The Peach Blossom Garden, located in the northern part of the city of Suzhou, was once the villa of the Privy Councilor Common Man in the Song Dynasty, but was later turned into a vegetable garden, which Tang Yin built in 1507, the second year of the Zhengde era, under the name of "Master of Peach Blossom Garden. Tang Yin spent most of the latter half of his life living in seclusion here, calling up his friends and associates and spending his days in poetry and wine. The "Peach Blossom Nunnery Song" is one of the most famous of his poems, a work of self-condemnation, self-condemnation, and a warning to the world.
"In the peach blossom dock is the Peach Blossom Nunnery, and in the Peach Blossom Nunnery is the Peach Blossom Fairy. The Peach Blossom Immortal planted peach trees and picked peach blossoms for wine money." The first four lines are like a long "push" shot, from far and near, presenting a painted fairy steeply in front of the reader. In four short lines, six "peach blossoms" are repeated, cyclic and repetitive, hooked back and forth, thick ink and heavy colors, quickly piling up a world of flowers, making people fall into the situation set by it. The unhurried tone and speed of speech aggravate the reader's sense of intimacy and curiosity: what kind of immortal life is this Peach Blossom Immortal leading? The next four lines unfold a beautiful picture of "lying drunk among the flowers": "Waking up from wine, I only sit in front of the flowers; drunkenness still comes to sleep under the flowers. Half-awake, half-drunk, day after day, flower after flower, year after year." Look at the peach blossom immortal how free, how happy, even year after year, day after day drunken enjoy flowers. Here, the flowers and wine, is not entirely the poet to put down the feelings of foreign objects, is simply a part of the poet's life, or also become an independent individual life, flowers, wine and people, fused into a harmonious whole. The above lines, can be described as the author of the self, vivid imagery, distinct and meaningful. That once fantasized that "towards the field house Lang, twilight boarding the hall of the son of heaven" of the scholar Tang Yin disappeared, that the brothel drunkenness and dreaming of death, pain and pain, music and music, after a few years of debauchery, Tang Yin finally chose to escape from the downtown area, selected for themselves a paradise, and step-married to Shen, began to live in relative peace and seclusion. Relatively calm reclusive life. Although there is no door to advance, after all, the body has a trust, but also worth the prime of life, the beautiful scenery, a chant into a poem.
"I wish I could die of old age among the flowers and wine, and I do not want to bow in front of the car and horse." This line from the beginning to the end, said the poet's interest: instead of running around for glory and wealth to bend themselves to the next person, why not in the flowers and wine in a happy and free: "car dust and horses, the interest of the noble, wine and flowers of the poor edge. If you compare the rich and the poor to the rich and the poor, one is in the flat earth and the other is in the sky." "Car, dust, horse and foot" is only the interest of the rich, while flowers and wine are destined to be associated with the poor. If the money and material to measure, these two kinds of people two life naturally have a world of difference, but another angle to understand, those rich and noble people must always be tense, careful as walking on thin ice, while the so-called poor people, but can be more a few minutes of leisure, a few minutes more fun, but live a more natural, real, more relaxed and happy. The above six lines are all described in contrast, feelings in the intense collision unfolding, in each line, because of the relationship between the rhyme, tight before and after the Shu, fully expresses the poet's proud of the world's personality, and living in the life of the transcendence and relief.
However, the true meaning of this is not realized by everyone, can't you see that "others laugh at me for being so crazy"? And "I", but do not think: "I laugh at others do not see through." Don't you see, in the past, the powerful and rich to the extreme of the kings and generals, and now how it? Not only is the body gone, the power has fallen, even flowers and wine, which they disdained in their lifetime, can not hope for, and even their graves are not protected. If they know in heaven, they can only watch helplessly as farmers plow the land where they are buried. "I don't see the graves of the great men of the Five Tombs, no flowers, no wine, no hoeing for a field!" A closing sentence, ending abruptly, the aftertaste lingers.
Throughout the poem, the level is clear, the language is shallow and close to the euphemism, almost like a ballad-style self-talk, but it is such self-talk, but it contains infinite artistic tension, giving a person a continuous aesthetic enjoyment and a strong sense of identity, which is worthy of being the best of Tang Yin's poems. This is also in line with Han Yu's famous assertion that "the sound of peace is thin, but the sound of sadness is wonderful; the words of happiness are hard to work, but the words of poverty are easy to be good" (Preface to Jingtan's Singing and Harmonizing Poems).
The two most prominent and impressive images in this poem are "flower" and "wine". The peach blossom, first seen in literature in the poem "Tao Yao" in the Book of Songs - Zhou Nan, was meant to express a free-spirited emotion. And to the Jin Tao Yuanming "Peach Blossom Garden", the peach blossom will be more often used to express the feelings of seclusion. In ancient times, peaches were also used to drive away ghosts and evil spirits, and "peach" harmonizes with the word "escape," which means to avoid the world. In Tang Yin's poems, the image of "peach blossom" appears frequently.
I will not board the ship of the son of heaven, nor will I go to sleep in Chang'an. I'm not going to sleep in Chang'an. I'm going to stay in a cottage outside Gusu City, and the moon is full of peach blossoms.
(Song of Wine to the Moon)
Mulberry is out of Luo and Cudgel is out of damask, and damask makeup is out of gracefulness. The gracefulness of the red powder and the song of the golden strand, the song and the peach blossom and the willow floss.
(Mulberry Pictures)
The peach blossom trees in the wild store are ten thousand trees low, and the spring light is mostly in the west of the painted bridge. The ghostly man is happy to look for the fragrance, and the horseback poem makes the road confusing.
(One of Four Songs on Painting)
The blossoms of the peach blossoms are all over the village dock, and the wind and smoke are as cool as the ancient source of peach blossoms. The warblers are crowing in a thousand forests, and the swallows are dancing around ten thousand trees in spring.
(Peach Blossom Dock)
There is no dust on the door of the straw hut, and the stream in front of the door is green and sparkling. The peach blossoms in the dock are intoxicating.
(Fifteen of the Twenty-four Songs on Painting)
It is easy to see that the peach blossom imagery in the examples is used to express the life of leisure and seclusion.
"Wine" also has an important place in ancient Chinese culture and ancient scholars. It can not only be used to express the sadness and generosity of feelings, but also associated with the world's bleak, arrogant and uninhibited, independent and independent. In the Jin Dynasty, there were Liu Ling and Jikang, in the Tang Dynasty, there were the Eight Immortals of Drinking, in the Song Dynasty, there was Dong Po's "asking for a drink", and in the Ming Dynasty, there was Tang Yin's "sleep under the drunken flowers".
Tang Yin was already famous when he was alive. In addition to his prominent position in the history of painting, he also had original achievements in poetry. Tang Yin's poems were simple, unconstrained, and used a lot of colloquialisms, with a fresh and alert mood, which was unique at that time. With his unique and extraordinary personality and artistic temperament, Tang Yin made a typical and vivid interpretation of that free and open era, which was almost absurd and chaotic, from one side.
Content: Tang Yin was brilliant and sharp, but he was disillusioned at a young age, and after seeing through the officialdom, he spurned his career and eventually adopted the same lifestyle as many literati in Chinese history: passive avoidance of the world. This poem is a typical example of this kind of thinking. The poem is a typical example of this kind of thinking, with its crazy arrogance, its madness, and its seeming freedom and uninhibitedness, but it also reveals a kind of loneliness in which everyone is drunk and I am awake alone, and its deep-rooted ambition and unshakable character can be seen in its depths.
Technique: almost every sentence is a couplet, the whole poem is extremely neat, read catchy, infectious and emotional impact is very strong; the first three lines of the top needle technique, in the beginning of the poem clearly describes the environment at the same time, the technique of the context is quite interesting, fascinating at the same time, naturally bring out the latter part. The poem also does not use colorful words, just like Tang Yin's noble character.
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