The Spring Festival is the first traditional festival in China, which we commonly call the New Year. The New Year is a time process, which contains two time passages connecting the end of the old year and the beginning of the new year, so Chinese New Year's Eve night naturally becomes an important time node in this time paragraph.
The earliest record of the Chinese New Year's Eve Shou Nian is found in the "Chronicle of Customs and Soils" in the Western Jin Dynasty: Chinese New Year's Eve night, each phase and gift, called "feeding the year"; wine and food are invited, called "other years"; the elder and young gather to drink, and the blessing is complete, called "dividing the year"; everyone stays up all night, waiting for the dawn, called "keeping the age".
Chinese New Year's Eve night is the last time of the old year, and people stay up all night until dawn. In the warm atmosphere of the night talk of the hearth, in the warmth and noise of the midnight bells and firecrackers, in the sound of blessings and expectations, the first rays of the new year sprinkled on the windowsills of thousands of households.
Such a Chinese New Year's Eve night is destined to be an unforgettable moment, the Song Dynasty poet Mao Huan wrote at this moment of resignation and newness, "a year of dripping lotus flowers, Bijing Tu Su Shen frozen wine", this is a family sitting idle, apt moment of lights, this is also a happy scene of its joy and harmony, foraging and staggering; Wang Anshi is even happier at this moment of resignation and new year," and wrote happily" In the moment of resignation and new welcome, Wang Anshi happily wrote "In the sound of firecrackers, the spring breeze sends warmth into Tusu." " famous sentence.
Chinese New Year's Eve night, standing on the time node of retiring the old and welcoming the new, turning over the last page of the old year on the calendar, sprinkling the first bright and lovely dawn of the new year on the window mast, this moment is heartwarming and lamentable, because this dawn will once again ignite the dreams and hopes in the heart, and also the past and emotions accumulated in the past year will be dusted.
When looking back on the past, the most common is the sentimentality of old age. The poet Bai Juyi wrote with emotion in the poem "Except for the Night": "Sick eyes and less sleep are not guarding the age, and the old heart is full of feelings and spring." After the fire was sold out, there were sixty people with flat heads. ”
Song Qi wrote in the poem "Chinese New Year's Eve": "A cup of aromatic wine is divided into days at night, and all worries and hard work do not sleep." Where will the new spring tomorrow go, the two edges in the shadow of the diamond flower. "The poet knows that tomorrow is the new year, but where does the new spring appear? Appeared in his white hair. He was so full of thoughts that he couldn't sleep, and he didn't say anything else, only pointed out that next year he would be one year older, which showed that nothing was as uncomfortable as time slipping away from his fingertips.
The Song Dynasty literary scholar Su Shi wrote a poem "Keeping the Age" on the night of Chinese New Year's Eve, "To know the age of the dying, it is like going to the snake." The scales are half gone, and I don't care who can cover it. He compares the passage of a year to the meandering of a snake, and keeping the age is like grasping a snake's tail, and it can't be caught if you want to. Su Shi spoke of the rush and irretrievability of time
Looking back at the ancient Chinese New Year's Eve poems, we can learn more about the emotional experience of the ancients at the Chinese New Year's Eve and the mental journey at this time node.
Chinese New Year's Eve night is the time of family reunion, for various reasons can not go home to reunite with their relatives, they are in the lights of the thousands of families "a year will end the night, thousands of miles have not returned", their mood is lonely, "alone in a foreign country for strangers, every festive season to think of relatives" The feelings will be stronger than usual.
The Southern Song Dynasty poet Wu Wenying in the Chinese New Year's Eve this night, still in the wandering life of the lonely, such a life for the lyricist is day after day, year after year, he saw that the street has been full of the atmosphere of the new spring, every household is full of preparations for the arrival of the new year, all kinds of scenes have been all over the streets and alleys.
But at this time, there was a lonely figure on the street, he wandered aimlessly on the street, he was Wu Wenying. After seeing the colorful New Year atmosphere on the street, the writer thought that he should also buy some items to prepare for the New Year, so he hurriedly purchased some ingredients and came to his apartment.
In the dusk, the lyricist drank alone in his apartment, he seemed to find no sense of belonging in this city, he also thought of many things, so he wrote down his emotional experience and mental journey with a song "Zhu Yingtai Near the Night and Spring". The original words are as follows
Red affection, cut green, flower letter on the stock. The sun is still in the east, and the years are not let go. Someone added candles to the west window, sleepless intrusion, laughter turned, New Year warblers.
Old Tricks. Jade fiber once made yellow mandarin orange, soft fragrance is a mysterious vegetarian. Return to the lake of dreams, but also lost in the mirror. Poor a thousand points of Wu Frost, the cold is endless, and relative, falling plums like rain.
Before interpreting the lyrics, get to know the author, so that you can "know the poetry of the people", and you can get as close as possible to the original appearance of the lyrics and the style of the work.
Wu Wenying, Zi Junte, Dream Window, Siming People. Wu Wenying's family is deeply educated, and he has accumulated a good foundation in poetry, painting and music when he was young, leaving his hometown in his youth and traveling to Suzhou, Hangzhou, Yuezhou and other places, and has close contacts with Jiang Kui and other jianghu literati, leaving a large number of lyrics and works of social travel and chants.
Wu Wenying was good at composing poetry and songs, but he lost his hand in life and lived a long-term life in the shogunate. With his expertise in musical lyrics, he found a clerical job in a noble family, relying on his talent to receive a meager income and barely make ends meet, a job that, to put it bluntly, is actually a cleaner.
Qingke is not a simple job, to be proficient in poetry and songs, the general work of drafting official documents and writing texts for dignitaries and dignitaries must also be able to get down, in fact, this is a kind of life under the fence. Wu Wenying has been a pilgrim in Suzhou, Hangzhou and Yuezhou for the longest time, and most of his works are created in these three places.
Where to be a pilgrim, where to create, so Suzhou, Hangzhou, Yuezhou these three cities are also Wu Wenying's creation of "poetic habitat", so in Wu Wenying's words, it is not surprising that there are many works of reward and gift.
Wu Wenying is known as "Li Shangyin in words", he is proficient in music, coupled with his gorgeous words, can indeed create a strong elegant atmosphere. Mr. Xia Chengtao, a famous contemporary lexicographer, said of Wu Wenying: "The dream window uses word chapters to drag the Houmen, which was the atmosphere of the jianghu at that time, so there is no need to criticize it, nor can it be blamed for going it alone. ”
The reason why Wu Wenying chose to invite guests to live is a portrayal of life, the true color of the jianghu tourists, and it is also the characteristics that a pilgrim should have. In fact, Mr. Xia Chengtao's evaluation is quite pertinent.
After talking about Wu Wenying's life footprints, I will return to his Chinese New Year's Eve words. Chinese New Year's Eve this time season and the same day of The Festival of Lichun, which is a very happy thing in itself, and the New Year seems to have another happy element, but for the lyricist who floats in the zero residence, what is triggered is infinite sentimentality.
In the opening three sentences, "Red Love, Cut Green, Flower Letter on the Stock", the lyricist uses the extremely colorful words "red" and "green" to describe the scene he saw on the street. This is the visual experience of the day that the writer Chinese New Year's Eve: the girls put red flowers and green leaves in their hair, the exquisite flowers and leaves, with the melting spring feeling, the girls smile like flowers, and they greet the arrival of spring by wearing red flowers and green leaves.
However, in this Chinese New Year's Eve moment when the cold is approaching, except for a few flowers such as plum blossoms, most of the plants are still in a sleeping state, where do the red flowers worn by the girls come from? What are the flowers they wear?
In fact, what they wear is not real flowers, but delicate and beautiful red flowers cut from red paper or cloth, and green leaves cut from green paper or cloth. It turns out that on the day of Lichun, it is a long-standing custom for women to wear safflowers, and the name of this custom is called "Spring Banner".
The book "Records of the Jingchu Years" written by the Southern Dynasty scholar Zong Yi records the custom of Lichun wearing a spring flag: "On the day of Lichun, the ribbon is cut as Yan Daizhi, and the word Yichun is twice. It can be seen that the custom of women wearing spring flags and hats has been popular in Jiangnan during the Wei and Jin dynasties, and this custom has swept the north and south of the great river after the Wei and Jin dynasties, and since then it has been inherited from generation to generation, forming a full flavor of Lichun culture.
The earliest form of the spring flag worn by the woman Li Chun should be a naturally growing flower, and later with the evolution of this custom, it was gradually replaced by cloth or colored paper, and women wore the spring flag during the Spring Festival and looked forward to the beautiful meaning of the New Year's good health. In the Song Dynasty, whether it was urban or rural, the custom of wearing spring flags during the spring season became popular.
The detailed records in the literature can be used as a commentary on the opening three sentences of Wu Wenying's poem: "Tokyo Dream Hualu", a book written by Meng Yuanlao that traces the customs and customs of the northern Song Dynasty capital city of Kaifeng Province, and the book also has this description of the Northern Song Dynasty capital City Of Liang wearing a spring flag during the spring season: "At the very early morning of the day, the government officials beat the spring, such as Fang Zhouyi. Around the front of the house, the people sell small spring cattle, often sitting on the fence with flowers, listing hundreds of drama characters, spring banners and snow willows, each offering a legacy. On the spring day, the hundred officials of the Prince of Zaizhi all gave gold and silver banners to victory. Enter the congratulations, wear the private one. ”
In addition, there is a book "MengliangLu", which is a book written by Wu Zimu of the Southern Song Dynasty to introduce the urban style of Lin'an, the capital of the Southern Song Dynasty, which has a paragraph that introduces the custom of the citizens of the Southern Song Dynasty to wear spring flags when they are in the spring: "The street market is decorated with flowers, and the small spring cattle are taken, and the spring flags and spring victories are each sacrificed to your family's house, showing the sign of abundance." ”
The next two sentences, "The sun and the east wind, do not let go of the years", to the effect that the slanting sun refuses to set the mountain, as if to leave the last brilliant brilliance and gentleness to the earth. The writer strolled through the streets, the sunset sprinkled the last rays of brilliance on him, and the sunset at this moment was like an amorous old man, obsessed with the time that was about to pass, and refused to fall easily.
The Ming Dynasty literary scholar Yu Qian said that "the books are amorous like the old man", and the sunset at this time is not the sunset for Wu Wenying. The sunset Chinese New Year's Eve still retains its own gentle brilliance, while the east wind brings the message of spring and brings new hope. These two sentences already have the meaning of removing the old and welcoming the new, which is in line with the theme of removing the night and spring.
Zhang Yan, a commentator on Southern Song Dynasty lexicography, said of Wu Wenying's lyrics: "Wu Meng's window words, such as the Qibao Tower, are dazzling. "Wu Wenying's lyrics focus on the creation of elegant lyric music from form and content, and his lyric creation shows the tendency to refine and elegance as beauty.
The word "put" used by Wu Wenying in these two sentences is particularly appropriate, showing Wu Wenying's kung fu in refining words. This "put" word has both anthropomorphic emotions and an implicit sense of beauty, which can be said to perfectly reflect the musical characteristics of the word.
The last few sentences of the film, "Someone added a candle to the west window, sleeplessly invaded the dawn, laughter turned, new year warbler language", to the effect that: someone under the window added new oil, lit the lights of the old age, people stayed up all night, in the laughter, in the interlacing of chips, in their joy and harmony, to welcome the New Year festival.
These few sentences are still the visual descriptions of the lyricists. People who have been busy for a long day finally ushered in an exciting moment, night fell, there is no crowd on the street, they all returned home, spent Chinese New Year's Eve night with their families, the oil lamp in the house was lit, the lights reflected warmth, and it was a scene of thousands of lights.
The family sits idly and the lights are amiable. The people who guarded the age did not sleep all night, they talked around the stove, cut candles, laughed endlessly Chinese New Year's Eve night, and ushered in the first morning light of the new year in the sound of warblers. These scenes are heard and witnessed by the writer who lives in a foreign country, and the Chinese New Year's Eve night of the writer is lonely, he drinks alone, a person spends a cold Chinese New Year's Eve night, and the sadness and misery of the state of mind can be imagined.
The surrounding bustle and joy reflect the loneliness and sadness of the lyricist, and make this lonely sorrow even more unbearable. In order to make a living, the lyricist who has no home has lost the joy of reunion with his relatives and can only spend Chinese New Year's Eve night alone in a different place, such a state of mind is very similar to Su Shi's "lonely house lights, wild shop chicken number, travel pillow dream remnant".
The next film begins with a few words " Old Dignity." Jade fiber once plucked yellow oranges, soft fragrance is yusu", to the effect that: Recalling the feasts of the old Chinese New Year's Eve, the beautiful white hand personally cut the yellow orange.
These few sentences are the lyricist's recollection of the good past. On this Chinese New Year's Eve night, the lyricist touched the scene and evoked his memories of the past, and the lyricist remembered the beautiful person Chinese New Year's Eve night to share the details of the yellow orange with himself, but the good past of that year has long disappeared like a cloud of smoke.
During Wu Wenying's life in Hangzhou, he met a beautiful woman on Xiling Road, Wu Wenying fell in love with her at first sight, so he confessed with love letters, the woman was touched by Wu Wenying's affection, and they began to communicate. Since then, they have traveled to the West Lake together, enjoyed the Spring River, traveled to and from the Xiling Six Bridges, enjoyed the happiness and sweetness of love, and they spent a sweet, warm and romantic time in Hangzhou.
Later, for some reason, they separated, and Wu Wenying's thoughts about her appeared many times in the words, and in his emotional world, he must have loved her deeply. And the scene where the Hangzhou woman cuts yellow oranges for him is just a microcosm of their past sweet love, and it is just one of the generalized memory albums of the lyricists.
Wu Wenying's short love in Hangzhou is enough to comfort the lyricist's life of drifting zero, but also enough to fill the lyricist's blank emotional life, this relationship is also enough to become the lyricist's forgotten for the rest of his life, whenever he recalls this past, the corners of his mouth will always show an upward smile.
The next "return to the lake of dreams, still lost in the mirror", to the effect of: I long to return to the lake in the dream, the lake is like a mirror, making people linger, I lost the path, do not know the place.
The dusty memory of the writer was suddenly broken in this Chinese New Year's Eve night, and his thoughts of the Hangzhou women surged into his heart like a tidal wave. The lake is like a mirror, the dream is hazy, and it is difficult to find a way back. The past is scattered like light smoke, the writer can't grasp it if he wants to, and constantly recalling the past will only increase endless worries and troubles.
In these two sentences, the lyricist depicts a confusing dream. Wu Wenying is good at creating a confused dream to express his thoughts about hangzhou women, he often makes a delicate and exquisite depiction of the dream of time and space, the dream itself is a spiritual phenomenon with illusory color, he chose this unique artistic means, and is well versed in its expression skills, and exerts it to the extreme.
For example, in the term "Huan Xi Sha", Wu Wenying used "the door is separated by flowers and deep dreams of the old tour." The two sentences of the sunset are speechless and the swallows return to sorrow", which point out that this is a dream of remembrance of the old place of travel, and the descriptions of the scenery such as the sunset and the return of the swallow are all descriptions of the scenes seen in the dream. Wu Wenying expresses her thoughts about hangzhou women through the dream of an old tour, and uses the scene in the dream to express her deep feelings, such as a dream, and more to see the degree of infatuation of the lyricist.
Wu Wenying depicts himself in a dream here, he describes his own spiritual world through illusory and obscure dream scenes, and puts all the things he misses but cannot get in reality in the dream to get satisfaction, so that his works can often bring people a unique aesthetic feeling, so that the reader has a beautiful and dreamlike aesthetic and moving mood.
Wu Wenying's Chinese New Year's Eve ends with "Poor Wu Shuang, the cold is endless, and relative, plums fall like rain". The writer looks back on the past at night Chinese New Year's Eve, but the firework-like past is unbearable. And now, who is it against? This is the self-portrait of the lyricist in reality, no longer the dream self.
On this night when the lights of thousands of homes were lit, the writer was still alone, and he looked at the two sideburns in the mirror and the style was no longer gorgeous, and he couldn't help himself for a while. At this time, the spring wind melted the ice and snow, but it could not blow off the white hair of the lyricist's sideburns, which was already sad enough; not to mention the spotted white hair against the falling plum, like rain and snow.
The years do not live, the seasons are like a stream, and the past has lost the thoughts of the writer. Under the flow of time, memories and thoughts occur in the dream of the lyricist again and again, and when the dream wakes up, the silent ending is staged again, and this memory and thought have to be forcibly drawn by the lyricist.
Wu Wenying's Chinese New Year's Eve poem expresses the feelings of longing to the fullest. Just as the so-called love is deep, loneliness is difficult to hide, the words of the writer are the emotional catharsis in the thoughts, telling the story of the time leak, and telling the true feelings in the memory of the years.
Thoughts spread silently in this Chinese New Year's Eve night, composing a new word, filling the thoughts into the words, time dyes the writer's hair, time will take everything away, and what cannot be taken away is the words that can still move the reader after really experiencing time.
Finally, I would like to quote the famous sentence of the Irish poet Yeats in the poem "The Happy Shepherd's Song" to pay sincere respect to the lyricist Wu Wenying, who wrote in the poem "The Happy Shepherd's Song": Of all the changes, only the words are truly beautiful.