Su Shi sang this Yang Hua lyrics with friends, and the cover song surpassed the original song, which is a masterpiece in the euphemistic words

In the Northern Song Dynasty, Su Shi is famous for his style and boldness, and his bold words are the first works of the Northern Song Dynasty, so Su Shi has also been labeled as a bold lyricist.

However, as an outstanding lyricist of the Song Dynasty, Su Shi is naturally a generalist in creation, and his works will not be limited to one box.

In Su Shi's lyrics, euphemisms that are known for their emotions and expressions of twists and turns are actually not in the minority, and even exceed the number of bold words.

For example, his harmonic work "Water Dragon Yin" is a masterpiece in Su Shi's euphemisms, looking at the entire Song Dynasty euphemism, this "Water Dragon Yin" also occupies a place.

Su Shi was demoted to Huangzhou because of the Wutai poetry case, and his friend Zhang Zhifu sent him a Yang hua poem "Water Dragon Yin", one to express his condolences to Su Shi, and the other is that this poem is also Zhang Qianfu's conceited talent:

The swallows are busy with the warblers and the flowers are lazy, and the poplar flowers are falling on the embankment. Dancing lightly, dotting and painting green forests, all without talent. Idle gossamer, quietly approaching the deep courtyard, the day long gate closed. The beaded curtain is loose and hanging down, and it is lifted up by the front quilt and the wind.

Lan Tent Jade people sleep, strange spring clothes, snow stained Qiong. The embroidery bed is full, and the incense balls are countless, only round but broken. When you see bees, stick to the light powder, and the fish swallow the pool water. Looking at the Zhangtai Road, the golden saddle wandered, and there were tears.

Zhang Zhifu Yanghua's words, known for writing scenes and vivid and realistic, can be described as the magic of The Yanghua. The opening sentence "The swallow is busy with the warbler lazy flowers, on the embankment, the yang flowers are falling", showing the scene of the yang flowers floating zero, in the late spring, the spring flowers have been thanked, and the willows on the embankment are fluttering.

Next, Zhang Zhifu made sentences, and the wonderful sentences came out frequently, describing the dynamics of the willow flying like a flowing stream, the poplar flowers fell from the trees, gently flew in the forest, scrolled freely, quietly sneaked into the courtyard, attached to the beaded curtain, and fell on the top of the spring clothes and embroidery beds, and the characteristics of the Yang flowers being light and flexible and moving with things were portrayed very vividly by Zhang Zhifu.

After Su Shi received Zhang Zhifu's Yang Hua word "Water Dragon Yin", he also filled in a Yang Hua word according to the rhyme of Zhang Zhifu's original words. Step rhyme filler words, from the form to the content must be bound and limited by the original singing, especially in the case of the "original singing" has reached a high artistic level, "cover singing" to surpass the "original singing", the difficulty can be imagined.

However, Su Shi lifted the weight lightly and wrote this artistic exemplary work with his outstanding artistic talent, truly realizing the cover song beyond the original song. So much so that even the guoxue master Wang Guowei, when writing the "Words and Sayings of the World", after comparing the two Yang Hua words, could not help but say: "Dongpo "Water Dragon Yin" Yong Yang Hua, and rhymes like the original song; Zhang Zhifu words, the original singing and rhymes. ”

It can be said that Su Shi's song and Zhang Zhifu's Yang Hua lyrics can be called the ceiling-level works of the cover singing world.

In "Water Dragon Yin", Su Shi integrates flowers with people, scenery and love, and integrates the feelings of separation with Xi Chun's sense of life, euphemistically and implicitly containing the pain and lamentation that the lyricist is in distress, cautious and cautious, and uncertain life. This kind of writing not only enriches and expands the emotional capacity of the word, but also makes the word itself have a strong appeal. The original words are as follows:

It seems that the flowers are still like non-flowers, and no one is sorry to fall from the teaching. Abandoning the family and the road, thinking is, ruthless and thoughtful. Haunting the soft intestines, sleepy eyes, want to open and close. The dream followed the wind, looking for where lang went, and was also called up by the warbler.

I don't hate this flower, I hate the West Garden, and the red is difficult to embellish. Xiao lai rained, where is the trace? A pool of shreds. Spring color three points, two points dust, one point flowing water. In detail, it is not Yang Hua, but a little tear.

Creative emotion is the content of literary expression, and it is also the internal driving force of literary creation. Su Shi's harmonic work "Water Dragon Yin" is a lyric full of lyricist emotions, which is a work of harmony, the title is Yong Yanghua, and the opening two sentences point out the title.

"Yanghua" is called willow silk, or willow cotton, although it has the name of a flower, it has no reality, so Su Shi said that it is "like a flower or like a non-flower."

With Zhang Qianfu's masterpieces in front, if Su Shi wants to stand out, he must have ingenious words. Therefore, Su Shi chose to avoid the real and the virtual, no longer trying to portray the form of Yang Hua, but mainly to write about Yang Hua's demeanor, and consciously compared Yang Hua to a woman who guards an empty boudoir in spring (the meaning of "jade person" in the word), so as to describe the woman's lazy demeanor to write about Yang Hua's image characteristics.

The first sentence of the word, "like a flower or like a non-flower", the lyricist opens with a clear meaning, and accurately absorbs the characteristics of Yang Hua with extraordinary artistic techniques. "Flower-like" means that poplar flowers, like other flowers, bloom in season and bloom in the spring breeze.

"It is still like a non-flower", which means that although the Yanghua is a flower, it lacks a little fragrance and brilliance, it is hidden from the branches, and no one will linger and gaze at the Yanghua in front of the Yanghua. In the eyes of flower appreciators, Yanghua is almost a flower without a sense of existence.

In the opening sentence, the whole word is generally led, and the lyricist not only writes out the characteristics of Yang Hua in a lofty chapter, but also explains Yang Hua's situation: no one is sorry to fall from the teaching. Abandoning the family and the road, thinking is, ruthless and thoughtful.

These few sentences write about Yang Hua's self-opening and self-falling, no one pitying encounters, dancing with the wind, falling into a state of loneliness, and showing Yang Hua's ethereal and lonely nature in a leisurely wandering. Such depictions make Yang Hua full of movement and spirituality, rather than just staying on static depictions and chants.

Then, the lyricist further portrayed the Yang Hua charm full of "feelings": lingering soft intestines, sleepy eyes, want to open and close.

These three sentences, writing about the helplessness and pain of jade people's lovesickness, and at the same time metaphorically the form of Yang Hua's light spirit, really reached the inseparable situation of the combination of things and people, emotions and scenery.

This is to describe a person who is full of sorrow because of his thoughts. In the eyes of the writer, the branches of the willow are slender and weak, so it is compared to the soft intestine. "Sleepy and delicate eyes, want to open and close", is the lyricist to describe the delicate state of willow branches and leaves flying when the woman is sleepy and wants to open and close the delicate eyes.

As far as the meaning of the word is concerned, su Shi's few sentences are only borrowed from the sentence "Jade man sleeps" in Zhang Zhifu's words. However, Su Shi's use is natural, without trace, and the woman's spring loneliness, spring sleep laziness, and spring sorrow are described very vividly, and also gently writes out the image characteristics of Yang Hua after landing on the ground and reuniting into a ball and being blown away by the wind.

As a result, Chuchu's lovely Yang Hua and subtle longing feelings were poured together by the extraordinary imagination of the lyricist, Yang Hua was endowed with spirituality and charm by the lyricist, and Yang Hua became an amorous woman with drifting melancholy and sleepiness.

Then, the writer further imagined that it went with the wind, that it was the place where the dream seeker went, and there was some comfort in his heart, but he fell into deeper pain in a turn. Because this good dream was broken by a warbler cry, they were all raised, the flowers had flown out, and in desperation, they saw red everywhere.

Some people have a deep love for flowers and spring because they are falling red everywhere, and who will love and cherish this unobtrusive Yang flower?

Yang Hua's feelings of sorrow, sadness, pain, and grief are intertwined and jump on the paper, so that Yang Hua's imagery is clearly visible. It can be said that this is the surface image of the word, and it is the image of yanghua that the lyricist focuses on chanting.

Another image, "Si Woman", is vaguely visible in the word, which is a deep expression. Therefore, Su Shi not only constructed the image of Yang Hua, but also outlined the image of Si Woman, and the two images overlapped to achieve the realm of the unity of flowers and people, which is also an artistic conception of Su Ci different from Zhang Zi.

Whether to write flowers or people, it is difficult to distinguish, the two have been fused together, but the same entanglement, the same tiredness, the same haggard, the same loneliness and loneliness, the same no one pity and love.

As a result, the image of Si Nu also dissolves from Yang Hua's spirit, resonating with Yang Hua's wandering and helplessness, thus connecting Si Nu and Yang Hua together, and the flower people are one, and it is difficult to separate.

It is precisely because the "delicate intestines" of the woman has a painful heart tormented by thoughts, that she will have pity for the "unsavory" Yang Hua, quietly watch it fall, hurt its loneliness and loneliness, and transfer her sorrow to Yang Hua, giving it endless sorrow. The lyricist is alone and helpless, and no one pities the Falling YangHua, so the Yanghua at this time has become a metaphor for the lyricist's own image.

Flower viewers eagerly track the destination of Yang Hua, and the wind and rain are merciless. This Yang Hua, who had already flown away from home and had already flown away, had to endure the ravages of wind and rain again, and after the wind and rain, even the pitiful traces were so difficult to find. "A pool of ping" turned into a speechless sigh, deeply piercing the hearts of flower viewers.

After a careful look, I understood that this Yang Hua, which accounted for three parts of the spring color, was already mud into the water, and the return was uncertain, and the writer did not feel that the tears fell, and in a trance, the tears were illusioned as Yang Hua, and only then did he realize that what had just fallen was not Yang Hua, but heartbreaking tears, which reminded the whole text.

At this point in the meaning of the word, the meaning of Si Woman's wounds and spring injuries and the image of Yang Hua's wandering and helpless are appropriately intertwined, rubbing into the main emotions of the lyricist, it seems that people cherish flowers, but in fact, flowers pity each other.

In the writer's pen, the Image of Yang Hua and the Image of Si Woman are no longer pure and objective external objects, but sympathetic to the heart of the lyricist, like a confidant, tacit resonance, and the emotions of sorrow and pity conveyed from Yang Hua can be experienced in the heart of the lyricist.

Su Shi borrowed Yang Hua to deeply and appropriately prepare the wounded spring wounds and parting pains of the si woman, so that in the fragile objects and the tremor of the soul, people profoundly understood the life experience of "going up to the West Building alone, looking at the end of the world" and "gaunt for the people of YiWu".

People say that the willow leaves are like sad eyebrows, and there are more sorrows like willow silk. It is precisely through the same time and space, the same situation, and the same emotions that the lyricist skillfully kneads the two images of Yang Hua and Si Woman. The lyricist writes about the love of flowers, but in fact, he has secretly revealed the love of the woman.

While constructing the image of Yang Hua and skillfully holding out the image of Si Woman, Su Shi also combined Yang Hua's suffering with Si Woman's sorrow and spring sorrow. Quietly watching the flowers bloom in front of the court, I can't help but sigh that Shaoguang is easy to pass away.

The twists and turns of "no hate" and "hate" can be seen that Si Woman's soft intestines are broken, after all, The yang flowers are scattered and red, which are symbols of the beautiful spring light that is quietly passing.

Spring goes to spring and returns, flowers bloom again, but the person in the dream has not yet returned, lonely and difficult to dispatch, spring sorrow is difficult to understand, how not to teach the woman to dream of the soul, full of resentment, and cause like Yang Hua no one pity no one pity no one pity for themselves to live and die at any time and slowly grow old with the passage of time.

Therefore, the writer from the water in front of his eyes, associated with the tears of Si Woman, and by the little tears of Si Woman, reflected out of the Air Yang Hua, is it a Yang Flower like a tear, or a Yang Flower like a Yang Flower?

Actually, it doesn't matter anymore. What is important is the re-integration of the image of Si Nu and the image of Yang Hua, and the lyricist pushes the pain of Si Woman's lovesickness and the sorrow of hurting Spring to the highest peak, and vividly expresses the ten thousand feelings of resentment and contraction.

The relationship between Yang Hua and Yuren is a simple relationship between things and people, and Yang Hua is a pure visual experience in Zhang Zhifu's pen, a ruthless thing of "no talent thinking", used as a foil for a lonely and bored jade person, implying the spring loneliness and boredom of the jade people.

However, this expression of feelings is too tactful, too simple, no more novelty, and it is difficult to make a deep impression.

In contrast, Su Shi's Yang Hua words, the lyricists are ingenious and ingenious. The upper film starts from the characteristics of the Yang flower like a flower and not a flower, and then writes the generation of the Yang flower, drifting with the wind, and living and walking; the next film writes that the Yang flower drifts backward, turns into dust and flowing water, leaving no trace, thus completing the whole process of the fate of the Yang Flower.

From the lyrical weight and strength of the two Yang Hua words compared, Su Shi's Yang Hua words are obviously more lyrical than Zhang Zhifu's Yang Hua words, Su Shi in this song to describe the shape and demeanor of Yang Hua, when expressing the feelings of the woman, always the sad feelings of Xi Hua throughout the whole word.

Su Shi's Yang Hua words, at the level of yongwu, everywhere with jade people as metaphors, but also everywhere reveal sadness, and at the end of the end with "tears away from people", which is sentimental; in terms of chapter law, Su Shi's Yang Hua words also break through the traditional lyrical restrictions of the upper film and the lower film, and in fact, the above film focuses on the yongwu, and the next film emphasizes the lyrical chapter arrangement, reflecting Su Shi's superb artistic ingenuity and literary expression ability.

Su Shi, in the infinite delicacy of writing flowers, but was devastated by wind and rain, vaguely conveyed a kind of sustenance for his own difficult situation, and in the loneliness and misery of the woman in the performance of the boudoir, he vaguely conveyed the lyricist's feelings of self-pity and loneliness, and the helplessness of self-harm and self-pity.

It can be seen that when the lyricist writes About Yang Hua, he seems to be writing about Si Woman, and he seems to be writing about himself, in the overlap between flowers and people, in the imminent separation, in the confusion, naturally revealing his feeling of first coming to Huangzhou, away from relatives and friends, just like Yang Hua wandering and helpless without a sense of belonging.

Su Shi not only used the jade person as a metaphor for Yang Hua, but also pinned his life in the image of the jade person. In the first few years of Su Shi's descent from debasement to Huangzhou, his mood was very low, just as he wrote when he lived in The DinghuiYuan in Huangzhou, "Picking up all the cold branches and refusing to roost, lonely sandbar cold", which is the embodiment of his lonely and self-congratulatory and maverick state of mind in wandering and loneliness.

At this time, the writer was living in Huangzhou, Shaoguang was easy to pass away, the pain of unsuccessful deeds always bothered him, in the face of the fading good spring light, in the face of the falling red of the West Garden, in the face of Yang Hua, who was wandering and helpless like a lonely and helpless woman, how could he not feel empathy? The Yang hua that no one cherishes, the si woman who no one loves and pities, is not the embodiment of the self-image of the writer?

Therefore, Su Shi's Yang Hua is no longer as simple as Zhang Zhifu, but pinned on infinitely complex emotions, in Su Shi's eyes, Yang Hua is no longer a flower, but transformed into a sichun woman who is deeply acacia and parting, just like a person who is wandering, drifting and living in a group.

Su Shi's song is in the performance of yang hua, si woman, lyricist trinity, writing the ultimate of flower sorrow and spring sorrow and human sorrow, can be described as the fusion of scenes, pen and ink, ingenuity, so that this song becomes an exhaustive and inexhaustible elegance of fine works, which is also the key to Su Shi's cover song beyond the original song.