What kind of fisherman image did Liu Zongyuan create?

Author: Liu Zongyuan

The fisherman rests on the western hills at night, learns the clear water in the morning, and cooks for firewood.

The sun disappears like a cloud, and the sound of sculls comes from green mountains and green waters.

Looking back, the fishing boat has drifted below the horizon, and white clouds are floating in the mountains, chasing each other.

This poem is about the fisherman, who is the core image of the whole poem. However, the poet does not paint the portrait of the fisherman in isolation, and his interest in his works does not stop at the image of the fisherman. Generally speaking, the whole poem is composed of tireless fishermen and the mountains and rivers where fishermen live, both of which have left traces of development and change according to their own laws and characteristics. But at the same time, the poet integrated them, and the fisherman and the natural scenery became an inseparable whole, showing the rhythm of life and inner interest. From night to morning, it is the most abundant moment of human activities, and it is the moment when everything recovers and is full of vitality. This poem takes this as a clue and unfolds the landscape. Therefore, the ever-changing behavior and actions of fishermen have the same time basis as the infinite changes of natural scenery, and have achieved extremely harmonious unity.

The whole poem consists of six sentences, which are divided into three levels in chronological order. "An old fisherman spent the night here, and under the western cliff, Xiaoxiang burned the bamboo forest." This is a scene from night to dawn. Fisherman is the most striking image in these two sentences. He stayed on the hillside all night, pumping water and burning bamboo in the morning, vividly showing the flow of time with a busy figure. With the activities of fishermen, the poet's brushwork naturally extended to Xiyan, Qing Xiang and Chuzhou. The west extension is the western mountain of Yongzhou. Liu Zongyuan once discovered the joy of the Western Hills in the article Travel Notes at the Beginning of the Western Hills Banquet, and described the grandeur of the Western Hills: living at the top of the Western Hills, "the land of several States is under the table"; The Hunan water flowing through the mountains is "clear at the bottom, although it is five or six feet deep" (for "Zhong Xiang Ji", see "Taiping Yulan", volume 65). The word "Qing" in the poem precisely shows this characteristic of Hunan water. In addition, Yongzhou area (now Lingling, Hunan) is rich in Zhu Xiang, and the scattered images of mountains, water and bamboo that seem to appear inadvertently in the poem clearly form a fresh and complete picture in the reader's mind: the veil-like mist covers mountains, flowing water and Zhu Xiang ... Si Kongtu said in "Poetry": "There is an original, if it is unknown, it is like desire." These two sentences not only set up a beautiful and pleasing spatial picture, but also lead to the following description of sunrise, which has a sense of time flowing like the beginning of night and the dawn dew. It can be said that both time and space have laid a positive and leisurely tone for the whole poem.

"Then, at sunrise, he walked through the fog, and in the green mountains and green waters, only the creak of his paddle was left." This is the most wonderful sentence to show the poet's skill and the essence of the whole poem. If arranged from the content, these two sentences describe the following scenes: on the one hand, natural scenery: cigarettes sell sunrises, mountains and rivers are green; On the one hand, it is the whereabouts of fishermen: fishing boats leave the shore and there is a loud noise in space. However, the poet did not organize his poems according to this kind of life logic, but started from his own feelings and presented two scenes alternately, which showed the subtle changes in nature more clearly. The previous sentences, "Work at sunrise, rest at sunset" and "No one is seen", one is a common sight in the morning, and the other is a sudden realization that I don't know when the fishing boat will quietly leave. There is no necessary connection between the two, but now the same sentence has aroused people's imagination: it seems that at the moment of sunrise, the sky is dark and everything suddenly becomes clear, making people suddenly find that the fishing boat is gone. The sudden feeling of "not seeing people" became a symbol, which opened the boundary before and after sunrise. The sunrise process in real life is strengthened by art and appears in front of readers with an exaggerated rhythm. Followed by "one nai one" and "landscape green", there is a strange dependence on the sound heard in the ears and the scenery seen in the eyes. In the morning, with the change of the sky, the color of the landscape changes from dark to bright, which is a gradual process. However, in the poem, everything is green, accompanied by the sound of breaking the still air. The word "green" not only shows the function of color, but also gives people a sense of movement. This can't help but remind people of Wang Anshi's famous sentence: "Spring breeze is green in Jiang Nanan". Wang Anshi endowed the word "green" with dynamics through the fluttering of the spring breeze, while Liu Zongyuan endowed it with not only dynamics, but also a sense of instant quickness, which vividly showed the scene of sunrise and made people feel more magical. Lessing, a literary theorist during the German Enlightenment, once said: "All objects exist not only in space, but also in time. An object is also persistent, and every moment in its duration can present a different appearance and have a different relationship with other things. ..... In its constant imitation, poetry can only use a certain attribute of the object, and it should choose the attribute that can cause the most vivid perceptual image of the object from the perspective of poetry. " (laocoon) Liu Zongyuan still didn't show the splendor of sunrise, nor did he describe the bright world after sunrise. He just gave full play to the specialty of language art, seized the most dynamic and lively sunrise moment, and made the common natural scenes in life more beautiful than reality, giving people a strong appeal. Su Dongpo's evaluation of this poem is: "The poem is about strangeness, and the abnormal combination of Taoism and Taoism is interesting. If you are familiar with this poem, it is interesting. " This is an appropriate comment.

"I turned around and saw the waves moving like from the sky, and the clouds on the cliff floated leisurely." After sunrise, the picture is more open. At this time, the fishing boat has entered the middle stream. Looking back, I saw pieces of white clouds floating on the top of the mountain, as if inadvertently moving back and forth, poetic and picturesque. Su Dongpo thought this ending was "unnecessary" and caused controversy. At that time, Song, Ming Hu Yinglin, Wang Shizhen, Shi Qi and others all had their own opinions, but their arguments were limited to artistic interest, and they did not deeply understand Liu Zongyuan's situation and state of mind in writing this poem. In his poems, Liu Zongyuan talked many times about his depressed mood after being relegated. In the second book with Yang Hui, he wrote: "Yongzhou has been seven years, and fleas panic at night." There is a sharp contradiction between ideal ambition and cold reality. In the case of extreme grief and indignation, he "should hoe the lotus and make the stream spring your garden, which is not satisfactory." In the Travel Notes of the First Banquet in the Western Hills, Liu Zongyuan revealed more clearly: "I am a humble person, living in a state, and I am always anxious about it, so I do what I do and swim for a long time. "It can be seen that he is not wandering between mountains and rivers with a calm and serene heart, but is trying to find comfort. However, as he lamented in "Twenty Rhymes of Traveling to Chaoyang Rock and Climbing to Xiting": "Abandoning the seclusion and climbing to the outer suburbs", in fact, he did not really get rid of it. Sometimes, he thinks of his misfortune because of the experience of one mountain and one water, so he is filled with emotion. Sometimes, when he struggles to climb to the West Pavilion, he feels something. Therefore, rather than expressing a simple mood with strange scenery, it is better to say that the fisherman revealed a fiery and restless heart behind his back. This is a warm yearning and an urgent pursuit. The free life interest shown in the poem is too precious and beautiful for a poet in prison. Therefore, after writing the sentence "Japan Surprise", the poet did not want to rest, but expressed his wishes more openly. He turned to Tao Yuanming's sentence "Clouds come out unintentionally" in Gui Xi Ci, which opened the realm of poetry and made such an ending. Only by truly understanding Liu Zongyuan's realistic situation can we understand his intention of breaking sentences. From beginning to end, the poet showed the mutual affection between the fisherman and nature, which was not only out of the need of artistic expression, but also out of the desire for free life. This also shows that to deeply understand the artistic style of a work, it is often inseparable from an accurate grasp of the author's thoughts and feelings.