Li Qingzhao, a gentle poet of the Song Dynasty, was known for his personality of "husbandly temperament" and for his creation of "overriding the eyebrows", adding a fresh and bright brilliance to the Chinese literary scene in the 12th century. Li Qingzhao's life was a life full of bittersweet, so most of the works she left behind were "non-girly writing from the reporter can not know.". From the most important Wing Mei words in her "Shu Yu Ji", you can especially feel the strong sense of life that is conveyed in it. Mr. Chen Zumei said: "The largest proportion in the "Shuyu Collection" is the Yongmei word. If they are combined in order, they can simply constitute a spiritual history of the author who is consistent with the history of the rise and fall of the three or four generations of royalty between the two Song Dynasties."
Li Qingzhao has a special love for plum blossoms and has never left plum blossoms in his life. In her lyrics, there are 18 plum blossom images, accounting for three-tenths of the works, which can be called the crown of ancient female wing plums. Plum blossom is not only a metaphor and symbol of the aesthetic subject, but also an ideal and pursuit of beauty, which is permeated with a deep and rich emotional torrent. Li Qingzhao writes Mei from a female perspective. Mei is her, she is Mei. To write About Mei is to write about herself.
Therefore, reading Li Qingzhao's plum blossom words is also reading Li Qingzhao's person and reading her soul. Her six plum blossom poems, which run through almost several major periods of her life, can see the author's life experience and emotional changes, and then feel the changes of the times. Li Qingzhao's late Yongmei masterpiece "Qingping Le" recalls his lifelong experience of appreciating plums. Here, we can analyze Li Qingzhao's plum blossom complex according to the plum appreciation life of three different ages described in the word.
Yongmei song in youth: pride, happiness
At this stage, Wing Mei's works are lyrical about the author's early love life, and the plum blossom imagery contains the author's pride, self-confidence and faint feelings of cherishing flowers and hurting spring.
Li Qingzhao
"Fisherman's Pride Snow Known Spring Letter To" is an early masterpiece of Wing Mei. The ice soul and beautiful plum blossom fairy depicted in the words are exactly the portrayal of the image of the talented author of cardamom. Plum blossoms do not lead the natural state, the otherworldly quality of cleanliness and beauty and the strong personality of not fearing frost and snow, showing independence, are Li Qingzhao's pursuit and expectation of the spirit of beautiful personality.
Although the early Works of Wing Mei also had the sadness of spring, they were only the sentimental feelings of young girls and the loneliness of young women living alone. "Lang Tao Sha Boudoir" depicts the image of a young girl who has lost her waist because of "helpless injury to spring", but this young girl has a new makeup at night, in the clear light of the moon and the shadow of Mei, the lips are lightly opened, the singing is gentle, and the yuan is delicate, like a floating cloud. Her wounded spring makes people feel empty and uncertain due to the lack of specific life connotations, which is actually a sentimental and temporary emotion caused by the sensitive psychology of adolescent girls. Therefore, the girl who sent the return wheel of "Hope Yaotai" in the work presents people with a lively and cute image with rich artistic connotations, full of fantasy and pursuit.
"Huan Xi Sha · Girlfriend • Bun Wound Spring Lazy Comb" is very different from this, it is still the background of light clouds, Qingyue, and Mei Ying, but at this time, the characters are injured by the spring "bun" and "lazy comb", the indoor idle brain smoker, the scattered tassel bucket tent marks the lazy young woman hurt the spring within the cause, expressing her lonely and lonely, facing the beauty caused by the evening wind falling plum.
"Koshigeyama Haruhito to Nagato" is a lyrical story of a reunion with her husband. Shortly after Li Qingzhao's marriage, his father was involved in a political turmoil and then resigned. Li Qingzhao was forced by the pressure of the situation to stay away from her husband and hide, and was able to return home for a reunion after the situation eased. Through the description of the river plums planted by hand and the spring colors of the courtyard, the author expresses the feelings of cherishing and loving life after experiencing the tribulations of life for the first time.
At this time, the author has begun to mature from a simple girl, and truly understands the meaning of survival. From a young girl to a new woman, the early chants of Qingzhao sway a young woman's charming style, colorful dreams, sweet love and happiness.
Middle-aged Wing Mei Song: melancholy, complex
At this time, Wing Mei's works play the discordant notes in the author's post-marital love melody, and the inner sorrow of love and estrangement is its main style.
The like-minded love between Li Qingzhao and Zhao Mingcheng is undeniable, and the depictions in the "Preface to the Golden Stone Record" about the couple's regular visit to the Xiangguo Temple to buy golden stone calligraphy and paintings, proofreading and appreciating together, and returning to the hall to gamble books and pour tea are all admired by people of ancient and modern times. Li Qingzhao's first few years after marriage were warm and happy, but as Zhao Mingcheng left home and eunuchs, the actual distance between the two places also widened the emotional distance, coupled with the Song Dynasty's booming kabuki art and the social environment of smelting and traveling, which became a factor affecting the discordant feelings of the pair of qinsers. Therefore, it should be reasonable for Zhao Mingcheng to have a favor or a concubine.
Zhao Mingcheng
There may be another important reason for the relative transfer of Zhao Mingcheng's feelings: li Qingzhao and Zhao Mingcheng's "no heirs", that is, no children. On this point, the Song people once recorded: Hong Shi's "Golden Stone Record" said: "Zhao Jun has no heirs." These various discordant factors have caused great trauma to Li Qingzhao's heart. Several of her poems profoundly revealed the hidden pain in her heart at this time.
The words "Yulou Chun Hong Crisp Ken Qiong Bud Crush" and "Linjiang Xian Courtyard Deep and Deep" contain the author's self-pity sad feelings in the pity plum fragrance. "Yulou Chun" with "I don't know how many incense is contained, but I see the infinite meaning of the hidden", showing that plum blossoms are not only pleasing to the world with external fragrance, but also won praise for their inner high quality and profound cultivation. In the aesthetic of plum blossoms, the author's attention and cognition of self is invested. The author writes about plum blossoms with the action of "probing", which means that people and the external environment have reached harmony, which not only conveys the form of the plum blossoms that bloom carefully and quietly, but also hints at the hardships and harshness of its living environment. This is the true depiction of the author's real state of existence. "It may not be that the Ming Dynasty cannot afford the wind" is the author's concern about plum blossoms and his own future and destiny. Inviting Mei to drink is the author's cherishing and consumption of the current youth, and it is also a vent of bitterness in the embrace of nature and alcohol anesthesia after being cold by human feelings.
"Man TingFang Xiao Ge Zang Chun" shows Li Qingzhao's feelings even more open-mindedly. The author was bored to light the incense, watching the sun shadow gradually move down from the curtain hook, the narrow boudoir burned out due to the incense, the sun shadow has disappeared the only activity of the scenery, in the loneliness only the courtyard Jiang Mei accompanied. The author compares his plum love complex to "He Xun in Yangzhou", indicating that the lonely life is the reason why He Xun is also obsessed with plum blossoms. The author praises the noble quality of plum blossoms with affectionate pity: although plum blossoms can not escape the fate of fishy wind and rain in the end, and the flowers are fragrant, even if "zero falls into mud and dust", "only incense is as it was". "Mo Hate", "Must Believe", and "Difficult to Say" write all the deep affection for Meihua's care, with sincere understanding and comfort, and also with kind encouragement and exhortation. The author here integrates the understanding of the self and the world, the blossoming and falling of flowers is a natural law, do not hate "incense to reduce snow" youth is no more, the inner charm of "containing infinite meaning" will never be diminished. This is the author's understanding and evaluation of personal value, the pride of his inner spiritual beauty, and the regret and resentment that the value of his own beauty is not appreciated.
Zhao Mingcheng and Li Qingzhao played against each other
At this stage, the yongmei word has shed all the delicacy, childishness and romance of the previous period. After experiencing the wind and rain in the world, the author's mentality has become complex, the cherishing of youth and the worry about the future prospects, the dissatisfaction with the living environment and the self-confidence of life are intertwined, especially the spiritual burden of love estrangement and self-sterility, which is accumulated in the deep hidden heart of Qingzhao, she cannot complain or vent, only in the lonely and lonely days surrounded by incense, the long night of Qiangguan resentment, the haggard people sing low to the courtyard cold plum shallowly, telling the chewing of that part, indescribable hidden songs and pains. It is this unique life experience and deep, detailed, complex and rich emotional connotations. Only at this stage is the profound and unique artistic charm of the Yongmei word.
Yongmei song in his later years: miserable and sad
The feelings of the author of this stage of yongmei writing after the southern crossing. The broken mountains and rivers, the sorrow of nostalgia for home, the sorrow of the death of the family, and the wandering and wandering are gathered into a cold, miserable, and sad Songmei.
The tone of the words "Bodhisattva Man, Wind And Soft Day, Thin Spring is Still Early", "Appeal to Heartfelt Feelings, Late in the Night to Get Drunk and Remove Makeup", and "Qing ping le , Nian Nian Xueli" are far from the previous ones, and Mei's image has undergone a qualitative mutation. There is no beautiful state of "fragrant face half open", and there is no infinite meaning of "red crispy buds". Although the author came to jiangnan to the hometown of the waterfront mountain wild plum, the plum blossom is only the epitome of the hometown that remains in the depths of the soul, the notes of love and the imprint of a warm and beautiful life. Therefore, the author's aesthetic style and aesthetic psychology in his later years have undergone great changes, she is no longer interested in the primrose that is full of vitality in nature, and the residual plum of the incense and snow has become the object of observation; the plum blossom is mostly detached from the original ecology of nature, and has not only become the ornament on the author's head but also the object of play in her hand.
This unique psychology of the author is worth playing. In the past and the present, everything that people like most has been used as an ornament, and Qingzhao's ornament Mei naturally belongs to this list, but it is worth noting that Qingzhao has hardly written about her as Mei before. Of course, we know from "every year in the snow often plant plum blossoms drunk" that she has long had a hobby of decorating plums. The reason is that in the author's past, the role of Mei was only simply love mei, and the meaning of "playing" was stronger, and the author's late life as Mei was the pursuit and sacrifice of the past life. Through the way of decorating mei, he tries to rewind the flow of time to reproduce his beautiful years, and at the same time reflects on and summarizes the process of individual life existence in this form. Due to the thickening of the connotation of life, the meaning of "makeup" has almost disappeared.
The author plays Dai Mei and plays with Mei only to remember the past and early life of his hometown: "Where is the hometown?" Forget about unless drunk. "Drifting to the south of the River Plum Township, Qingzhao thought of the Jiang Mei planted by hand in the courtyard of his hometown, thought of the scene of stepping on the snow with her husband to enjoy the plum poem "often planted plum blossoms drunk", and thought of the juvenile time when the plum blossoms were singing softly... This kind of recollection of Mei adds to the author's homesickness in reality, the pain of her husband's death and family's death, and the pain of loneliness and loneliness, so the author pours out the sadness of the difficulty on the plum blossom: "more remnants, more twisted incense" More time, "all plum blossoms have no good intentions, all plum blossoms have no good intentions" This is the same as the pity for mei xiang's Qingzhao judgment! In this abnormal behavior of rubbing and destroying plum blossoms without good intentions, Li Qingzhao's hatred and despair for life after experiencing great pain in life are highlighted.
It is also worth mentioning that Li Qingzhao's other yongmei poem "Lonely Goose" in his later years, which expressed the author's mourning for his deceased husband. The flute of "Plum Blossom Falling" provokes the author to look for a partner who has admired plum poems and tasted tea and guessed books together, but "the people who blow Xiao go to the jade building", fold a cold plum, and search for the heavens on earth, but "no one can send it". The whole song goes from the song in the song mei and the plum in the heart to the close-up of the image of the person and the plum blossom at the end of the article: the background of the wind and rain is obscure, the author holds the plum blossom, the tears fall like rain, looking for it, but it is only a miserable and miserable relationship. In this plum blossom and people become one, plum blossom has surpassed its object form to become the carrier of the main image, which not only carries the author's rich and profound spirit: the deep love for her husband and the beautiful female spiritual world carefully created, but also implies the objective existence of the author's reality, the plum blossom in "Small Wind and Rain" and the characters of "a thousand lines" under the tears are contrasted with each other, vividly reproducing the desolate evening scene of Qingzhao wandering alone in Jiangnan.
Li Qingzhao's late Wing Mei Words have transcended the traditional mode of passing through the plum blossom shaped posture, relying on the object of speech and symbolism, transcending the boundary between the aesthetic subject and the object, so that the plum has sublimated into a whole of life that communicates with the human spirit, the stumps on the sideburns, the rubbed residues, the wind and rain plum in the hand, and the plum blossom song that is full of grievances, all of which are plum blossoms that will never wither in the author's inner world.
Looking at the above words, it can be seen that Li Qingzhao entrusted his character, rhyme, and even one joy and one sorrow to Mei, thus clearly sorting out the deep and broad social content implied in Li Qingzhao's works. In the early stage, the beautiful life and the desire for happy love permeated the lament that his life was rich and beautiful, but he was "swayed" by the current situation; in the later period, he regarded the plum blossoms that had been devastated by wind and rain as the same tone, pitied plums and self-pity, and expressed the deep sorrow and great pain of loneliness and loneliness, the destruction of the country and the death of the family. From this, it is also seen that Li Qingzhao's creative mentality of Yongmei is also revealed; from the lonely and self-congratulatory self-congratulation of "the creation may be intentional" and "this flower is not compared with the group of flowers", to the masturbation of the consolation plum of "the shadow is still flowing", and the self-pity of the plum of pity and self-pity of "I don't know how many incense is contained, but I see that I have unlimited meaning" and "I pity the plum more, twist the afterscent, and get more time", to the process of self-pity and self-pity of the plum that "look at the wind trend that comes late, so it should be ugly to see the plum blossoms" and "a branch is folded, there is no one to send in the heavens on earth". Mei is like a person, people are like a plum, things and I are integrated, and there is a sense of "who is pitiful and haggard and more withered". Obviously, Li Qingzhao's yongmei lyrics are the dissection of his psychological mood and the externalization of his mentality at different stages, and it is also a portrayal of his unfortunate encounters, which can be described as a "poetic history" of the lyricist's soul.