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HomeTang Poetry and Chinese Calligraphy张海 行书:贾岛《题李凝幽居》

张海 行书:贾岛《题李凝幽居》

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张海 行书:贾岛《题李凝幽居》


【释文】闲居少邻并,草径入荒园。鸟宿池边树,僧敲月下门。过桥分野色,移石动云根。暂去还来此,幽期不负言。

【款识】右录贾岛诗,丁亥年冬,张海。

【简析】

  这首五律是贾岛的名篇。全诗只是写他拜访友人未遇这样一桩生活琐事,它之所以流传人口,主要在颔联。

  首联描写友人幽居环境:一条野草丛生的小径通向荒芜不治的小园;近旁,亦无别的人家。用笔轻淡、洗练,已点醒诗题中的“幽居”二字,暗示出李凝是一位隐士。

  颔联描写自己步入幽居所见所闻的景色。句中的“ 僧”,是作者自称,作者早年曾皈依空门。诗人写景,难在捕捉稍纵即逝的“瞬间”景致,此即北宋诗人苏轼所谓“作诗火急追亡逋,清景一失后难摹”(《腊日游孤山访惠勤惠思二僧》)是也。此诗巧妙地抓住了一个富于诗情画意的瞬间。请看,月色皎洁,池水潋滟,池边浓绿的树林里闪动着斑驳月光,鸟儿在树上栖宿。在这万籁寂寂的荒园里,一个僧人在轻轻敲门,其声笃笃,俨然一幅有声有色的图画!“鸟宿”在高处,是静景,“僧敲”在低处,有动态,有音响,一高一低,一静一动,相互配合得多么和谐。

  而且,我们还可以想象,这敲门的“笃笃”之声,定会惊动宿鸟,或引起它们零乱不安的啼鸣, 惊而飞出,察看动静后复又返巢栖宿。十个字,意象密集,境界幽绝。

  关于这一联中的“推敲”二字,有一个几乎家喻户晓的故事。据《唐诗纪事》卷四十记载,贾岛在长安等待应举,某日,骑驴上街,忽得此二句诗,初拟用“推”字,又思改为“敲”字,在驴背上引手作推敲之势,恍惚间冲犯了当时任京兆尹的诗人韩愈的仪仗队,当即被捉问。贾岛具实回答。韩愈立马思之良久,对贾岛说:“作‘敲’字佳矣。”二人遂结为诗友。由此可见贾岛作诗锻字炼句的刻苦严谨,一丝不苟。这段故事,后来成为文学创作中讲究斟酌字句的佳话。但是,在这联诗中,究竟是用“敲”字好,还是用“推”字佳?有唐诗专家云:“推门无声,敲门有声;‘推’字音节哑,‘敲’字音节亮;四野静谥,皓月舒波,此时着一缁衣僧,举手笃笃敲门,声响回荡空间,境界倍见幽迥。”(马茂元、赵昌平《唐诗三百首新编》)这是说“敲”字胜于“推”字。多数人或许都赞成这意见。画家吴冠中云:“敲则有声,与静对照。但这情境中突出了静与闹之对照是否破坏了整体调子,夹进了音响反而在画面落下了败笔。推门,无声,不写声,只着笔于推之动作,画出了运动中的线,与‘宿’相对照,显得比‘敲’更和谐,不失画面的统一。”他从绘画的角度提出异议,指出“推”胜于“敲”,亦是妙解。

  诗的颈联,写回归路上所见。诗人走过一条小桥,但见月光照耀下的原野,色彩斑斓;晚风轻拂,云脚飘移,仿佛山石在移动。这一联以幻写真,亦真亦幻,更显出月色的迷离,环境的清寂,造化的神奇。

  尾联是抒情,点出全篇主旨。诗人面对友人幽居周围的幽美迷人景色,对隐逸生活无比神往。他在心里说,我暂且离去,不久当会重来,一定不负共同归隐的相约。

  贾岛诗的主要风格是僻涩寒瘦,有时字句过于刻意推敲,难免留下斧凿的痕迹。这首诗所写景色可谓清幽奇崛,但诗用白描手法,朴素自然的语言,使人读来流利顺口。诗中“宿”、“敲”、“分”、“移”、“动”等字,虽经过精心锤炼,但不觉其雕琢,应是贾岛诗中的上乘之作。

【Simple Translation】

  This poem is a famous poem by Jia Island. The poem is only about a trivial incident of his life that he did not encounter when he visited his friend, and it is mainly in the first couplet that it has become popular.

  The first line describes the environment of his friend’s secluded residence: a path overgrown with weeds leads to a barren and ungoverned garden; there is no other house nearby. It is light and concise, but the word “secluded” in the title of the poem has already been pointed out, suggesting that Li Ning is a hermit.

  The jing line describes the scenery that he sees and hears when he steps into the secluded house. The word “monk” in the stanza is the author’s self-designation, as the author had converted to an empty door in his early years. It is difficult for the poet to capture the fleeting “momentary” scenery, which is what the poet Su Shi of the Northern Song Dynasty called “the poem was written in a hurry to catch up with the deceased, and it is difficult to copy the clear scenery once it is lost” (“Visiting Huiken Huisi and the two monks in the solitary mountain on the waxing day”). This poem cleverly captures a moment rich in poetic sentiment. Look, the moon is bright, the water of the pond is brimming, the green woods around the pond are shining with dappled moonlight, and birds are roosting in the trees. In the silence of the deserted garden, a monk knocking gently on the door, the sound of its dukkha, just like a picture of the sound! The “bird lodging” is in the high place, which is a static scene, and the “monk knocking” is in the low place, which has dynamics and sound, one high and one low, one static and one dynamic, how harmoniously they match each other.

  Moreover, we can also imagine that the sound of “Duk Duk” knocking on the door will surely startle the birds, or cause them to cry in disorder and fly out in fear, and then return to their nests after checking the movement. In ten words, the imagery is dense, and the realm is mysterious.

  There is an almost well-known story about the word “tweak” in this couplet. According to Volume 40 of the Tang Poetry Chronicle, Jia Island was waiting for the examination in Chang’an, and one day he was riding a donkey on the street when he suddenly got this two-line poem, and at first he intended to use the word “push”, but then he thought of changing it to “knock”. He was caught and questioned immediately. He was immediately caught and questioned. Jia Island answered truthfully. Han Yu immediately thought about it for a long time and said to Jia Island, “The word ‘knock’ is a good one.” The two then became poetry friends. This shows the painstaking rigor and meticulousness with which Jia Island forged his poems and refined his lines. This story later became a good story of literary creation in which words are carefully considered. However, in this poem, is it better to use the word “knock” or the word “push”? A Tang poetry expert said, “Pushing the door without sound, knocking with sound; the syllable of the word ‘push’ is mute, the syllable of the word ‘knock’ is bright; the four fields are quiet and the white moon is soothing, at this time a monk in black clothes raises his hand and knocks on the door, the sound reverberates in space, the realm is doubly The sound echoes in the space, and the realm is very quiet.” (Ma Maoyuan and Zhao Changping, “New Edition of Three Hundred Tang Poems”) This is to say that the word “knock” is better than the word “push”. Most people probably agree with this opinion. The painter Wu Guanzhong said: “Knock is a sound, in contrast to silence. But this situation highlights the contrast between the quiet and the noise whether it destroys the overall tone, and enters the sound rather in the picture down the defeat. Push the door, no sound, not write the sound, only focus on the action of pushing, painting the line in motion, and ‘lodging’ in contrast, appears more harmonious than ‘knocking’, without losing the unity of the picture.” He disagrees from the perspective of painting, pointing out that “push” is better than “knock”, which is also a wonderful solution.

  The neck line of the poem is about what we see on the way back. The poet walks across a small bridge, but sees the moonlight shining on the wilderness, which is full of colors; the evening breeze is light, and the clouds and feet are moving, as if the mountains and rocks are moving. This couplet is a real and fantastical one, showing the moonlight’s misty color, the environment’s silence and the magic of creation.

  The last couplet is a lyrical one, highlighting the main theme of the whole piece. Faced with the beautiful and enchanting scenery around his friend’s secluded residence, the poet is fascinated by the secluded life. He says in his heart, “I will leave for the time being, but I will come back soon, so that I can live up to my promise to return to the hermitage together.

  The main style of Jia’s poems is aloof and cold, and sometimes the words and phrases are too deliberate, leaving traces of the axe. This poem can be described as a quiet and strange scenery, but the poem uses white descriptions and simple and natural language, which makes it fluent and easy to read. In the poem, the words “lodging”, “knocking”, “dividing”, “moving” and “moving The words “lodging,” “knocking,” “dividing,” “moving,” and “moving” have been carefully refined, but they do not seem to be carved, so they should be the best of Jia’s poems.

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