The poetic pattern of Dufu's "river village" The ancients taught people to write poems and summarized a lot of patterns. Related concepts, rarely mentioned in the 20th century, have become quite strange, and have returned to people's vision in recent years. The ancient people have argued for a long time about the relationship between poetic style and poetic subtlety, which has recently been discussed. In my opinion, the discussion of the ancients was about poetry creation, and today's discussion should mainly focus on the interpretation and appreciation of poetry. There have been discussions, mainly at the theoretical level, on the interpretation of the works, but few. It is relatively easy to discuss theories, but it is not easy to implement them into works. But these concepts can live only when they are implemented in works. It should be said that the ancient theory of poetic pattern is helpful to understand and grasp the subtlety of poetry. However, the various forms summarized by the ancients are trivial and rigid, so they are often attacked. However, the use of Dharma depends entirely on the spirit and mind. If you have a spiritual mind, you will live wherever you touch, otherwise you will really die under the Dharma. How to use creatively to make the ancient lattice theory live in the present? Let's take specific works as an example. Let's first look at Su Shi's seven rhymes, Han bixuan in the Longevity Palace: The wind blows down the window leaf, and bamboo is built in front of the window. One after another, the gray snow falls on the summer mat, and the green fog touches the clothes. The cicadas on the high mountain ring with their leaves in their arms, and the quiet green feathers fly through the forest. The Taoist priest Jue grain to the cold blue, to ask why the crane bone is fat. I have done many experiments in teaching. First, I told the students that the ancients paid attention to blood, needle and thread in writing poetry, just like the so-called composition structure of modern people. Please use a few words to explain the blood and thread of this poem. As expected, it was basically a loss. Tip: find the key words in the title. Students immediately say "cold" and "green". Now when I look at the poem, I immediately understand that the first six sentences are "cold" and "Bi" (135 "cold" and 246 "Bi"), and the seventh sentence breaks the "cold Bi". What about the eighth sentence? Let's look at the title again. What's more important? Of course, it's "longevity". The eighth sentence complements the title. The students (Readers) are quite delighted to reveal the poet's ingenious thinking and the "wit" of his poems so simply and clearly. This kind of case (composition) can be called "two character coherence" in the ancients. But there are two questions: first, does this interpretation turn the works into games? Second, what is the help to grasp the implication of poetry? The first problem is that the poem itself is a play of words, not a game of interpretation. The poet expresses his ingenious thinking in his poems, which means presenting talents; The tail couplet is still a joke about the "Taoist" (should be the enlightenment master of the longevity Hall), and it is also a joke among friends. The second problem is that this kind of poetry may not have any profound implication. We must look for it. It is just nostalgia and longing for such a quiet place. These two problems are caused by the characteristics of the work itself and have nothing to do with the way of interpretation. If you use this thinking to appreciate the works with implication, you can certainly get its deep implication. We choose Huang Tingjian, a poet of the Song Dynasty, and Chen Shidao, a poet of the Song Dynasty, to interpret the two poems. One is Huang Tingjian's "climbing the fast Pavilion" and the other is Chen Shidao's "climbing the fast Pavilion". The two poems are as follows: A fool has finished his family affairs, and everything in the fast Pavilion leans on the sunny evening. The sky is vast with thousands of fallen trees, and the moon is clear along the Chengjiang river. Zhu Xian has become a great beauty, and green eyes talk about wine. Thousands of miles back to the boat to play the flute, this heart I and white gull alliance. (Huang Tingjian's climbing the fast Pavilion) The city is winding with the Qingjiang River, and the springs are among the rocks. At the beginning of the sunset, the mist is already leaning against the mountain. Where the bird wants to go, it is also free to run to the clouds. There is no end to being on the stage, so a child must return it. (chenshidao's "climbing the pavilion" With the reading experience of Su Shi's poems, it is needless to say that these two poems both wrote "Kuai", which can be called "one word blood" in the ancients. However, the similarities and differences between the two poems in writing "Kuai", as well as the beauty and implication of the poems, still need a little more explanation. With a few hints, readers will understand that Huang Tingjian's poems are about the speed of the internal mind, and Chen Shidao's poems are about the speed of external things and time. This is shallow. In depth, Huang Tingjian's poems express his desire to break away from the world network and pursue a happy life. In chenshidao's poems, he writes about leisure while being quick. He observes things with a quiet mind. His mind does not chase things and does not compete with things. As long as external things are quick, my heart is still quiet. Finally, he writes about the helplessness of being calm in the face of worldly affairs. Following this line of thinking, we can understand and grasp the beauty and implication of these works. It should be said that the ancient theory of poetic style is very helpful to the interpretation and appreciation of poetry. It is with the help of the ancient theory of pattern that we can appreciate these two poems to such a high degree and depth. The above is to learn from the ancient "lattice method" thinking to interpret and appreciate poetry. Can the "Ge" and its example poems summarized by the ancients be used to help us understand the beauty of poetry? Yes, of course. For example, fan Deji, a native of the Yuan Dynasty in the old bureau, wrote Mu Tianji's forbidden words (now compiled by Zhang Jian according to the book of poetry in the preface of Yang Chenghua in the Ming Dynasty). There are 13 spaces in the "seven character rule of poetry", of which "two characters run through" take Dufu's Jiangcun as an example, and note "three characters are included in the pillars", with a poetry grid attached (see Figure). The so-called "two characters run through" and "three characters are pillars" are not explained in Mu Tian Ji Yu. The two words "village" marked in the figure should be correct. Generally understood as "River" and "village". "Three character pillars" are "wife", "paper" and "chess" according to the glacier poetry style (Volume VII) of Liangqiao bridge in the Ming Dynasty, which is obviously meaningless. Referring to some examples of poems, this poem can be considered as "everything is quiet". The ancient people often borrowed the meanings of "things" and "things". According to the two couplets in the middle of the poem, "everything" can be understood as "everything". The explanation of "two characters run through" in "glacier poetry style" is: "the two characters are linked together, and the two couplets in the middle should correspond to each other, or each sentence in each couplet should correspond to it. The meaning should also be included when the couplets are combined and the words are taken off." This "Ying" refers to "Guanchuan", that is, blood vessel needlework. We can learn from the ancients and give full play to our wisdom to appreciate this poem. In the first couplet, the two key words "River" and "village" are respectively pointed out in the upper and lower sentences (also deducted from the title), and the three words "everything is quiet" are broken down into "everything (things)" and "quiet". The title of the poem "river village" is to write about "River", write about "village", and write about things (things) on the river and in the village. What we want to write is a "quiet". The "quiet" is the knot of the whole poem and the God of a poem. It is repeated and said that we want to write enough "quiet". If you write "you", the poem will be successful. Look at the two couplets in the middle. They are both "village" and "River". If you look at it from a different perspective, with the words "things" and "things", it is the chin couplet that writes "things" and the neck couplet that writes "things". So it is very clear: "go and come to the temple to swallow", and the things in the village are "quiet"; "The gull in the water is close to each other", and the things on the river are "quiet". "The old wife's drawing paper is a chess game", and the affairs in the village are "quiet"; "A child strikes a needle as a fishing hook", and things on the river are "quiet". Where are the links? How to understand the theory in "glacial poetry style" that "the combination of words should also have meaning"? The association has nothing to do with "rivers", "Villages", "things" and "things". Literally, it has nothing to do with "Seclusion". This is the so-called "disyllabic speech": get rid of it and say goodbye. Is that a break from the above? Of course not, "meaning" is to return to the purpose of the poem. As far as Jiangcun is concerned, what is the meaning? It means "quiet". According to the first couplet, the reason why I am "secluded" is that "the Qingjiang River embraces the village flow", and my residence is surrounded by rivers and isolated from the world. But this can not be the real reason for "Seclusion". The real reason is that the last three words of the couplet are "what more to ask for". I have no desire for the world, and people have no desire for me. There is no desire, no desire, no thought, no action. The body is idle and the mind is quiet. Only in this way can everything be quiet. This is the real reason for "Seclusion". It is the true spirit of the whole poem that the couplets reveal the purpose of the poem. At this point, we can not help but admire the superb poetic skills of the classics through the ages. Can such a "case" be transferred to the interpretation of other works? Certainly. The "Ge" mentioned by the ancients should be summarized from many works. "Two characters run through" and "three characters include pillars", which can be used to interpret the Song Dynasty wangyucheng's "journey to the village": "the horse passes through the mountain, the chrysanthemum turns yellow at the beginning of the trail, the horse is leisurely, and the wild grows. The sound of the night is heard in the valleys, and the setting sun is silent in the mountains. The leaves of the Tangli are rouge, and the buckwheat flowers are white and fragrant. Why do you feel melancholy? The original trees of the village bridge look like my hometown." Two words: "mountain" and "path"; Three words: "yexingchang". "Ten thousand valleys" and "several peaks" are linked together to see all the mountains and see the "long" of "wild prosperity" in the mountains; A combination of "Tangli" and "buckwheat" lingers along the wild path, showing the "long" of "wild prosperity" in the original. In the last couplet, the mood is reversed, and the technique is ingenious: "why is" wild Xing "so" long "? Because "the original trees of the village bridge look like my hometown", when the "similarity" is not realized, the wild prosperity is "long" because of it; Once you are disillusioned, you will recall your homesickness, and you will not be able to return home. "Yexing" will suddenly become "melancholy". This knot can be changed by learning from Du, and it is excellent. This "case" can even be used to interpret modern poems. For example, Mao Zedong's Long March can be seen as "two characters running through" mountain "and" water "and" three characters of pillars "are" just idle ". Writing about "mountain" and "water" and "only leisure" is a poetic knot. The second sentence is the key to a poem. It sets up "mountain" and "water" and points out "only leisure". These seven words can be divided into the first four and the last three: "thousands of rivers and mountains" and "only leisure". The middle four sentences can also be separated in this way: the first four words all say "thousands of rivers and mountains", while the last three words mean "only leisure". "Two couplets and one couplet" mountain "and one couplet" water ":" five mountains are winding "and" Wumeng is majestic ". Two mountains cover thousands of mountains and climb over many dangerous mountains. However, in front of a powerful army, it is just" surging up the waves "and" walking through the mud pills "--" just at leisure "; "Jinsha water auction" and "Dadu bridge crossing", seeing thousands of waters with two waters and crossing countless evil waters, are only "cloud cliff warm" and "iron rope cold", and looking back at the "thousands of waters" passed by, it is just "easy". Saying water and mountain, I wrote "easy" repeatedly. The last couplet uses the method of entering one layer to enhance the expression effect, which is not only different from the "meaning" of "Jiang Cun" but also different from the "meaning" of "Cun Xing". But it is also a big stroke: "Geng" is undoubtedly a deeper meaning, and "Xi" is a deeper meaning than "leisure": not only "leisure", but also "more like". So write down the overwhelming momentum of this team and the optimism of overcoming danger. The ancient theory of case law is only a help to the interpretation and appreciation of poetry, but can not solve all problems. It can help us grasp the direction, find the key, deeply analyze, clarify the context, reveal the purpose of the poem, and understand the wit. (author: Zha Hongde, Professor, School of Arts, Nankai University) (Xinhua News Agency)