Huang Tingjian, a famous poet of the Northern Song Dynasty, was nicknamed "Dharma in Poetry". As the originator of the Jiangxi school of poetry, Huang Tingjian is actually a "great king of manuscript washing". We had talked before, and he and Su Shi had a fight over "washing" Zhang Zhihe's "Fishing Song".
Huang Tingjian said that Su Shi filled in the words too much, and Su Shi laughed at Huang Tingjian's fisherman, who was just "bride chirping", and then arrived at "daughter Pu", simply not too much.
Fighting with Su Shi, Huang Tingjian fell behind, so he was worried about it for decades. Until the twilight of his life, he couldn't help but take out Zhang Zhihe's original work, use "Partridge Heaven" as a word card, and "wash" it again.
Instead of "washing" himself, Huang Tingjian also mobilized his nephew and "washed" Zhang Zhihe's "Fishing Song" four times with the two words "Huanxi Sha" and "Partridge Heaven"! So endless, it made Su Shi quite speechless.
Speaking of Huang Tingjian's habitual "washing of manuscripts", he not only "washed" Zhang Zhihe of the Tang Dynasty, but even Ouyang Xiu of the Northern Song Dynasty. Ouyang Xiu's most famous masterpiece, "The Tale of drunken Wengting", was "washed" by him into his own words, called "Ruihe Xian Huan Chu Ji Shan Ye".
The content of this poem is not surprising to copy Ouyang Xiu's original text. The strange thing is that Ouyang Xiu used 21 "also" words to make the end of the sentence, and Huang Tingjian's words also used 12 "also" words to rhyme. Moreover, this poem also tightly grasped the main idea that Ouyang Xiu wanted to express in the original text.
Appreciation of "Ruihe Xian Huan Chu Ji Shan Ye"
"Ruihe Xian Huan Chu Ji Shan Ye" - Northern Song Dynasty Huang Tingjian
Ring chu is also mountainous. Looking at the deep show, Langya Mountain also. Six or seven miles up the mountain, there are wings on the spring, drunken Pavilion also. Weng Zhile also. Gain the heart, Yu No Kuya. More wild Fang Jia mu, the wind is high and the sunrise is high, and the scenery is infinite.
Tour also, mountain dishes wild oyster, sake spring incense, boiling chip also. Too drunk, noisy and cheerful. The pleasure of feasting, not silk and not bamboo, too guarded to enjoy it also. Asked who was too guarded at that time, the drunkard was also.
Vernacular Translation:
Chuzhou is surrounded by mountains on all sides, and in the distance, the place with deep and beautiful greenery is Langya Mountain. Enter the mountain and follow the path, walking for six or seven miles. There is a pavilion on the edge of the spring, and the eaves of the pavilion are upturned like the wings of a bird, which is the "Drunken Pavilion".
This is where Taishou feels happy, and his happiness comes from his own mind, not from external objects. He was just borrowing drunkenness and pinning his inner feelings. Coupled with the wildflowers blooming in the mountains, the beautiful forests, the wind and the sun, the scenery is boundless.
Go play and share game dishes with your guests. The fine wine brewed by the spring water constantly overflows from the cup. Faced with this situation, TaiShouyi was drunk with joy. The guests who accompanied him were naturally very happy.
How do you describe the joy of drunkenness at a feast? The happiness of Taishou is not the happiness brought by the sound of silk and bamboo, but the happiness and happiness of feeling the guests. If you ask who Taishou is, he is Ouyang Xiu!
According to the relevant introduction in the dictionary, Huang Tingjian's way of "washing manuscripts" is actually a common technique in ancient literary creation, called "concealment".
The content of Huang Tingjian's lyrics and the main theme that he wanted to express belonged to Ouyang Xiu's "Record of drunken Pavilion". Huang Tingjian's work is nothing more than "playing with writing skills.".
It's just that the so-called literature is often equally important to the connotation of the article and the "creative technique". Therefore, even if a literary work is completely devoid of content innovation, as long as the narrative skills are improved, then it will be recognized by professionals.
I think this is probably something that many young readers today can't understand. Because if you take the word Huang Tingjian to check the "originality" of the machine program, I think it will definitely not pass.
However, in any case, poetry experts believe that Huang Tingjian played with the "writing skills" of this word very skillfully, because he did not change Ouyang Xiu's writing order and narrative techniques at all.
For example, the first sentence in Huang Tingjian's words is directly the first sentence of Ouyang Xiu's prose. The second sentence starts from what the author saw along the way, and begins to introduce the location of Langya Mountain and Drunken Pavilion, which is also in the same order as the original text, and almost no sentence in the whole word is his "original".
The first half of the word is the content of the first and second paragraphs of the prose. Only the part of Ouyang Xiu's original text, introducing who built the pavilion, as well as the changes in the scenery in the mountains, and the alternating description of the obscure and dark were deleted.
After deleting these, Huang Tingjian highlighted the most important part of the "Drunken Pavilion" in this poem, that is, "the meaning of drunkenness is not in wine."
The second half of the word is also doing "subtraction", and Huang Tingjian deletes the character of "tourist" in the original work, as well as the excessive description of the scenery and characters at the end of the banquet.
People who have read the original text of Ouyang Xiu's "Drunken Pavilion Record", when they first see Huang Tingjian's "Ruihe Xian Huan Chu Ji Shan Ye", will feel that Huang Tingjian cut the original text very "roughly".
It's like a crappy magazine editor, in order to shoehorn an article of more than four hundred words into a 100-word tofu block column. He drastically cut a tree that was originally leafy into a miserable "bare stick" that could not be seen.
But wait! Evaluating an ancient word that is "hidden" is not what people say today. Because of Huang Tingjian's word, the outstanding place is not in the content, but in the artistic technique.
To put it bluntly, Huang Tingjian is playing a word game. Ouyang Xiu's original text used 21 "also" as the end of the sentence. Huang Tingjian deliberately used the word "also" in the word to rhyme, which is not simple.
It should be known that when some poets and lyricists in ancient times fill in the words in poems, they often found no suitable words to rhyme, and the phenomenon of "rhyme" appeared.
However, Huang Tingjian's poem, while strictly adhering to the style, also adopted all the sentences in Ouyang Xiu's prose. The order of the narrative, the connotation of the narrative, the main idea, and even the sentences are almost not original.
A good article "Drunken Pavilion" was simply played by him as "true and false Li Kui". In this case, he can also insist on the rhyming of the word "also" and will not make people feel that the sentence has an abrupt place. Show off to this job, there is no one left.
epilogue
Huang Tingjian rewrote Ouyang Xiu's prose, and while maintaining the original appearance as a whole, he adapted to the requirements of the rules of "RuiHe Xian". This is equivalent to taking Ouyang Xiu's prose and rewriting it into the lyrics of a song.
The tune (style) of this song is fixed and the content is original. If you are not familiar with the song and the original text, you will never be able to achieve this point.
It can be seen that Huang Tingjian must have appreciated this "Drunken Pavilion Record" very much, and there was absolutely no intention of plagiarizing or plagiarizing it. It's just that this kind of "hidden word", the content of the filler words is all pick-up, after all, it is not good-looking.
So later, when Zhu Xi wrote Du Mu's "hidden words", he finally began to have his own meaning and connotation. But no matter what, Huang Tingjian's "hidden word" is already famous, and no one dares to say that his poem was "copied" by Ouyang Xiu.
After all, prose does not have to be filled in according to the word spectrum, let alone rhyme. Therefore, Huang Tingjian changed the prose into song lyrics, although it is a "small road", it is still a "technical" work with ingenuity.