The River Image in Southbound Collection and Su Shi's Philosophical Thought

The River Image in Southbound Collection and Su Shi's Philosophical Thought

Su Shi endowed the traditional river image with philosophical significance. The natural movement itself shows a kind of invariance, which is "stillness". This is me, J. I will share with you the origin of the river image in the model essay "Southbound Collection" and Su Shi's philosophical thought.

1. Southbound Collection and River Image in Su Shi's Poems.

An important topic in Su Shi's life is his philosophical thinking about "life is limited and the universe is infinite", and he expounded his thinking conclusion in Fu on the Red Wall. Su Shi's thoughts on this issue have begun to appear in Su Shi's poems in the fourth year of Jiayou (1059). This year, Su Xun, Su Shi and Su Zhe went to Beijing for the second time, when Su Shi was twenty-four years old. The journey to Beijing is divided into two stages: boat trip and land trip. From Meizhou in Sichuan to Jiangling, along the Yangtze River, they sailed all the way. The three fathers and sons collected poems about boat trips for the collection of southbound trips, with Su Shi as the preface. Starting from Jiangling, I went north to Beijing by land, and the poem from Jiangling to Shi Jing was accepted as After Traveling South. The first and second sets are called "southbound sets". Judging from Su Shi's textual research, this trip to Beijing has two meanings. First of all, this is the beginning of Su Shi's career. Secondly, this is the official beginning of Su Shi's literary career. Regarding the former, I will not repeat it here; The latter, however, is an unavoidable topic in our upcoming argument.

It is inevitable that Su Shi had literary creation activities before Jiayou entered Beijing for four years. Ruzi wrote in Huai Mianchi's Sending a Son to Take Care of His Brother: "Zhejiang and Zizhan should go through the temple house in Su County and talk about the wall where the old monks serve leisure." It can be seen that when Su San first came to Beijing, that is, in the first year of Jiayou (1056), they also had literary creation activities. However, judging from the materials preserved today, there are not many works before Su Shi's Southbound Collection that can be passed down to future generations. From the perspective of communication, the previous works have not been widely circulated, which proves to some extent that the quality of their works can not be compared with the future; On the other hand, from the literary activities of Su Shi's life, we can see that his previous creations should be counted as Su Shi's pen-practicing stage, and even we can still see this artistic young man in "Southbound Collection". In addition, judging from the existing works of Su Shi, there were really no amazing works before. From an artistic point of view, "southward collection" does have its naivety. But there is no doubt that the southbound collection is of great significance to Su Shi. Southbound Collection is the official starting point of Su Shi's literary career. At the same time, with the birth of Southbound Collection, Su Shi's creative activities really entered the period of personal literature consciousness. The compilation of Southbound Collection marks the awakening of Su Shi's literary creation. On the one hand, Southbound Collection is the first collection of poems and essays that Su Shi participated in. Starting from "Southbound Collection", Su Shi began to intentionally keep his own creation. Whether this behavior is active or passive, it shows that, at least in form, he has begun to find a sense of literary identity for his works. He began to look at and examine his creation from the perspective of literature. Secondly, a large number of Su Shi's works have been preserved since the Southern Collection, and the understanding of Su Shi's literary activities in his youth cannot be avoided by later generations. Before the birth of "Southbound Collection", Su Shi mainly lived in Sichuan. In the first year of Jiayou, Su San went to Beijing for the first time, taking land all the way, and the route was completely different from the second time. Jia You's four-year trip to the lower reaches of the Yangtze River brought Su Shi into close contact with the Yangtze River, which gave birth to half of Chinese civilization. There are many descriptions of this river in The Journey to the West. The flow, remoteness and eternity of the river give Su Shi a lot of thoughts. In Su Shi's description of rivers, we can see young Su Shi's vague understanding and thinking about the philosophical problem of "life is limited and the universe is infinite". Southbound Collection is the beginning of Su Shi's literature, which shows Su Shi's preliminary thinking on this philosophical issue. Therefore, the literary expression of Su Shi's philosophical thought is based on Southbound Collection.

The second is the philosophical thinking of "life is limited and the universe is infinite"

"Before the Southern Expedition" is a collection of poems about three Su people who went to Beijing and went down to the Yangtze River in the fourth year of Jiayou. Postscript to Southbound is a collection of poems about abandoning ships and landing in Beijing after a boat trip. Therefore, in the series of Southbound, the fact that there is more connection with the river image is the beginning of the series of Southbound. Su Shi has 40 poems in "A Journey to the South", most of which are related to the description of rivers. It is normal to describe the natural scenery during the trip. However, the river image in Su Shi's works bears obvious personal imprint, whether compared with the mountain image which also occupies a large proportion in his journey or with the river image in Su Xun and Su Zhe's works. One of the most outstanding manifestations of this personalization is its philosophical thinking. During this boat trip, the three of them enjoyed the scenery of the Yangtze River, and the vastness of the Yangtze River gave Su Shi endless room for daydreaming. During this period, Su Shi's creation has shown his initial thought of "life is limited and the universe is infinite".

(1) Thinkers by the water.

The blue waves of the Yangtze River show us Su Shi who thinks independently by the river. Su Xun, Su Shi and Su Zhe have three poems on the same topic, sailing from their hometown in Meizhou to Jiazhou. Let's record the works of three people here today, and compare them: The First History (Su Xun)? My family has sailed thousands of miles, and I hope to return to Beijing in ten years. Niu Shan suddenly lost his pillow room in Emei. Chu Fa Jia Zhou (Su Shi)? The morning drums beat, and the west wind hunted pictures. My hometown is far away, and my meaning is infinite. It's pathetic that Jinshui is gone. Pentium over the Buddha's foot and make a flat river. There are Zen visitors in the wild market, and the fishing platform looks for dusk smoke. The phase will come first, and the water will flow forever. Beginner in history (Su Zhe)? Let the boat foam by the river and run to the heart. Playing drums and raising two flags is like an expedition. The people who boarded the ship were in a hurry. Although I spent the rest of my life in Jiang Yang, I didn't save Jiashu. The top of Jiu Feng is lovely. Flying over the foot of the mountain, the Buddha can see the river. The boat people tried their best to put their faces together and fight to blow their thumbs. I disappeared for a while, and five cows were in the middle column. Move the boat near the mountain shade, there is no road on the steep wall. There are ancient Guo Sheng in the clouds, and there are bitter notes here. Distinguish between insects and fish, and analyze them in wisps. Wash the inkstone to remove the residual ink, and the water is like black fog. So far, the fish on the river have left ink marks on it. Seeing things is sad for the ancients, because there is nothing to suffer from. I'm going to the south today, and things are ringing sooner or later. Don't stop at Chu, go find the horse. Who can live in the deep mountains and live with animals forever? Who is right or wrong in this matter, let's review it again. This is a memorable day. When they first entered history, they began to drift on the Yangtze River for several months. All three of them described the river more or less. Su Xun's quatrain focuses on the urgency of the river and the speed of the ship. Although it is only a few words, it is unique. Su Zhe, since the river is dark, thought that "there is ancient Guo Sheng on the cloud, and this place is bitter to annotate", recalling the past and thinking about newcomers. Although Su Xun's and Su Zhe's poems have their own merits, judging from the relationship between words and meanings in their poems, writing the real thoughts of the moment is generally the best.

Compared with his father's and his younger brother's poems, Su Shi's poems are not as natural as his father's and erudite as his younger brother's, but they are more artistic. Ji Yun commented on this poem and said it was "free and easy". Starting from the morning, with infinite hope and enthusiasm for the future, you will be homesick for a long time. As the river flows eastward, my hometown is getting farther and farther away from me. The excitement of this moment can still make you forget this homesickness for a while, and watching the rushing river can still produce a poetic feeling. However, at sunset, waiting to meet other rural monks by the Independence River, I was afraid. Looking at the gurgling river for a long time, my heart couldn't just be leisurely downstream in the daytime and the joy of being one step ahead with my friends. Mr. Fu Daobin said that there is a "sunset sentiment" in China literature, and the sunset not only reminds people of "the home of the sun", but also reminds people of "the home of the spirit". Dusk is the most likely time to arouse endless feelings. Standing by the water for a long time, young Su Shi thought of something, but didn't tell us. Smart rivers give people deep peace and endless imagination. Su Shi, who is independent of the sunset water, shows us a poet who can think and imagine endlessly when facing the river in the future. What does the poet "Jiu Li" think? All these have disappeared in the word "water gurgling". The first history is Su Shi's first agreement with the river in his life. Just like the land created in the last sentence, Su Shi completed so many life and philosophical thoughts in his later years, in the distant time and space, facing the vast rivers. During the southern tour, the figure standing facing the river for a long time at dusk made us vaguely see a Su Shi who was thinking about life as when he wrote "Ode to the Red Wall".

(2) admire the boundless Yangtze River.

The rivers described by Su Shi have boundless atmosphere. "Bamboo Branch Song" has "Cangwu Mountain is in the depths of the water"; "The Beginning of History" includes "Rushing over the Buddha's Foot and Making a Flat River"; "Into the Gorge" includes "The Yangtze River connects with Chu and Shu, and ten thousand veins flow to the southeast"; The value of snow on the river and the efficacy of Ouyang style are not limited to salt, jade cranes, herons, flying butterflies and the like, not to mention words like Su, and the second son rhymes with "the spring river is boundless"; Wait a minute. The river image has opened up a new realm for Su Shi in time and space. "Seeing the Moon at the Cow's Mouth" has the sentence that "the mountains and rivers are the same color, and the wild is related to the wild". The magnificent scenery of mountains and rivers created a brand-new concept of space for Su Shi, as if he were in the wild; "Listening to adults playing the piano on the boat" and "Jiangpu playing the piano at night is forever missing, gathering and listening, passionate. Jiang is famous, and please play King Wen at midnight. " The silence of Jiangpu Night Show lengthened the time. At this moment, it seems to stay on the river forever; In the first history quoted in the last article, there is a saying that "the water gurgles for a long time", such as the surging river, which lingers; "Goddess Temple" also has "the vast night pool is quiet, and the bright moon is in the sky. You should also shake Yu Pei and listen to the sound of water. Similar artistic conception and gurgling sound gave Su Shi endless imagination. "Bai Di Temple" has "the barren city is full of autumn grass, and the old trees and wild vines hang down. The mighty Jingjiang River is far away, and Monday is sad. "People live a lifetime, and the vegetation is long in autumn, but the mighty Jingjiang River has a long history.

Rolling along the Yangtze River has always given Su Shi a vague and vague state of mind. There are many poets describing rivers in past dynasties, and there are also many excellent works describing rivers. Su Shi is unique in that many of his riverside chapters can give people endless imagination. With the same landscape, Su Xun and Su Zhe did not leave so much room for imagination. Su Shi's river is his personalized river, not artificial, nor is it just a feeling of a place. There is an emotional tacit understanding between Su Shi and Jiang Shui, which is also the reason why he wrote the sentence "Nian Nujiao missed the past at Chibi" and "Da Jiangdong went to the waves and scoured all the time, and he was a romantic figure through the ages". In the later period, Su Shi's thought of facing the river directly and breaking the time and space restrictions has already begun to appear in Southbound Collection.

(3) Mourn my life for a moment.

The Yangtze River flows eastward, but it is the "eternal romantic figure" that disappears with it. Compared with the vast river, the people on board are just passers-by in the universe, a drop in the ocean. In the face of the vast river, Su Shi's heart often gushes out the sadness of such a "passerby". In Deer in Xiandu Mountain, he felt that "the sun and the moon promote each other and the world suffers"; In the Taoist temple of Xiandu, there is even more "the river in front of the mountain is full of water, and the pines and cypresses on the mountain are old." There are many people in the boat, and it is easy to sigh like autumn grass in ancient and modern times; "Wangfutai" is also a concentrated expression of this emotion: the lonely stone on the mountain is far from the pavilion, and the river is like a screen. As long as yesterday, ships come and go. The vast Yangtze River enters the sea, and passers-by are like duckweeds. Who can wait for the mountains and the moon to rise and watch the cold shadows rise high and lonely? The life of all sentient beings is too short, and if it is turned into a ruthless stone statue, it can last forever with the river. After turning into a stone statue, it lasts forever, but what I see every day is "it's as long as yesterday, and the boat keeps coming." The taste of the Millennium is in this sentence. Among them, ambivalence is Su Shi's confusion about limited life and infinite universe.

However, in this confusion of life, Su Shi's benevolent feelings still make him more sympathetic and praise life. The continuous flow of water reminds Su Shi of the endless flow of time day and night. Write about a woman who becomes a stone statue with the endless flow of time and water. Write this silence with other people's actions. Set off the constancy of human nature, will and emotion with the eternal flow and endless life of all things in nature. He compared the limited life to the infinite nature, in which the Taoist thought of materialization looms. On the one hand, the aura of Su Shi's works comes from this, which is a metaphysical transcendence and purely a spiritual condescension without rhetoric. It is undoubtedly tragic to compare limited life with infinite nature. Therefore, Su Shi's thinking on this philosophical issue always has a tragic beauty. Compared with his later period, the poems in Su Shi's Southbound Collection are not excellent, but this artistic personality has begun to take shape. The poem "Guo Lun" writes that the hero is dying, "No one knows the warriors in Hexi, and Jin Tingting reads the boat at dusk". The stone statues of fallen heroes Guo Lun and Wang Futai give people a sense of eternal vigilance. Therefore, people in Guo Lun are like immortal stone statues. But in this immortality, there is always a sadness that life competes with nature, knowing that it can't be done and there is nothing to do.

Thirdly, the two-way promotion of Su Shi's philosophical thought and river image.

The poet described mountains and rivers, and mountains and rivers shaped the poet. This four-year trip to Beijing by Jiayou brought Su Shi into such close contact with the Yangtze River. During his months-long journey, Su Shi used dozens of poems to describe mountains, rivers, landscapes and his own thoughts and feelings, and the magnificent scenery along the Yangtze River also gave Su Shi endless inspiration. A person's childhood experience is of great significance to the formation of his life character; Similarly, the initial stage of a scholar's literature should also have an important impact on his life style. It's hard to say whether Su Shi would have had such a great imagination if he hadn't traveled on the Yangtze River for a few months in his early years, and whether he would have presented us with such excellent works before and after Niannujiao Chibi Nostalgia and Chibi Fu. The water of the Yangtze River can't meet Su Shi, so it will be more or less diluted in the cultural history of China. Su Shi did not have the imagination and aura brought by the Yangtze River water, nor would he be the Su Like we see today. Jiayou's four-year trip to Beijing enabled Su Shi and Jiang Shui to advance in both directions.

(A) an important topic in Su Shi's life

The creation of Nan Xiang Ji itself is "from laughter, not reluctance", "from touching, but from singing", and it is not intentional. On the way, Su Shi's complete portrayal of the river image was even more unintentional. All the connotations that Su Shi gave to the river image were naturally completed, as the saying goes, "there is another village with a bright future." After four years in Jiayou, Su Shi is still in the stage of practicing writing and starting literary creation. Su Shi's works in Southbound Collection are even difficult to compare with those of Su Xun in this period. However, this trip greatly inspired Su Shi to think about the philosophical problem of "life is limited and the universe is infinite", which is mainly reflected in the river image in Su Shi's works at this time. During this period, the natural scenery of the Yangtze River and Su Shi's personality perfectly blended, exchanged and collided. In this way, a philosophical question germinated in the young poet's mind and eventually became an important topic in his life.

Life is limited and the universe is infinite. This philosophical paradox has puzzled Su Shi for decades. Throughout the ages, many literati feel that life is short and the world is endless, but few people spend their whole lives thinking, looking for an answer that can convince them and practicing this outlook on life like Shi. Huangzhou is Su Shi's phoenix nirvana. Su Shi was demoted to Huangzhou and changed in many ways. And this philosophical problem that has troubled him for decades has finally been solved during this period-Su Shi answered himself perfectly with "Red Wall Fu". Red Cliff Fu is an important watershed in Su Shi's life. One of the reasons is that it marks the qualitative change of Su Shi's philosophical thought. This change greatly influenced Su Shi's attitude towards life in the future.

(B) unique aesthetic characteristics

Tragic and beautiful temperament. "Nature" is great in Su Shi's poems because it is eternal. Human life is also great, because people have feelings. In the paradox between limited life and infinite nature, Su Shi constructed the double aesthetic feeling of the opposite and complementary of sentient life and eternal universe. However, it is doomed to be tragic to compare limited life with infinite nature. In previous studies, we often labeled Su Shi as optimistic and open-minded, but in fact, every character is complex, multifaceted and changeable. Su Shi's early thinking about "life is limited, the universe is infinite" always has a layer of sadness that can't be covered. This kind of sadness, with Su Shi's growing confusion about this issue, gradually evolved into tragic. It was not until The Red Wall Fu was completed that he finally got rid of it and was able to face this problem calmly and broadmindedly. Romantic atmosphere. As mentioned earlier, the episode before going south was written in the period when his uncle sailed along the Yangtze River from Meishan to Beijing. So the river is an unavoidable topic in the last episode before going south. Su Shi's endless thinking about the river gives the whole Southbound Collection a moist vapor, a lofty artistic conception and a flying romance. Poetry in Tang and Song Dynasties is not a concept of the times, but two aesthetic paradigms. Su Shi is a model of the Song Dynasty, and his romantic style made him break through the Song Dynasty, surpass it and move closer to the Tang Dynasty.

Metaphysical transcendence. Su Shi endowed the traditional river image with philosophical significance. The natural movement itself shows a kind of invariance, which is "stillness". Under the appearance of "tranquility", it is a different "emotion" between man and nature. Love is like an undercurrent flowing under the static surface. There are many philosophical speculations in Su Shi's poems, which may be unconscious, but they cannot be denied. In Su Shi's thoughts, there is a sense of Taoist detachment. We can find the meaning of sage like style in Su Shi's poems, and the river image endowed with philosophical meaning has a metaphysical height in Su Shi's poems. Comparing Su Shi and Xin Qiji, Mr. Shi Yidui said: "Su Shi's thought is on the philosophical level, Xin Qiji's thought is on the gain and loss", "Su Shi's thought is beyond ancient and modern times. Not only can we make it bigger, but we can also make it high and high to the sky. Su Shi is a "fairy man". Mr. Shi Yidui discussed this issue on the basis of Su Shi's poems. Similarly, this view also applies to Su Shi's poems. Spiritual condescension. Su Shi's atmosphere does not need to choose a "commanding height" like Li Bai and Du Fu, "standing in the air overlooking the mountains and rivers". Even if he just stands quietly by the river at dusk, he can give people a big universe that breaks time and space with endless thinking. Standing on the ground, Su Shi can give people the feeling of flying, and it is with such a sense of spiritual condescension that Su Shi's works are hard to emulate. Strengthen the after-service training activities of music teachers from many aspects and angles, including the training of music professional quality, ideological and moral training, and the training of moral education content and methods in music education. Therefore, we can deepen our understanding of the moral education value of music education in colleges and universities, master scientific and effective moral education methods, and successfully realize the moral education effect of music education activities in colleges and universities. This is another important guarantee for the smooth realization of ideological and moral education in music education activities in colleges and universities in China.

(C) to stimulate students' interest in music classroom learning and learning enthusiasm and initiative.

On the one hand, music teachers in colleges and universities should formulate systematic and strict assessment measures to enhance students' attention to this course; On the other hand, we should choose some teaching contents that not only contain positive moral education ideas, but also conform to students' aesthetic characteristics and psychology, and carry out specific music teaching activities through diversified teaching methods, so as to stimulate students' interest in learning, carry out music learning activities with a positive attitude, and be influenced and infected by ideological and moral concepts in music education in a subtle way, and finally gradually improve students' ideological and moral cultivation.

Confucius once said, "It is not good to like changing customs." Xunzi also believes that music can "broaden education and beauty customs." People have long realized the important value of music art in the process of moral education, and have carried out related music creation, music communication and music education activities. At present, under the guidance of the concept of quality education, China's education department should formulate systematic music education curriculum standards and strengthen the guidance of music teaching activities in colleges and universities in order to give full play to its due moral education value.

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