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HomeTang Poetry and Chinese Calligraphy来楚生 行书:李绅《悯农》(其一)

来楚生 行书:李绅《悯农》(其一)

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来楚生 行书:李绅《悯农》(其一)


【释文】春种一粒粟,秋收万颗子。四海无闲田,农夫犹饿死。

【款识】李绅古风二首之二,壬子夏五月,负翁。

【简析】

  李绅,字公垂。他不仅是中唐时期新乐府运动的倡导者之一,而且是写新乐府诗的最早实践者。元稹曾说过:“予友李公垂,贶予乐府新题二十首。雅有所谓,不虚为文。予取其病时之尤急者,列而和之,盖十二而已。”元稹和了十二首,白居易又写了五十首,并改名《新乐府》。可见李绅创作的《新题乐府》对他们的影响。所谓“不虚为文”,不也就含有“文章合为时而着,歌诗合为事而作”的意思吗?可惜的是李绅写的《新乐府》二十首今已不传,不过,他早年所写的《悯农二首》(一称《古风二首》),亦足以体现“不虚为文”的精神。

  诗的第一首一开头,就以“一粒粟”化为“万颗子”具体而形象地描绘了丰收,用“种”和“收”赞美了农民的劳动。第三句再推而广之,展现出四海之内,荒地变良田,这和前两句联起来,便构成了到处硕果累累,遍地“黄金”的生动景象。“引满”是为了更有力的“发”,这三句诗人用层层递进的笔法,表现出劳动人民的巨大贡献和无穷的创造力,这就使下文的反结变得更为凝重,更为沉痛。“尽道丰年瑞,丰年事若何?”(罗隐《雪》)是的,丰收了又怎样呢?“农夫犹饿死”,它不仅使前后的内容连贯起来了,也把问题突出出来了。勤劳的农民以他们的双手获得了丰收,而他们自己呢,还是两手空空,惨遭饿死。诗迫使人们不得不带着沉重的心情去思索:是谁制造了这人间的悲剧?答案是很清楚的。诗人把这一切放在幕后,让读者去寻找,去思索。要把这两方综合起来,那就正如马克思所说的:“劳动替富者生产了惊人作品(奇迹),然而,劳动替劳动者生产了赤贫。劳动生产了宫殿,但是替劳动者生产了洞窟。劳动生产了美,但是给劳动者生产了畸形。”

  李绅当然不懂得阶级压迫和阶级剥削的道理,但是,我们从几十年之后唐末农民起义的“天补平均”的口号中,便不难看出这两首诗在客观上是触及到了封建社会的主要矛盾的。

  《悯农二首》不是通过对个别的人物、事件的描写体现它的主题,而是把整个的农民生活、命运,以及那些不合理的现实作为抒写的对象。这对于两首小诗来说,是很容易走向概念化、一般化的,然而诗篇却没有给人这种感觉,这是因为作者选择了比较典型的生活细节和人们熟知的事实,集中地刻画了那个畸形社会的矛盾,说出了人们想要说的话。所以,它亲切感人,概括而不抽象。

  诗人还用虚实结合、相互对比、前后映衬的手法,增强了诗的表现力。因此它虽然是那么通俗明白,却无单调浅薄之弊,能使人常读常新。在声韵方面诗人也很讲究,他采用不拘平仄的古绝形式,这一方面便于自由地抒写;另一方面也使诗具有一种和内容相称的简朴厚重的风格。两首诗都选用短促的仄声韵,读来给人一种急切悲愤而又郁结难伸的感觉,更增强了诗的艺术感染力。

【Simple Translation】

  Li Shen (李绅) is the character Gongchui (公垂). He was not only one of the advocates of the new music movement in the Middle Tang Dynasty, but also the earliest practitioner of writing new music poems. Yuan Zhen once said, “My friend Li Gongchui bestowed upon me twenty new poems of music. The poem is called “The Art of the Music” and it is not in vain. I took the most urgent ones when he was sick and listed them and made them up, and they are only twelve.” Yuan Zhen wrote twelve songs, and Bai Juyi wrote another fifty songs, and renamed them “New Music House”. This shows the influence of Li Shen’s “New Music House” on them. The so-called “not in vain for the text” also means “the essay is written for the time, the song and poem are written for the matter”. Unfortunately, Li Shen’s twenty poems from the New Music House have not been passed down, but his earlier poem “Two Poems for the Compassionate Farmer” (also known as “Two Poems for the Ancient Wind”) is a good example of the spirit of “not being vain in writing”.

  At the beginning of the first poem, he depicts the harvest in a concrete and imaginative way, using “a grain of corn” to turn into “ten thousand seeds” and “seeds” and “harvest” to praise the farmers’ labor. The first stanza begins with “a grain of corn” transformed into “ten thousand seeds” to depict the bountiful harvest. The third line extends the meaning to show that the wasteland has been transformed into fertile land within the four seas, which, together with the first two lines, forms a vivid scene of fruitfulness and “gold” everywhere. “The poet uses layers of writing to show the great contribution and infinite creativity of the working people, which makes the following conclusion more serious and sorrowful. “The poet uses a progressive style to express the great contribution and infinite creativity of the working people. (Luo Yin, “Snow”) Yes, so what if there is a good harvest? “The peasants are still starving to death”, which not only makes the preceding and following contents coherent, but also highlights the problem. The hard-working peasants have obtained a good harvest with their hands, while they themselves are still empty-handed and starving to death. The poem forces one to ponder with a heavy heart: who created this human tragedy? The answer is very clear. The poet puts it all behind the curtain, leaving the reader to find and ponder. To put these two sides together, it is as Marx said: “Labor produces amazing works (miracles) for the rich, yet labor produces abject poverty for the laborer. Labor produces the palace, but it produces the cave for the laborer. Labor produces beauty, but produces deformity for the laborer.”

  Li Shen, of course, did not understand class oppression and class exploitation, but we can easily see from the slogan of “the sky makes up for the average” of the peasant revolt at the end of the Tang Dynasty decades later that these two poems objectively touch on the main contradictions of feudal society.

  The theme of “Two Poems on Compassion for the Peasants” is not reflected through the description of individual characters and events, but the whole peasant life, fate, and unreasonable reality as the object of expression. This is easy to conceptualize and generalize for two small poems, yet the poems do not give such a feeling, because the author chooses more typical details of life and familiar facts to portray the contradictions of that deformed society in a concentrated way and say what people want to say. Therefore, it is intimate and touching, general but not abstract.

  The poet also enhances the expressive power of the poem by using a combination of reality and fiction, contrasting with each other and reflecting back and forth. Therefore, although the poem is so popular and understandable, it is not monotonous and shallow, and it can make people read it often. The poet is also very careful in terms of rhyme and rhyme, and he adopts the ancient form of unrestricted ping and yang, which on the one hand facilitates free expression, and on the other hand gives the poem a simple and heavy style commensurate with its content. Both poems use a short oblique rhyme, which gives a sense of urgency and anguish, and also enhances the artistic impact of the poems.

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