The fire tree and silver blossoms, the star bridge iron lock open. It is another year of Lantern Festival, in the Lantern Festival, viewing flower lanterns, guessing lantern riddles, lantern night tour these activities are necessary for the festival. The Lantern Festival is the first full moon night after Lichun, and since ancient times, there have been many beautiful titles such as Shangyuan and New Year's Eve.
Just as the so-called "years and years of flowers are similar, years and years of people are different", with the change of the order of the festival, the alternation of the season, the change of the cultural environment, the Lantern Festival is easy to cause the literati and inkers to sigh about life, they feel the fun of the festival at the same time, but also think about the true meaning of life.
The Lantern Festival in the Song Dynasty is the most valued holiday, but also the most prosperous and lively holiday of the year, it is combined with the prosperity of the Song Dynasty, the rich cultural connotation of the Lantern Festival for the Song Dynasty people to provide a large number of creative materials, and triggered the prosperity of the Creation of the New Year's Eve, which gave birth to the breathtaking New Year's Eve words.
The two Song Dynasty New Year's Eve words began with Liu Yong, and in the words "Welcoming the New Year", Liu Yong used flowery words to describe the Grand Lantern Festival in Kaifeng: "Qingjia Festival, Dang SanWu." Liehua lamp, thousands of doors. All over Jiu mo, Luo Qi xiang wind slightly. Ten Mile Tree. ”
It can be said that Liu Yong led the trend of New Year's Eve words. Since Liu Yong, it has become a paradigm to depict the festive scenes of the lantern festival and the prosperity of the city.
To the Southern Song Dynasty, this situation changed, after the southern crossing, with the change of the cultural and historical environment, the Lantern Festival became the festival that was most likely to make the lyricists have a contrast between the prosperity and decline of the past and the present, and the most famous was Li Qingzhao's New Year's Eve word "Yong Yu Le". Although Li Qingzhao also wrote about the beautiful scenery and harmonious weather of the Lantern Festival, he expressed his sorrows and feelings of life encounters everywhere.
In the term "Eternal Encounter", when Li Qingzhao contrasts the various pleasures of the lantern festival in the past with the misery and loneliness after the southern crossing, the life experience implied by the remembrance of the prosperity and joy of the past is even deeper.
If the Southern Song Dynasty poets' thoughts of the homeland are full of sorrow, then the thoughts of the late Song Dynasty poets due to the changes in the historical environment are full of sorrow. The deepest expression of this sadness is the late Song poet Liu Chenweng, and this emotion is concentrated in his New Year's Eve words.
The Song and Yuan Dynasties have become unforgettable memorials for the lyricists, and his lyrics have also been deeply engraved with the imprint of the times, as a relict lyricist, this kind of longing for the homeland is particularly strong during the festive season.
On the night of the New Year's Eve Festival, the lyricist saw that there were few pedestrians on the streets of Hangzhou, and could not help but think of the prosperity of the past, so he expressed his thoughts about his homeland with a memorial work "Remembering Qin'e":
Burning Lantern Festival, wind and snow on the Asakyo Road. Wind and snow, the country and mountains are as old as ever, and the people of Chaojing are absolutely desperate.
A hundred years of short rise and fall, and Junyu against the moon at that time. At that time, the moon was shining on people's candles and tears, and illuminating people's plum hair.
On the eve of the Lantern Festival (Lantern Festival), there are few pedestrians on the streets of Hangzhou City, which triggers the memories of the past scenes of the writers: in the past Hangzhou City, every time the Shangyuan Festival arrived, people spent all night to spend the night tour, which was a bustling and lively scene, which is a bustling and lively scene, which is still fresh in the memory of the lyricists, and today's Shangyuan Festival is full of wind and snow, there are few pedestrians, and it is not the past, it is really a desolate scene.
The lyricist touches the scene and is full of emotion, and the next film is directly expressive: years are easy to pass, good times are difficult to stay, and life is short, which is already a very sad thing, but it also makes him experience the historical changes of the country and the mountains. But what about all these words?
He looked up at the starry sky, only to see the bright moon as before, and in all helplessness, he could only send affection to the bright moon, and could only pin a piece of deep longing for the homeland to the bright moon.
Liu Chenweng's "Remembrance of Qin'e" is written in the upper film, describing the scene of Xiao Suo in Hangzhou City at night when the lantern is full of wind and snow and there are few pedestrians; the next film is lyrical, expressing the lyricist's nostalgia for the homeland. "Remembering Qin'e" is sad and sad, showing the lyricist's sad mood of touching the scene.
Liu Chenweng's New Year's Eve words mostly use a lonely and lonely mood to tell the encounters and feelings in the contrast between the present and the past, which not only expresses the mood of bitterness and grief, but also reflects the awe-inspiring and unforgettable feelings of the homeland. For example, the term "Qingyu Case: Using Xin Jiaxuan's New Year's Eve Rhyme":
The snow is not exhausted of the plum tree. Wind and dusk rain. Long remember the Little Red House Side Road. Pestle songs are strung together, drums are stacked on top of each other, and lantern dances are previewed.
The sky's nest is full of sorrow. The sea is a citrus dream to go. Where is the forbidden night? Chaotic mountain huts, cold furnaces, fishing fires.
The first three sentences of the word write about the desolate scene of the plum trees in front of the eyes, the snow, and the rain sending dusk. It then depicts the joyful scene of the Lantern Festival before the fall of the Song Dynasty. The next film writes from the joyful memories falling into reality, their own "heavenly end" drifting, sideburns have appeared white hair.
The last few sentences are set off with scenery, writing about the bleakness and loneliness of the writer's situation, which is in strong contrast with the festive and lively New Year's Eve night imagined in the previously painted dream, and expresses the feelings of the homeland in the past and the present.
In the twenty years from the Lantern Festival in 1276 to Liu Chenweng's death, he continuously wrote nearly 30 poems related to the Lantern Festival, recording the weather conditions, people's moods and festival customs of the Lantern Festival every year.
It can be said that every time Liu Chenweng encounters the Lantern Festival, he always wants to sing a long song to express his inner emotions, and the sad emotions and tones have become the main theme of Liu Chenweng's New Year's Eve words. This kind of anti-feeling is like a lyric of Tengger's lyrics: "Every time I see you, I am shocked and thundering, the long smoke and sunset are strong, and you are in the ethereal clouds and paintings, and you sing a long song... ”
A series of vicissitudes in the Song and Yuan Dynasties brought Liu Chenweng a deep spiritual stimulation, thus forming the lyricist's subconscious sadness, which was vividly reflected in his other Yuan Xi poem "Yong Yu Le":
The beginning of the moon is sunny, the clouds are far away, and the spring affairs are the masters. The forbidden garden is cold, the lake embankment is tired and warm, and the front is as promised. The incense dust is dark and strange, the lights are bright, and the long is lazy to go hand in hand. Who knows, the smoke is cut off and the night is forbidden, and the city seems to be sad and rainy.
Xuanhe old days, Lin'an Nandu, Fangjing is still the same. Wandering, wind and beard, can give words the most bitter. There is no road in Jiangnan, and tonight in Yanzhou, who knows whether this suffering is good or not. Empty opposite, remnants of sleeplessness, full of village drums.
Before this poem was composed, there was a small preface written by Liu Chenweng himself: "Yu Ziyi Hai Shangyuan recited Li Yi'an YongYule, and wept for it." In the past three years, every time I hear this word, I can't help myself. According to his voice, he also entrusted Yi An to describe himself. Although the words are too late, but the sorrow is excessive. ”
This poem was composed in 1278, and in this small preface it can be seen that Liu Chenweng had read Li Qingzhao's "Yong Yu Le" in 1275. Although this word is based on "Yi An's self-metaphor", it is written about Liu Chenweng's own emotional experience.
Compared with Li Qingzhao's original work, Liu Chenweng's sad and sad mood and deep feelings for the thoughts of the homeland have long penetrated the back of the paper, and in his own words, it is indeed "sad and bitter".
The first two sentences of Liu Chenweng's New Year's Eve words are the same as the opening paragraph of Li Qingzhao's New Year's Eve words, which are all descriptions of scenery, and the lyricist renders the beautiful scenery of the Spring Festival through the scenery, and then uses a sentence "Who is the master of spring affairs" to write out the changes in the world, forming a contrast between love and scenery in the meaning of the words
The first three sentences of the film write the scene, a picture of the night of The New Year's Eve with light clouds and light wind, moonlight like water, and pleasant scenery, and then write about the buildings in Hangzhou City, the weather on the lake embankment, and the cold and warm are suitable. On the surface, the lyricist seems to be writing the scene, but in fact, the lyricist is allegorical to the scene, borrowing the scenery lyricism, he will cherish the spring and the nostalgia for the homeland intertwined.
The next "incense dust is dark and strange, and the lights are bright", which is written about the bustling scene of Hangzhou City during the Yen Festival: the streets are bustling with traffic, pedestrians are crowded, and the dust raised covers the sun, causing the streets to be much darker. Although this is an exaggerated expression of the lyricist, it also shows the prosperity and liveliness of the Lantern Festival in Hangzhou From one side.
At night, the brilliant lights illuminate the night like day, so lively and bustling that the writer is not in the mood to enjoy it. The contrast between the two shows That Liu Chenweng's mood is sad and resentful, and there is a deeper meaning in this sentence, that is, he did not go to enjoy the Lantern Festival in Hangzhou City for various reasons, and it has become a regret that the lyricist regrets in his life.
The last two sentences of the film, in the atmosphere of "breaking smoke and forbidding the night", "the city is full of sorrow and wind and rain", here, the lyricist uses the scenery as a metaphor, the country and the mountains change owners, the lyricist cannot accept such a reality in his heart, and he cannot adapt to the new situation for a while, which is the expression of the true emotions of the lyricist. The Lantern Night of "Cutting Off Smoke and Forbidden Night" was supposed to be a joyful scene, but now it was only full of wind and rain in the city and full of sorrow.
If Li Qingzhao lived in Wuyue after the southern crossing, in the Lantern Festival, she was afraid that the familiar bustling scene would evoke her dusty memories, and she would rather stay alone in the empty boudoir than go out to watch the lanterns, at this time, Liu Chenweng faced the Lantern Festival is a scene of prosperity and ends.
The long night is sleepless, alone with the residual lamp, and the sound of the village community drums is heard from time to time outside the window, and at this moment, the sadness of oneself is in stark contrast with the happiness of others in the "full village social drum", and its sorrow is deeper and more painful than that of Li Qingzhao.
When discussing literary creation, The Qing Dynasty writer Wang Fuzhi said: "Write mourning with lejing, write music with mourning scenery, and double its mourning." Indeed, Liang Chaowei here uses the happiness of others to express his own sorrow, to express the unspeakable sorrow and unspeakable pain in his heart, which makes this sadness even more shocking.
The first three sentences of the next film, "Xuanhe Old Days, Lin'an Nandu, Fangjing Is Still Free", inheriting the previous film, is the lyricist's recollection of the past: "Xuanhe Old Days" refers to the prosperous scene of the Lantern Festival in Kaifeng City during the Northern Song Dynasty' Xuanhe Period; "Lin'an Nandu", this sentence directly faces the history of the Song Dynasty's Nandu.
The Song Dynasty crossed south, but the bustling Lantern Festival scene in Hangzhou City was exactly the same as that of Kaifeng in that year, and the writer lamented the prosperity of his homeland, but also contained his infinite feelings about the changes in the world.
These three sentences compare the Lantern Festival of Hangzhou City in the Southern Song Dynasty with the Lantern Festival in Kaifeng City in the Northern Song Dynasty. This is the opposite of Li Qingzhao lamenting the Lantern Festival after the southern crossing, Liu Chenweng believes that the Lantern Festival in Hangzhou is as prosperous as the Lantern Festival in kaifeng city in the Northern Song Dynasty, and the implication is self-evident, that is, "the scenery is not different, and there is a difference between the mountains and rivers." The lyricist compares the New Year's Eve scenery with the human environment, and the feeling of pain becomes more and more obvious.
"Zhongzhou is full of sunshine, the boudoir is more leisurely, remember to focus on three or five." Spread the green crown, twist the golden snow willow, and the cluster belt is in contention. Now haggard, the wind and frost sideburns, afraid to see the night out", this is Li Qingzhao's memories of the Grand Scene of the Kaifeng Lantern Festival in "Yong Yu Le" and her lonely mood in the face of the Lantern Festival after the Southern Crossing, comparing the past and present, the picture and mood before and after are so different.
Liu Chenweng recalled what Li Qingzhao encountered when he was in Nandu: "The four characters of "Shu Shuai And Displaced" belong to documentary texts, describing that the metal calligraphy, paintings and literature collected by Li Qingzhao and Zhao Mingcheng were lost during the Nandu period, which is a painful memory that Li Qingzhao will never forget throughout his life.
Li Qingzhao's "Yong Yu Le" was written so miserably that it was sighing to read; Liu Chenweng wrote this "Yong Yu Le" in a way that compared himself to Li Qingzhao's life.
"Jiangnan no road" means that a large area of land in Jiangnan has fallen. Then the lyricist asked rhetorically, "Who knows if this suffering is so?" "Writing about the pain of war and displacement, here the writer's pen turns sharply, the emotion becomes more intense, the deeper the pain, and the bitterness of the fall of the homeland and the homelessness of the writer is pushed to the climax.
"Empty relative, red and sleepless, full of village social drums", in the sound of the drums of the community, the sadness of the lyricist is even more set off, and it also expresses the lyricist's nostalgia and helplessness for the homeland at this moment.
In fact, if you compare Liu Chenweng and Li Qingzhao's tonal New Year's Eve words "Yong yu le", you will find that these three sentences of Liu Chenweng and Li Qingzhao's "Yong Yu Le" echo the three sentences of "It is better to listen to people's laughter under the curtain" in Li Qingzhao's "Yong Yu Le".
The last three sentences depict him as unable to sleep in front of the residual lamp, and his ears are filled with the drums from the street, which is a very dynamic drum sound at this moment has become a barrier that cannot be bypassed in the hearts of the lyricists, and the sound of drums has added to the loneliness and misery in the hearts of the lyricists.
@ Small Talk Poetry borrows Li Qingzhao's New Year's Eve words to introduce Liu Chenweng's Yuanxi words, whether it is Li Qingzhao's Yuanxi words or Liu Chenweng's Yuanxi words, both of them closely follow the specific time node of the Lantern Festival, so as to unfold the description of the scenery and thus express their inner feelings.
Especially as a lyricist Liu Chenweng at the time of the Song and Yuan Dynasties, through the comparison of the past and the present, through the changes in the environmental scene, he also expressed the sense of life and the complex of nostalgia for the homeland while lamenting current events, as well as the psychological gap brought by the changes in the world and the easy generation of the country to the lyricists.
Liu Chenweng's words pay attention to the contrast between virtual reality and contrast between the present and the past to express a unique emotional experience, and his New Year's Eve words are mostly based on the scenes with great contrast between the festive atmosphere and the past experience as a lyrical wedge, and then add the real scene in front of the lyric, so that the contrast between the past and the present in the Lantern Words is particularly far-reaching, distinct, and more realistic expression of inner emotions.
Whether it is to reflect the changes in the world with the contrast between the past prosperity of the Lantern Festival and the current decline, or to render his own sadness with the contrast between his youthful vigor and the twilight feelings of the dying old, Liu Chenweng's feelings in the New Year's Eve words are unchanged, that is, his incomparable attachment to his homeland and infinite nostalgia.
Liu Chenweng's lyrics written on the Lantern Festival have a deep sustenance, truly reflecting the style of the times at the time of the Song and Yuan Dynasties and the sadness and sorrow in the hearts of the lyricists, and also portraying the psychology of the lyricist as a historical witness, which makes Liu Chenweng's Lantern Words have a richer and more profound content.