背起行囊走四方

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。

Carrying bags, walking around, following history, carrying a bookcase, thousands of years, across tens of thousands of miles. ——What is so powerful? By the way, this is literature. It's ancient landscape poetry.

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。

And because of the combination of the scenery, it can not only make people see the scenery, but also make people empathy, which is the most cost-effective travel in the world.

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……

Here are Zhang Jiuling's love thoughts of "the sea rises, the moon rises, and the ends of the earth are at this time"; Wang Wei's magnificent scenery of "the desert is straight, the river falls yen"; Li Bai's Ji Ji joy of "the apes on both sides cannot sing, and the light boat has passed the mountains"; Qinglian's "the poem of Confucius" the clear water comes out of the lotus, and the natural decoration is done ”In Taibai's "sending Meng Haoran to Guangling", there is "the lonely sail far away, the shadow in the blue sky, and only the flow of the Yangtze River in the sky". In Li Shangyin's "late love", there is "Heaven's love for the grass, and the world's love for the late". In Zhang Ji's "wind bridge and Night Mooring", there is "cold mountain temple outside the city of Gushu, and the bell goes to the passenger ship at night". In Yu Wenbao's "clear night record", there is "near water" The natural philosophy of "the moon comes before the tower, and the sunflowers and trees are easy to spring"; the village silhouette of "the rising of smoke and the rising of sun is a sound of landscape green" in Liu Zongyuan's "Fisherman"; the beautiful scene of "white birds fluttering and green water surging" in Kong Shangren's "Peach Blossom Fan and mourning for the south of the Yangtze River"

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。”

In the face of these wonderful verses, it seems that we can study the relationship of "feeling, thinking and scenery" in ancient poetry. Yuan Hongdao of the Ming Dynasty once said in the poem of Xu Xiaoxiu, "emotion changes with the environment, and words grow with emotion." Yuan Mei, a scholar at the same time, also said that "painting begins with verve and poetry focuses on temperament."

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, from the perspective of ancient poetry, it seems that we can get a conclusion about "feeling, thinking, and scenery": to view scenery by feeling or by scenery, and then by scenery. This may be the writing mode of most works, which we call "improvisation". So, in the "improvisation" should be partial to the situation, or partial to the scene?

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。”

In the Qing Dynasty, Wu Qiao said, "the ancient poems are full of love, and the later poems are full of scenery.". For example, in the nineteen poems, Meng Dong is cold, and in the book of giving Ding Yi, the son of Jian'an, there are few people who are cool in the early autumn; in the day of prosperity, Liang and Chen are prosperous, and in the end of Tang Dynasty, there is no such thing as emptiness, which is nothing about temperament, and painting is not poetry. Fu Poetry is based on emotion and the scenery is the object. The scenery is not self-sustaining, but the emotion is changed. When the emotion is sad, the scenery is sad. When the emotion is happy, the scenery is happy. Tang poetry can integrate the scenery into the sentiment, and place the sentiment on the scenery, such as Zimei's: "there is no dry land near the tears, and clouds are broken in the low sky"; shenxiaxian '. Hongjia people, who made sentences based on the fur of the Tang Dynasty, had no intention of merging with the scenery. What's more, they wanted to describe the scenery in a broad and far-reaching way, which had nothing to do with their feelings. For example, they used boards as covers in cold nights and hung iron armour naked. "

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。

This reveals the creation principle of the poem: "the emotion is the main, the scenery is the object", "the scenery does not have its own life, but the emotion is changed", "melts the scenery into the emotion, places the emotion in the scenery". As for which is more important, it is clear without saying.

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。

In line with these principles, if we continue to appreciate the poems of ancient landscape painting, the Abas and defects will come into being.

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！

It should be said that this is indeed a cost-effective trip, not only to appreciate the scenery of the world, but also to understand the poet's mind and feelings, as well as to make a small test of NiuDao's comments, so fast!