背起行囊走四方_900字

背起行囊走四方_900字背起行囊走四方，踏着是历史，背着是书箱，纵身几千年，横跨几万里。——究竟是什么有这么大的威力呢？对了，这就是文学，是古代的写景诗歌。Carryingbags,walkingaround,followinghistory,carryingabookcase,thousandsofyears,acrosstensofthousandsofmiles.——Whatissopowerful?Bytheway,thisisliterature.It'sancientlandscapepoetry.而又因为其情景交融，故不仅可以使人见景，又可使人通情，可谓是世上最划算的旅行了。Andbecauseofthecombinationofthescenery,itcannotonlymakepeopleseethescenery,butalsomakepeopleempathy,whichisthemostcost-effectivetravelintheworld.在这里有张九龄《望月怀远》中“海上升明月，天涯共此时”的恋恋念情；有王维《使至塞上》中“大漠孤烟直，长河落日圆”的雄奇风光；有李白《早发白帝城》中“两岸猿声啼不住，轻舟已过万重山”的疾济喜情；有青莲《论诗》中“清水出芙蓉，天然去雕饰”的诗情雅韵；有太白《送孟浩然之广陵》中“孤帆远影碧空尽，唯见长江天际流”的依依离情；有李商隐《晚情》中“天意怜幽草，人间重晚情”的珍老惜时；有张继《风桥夜泊》中“孤苏城外寒山寺，夜半钟声到客船”绵绵旅情；有俞文豹《清夜录》中“近水楼台先得月，向阳花木易为春”的天然哲思；有柳宗元《渔翁》中“烟销日出不见人，欸乃一声山水绿”的乡村剪影；还有孔尚任《桃花扇·哀江南》中“白鸟飘飘，绿水滔滔”的冶情佳境……HereareZhangJiuling'slovethoughtsof"thesearises,themoonrises,andtheendsoftheearthareatthistime";WangWei'smagnificentsceneryof"thedesertisstraight,theriverfallsyen";LiBai'sJiJijoyof"theapesonbothsidescannotsing,andthelightboathaspassedthemountains";Qinglian's"thepoemofConfucius"theclearwatercomesoutofthelotus,andthenaturaldecorationisdone”InTaibai's"sendingMengHaorantoGuangling",thereis"thelonelysailfaraway,theshadowinthebluesky,andonlytheflowoftheYangtzeRiverinthesky".InLiShangyin's"latelove",thereis"Heaven'sloveforthegrass,andtheworld'sloveforthelate".InZhangJi's"windbridgeandNightMooring",thereis"coldmountaintempleoutsidethecityofGushu,andthebellgoestothepassengershipatnight".InYuWenbao's"clearnightrecord",thereis"nearwater"Thenaturalphilosophyof"themooncomesbeforethetower,andthesunflowersandtreesareeasytospring";thevillagesilhouetteof"therisingofsmokeandtherisingofsunisasoundoflandscapegreen"inLiuZongyuan's"Fisherman";thebeautifulsceneof"whitebirdsflutteringandgreenwatersurging"inKongShangren's"PeachBlossomFanandmourningforthesouthoftheYangtzeRiver"面对这些美妙的诗句，我们似乎可以研究一下古诗词中“情，思，景”的关系。明代的袁宏道在《叙小修诗》中曾说：“情随境变，字逐情生。”同时代的学者袁枚也说：“品画先神韵，论诗重性情。”Inthefaceofthesewonderfulverses,itseemsthatwecanstudytherelationshipof"feeling,thinkingandscenery"inancientpoetry.YuanHongdaooftheMingDynastyoncesaidinthepoemofXuXiaoxiu,"emotionchangeswiththeenvironment,andwordsgrowwithemotion."YuanMei,ascholaratthesametime,alsosaidthat"paintingbeginswithverveandpoetryfocusesontemperament."那么，在对古代诗词的管中窥豹中，似乎可以得到一个关于“情，思，景”的这样的结论：以情观景或因景生情，然后又由景而思。这或许是大多数作品的写作模式，我们把这种写作模式叫做“即兴写作”。那么，在“即兴写作”中应偏情呢，还是偏景呢？Then,fromtheperspectiveofancientpoetry,itseemsthatwecangetaconclusionabout"feeling,thinking,andscenery":toviewscenerybyfeelingorbyscenery,andthenbyscenery.Thismaybethewritingmodeofmostworks,whichwecall"improvisation".So,inthe"improvisation"shouldbepartialtothesituation,orpartialtothescene?清代的吴乔这样说：“古诗多言情，后世之诗多言景。如《十九首》之中：‘孟冬寒气至’，建安中之子建《赠丁仪》：‘初秋凉气发’者无几；日盛一日，梁陈大盛，至唐末而有清空如话之说，绝无关于性情，画也非诗也。夫诗以情为主，景为宾。景物无自生，惟情所化，情哀则景哀，情乐则景乐。唐诗能融景入情，寄情于景，如子美之：‘近泪无乾土，低空有断云’；沈下贤之：‘梨花寒食夜，深闭翠微宫’；严维之：‘柳塘春水漫，花坞夕阳迟’；祖咏之：‘迟日园林好，清明烟火新’；景中哀乐之情宛然，唐人胜场也。宏嘉人依盛唐皮毛以造句者，本自无意，不能融景，况其叙景惟欲阔大高远，于情全不相关，如寒夜以板为被，赤身而挂铁甲。”IntheQingDynasty,WuQiaosaid,"theancientpoemsarefulloflove,andthelaterpoemsarefullofscenery.".Forexample,inthenineteenpoems,MengDongiscold,andinthebookofgivingDingYi,thesonofJian'an,therearefewpeoplewhoarecoolintheearlyautumn;inthedayofprosperity,LiangandChenareprosperous,andintheendofTangDynasty,thereisnosuchthingasemptiness,whichisnothingabouttemperament,andpaintingisnotpoetry.FuPoetryisbasedonemotionandthesceneryistheobject.Thesceneryisnotself-sustaining,buttheemotionischanged.Whentheemotionissad,thesceneryissad.Whentheemotionishappy,thesceneryishappy.Tangpoetrycanintegratethesceneryintothesentiment,andplacethesentimentonthescenery,suchasZimei's:"thereisnodrylandnearthetears,andcloudsarebrokeninthelowsky";shenxiaxian'.Hongjiapeople,whomadesentencesbasedonthefuroftheTangDynasty,hadnointentionofmergingwiththescenery.What'smore,theywantedtodescribethesceneryinabroadandfar-reachingway,whichhadnothingtodowiththeirfeelings.Forexample,theyusedboardsascoversincoldnightsandhungironarmournaked."这其中便揭示了诗的创作原则：“情为主，景为宾”，“景物无自生，惟情所化”，“融景入情，寄情于景”。至于孰轻孰重，不言而明。Thisrevealsthecreationprincipleofthepoem:"theemotionisthemain,thesceneryistheobject","thescenerydoesnothaveitsownlife,buttheemotionischanged","meltsthesceneryintotheemotion,placestheemotioninthescenery".Asforwhichismoreimportant,itisclearwithoutsaying.本着这些原则，继续赏析古代写景的诗，玑珠与瑕疵便会自生。Inlinewiththeseprinciples,ifwecontinuetoappreciatethepoemsofancientlandscapepainting,theAbasanddefectswillcomeintobeing.应该说，这是确是一场划算的旅行，不仅领略了天下风光，更了解了诗人的心胸情怀，还能小试牛刀品头论足，快哉快哉！Itshouldbesaidthatthisisindeedacost-effectivetrip,notonlytoappreciatethesceneryoftheworld,butalsotounderstandthepoet'smindandfeelings,aswellastomakeasmalltestofNiuDao'scomments,sofast!