What Su Shi thinks about in The Sound of the Piano 5

How sound is produced

From the philosophical aspect, the beautiful sound of the piano comes not only from the piano, but also from the exquisite playing skills of the player, which is the organic combination of the piano and the player, and the two are interdependent, interacting, and influencing each other, just like the two wheels of a car and the two wings of a bird, both of which are indispensable. The beautiful sound of the piano is a high degree of democratic unity of subjectivity and objectivity between the piano and the fingers, without the objective existence of the piano, there will be no beautiful piano sound; Without the virtuosity of the piano player and the superb performance skills, without the active play of his subjective initiative, there will also be no exquisite **. The poet uses the piano as a metaphor to illustrate that the production of all superb art is the result of the interaction between the person as the subject and the object as the object.

In terms of Zen theory, the poet uses the sound of the piano to explain Zen theory. Through questioning, the poet skillfully and vividly illustrates that it is the combination of the piano and the fingers that produces the exquisite sound of the piano. On the one hand, whether it is from the simple qin or the simple finger, it is an objective existence, and it can make the sound of the piano when it is there, which is "existence"; But the piano and the fingers cannot produce a wonderful ** on their own, which is "nothing"; On the other hand, the exquisite sound of the piano does indeed emanate from the piano and the fingers, and the sound of the piano is latent in the piano and the fingers, which is "existence".

Without any of the piano and fingers, it will not be able to produce a beautiful body, which is again "nothing". It is this kind of "creating something out of nothing", "coming from nothing", "generating from nothing", and "combining with nothing" that will produce a wonderful sound of the piano, thus revealing the universal truth that the combination of "being" and "nothing", and the unity of "being" and "nothing" can produce all things. It is important to know that the sound of the piano is latent on the piano, and it depends on the finger to pluck, that is, it can be made by the push of "being", but it is useless to have a finger alone, and "being" must rely on the sound of "no", that is, the potential sound of the body.

In short, existence and non-existence are the foundation of the generation of all things.

This poem enlightens us: no matter who wants to make a performance in his career, in addition to objectively having certain conditions as the foundation, he also needs to be subjective and enterprising, and hard work can create a bright and beautiful life.

Su Shi's "Qin Poem": "If there is a sound on the qin, why not sound it in the box?" If the voice is on the fingers, why not listen to the fingers?

The poems are written fresh and fluent, and they are full of philosophy. It criticizes two kinds of one-sidedness: one is to see the role of the qin, and only talk about "the sound of the qin on the qin"; One is to emphasize only the role of the fingers, thinking that "the sound is on the fingers".

People know that the beautiful sound of the piano is produced by the human fingers plucking the strings, and if the piano and the fingers are missing, it is difficult to play beautifully**.

1.Ruo: If: If.

If the sound of the piano comes from the piano, why doesn't it sound when you put it in the box?

2.DH: What does it mean?

If the sound of the piano comes from your hands, why can't you hear the sound in your hands?

3.The question is that there are several factors that complement each other in any matter, and you can't do it without the piano, and you can't hear the piano without your hands.

This poem tells a truth about playing the piano: the production of a piece of music cannot be achieved by the piano alone, and it cannot be produced by fingers alone, but also depends on people's thoughts, feelings, and technical proficiency. The piano is not difficult to master, and everyone has a finger, but because people's thoughts and feelings and playing skills are very different, whether the music played is pleasant or not is very different.

The poem uses two questions to make the reader think. In fact, this is a complex aesthetic problem: the subjective and objective relationship that produces artistic beauty.

Su Shi's "Qin Poems" contains that the poem is very philosophical and full of Zen wit. Buddhism regards existence as nothingness, life as destruction, and pursues silence, formlessness, non-birth, and non-reduction.

**Truth is nothingness, so it doesn't matter whether it is true or not, we should use "harmonious and silent music, self-satisfaction as harmony", "anti-smell and smell self-nature, sex becomes the supreme way", through inner feelings and self-satisfaction, anti-enlightenment Zen Tao.

This is the embodiment of the unity of subjectivity and objectivity. Xi Shi is a beauty, and she has the objective fact of beauty, so our subjective Yankuan will think that she is beautiful. Then Dong Shi objectively does not have the conditions for beauty, and if we have to think how beautiful she is, it violates the law of the jujube brothers, which is contradictory.

Su Shi uses the sound of the piano to express a kind of subjective and objective unity, which is in fact consistent.

Original text: If there is a sound on the piano, why not sound it in the box? If the voice is on the fingers, why not listen to the fingers?

Vernacular translation: If the sound of the piano comes from the piano, why doesn't it sound when you put it in the box? If the sound of the piano comes from your hands, why can't you hear the sound in your hands?

"Qin Poem" is a seven-character quatrain composed by Su Shi in the Northern Song Dynasty. This poem uses only two rhetorical questions, indicating that the piano itself cannot make a sound without human playing; Leave the playing tool; Nor can a man's finger make a sound.

Only when the human finger acts on the instrument piano will it produce a pleasant and beautiful **. This actually raises an important philosophical proposition, which is that everything in the world is interdependent. People cannot leave things, and things cannot leave people.

The organic combination of people and things can create life and create the world. The whole poem is simple, clear, concise and to the point, reflecting the main characteristics of the philosophical poems of the Song Dynasty.

Su Shi's "Qin Poems" contains that the poem is very philosophical and full of Zen wit. Buddhism regards existence as nothingness, life as destruction, and pursues silence, formlessness, non-birth, and non-reduction.

**Truth is nothingness, so it doesn't matter whether it is true or not, we should use "harmonious and silent music, self-satisfaction as harmony", "anti-smell and smell self-nature, sex becomes the supreme way", through inner feelings and self-satisfaction, anti-enlightenment Zen Tao.

The poem embodies the unity of subjectivity and objectivity.

A beautiful piece of music is an organic whole, and the whole is composed of a number of parts and elements that influence and restrict each other.

In music and piano sounds, the fingers, the piano, the performer's thoughts and feelings, performance skills and other parts and elements are interdependent and indispensable, and they are mutually influencing and restricting each other, and there is a close relationship.

Materialist dialectics holds that the fundamental content of universal connection is the connection between the two sides of the contradiction within and between things, that is, the unity of subjectivity and objectivity.

Su Shi thinks in this poem: How does the piano make sound? According to scientific evidence, in fact, the reason why the piano can play a beautiful **, this not only needs to rely on the piano, but also rely on the human fingers to play and hit the tightrope, human fingers and the piano exist at the same time is the material basis for the sound of the piano, only the two complement each other, in order to play a beautiful **.

The poem is very philosophical and full of Zen wit. Buddhism regards existence as nothingness, as birth as destruction, the pursuit of silent formlessness and non-birth and non-reduction, the truth is nothingness, so it doesn't matter whether it is true or not, it is necessary to "harmonize the silent music, take self-satisfaction as harmony", "reverse smell and smell self-nature, and become the supreme way", through inner feelings and self-satisfaction, anti-enlightenment Zen Taoism. "Title Shen Junqin" negates the relationship between the qin, refers to the two and the sound of **, and its thoughts are in line with the "Lengyan Sutra" "The sound is neither extinguished, the sound is not born, and the two circles of birth and death are separated, and it is often true".

1."If there is a sound on the piano, why not sound it in the box? "( If there is a sound on the piano, then why put it in the box and not make a sound? ).

2."If the voice is on the finger of the clear block, why not listen to the finger of the king? "Ho means: ( Why).

The meaning of this sentence is: (If the sound is on the fingers, then why not listen to the sound of your fingers.)

3.The question that Su Shi ponders in this poem is: (Where does the sound of the qin come from), can you use your scientific knowledge to give him one?

Many things complement each other, just like water and stone are still lifes, but when they meet together, they can make sounds.

Author] Song Su Shi.

If there is a blind sound on the qin, why not sound it in the box? If the voice is on the fingers, why not listen to the fingers?

This is a seven-word quatrain, is the author Su Shi in Yuanfeng four years, a poem written in Huangzhou, let's take a look at this poem, first look at the first sentence and the second sentence of the poem, [If there is a sound on the piano, why not sound in the box], what is said is that if the sound of the piano comes from the piano, then why can't it make a sound in the piano box?

Next, let's take a look at the last two lines of the poem, "If the sound is on the fingers, why not listen to it on your fingers", which says that if the sound of the piano comes from the fingers, then why not listen to the sound of the piano on your fingers? This poem only uses two rhetorical questions, explaining that without people's playing, the piano itself can not make a sound, without the playing tool, people's fingers can not make a sound, only when people's fingers act on the playing tool piano, will it make a pleasant and beautiful **, which is actually an important philosophical proposition, that is, everything in the world is interdependent, people can not leave things, things can not leave people, people can not leave people, the organic combination of people and things, in order to create life, create the world;

The whole poem is simple and clear, concise and concise, reflecting the main characteristics of the philosophical poems of the Song Dynasty, and at the same time, this is also the author's further specific use of his father Su Xun's [Feng Shui Mutual Stimulation into Patterns], which is also the successful use of the allegorical technique of supporting things;

The whole poem uses prose sentence form, although the poetic taste is not too strong, but the reason in the poem makes up for its shortcomings, it is still an intriguing poem, and it also more or less reflects the characteristics of Song poetry, Su Shi has a bumpy career in his life, knowledgeable, extremely talented, proficient in poetry, calligraphy and painting, his words are unbridled, clear and smooth, and Ouyang Xiu is called Ou Su, is one of the eight masters of the Tang and Song dynasties, Su Shi's words are mostly heroic and open, and have a huge impact on later generations;