How to understand the content and artistic conception of Jing Tian Sha Qiu Si

Tianjingsha Qiu Si is a poem by Ma Zhiyuan, a writer in Yuan Dynasty, and a famous Sanqu work. This song is composed of many kinds of scenery, which makes a wandering wanderer ride a thin horse in the bleak background, revealing a sad mood. It expresses that a wandering wanderer misses his hometown and is tired of the bitterness and sadness of wandering in autumn. The syntax of this poem is very unique. A * * * lists nine kinds of scenery, which is concise and meaningful. The whole song has only five sentences and 28 words. The language is extremely concise but huge, with profound meaning, exquisite structure and ups and downs. Later generations praised him as "the father of Qiu Si". The poem of literary appreciation is very short, with only five sentences and twenty-eight words. There is no word "autumn" in the whole song, but it depicts a bleak and moving autumn. The artistic features of China's classical poems are embodied in many aspects. First, the scene conveys feelings, and emotions are embedded in the scene, which constitutes a bleak and miserable artistic conception. China's classical poems attach great importance to the creation of artistic conception. Artistic conception is an important category in the aesthetics of China's classical poetry, and its essential feature lies in the blending of scene and scene and the unity of mind and matter. Whether emotion and scenery can be well combined becomes the key to whether the artistic conception can be formed. In the Qing Dynasty, Wang Fuzhi said in Xuanzhai Poetry, but this is inseparable from reality. God is a poet and beautiful. Wang Guowei's abridged draft of human ci says: "All scenery words are also sentimental words. "Ma Zhiyuan's poems, the first four sentences are all about scenery, and these scenery words are sentimental words. The words "withered", "old", "light" and "thin" make the rich autumn colors contain infinite sadness and bitterness. Finally, as the trigger point of heartbroken people's sadness in Tianya, the scenery on the song is not only what Ma Zhiyuan saw during his journey, but also the carrier of his feelings and the thing in his heart. The whole song is full of emotion, emotion and scenery, which constitutes a touching artistic realm. Secondly, many dense images are used to express the author's pain in the journey and his hatred for autumn, which makes the work full of rich poetry. The image points out the present poetry. The artistic image of the author's thoughts. China's classical poetry is characterized by the complex and intensive use of images. Many poets in ancient China often arranged numerous images closely in their poems to express their feelings. This feature is evident in Ma Zhiyuan's songs. Ten images arranged in just 28 words are not only the real environment of sad people's lives, but also the carrier of their heavy sadness. Without these pictures, this song would not exist. Coexisting with the complexity of images is the singleness of image expression. In the same work, different images have a relatively balanced position, and there is no deliberately prominent individual. Their emotional orientation tends to be consistent, that is, many images often convey the same emotional tone of the author. So is this song. In order to express his melancholy and sentimental feelings, the author chose many images to enter the poem. These images can convey the author. The combination of emotion and scenery makes the emotional trend of images in the works consistent and single. Many images are connected in series by the clues of the author's same emotion, forming a complete picture. The combination of complexity and singleness of images is an important reason why China's classical poems are profound, harmonious and poetic. The arrangement of images in classical poetry often has the characteristics of many but not chaotic and distinct levels. This orderliness is due to the author's habit of arranging images according to normal time and spatial order. Some people call Ma Zhiyuan's Tianjingsha Qiu Si "juxtaposition image combination", but there is a certain order of juxtaposition. The ten images in the whole song are naturally divided into three groups. The first group is arranged from bottom to top. The second group is arranged from near to far; The third group is the arrangement from far away to now, with a slight change in the middle. Because the touch of "west wind" is inserted in the middle, the description angle is changed, thus increasing the sense of image jumping, but this jumping is still local and not beyond the scope of autumn scenery. The last image "sunset" is the background of the whole song, and the first nine images are put together, resulting in a short time. Therefore, the works as a whole also show the spatial arrangement order from near to far. From the old tree to the flowing water, to the ancient road, and then to the sunset, the author's vision is expanding step by step. This is also one of the manifestations of image order. Thirdly, he is good at processing and refining, and draws a tour of late autumn wanderers with extremely concise sketch techniques. The images in Ma Zhiyuan's poem Tianjingsha Qiu Si are not novel. Among them, it first appeared in Li Bai's poem "Qin Yi E Xiao Sheng Yan", "The autumn festival in Le Garden Scenic Area, the ancient Xianyang Road is absolutely silent". Song Zhangyan's poem "Pot Zhongtian Yeung Yi Wan Li" also includes "Old Liuguan River, the ancient road in the setting sun, the wind is still straight". In Dong Jieyuan's Romance of the West Chamber, there is a poem named Lu Xian Shang Huashi: The Sunset Maqu has six images, and there is a poem "Drunk in the Sky" written by an unknown poet in Yuan Dynasty (see Yuefu New Sound): "The old tree hangs vines, and the sunset reflects the sunset. The forest is faint and crows are noisy. These mountains are picturesque. Drunk Zhongtian left Shang Huashi, and traces of imitation still exist. Although there are many similarities between the images in the two songs and Ma Qu, they are not as simple, natural and concise as Tian Jing Sha Qiu Si. There is no doubt that Ma Zhiyuan was influenced and inspired by Dong Qu when he wrote Tianjingsha Qiu Si, but he did not imitate it blindly, but based on Dong Qu. In order to highlight and strengthen the sad feelings, he chose ten images that best reflect the bleak and depressing scenery in autumn and the lonely and melancholy feelings of travelers, condensed his feelings in these ten images, and finally revealed the theme of the whole song with a touch of sunshine. He deleted some beautiful scenery, such as the flowers reflected in the hut, the sunset reflected in the sunset and the surrounding mountains. The image of the whole song is unified in expressing emotion. In the tempering of words and expressions, Ma Zhiyuan fully demonstrated his talent. The first three sentences are eighteen words, all nouns and adjectives, without verbs. The relationship between various scenes and their respective dynamics and forms depend on the readers' understanding according to the organization and arrangement order of images and their own life experiences. This wonderful way of using words was really rare in ancient times. The Travel Notes of Banqiao Frost in Wen's Walking in the Morning is similar to that of Maqu, but its capacity is still not as good as that of Maqu. The conciseness of Maqu characters has reached the point of irreducibility, expressing rich emotions with the least words, which is one of the reasons for the artistic success of Tianjingsha Qiu Si. Fourthly, it uses the aesthetic emotional experience of sorrowful autumn to express the sadness of wanderers, so that personal feelings gain universal social significance. Facing autumn scenery is a sad emotional experience. Because autumn scenery (especially in late autumn) is mostly cold, bleak and gloomy, often accompanied by dusk, sunset, fallen leaves and dead branches, becoming a symbol of the decline of all things. Therefore, on the one hand, autumn scenery can really give people a sense of physical coldness, on the other hand, it can arouse people's inner sadness. Song Yu initiated China's sentimentalism, in which mourning for autumn was the main form of aesthetic experience. He expressed his frustration on the road of official career by describing the bleak scene of "declining vegetation" in autumn. He described his sad mood in the face of autumn as traveling in a distant place, "lonely (desolate), if traveling in a distant place" and "lonely (lonely)", which shows that there are similarities in emotional experience between sad autumn and sad long-distance travel. After Song Yu, sad autumn gradually became one of the most common aesthetic experience forms of China literati, and it was closely linked with the sigh of life experience. Du Fu's I came from three thousand miles away. Sad Autumn is an example, and so is Ma Zhiyuan's poem. Although the image in the song is not novel and the emotion expressed is not new, it has gained immortal vitality and can arouse the admiration of later literati because of its refined artistic expression and expression of a traditional emotional experience of China literati. From the above analysis, we can see that Tianjingsha Qiu Si belongs to one of the most mature works in China's classical poetry. Although it is Yuanqu, it actually embodies the artistic features of China's classical poems in many aspects. I hope it helps you! chart