As early as the pre-Qin era, boating had entered the country of poetry. The poem Yue Yue Ge said, "What's the occasion? Let nature take its course Today, I have to help the prince in the same boat ... "It expresses the feeling that two hearts are close to each other. "The Book of Songs Li Feng Bai Zhou" said, "Bai Zhou is also a flood. ..... "can be said to be the first formal boating poem in the history of China literature. In addition, there are "Boat" and "The Clear Man", both of which are related to rowing to relieve anxiety. It can be said that from this point of view, boating has a profound understanding of life, which has become a heritage of later literati. After Wei, Jin, Southern and Northern Dynasties, there were more and more boating poems, which was related to the development of landscape poems and the expansion of literati consciousness in this period. It is worth noting that in the Book of Songs Feng Wei He Guang, there is a sentence "Who is He Guang? A glimpse. " Not to mention the theme of the poem, in the Northern Wei Dynasty, there was a story that bodhidharma, the early ancestor of China Zen, crossed the river with a reed to spread Mahayana Zen, which was later a Buddhist allusion of "sailing with a reed". Miraculously, in the cultural records of the pre-Qin and Northern Wei Dynasties, the same situation of "rowing with reeds" appeared, and all of them came from the Yangtze River basin. Excluding the exaggerated "lightness skill", we can speculate that the ancestors of the Yangtze River basin mobilized their wisdom to cross the river in order to facilitate it, making it impossible to cross the river with reeds. Such ingenious thinking has produced a deep sense of inner self-confidence in the hearts of the ancients, which has remained in the Book of Songs and the Story of Dharma, becoming a literary symbol that has been constantly recalled and superimposed, and has been adopted by literati groups. Looking at the complete works of Tang poetry, there are more than 500 poems about boating, and there are 195 poems about boating. By the Tang Dynasty, in the country of poetic art, boating poetry had become very common, and almost all important poets had involved it. Du Fu has 17 poems, with the largest number, followed by Li Bai and Bai Juyi, followed by Cen Can and Meng Haoran. Li Bai's poem "Since the world can't satisfy our desire, I will let go of my hair tomorrow and take a fishing boat" can be described as a high-profile connection between boating and an open-minded outlook on life, but the truly complete, mature and philosophical boating poem should come from Su Shi.
In the article On Su Shi's Early Poems on Official Tour of Landscape, Cheng Lei thinks that official tour of landscape in Song Dynasty highlights a special living state, that is, the "tour" beyond the yearning spirit in landscape aesthetics is included in the "tour" of human service. [2] Su Shi highlighted this point completely with the trajectory of life. In the second year of Jiayou (1057), Su Shi became a scholar. Since he left Meishan to go out to work, he began his ups and downs in official career and his life writing as a poet. In the fourth year of Xining (107 1), Su Shi was invited to work in Beijing and was sentenced as a general in Hangzhou. In a free-wheeling state, it has an important connection with the West Lake. Boating in the West Lake is an important poetic activity of Su Shi here. The Pan-West Lake at night has a different kind of experience and sentiment, such as "the lonely pond is boundless and the water is boundless, and the lotus blooms overnight." I gradually saw the lights from the temple in the distance, and I didn't see the lake until the moon was dark. Another example is "The water pillow can make the mountain pitch, and the wind boat drifts with the moon", which is one of the five absolutely fascinating books in Wang Hu Building on June 27th. Drunk boat is another kind of enjoyment, such as "welcome guests at sunrise, stay drunk in the rain at night." "This means that Jiajun can't, and one cup is the narcissus king." Among Su Shi's boating poems on the West Lake, the most famous one is Rain after Drinking on the Lake. Followed by "the water is bright and sunny, and the mountains are rainy." If you want to compare the West Lake to the West Lake, light makeup is always appropriate. "Generally speaking, the former is considered inferior to the latter in describing scenery, so most of the selected poems are not included, but the contrast between the two poems can better grasp the inspiration and artistic ingenuity of the author when writing poems.
In fact, the first song is about the scenery of the West Lake between dawn and dusk, and the last two sentences are about the author's narcissism in this boating experience. He is lonely and jubilant. He communicated with the Narcissus King Temple on the West Lake with great interest, believing that this was Su Shi's conscious acceptance of the cultural landscape of the West Lake and his integration into his own poetic world.
The last two sentences of the second song, "If you want to compare with the West Lake, light makeup and heavy makeup are always appropriate", are famous sentences chanting about the West Lake. At the latest in the Southern Song Dynasty, "West Lake" has become a favorite title of the West Lake and is widely seen in other poems. [3] This analogy is of great significance to the integration of cultural images into poetry. According to Mr. Yang Xingyu's semantic summary, "Before Su Shi wrote this poem, Xizi and West Lake were only adjacent on the axis of combination". "As soon as this poem was written, the West Lake and Xizi gained a similar relationship on the axis of convergence." [4] Historical Records, Zuo Zhuan and Guoyu have no historical records. There is a saying in the lost article in the Spring and Autumn Annals of Wu Yue that "after Wu died, he drifted across the river and died". The History of the Eastern Zhou Dynasty records that "Gou Jian moved his troops back to Yue and returned with his teachers. Lady Yue lurked out, fell on a big stone and sank into the river, saying,' How can this country survive? "Mozi's pro-teacher" has "its reason is the death of dry, and its resistance is also; Meng Ben's killing was brave; Beauty of beauty lies in beauty of beauty. Wu Qi's split is also a matter. " Although there are complete and short-lived differences in details, they all record the tragic ending of drowning in history. There is only the "Wu dialect" quoted in Wu Yue Chun Qiu: "After the death of the State of Wu, Teacher Xi returned to be the companion of the five lakes." Because "Wu Yue Chun Qiu" is between history books and novels, the recorded contents may be repeated or contradictory. However, there are two conjectures about Shi's whereabouts in the book, which at least shows that these are two common statements. The latter, like the story of turning into a butterfly, turns tragedy into a beautiful ending, which is such a touching legend. Su Shi has been living in people's memory of historical stories. Su Shi takes them as noumenon and metaphor in boating on the West Lake. Ingeniously embedded in the poem, the two finally met in the infiltration of the poem, which aroused the admiration of later generations, such as "the last two sentences became the West Lake evaluation" in Chen Yan's "The Essence of Song Poetry". In Jin Yong's "The Sword of the More Girl", this ending was also adopted, and it was arranged to go boating on five lakes with stones, and everyone was happy. This wonderful legend has been circulated in the literary field.
If the two poems are combined, the relationship between the morning and evening in the first poem is Su Shi's feeling, while the relationship between sunny and rainy in the second poem is Su Shi's main feeling. Su Shi experienced the double changes of nature in rowing, which was also an important foreshadowing of his later poetic realm of "no rain and no sunshine". The reason why Su Shi can think of the relationship between learning Chinese characters and the West Lake must be the ingenious idea of drinking with Narcissus King in the first poem, which also promoted him. It can be said that the two are an artistic inheritance relationship and should be analyzed as a whole.
If Hangzhou is the "high-spirited" era when Su Shi was obsessed with unlocking the poetic realm of boating, Huangzhou is the "seeking meaning" period of his real life of boating. Su Shi always likes to drink and go boating at night in Linjiangxian's The Drunken Man Awakens at Dongpo Night. In Zhuangzi Zhibei, "I hate this body for a long time" is changed to "You were not born for you", and "When did you forget the camp" is changed to "All your shapes" in Zhuangzi Gengsang Chu. It also broke through the commandment of the traditional word "it's quiet at night, flowing clouds and flowing water". On a quiet night, calm water also calms the heart. In this situation, Su Shi's heart has reached a state of real peace, and thus he has a sigh that "the boat has passed now, and the river and the sea will live for the rest of his life", which has changed from calm to quiet and free and easy. Unlike Li Bai's arrogance, he is calm and calm. The Red Wall Fu written in Huangzhou is a further and complete exposition of Su Shi's feelings about boating life. "The moon rises from the East Mountain and wanders around the bullfight room" is another overnight flood. "Holding wine as a guest" and "drinking happily and singing it" are still drinking and boating, "reciting the poem of the bright moon and singing the chapter of grace and restraint". In Su Shi's boating, it must have been like this all the time, or it can be traced back to the existing knowledge reserve to find out. Although the result of boating reached a philosophical height of spiritual liberation, the last poem was written from the scene before us since the Enlightenment. This poem is a spiritual outlet in the reflection on homesickness in the question-and-answer dialogue with guests. But it is enough to prove that Su Shi's open-minded outlook on life is a complete logical and emotional destination to seek and reflect on by combining various situations and instant experiences, as well as hidden cultural memories and on-site "encounters" in boating experiences. It is precisely because of the deep connection between Su Shi's boating and his philosophical life that there is a classic image description of Su Shi's boating on the Red Cliff in Wei Xueyi's Story of a Nuclear Ship in the Ming Dynasty, which shows that it has long been a classic cultural landscape in the eyes of future generations, and it is difficult to decompose the boat and Su Shi. Even in the Song of Dust, which was written by this post-80s writer for seven years, there is still a classic example of "Everyone is willing to look back on the past, living like a passer-by, sailing with reeds", which is often quoted in junior and senior high school compositions. In Su Shi's "Send Qian Mufu to Linjiang Fairy", it has long been said that "life is like a line, and I am also a pedestrian". Although the word is not boating, it is to send friends out of Hangzhou by boat. This shows that Su Shi's free and easy outlook on life in boating has had a far-reaching impact on later literary works and literary spirit in different forms.
? Others, like Li Qingzhao's "Dream", "I often remember the sunset in Xiting, and I don't know my way home when I am drunk. After returning to the boat in the evening, I strayed into the depths of the lotus. " In the Empress Palace, Guo Ziyu and Zhen Xuan met on the boat at night. In the boating palace, lotus is picked as a foil, exactly the same. Obviously, Li Qingzhao's boating poems are skillfully used, like "I miss my hometown and the blue boat urges me to make a fortune" in Liu Yong's Lin Yuling. In the TV series Do You Know, Sheng and Gu bowed when they were young. Because many details of the life of the Song people were incorporated into the poems, Zhou Yun and specific characters and emotions formed a fixed literary memory, which was constantly superimposed and germinated, affecting different forms of literary creation today, either romantic or sentimental.
The boat can leave or arrive, and it can be an entertainment trip or a wandering in the rivers and lakes. A reed canoe on the wide water surface always brings people double thinking about the finite and infinite, controllable and uncontrollable. It gives people who are boating in the vast life a temporary resting place and a room to explore where to go, such as Ba Jin's Chueh-hui's boat, such as Shen Congwen's Cui.