Literary changes are stained with the world, and the rise and fall of the world is related to the chronology. The original is going to end, although it can be known for hundreds of lifetimes. A hundred days of hard work, a night of fun.
——Liu Xun, "Wenxin Carved Dragon Chronology"
In "Wenxin Carved Dragon", Liu Xun incisively described the influence of social customs, festival timing, and the development of the times on poetry creation. This kind of time-sequence festival scene that originates from the world and is influenced by social customs has left a lasting and vivid memory for the general public, and has also brought lasting and fresh creative materials to the literati and inkers.
Verse preambles, as the form of written expression of this custom, have become an important part of poetic works because of their great influence and appeal.
Because the Lantern Festival of the Song Dynasty is the most lively and valued festival, the creation of the Lantern Festival of the Song Dynasty presents a prosperous scene: from the prosperous Lantern Scene of Kaifeng City in Liu Yong's pen to the romantic love of the Lantern Festival in Ouyang Xiu's pen; from the Lantern Words written by Xin Zhiyi's ideals and personality, from Li Qingzhao's Lantern Festival Falling Mood, to Liu Chenweng's Lantern Words of Missing the Homeland. The Song Dynasty Lantern words are numerous and numerous.
It can be said that the Song Dynasty Lantern Words are not only a series of artistic portraits of customs and folklore, but also a colorful and splendid picture of citizens' lives, but also a series of time and space rings carrying humanities and history, from which people can regain their good memories of traditional culture and history.
The Southern Song Dynasty poet Jiang Kui, whose words are known for their strict discipline and quiet style, and the Northern Song Dynasty poet Zhou Bangyan and called "Southern Jiang Northern Zhou", his love affair with Hefei women has also become a topic of people's talk. Jiang Kui once roamed Jiangnan in his youth, and he met a singer in Hefei, and just because he looked at her more in the crowd, this Hefei woman became his lifelong obsession.
In order to make a living, Jiang Fu found a copywriting job in Hangzhou, he often traveled back and forth between Hefei and Hangzhou, and he and this Hefei woman also gathered less and more. In the parting years that could not be seen, Jiang Kui appealed to the pain of lovesickness that could not be discharged in his heart, and he wrote many words and compositions that missed the women of Hefei.
In particular, the two poems he wrote on the Lantern Festival, "Partridge Heaven", expressed the love of love to the fullest. Because when the lyricist wrote these two poems "Partridge Heaven", the Hefei woman who haunted his soul had lost her voice, perhaps she had passed away, but the lyricist insisted that she was still alive.
The first song "Partridge Day" was written on the eleventh day of the first month, when there were still a few days before the Lantern Festival, but the rehearsal and rehearsal of the Lantern Festival had already begun, and he was full of excitement to watch the lantern rehearsal this evening, but the longing for the women of Hefei also ran through the beginning and end of his viewing of the lanterns, so he wrote the first poem.
First, let's take a look at Jiang Kui's first Lantern Poem, "Partridge Day, Eleventh Day of the First Month", the original words are as follows:
When admiring the scenery of the alley. The cage yarn did not come out of the horse first hissed. The bald-headed layman has no temple, only a shoulder-to-shoulder girl.
Flowers fill the city, the moon invades the clothes. Teenage love affairs are old and sad. The spring on the Sand River Pond is cold and shallow, and the tourists slowly return.
There is a small preface in front of this poem of Jiang Kui, "Viewing the Lanterns on the Eleventh Day of the First Month", which records the time when he watched the lanterns, the eleventh day of the first month, there are still several days before the Lantern Festival, is it that the Lantern Festival lights have already begun at this time? The answer is yes, this is not an empty story, but a well-documented history.
The Lantern Festival has been a prosperous year since ancient times. The custom of Lantern Appreciation began in the Han Dynasty, in the Song Dynasty developed into the most lively festival, the Lantern Festival is more colorful, the Lantern Appreciation Lantern lasts for five days, the style of the lantern is complex and diverse, and visiting the Lantern Market is a very pleasing thing.
From December 15th to the fifteenth day of the first month, the rehearsal and rehearsal activities of the Lantern Festival have been staged in big cities, during which the streets and alleys are strange, the lights and moons are shining, and the liveliness is very lively. Especially in the prosperous and wealthy Hangzhou, as the cultural and economic and trade center of the Southern Song Dynasty, it has become a pioneer in leading fashion, and the Lantern Festival lantern rehearsal and rehearsal are not to mention.
"The Past Affair of Wulin" is a well-thought-out book of Southern Song Dynasty lyricists who were contemporaries of Jiang Kui recalling the urban style of Lin'an (Hangzhou), the capital of the Southern Song Dynasty, which records the rehearsal and rehearsal of the Hangzhou Lantern Festival: "After the prohibition of viewing the chrysanthemum lamp in September of the last year, the lantern was tested, which is called 'pre-reward'. As soon as you enter the new zheng, the lights are getting stronger and brighter", "On the twelfth and thirteenth days, the national taboo is forbidden, then there are house cage lamps, the front leads to zhucui, and the young man's tail is decorated behind him, and the hall comes, and he encounters it suddenly, and does not distinguish between true and false. ”
Therefore, at the beginning, Jiang Kui wrote out the grand situation of the lantern rehearsal: the third year of the Qingyuan Dynasty (1179), it was the annual Lantern Festival, although the weather was warm and cold at first, but the prosperous and rich city of Hangzhou had long been full of festival liveliness and joy.
The scenery on the streets is all haunted by the atmosphere of the Lantern Festival, and when people are ready to indulge in the lanterns, the gauze lanterns of the noble families have not yet gone out, and the roar of the horses has been heard from afar.
The sarong yarn, also known as the sarong, is the standard of the Lantern Festival Lantern Night Tour. The Southern Song Dynasty Wu Zimu's "Record of Dreams" also records this festival grand scene: "Prince Wangsun, the five tombs are young, and they drink in sarongs, and they will take beautiful women and beautiful women everywhere to enjoy." ”
Jiang Kui summed up the grandeur of these high-class people "fragrant cars and BMWs" going out to watch the lights in only seven words, the weather is magnificent, timeless and tasteful, and the artistic conception is lofty. This technique of writing from the side makes the meaning of the word form a gorgeous beauty invisibly.
On the night of the eleventh day of the first month, although the moon is not yet a full moon, the moon color is already very warm, so when the moonlight climbs up the window, the lyricist Jiang Kui also put on his coat and came to the street to join the crowd of people watching the flower lanterns. At this time, every alley in the city is a moving scene of lights and fire trees and silver flowers.
The lyricist shuttled through the crowd of people, looking at a couple on an outing under the cover of the lights, and at this moment, the hazy feeling of the lights "suddenly looking back" evoked the lyricist's memories of the past, which is exactly the touching scene.
Once upon a time, he also joined hands with hefei women to travel to the Lantern Festival, and witnessed their love on that night when the lights were dimmed, and they left a string of love marks on this warm and romantic night.
Like fleeting fireworks, the good memories of the writer are fleeting. At this moment, the moonlight and flickering lights like water sprinkled on the writer, reflecting the lonely figure of the lyricist with a bit of loneliness and sadness. His mind wandered the streets, hesitating, and the writers were wandering aimlessly until the wee hours of the morning.
The writers look everywhere they see crowds of people coming and going and the lights, and they don't seem to care about such a lone tourist, because tourists are chasing happiness and joy, but what about the lyricist? Perhaps the only person on this night who was unaccompanied.
The film on this word first writes "when the scenery of the alley is strange", when indulging in the appreciation of the lights, the scenery on the street should be intoxicating, but the lyricist did not focus on describing the prosperity and liveliness of the lamp market, and wrote the style of the rich man's play with the seven words of "the cage yarn is not out of the horse first hiss". This scene, which is originally a prosperous scene, should be a pleasure, but compared with the poor life of the writer, it has a more tragic taste of the world.
The two completely different situations of the lantern-watchers are contrasts, and they are even more lamented by the sadness of the poet's life. The more the scene of the upper class watching the lights, the more tragic it seems to be a lyricist. The sadness here is the pain of being a jianghu cleaner and having no way to express one's mind.
The next film begins with a scene, full of street lanterns, and full of lights, which is a concrete display of the scenery of the alley. Those women who usually stay at home walk out of the boudoir in the rehearsal and rehearsal of the Lantern Festival fireworks and watch the lanterns. In the midst of the lights, the scene of young men and women looking for the right person is heart-warming, and the scene of the moonlight reflecting the thin clothes of the lyricist is so moving.
"Flower City" is the prosperity of reality, and "moon invading clothes" is the loneliness of the psychological state, which is also the hint of the mood of the writer's heart. Recalling the old people and recalling the love affair of half a lifetime, it is precisely "the old sorrow of the young love affair", which also caused the second sadness in the hearts of the lyricists. The sad thing about the writer is that the old love is not there, and the obsession is difficult to change.
The moon is half bent, the night is not yet central, the spring is still cold, the moon is as bright as water, the four are clear and clear, the lights are scattered in the middle of the night, but the writer has not returned home, he may be nostalgic for the beauty of this moment. It's just that this kind of beauty is not the prosperity and liveliness of the Lantern Festival, but to seek a kind of spiritual comfort in the lights, and to relive the love story of the past with Hefei women in the lights.
Therefore, he simply came to the Shahe Pond and used the moonlight to see the tourists who slowly returned, which was an intriguing scene. Jiang Fu watched the Lantern Festival lantern rehearsal and rehearsal on the eleventh day of the first month, because he touched the scene and felt love, which aroused his infinite longing for the women of Hefei, which made him sad for several days, and his heart became more and more lonely and cold.
Therefore, when the lantern of the fifteenth lantern of the first month was officially staged, Jiang Kui's longing for the women of Hefei had reached an irrepressible point, he was "thinking of the king by walking, sitting also thinking of the king", so he chose to close the door on this day. In the trance of thoughts, the writer entered the dream, and the Hefei woman in the dream did appear in the dream again.
Just as the so-called "day has thoughts, night has dreams", so when the dream woke up, Jiang Kui wrote the second song "Partridge Day":
The endless period of fertile water flowing east. It was not suitable for acacia at the beginning. In the dream, he did not see Dan Qing, and in the dark he suddenly startled the mountain birds to cry.
Spring is not green, sideburns first silk. Don't be sad for a long time. Who taught the years of the Red Lotus Night, the two places of chanting are known to each other.
On the fifteenth day of the first month, it is the time of the happy swim, the previous few days were still cold and shallow in the spring, how can the wind add a little bit of anticipation tonight?
Whether it is to stay alone in an empty house, but to be afraid of the cold of spring, it is just an excuse for the writer to find out that he is incompatible with the bustling and bustling. I went to bed early, but I tossed and turned, and it was difficult to sleep, so I went on until the third day.
I don't know when he fell asleep, in the dream, he vaguely saw her again- this Hefei woman who made the lyricist tying up for a lifetime and missing her life, they seemed to swim hand in hand in the dream of the lyricist, but the pleasure of traveling together was always short-lived.
Fireworks are easy to pass away, good dreams are difficult to stay, but unfortunately, after waking up from the dream, I understand that everything in the dream is captured indefinitely, it is mysterious, and perhaps only the lovers who are separated from the two places know it coldly and warmly.
The opening sentence "The endless period of the flow of fat water" is the most sincere expression of the lyricist's emotions, and this sentence, as a wedge of memory, leads to the Hefei woman, who is the lover of the lyricist's lifelong haunting dream.
"At the beginning, it was not in harmony with the species", this may be the confession of the lyricist from the bottom of his heart, but what does the writer confess? What the writer repents about is not their encounter, not their love at first sight, nor is it the lifelong thoughts caused by this, the writer repents of meeting her in the vast sea of people, but he cannot "hold the hand of the son and grow old with the son" with her.
The writer did not come out on the fifteenth day of the first month because of the sorrow in his heart, and because of the misery in his heart, he still tossed and turned, and after sleeping with his clothes, he finally met his lover in the dream, but the lyricist said that what he saw in the dream was not as real as in the portrait.
The image in the dream is naturally vague, but the reunion in the dream is still nostalgic, but unfortunately, even the reunion in the dream is so short, because this good dream is often startled by the sound of mountain birds.
The years have passed, the lyricist has long been two sideburns white, even if there is a spring to appreciate, but the mood of looking at the scenery has long been different from the past, and the old age of the years makes the lyricist sad. How many partings have faded under the wash of time, and the years have worn away the edges and corners of the lyricist, so that the heavy feelings in the lyricist's heart have been precipitated.
Time is fleeting, the grand year is no longer, but the Lantern Festival is every year, so that people remember the sad days will come again every year. Such pain and sorrow are like fat water flowing east, endless, perhaps only lovers who are separated from the two places can really feel.
"Don't be sad for a long time in the world", this sentence is full of the profound life experience and deep sorrow of the lyricist. True and deep love always carves the rings of memory more and deeper with the accumulation of years, and even he seems to be unaware of the sadness hidden in his heart.
And when the lyricist is clearly aware of this, the feeling of grief cannot help but go to a higher level, which is a deeper and more tragic emotional state of the writer who has endured emotional suffering for a long time.
"Whoever teaches the red lotus night of the year, the two places of meditation know each other", red lotus night, refers to the Lantern Festival, and the red lotus refers to the flower lantern of the lantern festival. Jiang Kui deliberately emphasizes the Lantern Night in his words, because this is not only a beautiful moment of lantern night tour, but also a good night for young men and women to meet love and make love.
Therefore, during the lantern festival every year, the lyricist will miss the hefei women so much that he has a dream at night. In the writer's mind, he insisted that she was still alive, and he also insisted that when he missed her, she also happened to miss him.
At the end of the word, the lyricist uses the tone and way of self-questioning and self-answering to draw the end of the whole word, which is like a crying end, which is an emotional catharsis in the irrepressible thoughts of the lyricist, this emotional catharsis is the echo of love, and the echo of love makes the rhyme of the whole word more long and deep, containing ethereal.
This echo of love breaks through the limitations of time and space, so that we can all feel the residual warmth of this love today, because love has no distance.
Jiang Fu's two Lantern Words are still based on the theme of traditional love, and the traditional style of love words is soft and feminine, but Jiang Fu's words are written with beautiful pen and ink to write unforgettable affection, and the rich and deep sense of life conveyed by Jiang Kui is so timeless and continuous, reading it makes people moved.