Ancient literati often received elegant names for a word of poetry, or a good sentence, aphorism, or a famous work.
For example, Zheng Gu of the Tang Dynasty was named after the words "Partridge Poems" and "Partridge Heaven", also known as "Zheng Partridge"; Wei Zhuang of the Tang Dynasty was known as "Qin Women's Yin" by the world because of his famous poem "Qin Women's Yin"; the Tang Dynasty poet Zhao Gao's poem "Chang'an Late Autumn" contained "a few wild geese with residual stars, and a flute leaning on the building", which was called "Zhao Yilou"; the Song Dynasty poet Xie Yi was nicknamed "Xie Butterfly" because he wrote more than three hundred poems about butterflies in his lifetime.
Most of the ya number comes from the famous poems of the other party, but there are exceptions, such as Su Shi because he likes "Dongpo", a place where he personally cultivates and works, and can support himself, so he uses the name "Dongpo".
The special title of Ya number is a kind of honorable title, and in the Song Dynasty literati, using Ya number to call each other seems to be a particularly popular and particularly rich literary interest.
For example, Song Qi was given the elegant title "Red Apricot Shangshu" because he had "red apricot branches and spring troubles" in "Yulou Spring", and because Song Qi was an official of Shangshu at the time; the Northern Song Dynasty poet He Zhu was given the elegant title "Red Apricot Shangshu"; the Northern Song Dynasty poet He Zhu was given the elegant name "He Meizi" in "A River of Tobacco, Full of City Wind, Plum Yellow When Raining".
For example, Qin Guan was jokingly called "Mountain Smear Micro Cloud, Heaven Sticky Fading Grass" by his teacher Su Shi because of the phrase "Mountain Smear Micro Cloud, Heaven Sticky Fading Grass" in "Man Ting Fang"; the Southern Song Dynasty poet Zhang Yan got the elegant title of "Zhang Chun Shui" because he praised the West Lake Chunshui word "Nanpu Chunshui".
At the end of the Song Dynasty, the famous lyricist Jiang Jie's "A Cut of Plum Boat Across the Wu River" has a famous sentence that "the streamer is easy to throw people, red cherries, green plantains". "Streamers are easy to throw people away" writes Jiang Jie's life perception of the passing of time and aging; "red cherries, green plantains" is the lyricist who expresses the change of time with the changes in natural scenery. Jiang Jie connected his own subjective emotional experience with the objects of nature, because the image was extremely distinct, the sound was harmonious and beautiful, and it became a famous sentence recited through the ages, so Jiang Jie also got the elegant name of "Cherry Jinshi".
Among the many elegant names of the Song Dynasty literati, there are two people whose elegant names are particularly interesting, one is "Zhang Sanying", the other is "Li Sanshuang", "Zhang Sanying" is the elegant number of the Northern Song Dynasty poet Zhang Xian, and "Li Sanshuang" is the elegant number of the female lyricist Li Qingzhao.
Zhang Xian, because he likes to use the word "shadow" in the word, and the famous sentences are repeated, he is called "Zhang Sanying"; but Li Qingzhao's elegant name "Li Sanshan" is a more peculiar and difficult to understand one, which is not because Li Qingzhao looks thin. The so-called "Li San Thin" means that Li Qingzhao likes to use the word "thin" into the word to describe the appearance of flowers and people, and has created three moving words and phrases that have been famous for their "thinness" for thousands of years.
Zhang Xian and Li Qingzhao are both well-known lyricists, and they have composed moving famous sentences in their respective works, and they have used the words "shadow" and "thin" characters to go their separate ways, so they have been given the elegant number of matching their words.
So, what words did Zhang Xian's elegant name "Zhang Sanying" come from, and what words did Li Qingzhao's elegant name "Li Sanshuang" relate to? What are the artistic features of these words? Let's walk into Zhang Xian's and Li Qingzhao's lyrics together with our love of poetry and curiosity.
Let's talk about Zhang Xian first, because he is a song poet and can also be regarded as Li Qingzhao's predecessor. Zhang Xian wrote more than 160 words in his lifetime, and there were as many as 30 words involving writing shadows, which accounted for nearly one-fifth of Zhang Xian's words.
Zhang Xian's extensive use of shadow in his words was not unintentional, his purpose was to deliberately establish shadow as a unique image in his words. Among these words or lyrics, Zhang Xianping's most proud are the three sentences that "the clouds break the moon and come to the flowers to make shadows", "the wall has sent a swing shadow", "the willow path is unmanned, and there is no shadow in the fallen wind".
"Clouds break the moon to make flowers and shadows", from Zhang Xian's "Heavenly Immortals", this is the first shadow in Zhang Xian's "three shadows", the original words are as follows:
The water tone is several times and the wine is listened to, and the afternoon drunk wakes up sadly. When will I send Spring Back? The evening mirror, the wounded scene, the past late empty memory province.
On the sand and on the poultry pond, the clouds break the moon to make flowers and shadows. Heavy curtains cover the lights, the wind is uncertain, people are quiet at the beginning, and the red of the sunset should be full of paths.
Because the writer drank a few more glasses of wine, he took a nap and woke up in the afternoon. He decided to go out for a walk, and the afternoon rushed by, and when he came to the lakeside, twilight was also quietly surrounding the writers, and at this time, the water birds also perched in pairs on the sandbar in the lake.
It was originally a night without moonlight, because the sky was overcast, and the writer came to the lakeside just to sober up, and he did not have the original intention of appreciating the moonlight. He had planned to go back, but at this moment, the writer was pleasantly surprised to find that the white jade-like moon passed through the micro-clouds and shyly revealed his bright face in the sky.
The moonlight sprinkled on the earth, everything was so hazy, looming, it was a hazy beauty. At this time, there was also a breeze blowing across the lake, among the flowers on the lake where the moonlight had stayed. The writer finds that the flowers that bloom in the moonlight are also shyly shadowed in the moonlight under the breeze. Such a charming night, such a charming moonlight, such a lovely flower shadow, brings some comfort to the idle soul of the lyricist.
Therefore, the lyricist seized the inspiration of the moment and wrote down "the clouds break the moon to make flowers and shadows", which not only writes a moving scene of flowers dancing in the moonlight, but also unexpectedly reflects the joy in the lyricist's heart.
The reason why this sentence has been recited for thousands of years is not only because of the rhetoric of the lyricist and the kung fu of forging words and refining sentences, but also because the lyricist unexpectedly experienced the wonderful moment when the moonlight and the flower shadow shine together after a whole day of boredom, he captured the beauty of the moment with a keen sense of touch, and expressed the beautiful moment with warm words, and also let the reader perceive the joy of the lyricist and the moving picture in the word through the text.
"The wall sent a swing shadow", from Zhang Xian's "Qingmen Yin Chunsi", which is the second shadow in Zhang Xian's "three shadows", the original words are as follows:
It's warm and lightly cold. Wind and rain come late. Ting Xuan was lonely and nearly clear, with residual flowers and wine, and he was sick again last year.
The wind blows awake in the corner of the building. At night, the door is quiet. It was even more bright moon, and the wall sent a swing shadow.
"The wall sent the swing shadow" is the finishing touch of the whole word, and the dissolved moonlight actually sent the swing shadow of the partition wall over. In this song, and the lyricist uses the curtain to induce the shadow of the swing, the curtain has the meaning of separating the shadow, so that the image of the swing appears more hazy, and the feelings expressed by the lyricist with the help of the shadow are also more hazy.
The shadow of the swing in the moonlight is subtle, and describing this feeling also profoundly shows the lyricist's heart of hurting spring and cherishing spring. This is the careful creation of the lyricist, and it is intentional.
Why? Because the lyricist uses anthropomorphic techniques to give people characteristics to the bright moon, let the bright moon send the shadow of the swing, and let the bright moon work tirelessly, the shadow of the swing is sent to the wall, so that the people outside the wall will have a strong psychological resonance after seeing the swing shadow, and deepen the impression of the swing shadow on the wall. It can be said that it is precisely with the help of the subtle combination of bright moon and shadow that the words and sentences have deep connotations and are particularly moving.
This is a nostalgic work of sad spring, and the whole song writes the author's unique feelings about spring from the aspects of touch, hearing, and vision. The upper film is a wounded spring, and the spring is full of flowers, which is sad; the next film is nostalgic, haunting the past, and it is related to the swing, which arouses people's reverie and can be called the stroke of God. The whole word scene blends, implicitly euphemism, meaning timeless, fully embodying the subtlety and charm of word art.
"There is no one in the willow path, and there is no shadow in the fallen wind" from Zhang Xian's "Cut Peony • Boat Smell double pipa", which is the third shadow in Zhang Xian's "three shadows", the original word is longer, for the convenience of appreciation, now only the upper half is captured:
Wild green even in the air, azure water, plain dissolved are pure. The willow path is empty, and the fallen silk is flying without a shadow. Tingzhou sunset people return, repair the scarf thin, pick up incense and pick up the green competition. Such as Xie Lingbo, Po Yan Zhu Chun Yu.
The lyricist depicts a sunny spring color: the green field meets the deep blue sky, the cyan sky envelops the water, and the air is filled with the smell of sunshine and grass, mixed with the fragrance of earth.
In front of the eyes of the writer is a clear and clean river, with microwaves on the river surface, sparkling under the sunlight. The willow-shaded path on the shore is empty, and the willows dance in the breeze, and they show their most beautiful posture in the spring wind, as if they are a gift for spring. The willows in the air are shrouded like smoke, and such a picture simply coincides with the aesthetic conception of "sky blue and other smoke and rain".
The willows fluttered with the wind, leaving no trace on the ground. The writer stood at the bow of the boat and looked out, his gaze crossed the sparkling river surface, and he saw the joyful scene on the grass, and the joy was also fixed on the writer's pen:
The girls all took advantage of the good weather to go out for a spring excursion, they carefully dressed themselves, their slender clothes fluttered in the breeze, their figures moved gracefully in the spring wind, they competed to release the breath of youth in the field, and some of them picked herbs and feathers on the grass. Some of them walked lightly, wading into shallow water, and boarded a foggy Chau Nagisa parking boat on a spring night.
On the surface, the writer is only describing the girls in the spring and the spring tour, not writing the shadow, but in fact, the shadow and the disk have been put out, because the light and the willow have interacted invisibly, and the shadow of the willow is covered by the light and melts in the light. Thus creating the high realm of shadowless shadows.
In this seemingly written and unswritten, the interaction between light and shadow has been implied. The lyricist vividly and realistically writes out the part to be written, which not only leaves people with a specific feeling of the image, but also leaves an imaginary space of "no shadow", so as to stimulate people to use imagination to fill the space touched by the writer's text.
Through a large number of selections of shadow images and spared no effort in artistic processing in his lyrics, Zhang Xian's imagery of shadow was carried forward in the words, and thus created a beautiful picture and an intriguing artistic conception.
In the words, Zhang Xian deliberately depicted and shaped the "shadow", and created many beautiful artistic conceptions with the help of "shadow", Zhang Xian consciously captured the aesthetic taste of "shadow" and conveyed the charm through "shadow", these words of writing shadows are not only the words that the lyricist himself thinks is proud of, but also wins him the elegant title of "Zhang Sanying".
The elegant name "Zhang Sanying" is truly deserved, and this elegant name is a beautiful name, which emphasizes the characteristics of Zhang Xianzi and affirms the imagery of the lyricist's shadow.
After talking about Zhang Xian and his elegant name "Zhang Sanying", let's talk about Li Qingzhao and her elegant name "Li Sanshuang".
"New to thin, not dry sick wine, not sad autumn", this is the first "thin" in Li Qingzhao's words, from her famous work "Phoenix Stage Memories of Blowing Pipes", the original word is longer, for the convenience of appreciation, only cut the first half of it:
Fragrant cold golden, turned red waves, up and brushed his hair lazily. Ren Bao is full of dust, and the sun is hooked. I am afraid of leaving my arms and suffering, how many things, I want to say and rest. Newcomer skinny, not dry sick wine, not sad autumn.
Li Qingzhao and Zhao Mingcheng entered the palace of marriage under the witness of love, and after marriage, they spent a sweet time together. Later, Zhao Mingcheng went to other places to become an official, and Li Qingzhao wrote this poem out of his thoughts for her husband.
As the saying goes, women are pleasing to themselves, and because her husband is not around, Li Qingzhao even slackened off in dressing up. The opening of this poem describes the scene of the boudoir of the lyricist:
The incense in the copper stove was already cold, and the red brocade was piled up at the head of the bed like a wave, and the hostess had no intention of collecting it. When she woke up in the morning, she didn't want to get up, so she just lay lazily, letting the luxurious dresser fall dust and letting the sun shine on the curtain hook.
He was afraid of remembering the pain of parting, how many words of lovesickness he had to confide in his husband, but he just wanted to say it and couldn't bear to open his mouth. The three words "new to be thin" pointed out that they were emaciated, but why they were emaciated, the lyricist did not answer positively, she just said that this was not because of drinking too much wine, nor because of the impact of autumn.
"Not dry sick wine, not sad autumn", these two sentences indicate that the emaciation of the lyricist is neither due to drinking and illness, nor is it sad for the autumn scenery. The reason for Li Qingzhao's emaciation and emaciation this time is not sick wine and sad autumn. These two sentences reflect the complex mood of the female lyricist caused by the pain of parting, and imply a deep resentment in her heart.
Therefore, Li Qingzhao used the two negations of "non-dry" and "not" to convey such a message: the new body has been emaciated, but the reason for the thinness is not because of sick wine and sad autumn. She first summarized the reasons for losing weight in a broad sense of life: some people are because of "sick wine", some people are because of "sad autumn", and they are because of the reason for the lack of happiness and humanity.
These three sentences have always been praised by many word critics, and the Qing Dynasty poet Chen Tingzhuo commented that "tactful and tortuous, it is wonderful"; the contemporary lexicographer Tang Guizhang said, "The new three sentences are thin, and the words are not bitter." It is especially bitter to be sick and miserable. ”
"Know it or not, know it or not, it should be green fat red skinny", this is the second "thin" in Li Qingzhao's words, from the "Dream Order", the original words are as follows:
Last night the rain was sparse and the wind was strong, and the heavy sleep did not consume the wine. Try to ask the curtain people, but the begonias are still the same.
Know it or not, know it or not? It should be green fat red thin.
The opening sentence "Last night's rain and wind" points out the season when the lyricist wrote this word, and opens a picture of the wind and rain in the late spring. Because the rain in this season is often large and sparse, the wind is more urgent, and the fluttering of begonia flowers is also at this time.
Because of the wind and rain in the late spring, the female lyricist felt a little chill, and the wind and rain also brought her the sorrow of hurting spring and cherishing spring, and wine is the best choice to drive away the cold and dispel sorrow. But when the glass of wine was down, she was overwhelmed. With a sense of wine, the writer fell asleep early.
When she woke up in the morning, the writer still looked lazy, but she still remembered the begonias outside the window, what would happen to the begonias after a night of wind and rain? So the first thing I did when I woke up was to ask the lady if the begonias in the courtyard were okay?
The answer obtained was a bland answer from Ya Gui, "The begonias are still exactly the same as yesterday". This question and answer vividly depicts two characters with different characteristics: the female lyricist is emotionally delicate, and the beard is careless.
The words of the female lyricist are full of her careful observation of life, and the word "trial question", although it is a knowing question of the lyricist, also reveals a kind of expectation of her, and after getting the answer of the lady, she had to make corrections.
She is only concerned about the daily life of the hostess, he does not appreciate and care about the affection of the begonia flowers, so her answer is also very natural, which also highlights the delicate feelings of the female lyricist who loves flowers and cherishes flowers.
"Do you know? Do you know? It should be green fat red thin. Because he was not satisfied with the answer, the lyricist said"Know it or not? The rhetorical question of "know it or not" can be seen from the female lyricist's eagerness, and the rhetorical question also contains a sense of blame and correction.
Although it is urgent, the tone of the lyricist is extremely gentle, showing the elegant demeanor of the female lyricist. Because the biggest concern of the lyricist is whether the begonia flower is withering? Begonia flowers are delicate, how can delicate flowers withstand this rain and wind? So how can a begonia be exactly the same as it was before the storm? It should be green leaves and red flowers withering.
Green instead of leaves, red instead of flowers, is the contrast of the two colors; fat describes the leaves after rain due to sufficient water and lush and fat, thin describes the flowers after rain because they can't bear the rain and withers and rare, is the contrast between the two states.
"Green fat red thin", originally a very common four words, but after the combination of words, it seems so colorful and vivid. From these four words, the red and thin indicates that spring is gradually drifting away, and "green fat" symbolizes the coming of the leafy summer. This kind of highly general language is really breathtaking.
"Mo Dao does not extinguish the soul, the curtain rolls in the west wind, and people are thinner than yellow flowers", this is the third "thin" in Li Qingzhao's words, from "Drunken Flower Yin". It is said that after Li Qingzhao wrote the word "Drunken Flower Yin", he sent it to her husband Zhao Mingcheng, who was far away, and after Zhao Mingcheng read it, he planned to write a reply letter.
After a few days of hard thinking, Zhao Mingcheng wrote 15 poems, he felt that there was always a work that could beat his wife, he put his wife's lyrics together with his own lyrics, and asked his friends to evaluate. After reading it, my friend said that among so many words, only "Mo Dao does not extinguish the soul, the curtain rolls in the west wind, and the person is thinner than the yellow flower" is the best. Li Qingzhao's "Drunken Flower Yin", the original words are as follows:
Mist thick clouds worry about eternal day, Rui brain pin golden beast. Festive and heavy sun, jade pillow yarn kitchen, cool in the middle of the night.
After the east hedge put the wine at dusk, there is a dark fragrance full of sleeves. Mo Dao does not extinguish the soul, the curtain rolls in the west wind, and the person is thinner than the yellow flower.
This is a poem written by Li Qingzhao on the Chongyang Festival. At that time, her husband Zhao Mingcheng was in a foreign country and did not accompany Li Qingzhao to celebrate the festival. By describing the scene of the Chongyang Festival and the juju, the female lyricist set off a desolate and lonely atmosphere, and expressed her longing for her husband in loneliness and loneliness.
In the Chongyang Festival where chrysanthemums (that is, the "yellow flowers" in the word) bloomed, she and Zhao Mingcheng should have spent happy time and spent the festival together, but in such an important festival, the lyricist tasted the loneliness and loneliness alone, so she blurted out "Mo Dao does not extinguish the soul, the curtain rolls in the west wind, and the person is thinner than the yellow flower." The lyricist is even more emaciated and pitiful than the chrysanthemum, and the festive atmosphere and the sadness in the lyricist's heart are swept in extreme incongruity.
"Mo Dao does not extinguish the soul" with a rhetorical tone, the lyricist's mournful feelings jumped on the paper, which was a secret portrayal of her inability to dispel her thoughts about her husband. "Curtain Roll West Wind" is written in the late wind, and the west wind lifts the curtain, making people feel the late autumn chill. This evening breeze made her suddenly reduce her interest in drinking and admiring chrysanthemums.
Therefore, the lyricist moved to the boudoir and recalled this scene, and the chrysanthemum in the wind was not exactly the portrayal of the lyricist at this moment? This also makes the lyricist suddenly have the feeling that "people are thinner than yellow flowers" is not as good as Ju.
The phrase "people are thinner than yellow flowers" has always been praised by people and praised. Li Qingzhao used chrysanthemums as a metaphor for people's haggardness and emaciation, precipitating the profound heritage of traditional culture; using people's gauntness and emaciation to describe the protracted lovesickness is much more subtle and euphemistic than directly saying the lovesickness. In the situation, reasonable, this sentence is intriguing.
The above three words are the source of Li Qingzhao's "Li San Skinny", Li Qingzhao's three words, are the words of the people through daily life familiar with things, coupled with simple and natural language to express, she is good at using popular language to pave an extremely delicate, delicate picture, gentle and fresh, bold and deep, and the artistic conception is lofty.
She shows people the inner world of the lyricist with the delicate emotions unique to women, and she also shows us a picture of a memorable and timeless life with a delicate brushstroke of women.
Well, I wrote so much in order to be able to clearly explain the ins and outs of Zhang Xian's elegant name "Zhang Sanying" and Li Qingzhao's elegant name "Li Sanshan", and by the way appreciated the artistic characteristics of their respective words.
If you like it, welcome to write your message, is Zhang Xian's elegant name "Zhang Sanying" more in line with his lyrical artistic characteristics? Or is Li Qingzhao's elegant name "Li San Skinny" more in line with her artistic characteristics of lyrics? Let's review it together.
I am a small talk poetry, a young man who likes poetry and has literary dreams. Good words to appreciate, good works to read together, may we have the same hobbies to meet here.