Does it take a reason to fall in love with a city? Some people say that you fall in love with a city because there is someone you like living in the city. In fact, falling in love with a city is not only for this reason, perhaps because of a vivid scenery in the city, perhaps because of a green plum past, or because of a familiar place in the city.
Maybe it's just because this city is like falling in love with someone, more often than not, it's a kind of love that doesn't require any reason, has no antecedent, has nothing to do with the wind and moon, and love is love.
There is such a city, it has a long history of more than 3,000 years and a unique geographical location, because the city is in the west of Henan, the south bank of the middle reaches of the Yellow River, the north of Luoshui, so it is named Luoyang.
The territory of Luoyang is long and long, with the West Mount, the North Mountain, the Chenggao Mountain in the east, and the Song Mountain in the south. Luoshui comes from the southwest, Yishui comes from the south and right streams, and left water. Xiangshan and Longmen Mountain face each other, forming a natural gate, so in ancient times it was also called Yique and Longmen.
Luoyang pressed Jianghuai in the east, Guanlong in the west, Youyan in the north, and Jingxiang in the south, because of its unique geographical location, there have been thirteen dynasties in history here to set the capital, so Luoyang also enjoys the reputation of the ancient capital of the thirteen dynasties.
Luoyang's mountains and rivers are beautiful, the scenery is pleasant, tourists and inkers are endless, and literati and scholars linger. In addition, Luoyang Zhong Ling Yu Xiu, humanities, rich products, rich economy, with many garden terraces and historical traditional customs, which was already excellent conditions at that time.
Under such material economic and social and cultural conditions, Luoyang has achieved the historical tradition of literati and scholars, and some of them even regard Luoyang as the first choice for retirement, especially the "Nine Elders Society" headed by Bai Juyi in the Tang Dynasty.
After Bai Juyi retired to Luoyang, he formed the "Xiangshan Nine Elders Society" with Liu Zhen, Zhang Hun and others at the Longmen Xiangshan Temple, and they often gathered together to drink and write poems. The form of this literati cocktail party also directly affected the banquet activities of the literati doctors in Luoyang in the Northern Song Dynasty. Moreover, Luoyang, as the old capital of the Five Dynasties, is also a gathering place for celebrities in the cultural circle, and naturally has a large number of historical sites and garden scenery. Su Shi's student Li Gefei's "Records of the Famous Gardens of Luoyang" recorded many gardens such as "Fuzheng Park", "Dong's West Garden", "Dong's East Garden" and so on, which shows that Luoyang was prosperous and prosperous that day.
If Bai Juyi's love for Luoyang is as rich and round as red wine, then Ouyang Xiu's love for Luoyang in the Song Dynasty is as thick and warm as white wine.
Ouyang came to Luoyang as a left-behind governor in Xijing, which was where he set sail, this year he was 24 years old, young and spirited. Luoyang, the first station for Ouyang Xiu to enter his career, is not only the starting point of Ouyang Xiu's eunuch career, but also the beginning of his literary journey.
In Luoyang, Ouyang Xiu met his lifelong best friend Mei Yaochen, and after getting acquainted, the two of them began a thirty-year long exchange and poetry. In Luoyang, Ouyang Xiu and Corporal Li Xian's superior, Qian Weiyan, and a group of colleagues who were similar to Ouyang Xiu's age and were like-minded. The favorable living environment and the good atmosphere of courtesy to the scribes greatly promoted Ouyang Xiu's enthusiasm for literary creation and stimulated his creative potential.
In the three years of Luoyang's career as an official, Ouyang Xiu spent the most romantic and relaxed time in his life. Qian Weiyan provided Ouyang Xiu with a generous and relaxed cultural atmosphere, and the members often exchanged poetry and literature, which expanded Ouyang Xiu's vision of human literature and stimulated Ouyang Xiu's enthusiasm for literary creation.
In his spare time, Ouyang Xiu and his friends visited luoyang's landscapes and famous gardens. Luoyang Mountains and Rivers are magnificent, with beautiful scenery and many places of interest and historical sites. In the sightseeing of the mountains, Ouyang Xiu was deeply attracted by the landscape scenery and humanistic atmosphere of Luoyang, and in the three years of Luoyang's eunuch tour, Ouyang Xiu wrote a large number of travel poems.
When Ouyang Xiu and tourists travel to the banquet, they will also choose to visit some gardens with unique Luoyang characteristics, historical accumulation and humanistic connotations. For example, this poem "Spring in the Jade Building" recounts his and his friend's experience of traveling in the Luoyang garden, and the spring color of the garden left a deep impression on the lyricist:
South Garden pink butterflies can be countless. Du Cui wore red back and forth. The leaf of the advocate strip is left unchecked, fluttering lighter than the flowers.
The night breeze and dew are dewy. There is no place for the incense. Amorous but seemingly ruthless, winning a hundred flowers of infinite jealousy.
The writer and his companions tour Luoyang in the spring, and the butterflies in the garden dance, traveling lightly among the red flowers of the green branches, occasionally perching on the branches for a while, and fluttering among the flowers. Butterflies linger in the flock, free and happy, but the writer is afraid of the rain in the garden, afraid of the rain hitting the branches, butterflies are difficult to find a place to live, can only find another place, living up to the affection of the hundred flowers here.
The upper part of this word recreates the beauty of Spring Luoyang, and the garden is a beautiful scenery of spring light, which attracts butterflies to dance; in the upper part of this word, the lyricist euphemistically accuses it because the butterflies fly and dance, and their moving posture even the hundred flowers are a little envious. It can be seen that the lyricist has his own independent thinking and keen feelings when enjoying the scenery.
When traveling through the mountains and rivers of Luoyang, Ouyang Xiu paid great attention to the customs and customs of Luozhong. In particular, the peony, which is the representative of Luoyang's customs and folklore, has attracted great attention from Ouyang Xiu.
Luoyang is also known as "Peony City", as early as the Sui and Tang Dynasties, the emperor will create a garden garden has been popular, ornamental, inscription peony has also become a common practice, Li Bai, Du Fu, Liu Yuxi, etc. have left a lot of poems of Luoyang peony.
Bai Juyi was particularly fond of peonies, and after zhishi, he personally built a garden to plant in the hometown garden of Luoyang Ludaofang, which was also rumored to be a beautiful talk in Luoyang. Regarding the love of Luoyang people for peonies, Li Gefei recorded in the "Records of The Famous Gardens of Luoyang": "All gardens are planted with peonies, and the sole name is 'Garden Zi', which covers no other pond pavilions, and has hundreds of thousands of peonies." ”
The grand situation of Luoyang peonies in the Northern Song Dynasty can be seen. Ouyang Xiu, who is romantic by nature, came to Luoyang, where the wind of love for flowers prevailed, and since then his love for peonies has been uncontrollable. In the three-year career of Luoyang, Ouyang Xiu entered the countryside and followed the customs, admired and investigated Luoyang peony many times, and recorded the varieties and cultivation methods of Luoyang peony in detail, and wrote "Luoyang Peony Record", the earliest flower genealogy monograph in China.
"Luoyang Peony Record" recounts the customs of Luoyang people who love flowers from four parts: flower description, flower interpretation, customs, and tail, and for the first time makes a scientific explanation of the methods of docking flowers, planting flowers, watering flowers, raising flowers, and medical flowers in the form of literary treatises. It can be said that because Ouyang Xiuwei is the propaganda copy of Luoyang Peony, the cultural identity of Luoyang Peony has been fully recognized by the world.
Ouyang Xiu had such a relationship with Luoyang and Peony, so later in his poems and songs, he repeatedly referred to himself as "Luoyang Flower Guest". In Ouyang Xiu's poems, Luoyang is always connected with peony.
Peony became the "Luoyang flower" in Ouyang Xiu's mind, and became the image of Later Yi Luo. Ouyang Xiu loved peonies so much that he later wrote many works that missed Luoyang peonies, such as "Once a guest of Luoyang flowers, although Yefang did not have to be drunk later".
At the end of his three-year term, Ouyang Xiu set out to leave Luoyang, and from then until his death, Luoyang became the place where Ouyang Xiu's soul haunted his dreams, Ouyang Xiu's remembrance of Luoyang's career almost ran through his life, and the remembrance of Luoyang's friends and Luoyang's career became the object of repeated chanting in the poem.
Ouyang Xiu's nostalgia for Luoyang had actually begun from the moment he parted. At the feast on the occasion of leaving Luoyang, the heartfelt poem he wrote down, "Yulou Spring", may best represent his voice at this time:
Zun Qian planned to say the return date, and wanted to swallow the words of Chun Rong first. Life is a love obsession, and this hatred is not related to the wind and the moon.
Away from the song and mo refurbishment, a song can teach the intestines to knot. Straight to see all the flowers of Los Angeles, the beginning of the spring breeze is easy to say goodbye.
It was a bright spring day, a pleasant spring breeze, luoyang city, a unique farewell banquet is being held, the banquet is singing and dancing, phoenix pipes and luans, foraging and staggering. The colleagues who had worked with Ouyang Xiu for three years raised their wine glasses, and the person they sent off was Ouyang Xiu.
Before the farewell banquet began, Ouyang Xiu thought of a lot of words to say to his colleagues, but when he really wanted to leave Luoyang, leave his colleagues who accompanied him day and night, and the singers who performed the program at the banquet, he couldn't even say a word. People's sentimentality is innate, and this complex has nothing to do with the wind and snow. The lyrics are written in such a context.
The opening two sentences, "Zun Qian intends to say the return date, and wants to speak chun rong first miserably", although on the surface it seems that it is only a direct narrative of the current situation, but between the choice and structure of the words and sentences, Ouyang Xiu inadvertently shows a unique artistic conception of his own.
Before His Holiness, before the feast of the feast, what a joyful scene it should be; the appearance of spring, like the feminine face of the spring wind, refers to the singers at the banquet, who are graceful and colorful, and their songs are clear. Judging from the words Ouyang Xiu used in the words, these beautiful customs and people are all beautiful memories of Ouyang Xiu's incomparable nostalgia for the city of Luoyang.
What the lyricist wants to say before the banquet is to point to the return date of parting, so the joy before the banquet and the beauty of the singers at the banquet become the emotional clues of the lyricist's sad parting.
In this transformation and contrast, although it is only two sentences, we have already vaguely experienced the love and appreciation of beautiful things expressed in Ouyang's rhetoric, as well as his sorrow for the impermanence of the world, a tension formed in the comparison of these two emotions.
Next, the lyricist wrote that "life is a lover, this hatred is not related to the wind and the moon", these two sentences are to say that life is sentient, love to the depths of infatuation, this hurt parting is only because of too deep love for Luoyang, this feeling has no antecedent, has nothing to do with the love of the wind and moon.
These two sentences seem to be from the immediate love affairs written in the first two sentences to the reflection and thinking of life, so that a psychological process of pushing oneself and others is formed, that is, the lyricist generalizes the feeling of a love affair in front of him to the cognition of the whole life. In fact, the bright moon on the edge of the sky and the east wind outside the building were originally ruthless things, and had nothing to do with personnel.
It's just that for Ouyang Xiu, the bright moon and the east wind have become the carriers that cause people to be sad. Therefore, although these two sentences are the thinking and reflection of the lyricist, in fact, they are reflected through subtle psychological changes, so they are more affectionate, and this affection echoes with the sad farewell scene in the opening two sentences.
The first two sentences of the next film, "Leave the song and do not renew the song, a song can teach the intestines to knot", to the effect that: before the farewell banquet, don't sing new songs, a song has made people sad. "Farewell Song" is a farewell song sung at a banquet.
These two sentences are returned from the deep affection of the lyricist's heart to the picture of the previous film. This also requires the lyricist to recall that in his time in Luoyang, every moment of his reunion and laughter with his colleagues, every wonderful moment deepened his impression of the city a little, and also made him feel a little more sad about the parting at this moment.
The lyrics end with "Straight to see all the flowers of Los Angeles, the beginning of the spring breeze is easy to say goodbye", at this time only need to appreciate the peony flowers in the city again, so that there will be less worries, less regrets, in the farewell with the spring wind, the heart without worry to embark on the journey to leave Luoyang.
In fact, when leaving Luoyang, peonies appeared in many of the words written by Ouyang Xiu, such as "The spring color of Los Angeles is waiting for the king to come, and the flowers are like a thunderbolt", "Straight to see all the flowers of Luoyang, the spring breeze is easy to say goodbye", "Luoyang is on the Occasion of the Fangfei Festival, and the fragrance of The fragrance is intertwined".
It is not difficult to see from these words and phrases that the peony at this time has gradually become the Luoyang flower in Ouyang Xiu's mind, carrying the lyricist's attachment and reluctance to Luoyang. In the years after leaving Luoyang, whether it was belittled or had a smooth career, Ouyang Xiu deeply missed Luoyang and the peonies of Luoyang. "Once a guest of Luoyang flowers, although Yefang did not have to be a guest of Luoyang flowers" "Once a guest of Luoyang flowers, wanting to praise the wind and things to the king", Luoyang peony has become a recurring impression of the city in the creation of Ouyang Xiu's poetry.
The peonies of Luoyang, the laughter with colleagues on weekdays, the garden tours in spring, the gentle singing and graceful dance postures of the singers at the banquet, these people and things that leave good memories for the lyricists, just like the lyricists' fragmented memories of the city of Luoyang, will not be picked up one by one in ordinary times. But in this instant, just like a piece of the puzzle, it instantly returned to the writer's mind, and was assembled and combined by him as quickly as possible, and they formed a complete picture - Luoyang Impression.
Ouyang Xiu's "Yulou Chun" song clearly contains a deep feeling of hurtful parting, but the lyricist wrote such a relieved sentence at the end, which contains an easy and profound life experience in the parting. Ouyang Xiu narrated the parting in this way, in fact, it is the lyricist's affectionate confession, because of the deep feeling, but it makes people feel natural.
Luoyang is the starting point of Ouyang Xiu's career, the first Ouyang Xiu of Luoyang has won the favor of his superiors and the sincere friendship of friends, Luoyang has beautiful landscapes, beautiful characters, and good winds and materials, which is undoubtedly a great encouragement for the young Ouyang Xiu, and at the same time, it is doomed to bid farewell to Luoyang is not an easy thing.
Therefore, when he really set out to leave Luoyang, Ouyang Xiu's reluctance to Luoyang became more and more intense, and Ouyang Xiu's mountain landscapes and rivers on a green outing with his friends in Luoyang also became more warm, and his longing for Luoyang also flowed from the end of the pen.
Luoyang is not only a living space, it is also a scene of memory, which has important symbolic significance in Ouyang Xiu's literature. The three years in Luoyang, although short, had a great influence on Ouyang Xiu, and Ouyang Xiu's initial experience, friendship and literary creation were closely related to the water and soil of Luoyang.
During his stay in Luoyang, Ouyang Xiu depicted the impression of The prosperous and rich city of Luoyang from the side, recorded the literati's drinking and feasting activities in detail, and had a true, delicate and vivid description of the peonies in Luoyang. These all show every wonderful moment that Ouyang Xiu spent in Luoyang, which is also Ouyang Xiu's heartfelt love for the city, which is a love that has nothing to do with the wind and the moon, and it is also a love without reason.