According to the records of the "Book of Jin and Lezhi", the poem title of "Spring River Flower Moon Night" was created by Lord Chen Hou, which is the old title of the "Qing Shang Ciqu Wusheng Song" of the Lefu, which belongs to the palace poetry, which is centered on the court, gorgeous and exquisite, and is often used to harmonize with scholars and courtiers. Zhang Ruoxuan's "Spring River Flower Moon Night" follows the title, but the content and form are not limited to this.
The Seven Words Poem was already formed at the end of the Han Dynasty. The early seven-word poems rhymed sentence by sentence. Later, the wholeness of poetry was stronger, and the change in the structure of the line promoted the change of rhythm and rhyme.
The genre of seven ancient poems is destined to be flexible in form and able to carry the poet's thoughts. "Spring River Flower Moon Night" is neatly structured, the rhyme of the poem has changed several times, and the sound rhythm is full of changes but not rigid. Among them, "Jiang Yue he early years of illumination." The generations of life have been infinite" "The river pond has fallen and the moon has fallen to the west. The oblique moon sinks into the sea fog" uses the technique of thimbles to connect up and down, adding more meaning.
In the past, the content of palace poetry was mostly to describe the love between men and women and court life, and the description of women was an important content, and the words were gorgeous and beautiful, and it was inevitable that they would be frivolous.
Zhang Ruoxuan's "Spring River Flower Moon Night" not only has a description of girlfriend, but also his reflections on life. There is a little bit of melancholy in the ethereal obscurity of the first few verses of the poem. When it comes to the depiction of the feeling of longing, the previous cold sense of alienation has weakened, the reader is easy to resonate, and the warmth of the love is strong and infectious, which is very moving.
In the late Qing Dynasty, Wang Zhangyun believed that "Spring River Flower Moon Night" was "the great wave of the palace body". Palace poetry always describes the beauty of the fragrant bride, although it belongs to the variation of the palace poetry, but it takes off the flashy beauty and creates an ethereal and clear realm. Wen Yiduo commented in "The Self-Redemption of Palace Body Poetry": "From the dung beetle to pill style palace body poetry to the solemn cosmic consciousness."
The early Tang Dynasty was the starting point of the prosperous world, and the new regime established after turmoil had both the spiritual temperament of the north and the south, and was full of vitality. At this time, the literary style was influenced by the Southern Dynasty, and the magnificent Piao script still had an important position.
Tang Taizong's poetry creation was also characterized by "Yazheng", and in order to cater to the monarch, the ministers would also imitate this style, and there was no great breakthrough overall. Until Wu Zetian stepped onto the political stage, the political pattern and policy changed, the emerging aristocracy suffered blows, the original frustrated literati had the opportunity to display their talents, and poetry creation also developed in different directions.
There are two main kinds of poetry in the early Tang Dynasty. One is poems created by court poets that praise the merits of the Tang Dynasty and the taiping atmosphere. One is poetry about nature that seeks to describe pastoral life or to convey the meaning of nature between landscapes and landscapes. Prominent literary scholars include the "Four Masters of the Early Tang Dynasty", who are the lower-level literati who are frustrated in their careers, and their thinking about life is deeper and their vision is broader. Have real, deep emotional experiences. This was one of the foundations of their breakthrough in the pattern of poetry. At the same time, they also oppose the delicate and delicate style of writing and advocate rigid bones. These are conducive to the stylistic transition of literary creation and the transformation of palace poetry, which has the role of carrying on the upper and lower levels. The creation of poetry is more dynamic, the content of poetry is more inclined to the thinking of real society, and the long seven words have also undergone new development.
The environment of religious belief in the Tang Dynasty was relatively free, and the ideological trends in society were diverse, and the "heavy Xuan" Inheritance of Wei and Jin Metaphysics was an important philosophical trend. Since the "Four Masters of the Early Tang Dynasty", the reflections in the poems about the infinity of the universe and the philosophy of life have not been broken. Therefore, there are other views, such as Hu Xiaoshi's "Lectures on the History of Chinese Literature", when talking about the content of the poetry of the early Tang Dynasty, it is summarized into three aspects: Gong Min, Bian Sai, and Xuan Tan. The Tang rulers attached importance to the creation of poetry and also promoted the innovative development of poetry genre and content.
During the transition period from the early Tang Dynasty to the prosperous Tang Dynasty, the strength of the country gradually increased, even if the literati attached themselves to the mountains and rivers, they would not focus on the disappointment and resentment of reality, and the confrontation of literary works weakened, which was conducive to opening up a new realm of poetry.
After a long period of development, Jiangnan has a certain economic foundation and is a cultural center of the Tang Dynasty. The famous historian Fu Sinian has a guiding thesis, saying that three generations ago, China's political arena, in the He, Ji, and Huai River valleys, the geographical situation was only divided into east and west, and culture was also divided into two systems, east and west, but since the Eastern Han Dynasty, Chinese history has often been divided into north and south.
The Sui and Tang Dynasties are the remnants of the 'division between east and west' and the opening of the 'division between north and south', of which Guanzhong and Shandong are the representatives of east and west, and Jiangnan is the center of the so-called "south". Zhang Ruoxuan lived in the era when the early Tang and Sheng Tang intersected, his information is not detailed, only know that he is a Yangzhou native, once served as a Yanzhou soldier, only two poems circulated in the world, can be described as "talent show people".
He, He Zhizhang, Zhang Xu and Bao Rong were all literati in Jiangsu and Zhejiang, and were known as the "Four Scholars of Wuzhong", and their works were mostly romantic. Influenced by Wu Ge, "Spring River Flower Moon Night" has the characteristics of qingli and gentleness, showing the regional color and the aesthetics of Jiangnan culture.
The specific background of the creation of "Spring River Flower Moon Night" has been difficult to verify so far, and the content of the description is also controversial. One theory is that the poem describes the poet Guan Yue on the qujiang river in the southern suburbs of Yangzhou; another theory is the scenery on the banks of the Guazhou River.
At first, the poem depicts an open landscape, with a wide river that seems to be connected to the sea. The bright moon appeared in the human world, and the tide illuminated by the moonlight seemed to have a quiet life. The light of the water rippled through the moonlight.
The spring river seems to contain vitality in the process of warming, what remains unchanged is its magnificence and silence, and it witnesses all the rise and fall like the moon. The rivers and the vegetation of the countryside are close, and the moonlight can be hidden in the white sand.
At this time, the heavens and the earth became pure and clear, the filth seemed to cease to exist, and the bright moon was the most distant and lonely light source at night. The gentle description of the scenery has a little bit of a dull but a little sad meaning.
From this the poet began his philosophical thoughts. No one knows the beginning of time, and no one knows the source of the universe. The reciprocation of time series is an endless cycle, just like the river rolling away and never stopping. Then the poet's gaze turned to the world, the wanderer was like a floating cloud, and the parting people often complained of sorrow.
There are always drifting boats on the river, and there are always hopeful people in high-rise buildings. Wandering upstairs, deserted mirror tables, curtains and cutting boards, all the details of life are always difficult to hide. People always have a beautiful hope, more beauty when they are left in nature, and the end of the poem falls on the love of the world, which makes it both the height of the artistic conception and the intimate lyricism, which are derived from the poet's emotional experience of life.
This poem has an air of youth. The sight of spring is like a metaphor, it has a subtle vitality. The vast rivers remind people of the ambitions of youth, the sadness of thinking home is the resonance of the wanderer, and there is a delicate and entangled love.
The melancholy expressed in the poems is like the thinking that many young people in different eras have in confused periods, not so heavy, not facing all the cruel reality, but so close to the general law of the universe, directly rising to a new realm. Zhang Ruoxu is one of the pioneers of Sheng Tang meteorology, and the essence of the so-called Sheng Tang meteorology is "vigorous vitality and youthful melody".
The whole poem creates a deep, long-distance mood, but it is not negative. The reflection on time jumps out of the perspective of personal limitations, and although it is a little sad, the situation is open. During the Wei and Jin Dynasties, social turmoil and political darkness, Lao Zhuang metaphysics prevailed among the literati, poetry was also affected to a certain extent, poetry began to think about life and the universe, but the more positive content is not much, there are many short lives and the idea of timely pleasure and the loss of ideals that are difficult to achieve, which is related to personal life experiences.
Some of the poems of the early Tang Dynasty are in the same line as the philosophies of the Wei and Jin dynasties, and Zhang Ruoxuan's poem is even more special, because he seems to quietly display philosophy through the bright moon hanging above the world. The moon is not only outside the world, but also a witness to the joys and sorrows and the sustenance of people's emotions.
The passage of time and the rise and fall of the world are as long and unchanging as the moon. The emotions of the wanderer and the woman are bright lines, the lyrical way is euphemistic and tortuous, and the delicate emotions are integrated into the extremely beautiful imagery. Throughout the book, it is to place personal sorrow and joy in the cycle of the entire universe and time, and life is impermanent and short. In the world where there is moonlight and rivers, a kind of eternity is created.
Between heaven and earth, man's existence is "to send ephemera to heaven and earth, a millet in the sea of vicissitudes." The bright moon is the imagery that runs through the poetry, and in the hazy moonlight, the world has a dreamy color.
Dreamlike, this is an experience that is difficult to avoid in life. There are always specific situations that make people temporarily withdraw from the trivialities of the world, think and realize quietly. Man's sense of powerlessness, Shaohua's perishableness, and reverence for the mysterious universe are all natural emotions. Loneliness and doubt will always exist, and real emotions will always exist. These eternities for people exude the philosophical consciousness of the poet.
The content of "Spring River Flower Moon Night" is very rich, it shows the beautiful scenery of Jiangnan, depicts delicate and universal feelings, but also thinks about the universe, its breadth is limited, but it has reached an unprecedented height, like a profound and ethereal dream in the history of poetry.