But at the same time, it is also its emotional carrier, which is the thing in the heart. The whole song has feelings in the scene, feelings in the scene, and the scene is wonderful, forming a moving artistic realm.
2、 Many dense images are used to express the author's hardships and sorrows, which makes the work full of rich poetic sentiment.
Image refers to the artistic image that appears in poetry to convey the author's feelings and express the author's thoughts. Chinese classical poetry is often characterized by the use of complex and intensive images. Many ancient Chinese poets often arranged many images closely in their poems to express their feelings. Ma Zhiyuan's song clearly reflects this feature. Ten images are arranged in a short 28 words. These images are not only the real environment of the heartbroken man's life, but also the carrier of his heavy sadness and desolation. Without these images, the song would not exist.
Coexisting with the complexity of images is the oneness of image expression. In the same work, the status of different images is relatively balanced, there is no deliberately prominent individual, and their emotional orientation tends to be consistent, that is, many images often share the same emotional tone of the author. The same goes for this song. In order to express his melancholy and sentimental feelings, the author selects many objects and images into the poem. These images can convey the author's inner feelings. The combination of emotion and scenery makes the emotional direction of images in the works show consistency and oneness. Many images are connected by the same emotional clues of the author to form a complete picture.
The combination of complexity and oneness of images 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 often has the characteristics of many but not disorderly, clear hierarchy, and this orderliness stems from the author's habit of arranging images in the normal order of time and space.
Some people call Ma Zhiyuan's poem "Tian Jing Sha Qiu Si" a "juxtaposed image combination", but in fact, juxtaposition still reflects a certain order. There are ten images in the whole song, and the first nine images are naturally divided into three groups. Rattan entangles the tree, and crows fall on the tree. The first group is arranged from bottom to top; The second group is arranged from near to far; The ancient post road and the westerly lean horses on the road are arranged from afar to the present, with slight changes in the middle. Due to the insertion of "west wind" in the middle to write the sense of touch and change the description angle, the sense of image jumping is increased, but this jumping is still local, not beyond the scope of autumn scenery. The last image, "sunset", is the background of the whole song. It unifies the first nine images and creates a scene of emptiness. As it is also the product of looking far, the work also shows a spatial order from near to far on the whole. From old trees to flowing water, to ancient roads, and then to sunset, the author's vision is expanded layer by layer, step by step. This is also one of the manifestations of image order.
3、 He is good at processing and refining, and uses the extremely concise line drawing technique to sketch a picture of a traveler traveling in late autumn.
The images appearing in Ma Zhiyuan's "Tian Jing Sha Qiu Si" are not new. Among them, the word "ancient road" first appeared in the words signed Li Bai's "Remembering Qin E · Xiao Sheng Yan", "Leyou Yuanshang Qingqiu Festival, Xianyang Ancient Road is unique". Song Zhangyan also said in his poem "The Sky in the Pot: A Thousand Miles Away" that "the old Liuguan River, an ancient road with setting sun, is still straight when the wind sets.". In Dong Jieyuan's "West Chamber", there is a song "When Enjoying Flowers": "The setting sun is flat and the forest is noisy and the crows are at night. The wind sleeves are fluttering and the thin horse is blowing. Once entering the horizon, the desolate ancient shore, the withered grass and the frost are slippery. I catch a glimpse of an isolated forest in the painting, and the gracilaria is falling thinly with the shallow sand. An old uncle catches shrimp and runs across the bridge. The cottage reflects the grass flowers." Six images appear in the horse song. There is also a poem "Drunk in the Sky" (see the New Voice of Yuefu) written by an unknown surname of the Yuan Dynasty: "The old trees hang on vines, the setting sun reflects the residual clouds, the faint plain forests are noisy with crows, the picturesque mountains are around, and the whip is lazy to set up to urge the lean horse. The setting sun is setting, and the bamboo fence cottage houses are home." There are also six images that are the same as the horse song.
It is obvious that Drunken in the Sky is derived from the Flower Appreciation, and the simulation traces still exist. Although the images in the two songs have many similarities with Ma Qu, by contrast, they are not as simple, natural and refined as Tianjingsha Autumn Thought.
There is no doubt that Ma Zhiyuan was influenced and inspired by Dong Quzhi when he created Tianjingsha Qiushi, but he did not just imitate, but re created according to his own life experience and aesthetic vision. In the selection of scenery, in order to highlight and strengthen the miserable and sad feelings, he selected ten images that best reflect the bleak and depressed scenery in autumn and the lonely and melancholy feelings of the tourists, concentrated his feelings in these ten images, and finally revealed the theme of the whole song with a touch of light. He deleted some beautiful scenery that did not match the expressed feelings. For example, the thatched cottage reflects grass flowers, the setting sun reflects residual clouds, and the mountains are picturesque, which makes the image of the whole song unified in expressing emotion.
Ma Zhiyuan fully showed his talent in the refining of words and sentences. The first three sentences and eighteen words are all nouns and adjectives, without a verb. The relationship between various scenes and their respective dynamics and shapes are all grasped by readers according to the organization and order of images and their own life experience. This wonderful way of using words is rare in ancient times. In Wen Tingyun's "Early Trip to Shangshan", "The sound of chickens in Maodian and the frost of people on the plank bridge" is similar to that of Ma Qu, but its capacity is still not as large as that of Ma Qu. The simplicity of Ma Qu's words has reached a level that cannot be reduced, and the use of the least words to express rich emotions is one of the reasons for the artistic success of this little song, Tianjingsha Qiushi.
4、 This aesthetic emotional experience of autumn sadness is used to express the sadness of the tourists, so that the personal feelings can gain universal social significance.
Sad autumn is a kind of sad emotional experience when people face the autumn scenery. Because the autumn scenery (especially late autumn) is mostly cold, bleak and gloomy, and it is often accompanied by dusk, sunset, fallen leaves and dead branches, becoming a symbol of the decline of all things. On the one hand, the autumn scenery can really give people a sense of physical coldness, on the other hand, it can trigger all kinds of sadness inherent in people's hearts. Song Yu is the first Chinese sentimentalist literature to take autumn as the main form of aesthetic experience. By describing the bleak scene of autumn when plants fall, he expresses his frustration with life and official career. In addition, he describes his sadness and desolation in the face of autumn as if he were on a long journey, "Gone (lonely and empty), with no friends living in captivity". This shows that there are similarities in emotional experience between sad autumn and sad journey. After Song Yu, autumn sorrow gradually became one of the most common forms of aesthetic experience for Chinese literati, and closely linked it with the sigh of life experience. One example is Du Fu's "frequent visits in autumn". The same is true for Ma Zhiyuan. Although the image in the song is not new and the emotion expressed is not new, because it uses a refined artistic expression to express a traditional emotional experience of Chinese literati, it gains immortal vitality, which can resonate with later generations of literati.
From the above analysis, we can see that Tianjingsha · Qiushi is one of the most mature works of Chinese classical poetry. Although it is a Yuan opera, it actually embodies the artistic characteristics of Chinese classical poetry in many aspects.
