Tang poems and Song poems, the same spring day, different scenery

Spring is a gradual seasonal process. According to the lunar calendar, spring is divided into early spring, mid-spring, and late spring. Early spring, also known as Mengchun and early spring, is the first month of spring, that is, the first month of the lunar calendar, which refers specifically to the period from spring to sting. It means the season when plants sprout, animals multiply, and farmers sow seeds in the fields. Mid-spring is the second month of the lunar calendar, because it is in the middle of spring, it is called mid-spring. Late spring refers to the final stage of spring, that is, the third month of the lunar calendar, when there is more rain, the flowers are falling, and the leaves are green. Since the beginning of the Book of Poetry, whenever the spring of the new year is dedicated, that is, the time when the spring of the new year is launched, the Wing Chun poems that people express their joy have begun to appear. As Liu Xiyi said, "The flowers are similar from year to year, but the people are different from year to year." In Tang poetry and Song poetry, the same spring day, but there are different scenery, can be described as shallow and deep, each with its own natural sounds.

One

In general, the spring in Tang poetry is mostly bright and cheerful, and the corresponding seasons are mainly in early spring and mid-spring. The spring scenery in the Song Ci is titled after the sending spring and hurting spring in the late spring season, with an increasingly strong sentimental mood. From Tang poems to Song ci, the theme of chanting spring is a process of continuous narrowing from rich and diverse concentration to grief and sentimentality.

Yang Juyuan's "Early Spring in the East of the City" of the Tang Dynasty said: "The poet Qingjing is in the new spring, and the green willow is only yellow and half uneven." If you stay in the forest like flowers, go out to see the flowers. "The willow trees in early spring have only sprouted half-yellow shoots, which are difficult to detect and perceive, and the poet who captures such a scenery can be regarded as professional." It is customary to write about spring when the flowers are blooming and tourists are weaving. Therefore, "Knowing Spring" has a sequence, and there is a sense of depth. The poems describing early spring are the most fresh and cheerful. He Zhizhang's Wing Liu:

Jasper is made up of a tree high, and ten thousand green silk ribbons hang down.

I don't know who cut the fine leaves, and the spring breeze in February is like scissors.

"Spring Breeze in February", it is clear that it is a mid-spring scene. In the mid-spring season, "the limit of the day of counting spring is still wide", and there is a good spring light behind. People feel the joy of coming to Japan for a long time and the beauty is in front of them.

Su Shi's "Hui Chongchun Jiang Xiaojing" also writes about this season:

Three or two branches of peach blossoms outside the bamboo, spring river plumbing duck prophet.

The basket is full of short reed buds, which is exactly when the puffer fish wants to go up.

The first bloom of peach blossoms is in early spring. Peach blossoms, water ducks, artemisia annua, pufferfish, these active objects compete to convey a sense of surprise everywhere. The reason why these two poems are popular has a lot to do with the fresh surprise that is characteristic of early spring.

In the early Tang Dynasty, with youthful arrogance and fresh and bright poetic style, it was suitable for chanting spring. The spring scenery in Tang poetry is bright and joyful like a spring breeze, and the joyful atmosphere is far greater than the sentimental and lonely expression. Speaking of the spring scenery in Tang poems, those sparkling verses are incomparable: Zhang Ruoxuan's "Spring River Flower Moon Night" that envelops the world and the spotless quiet and beautiful spring night: "The spring river is thousands of miles with the waves, where the spring river is without moonlight"; Zhang Jiuling's "Little Peach Blossom in the South Creek of the Mountain House" depicts the scene of peach blossoms blooming and business in the mountains: "A tree is full of glory and wins the eyes, and when it opens, it first occupies the east wind"; Wang Wei's "Farewell Industry in the Yuanchuan River" uses green grass and greenery to set off the splendid dazzling peach blossoms: "The grass in the rain is green and the peach blossoms on the water are red"; Li Bai's "Yangchun Song" "Chang'an white sun shines in the spring sky, green willows and smoke hang in the wind" in the broad and bright spring light and so on.

According to statistics, among the poems of Tang Dynasty poets such as Wang Wei, Meng Haoran, Li Bai, Du Fu, Bai Juyi, Li Shangyin, Liu Yuxi, Han Yu, and other poets who chanted spring, the works that wrote about the spring wind and warm sun, bright and healthy, and full of spirit accounted for the majority.

The best of the spring scenery in Tang poetry is Zhang Ruoxuan's "Spring River Flower Moon Night". "Spring River Flower Moon Night" is originally an old music of the Southern Dynasty, with the revival of folk songs and the elegance of palace poetry. This perfect spring night of moonlight and flowers is worthy of the arrogance and grandeur that arises in the cavity of the Sheng Tang people. No other poem can use such gorgeous rhetoric and meticulous narration to write the magnificent beauty of spring night:

The tide of the Spring River is connected to the sea level, and the bright moon on the sea is born together. The waves are thousands of miles, and where the spring river is without the moon. The river flows around Fangdian, and the moonlit flowers are like thunderbolts. The frost in the air did not feel flying, and the white sand on the ting could not be seen. Jiang Tian was free of fibrous dust, and the lonely moon wheel was in the sky. Whoever first saw the moon on the riverbank, the beginning of the river moon illuminated people. Life is infinite from generation to generation, and Jiang Yue looks similar every year. I don't know who Jiang Yue treats, but I see the Yangtze River sending water. ......

Above the mighty rushing river, there are flowers and trees, emitting light and moonlight. Shrouded in the river and the sky is the vast and boundless silence and clarity of the spring night. The Qing people said that this poem is graceful and elegant, "If the clouds open the mountain, the realm is new" (He Pei's "Poetry of the Wine Garden"). Among them, the artistic conception, such as "life is infinite from generation to generation, and Jiang Yue looks similar every year", there is both the heart-shattering pain that arises because of the shortness of life, and the release and transcendence that merges with the vast flow of life. Such a magnificent spring night and spring scenery, this kind of "not profane and humble, flushing and easy" attitude of life (Wen Yiduo's "Self-redemption of Palace Poetry"), is the representative of the atmosphere of the Tang Dynasty. Liang Qichao praised that "this kind of speech is really the most ethereal realm of poets." When read in its entirety, it is true that the intestines are full of breath; but that syllable is neither a way of mourning, nor a rush to promote the board, but a special peace and a middle voice, out of the swaying, it is indeed three hundred positive veins. (Liang Qichao Collection, vol. 37) Wang Minyun said that this song "Spring River Flower Moon Night" is "a lonely piece, but it is for everyone."

In Tang poems, the scene of the residual flowers falling red in the late spring period mostly appears as aesthetic objects. Although there is Du Fu's home country sustenance of "a flying flower reduced by spring, and the wind fluttering ten thousand points is worrying about people", what occupies the mainstream is the open-mindedness of Li Baishi's "all things rise and fall naturally". Such as Du Mu's "Sighing Flowers":

Since it is late to go to school in search of spring, there is no need to worry about the time of resentment.

The wind fell deep red, and the green leaves were full of branches.

Spring twilight flowers are thankful, and it is the joy of green leaves and full of branches, and there is no need to worry and complain. The flowers in Tang poems bloom and fall, and more to convey some laws of change and philosophy of life to the world.

Two

In terms of word style, the spring in Tang chinese is also different from that of the Song people. In the Tang Dynasty, a few words written about spring were also cheerful and cheerful: "The egrets fly in front of xisai mountain, the peach blossoms flowing water mandarin fish fat" (Zhang Zhihe and "Fishing Song"), "The sunrise river flowers are red and better than fire, and the spring river water is as green as blue" (Bai Juyi's "Memory of Jiangnan"). The spring day in the Song people's words echoes with a sadness and sigh of cherishing spring, hurting spring, and sending spring.

Yan Shu was the Prime Minister of Taiping, rich and noble for fifty years. In his calm and calm life, he was full of ambition, but the spring scenery he saw was "spring flowers and autumn grass, just to urge people to grow old" ("Qing Ping Le"). The soul of the famous sentence in his "Huan Xi Sha" - "Helpless flowers fall, déjà vu swallow returns" is exactly the worried mood when feeling sad.

Song Ci's famous works of hurting spring, as well as Ouyang Xiu's "Butterfly Love Flowers", "Tearful eyes ask flowers and flowers are silent, and red flies over the swing"; Yan Jidao's "Linjiang Immortals" "Dream back the building platform is locked high, and the curtain of wine wakes up is hanging low." Last spring when the hate came. Falling flower people independent, micro swift double flying" and so on. Such a deep spring sorrow and spring resentment, even if there is "a piece of spring sorrow waiting for wine to be poured" (Jiang Jie's "A Cut of Plum"), I am afraid that as Zhang Xian said, "Wake up drunk at noon and not wake up." When will I send Spring Back? "[Heavenly Immortals]) is mostly eliminated.

In the Southern Song Dynasty, the sorrow of spring and the worry of the country became an important theme of the lyrics. The spring scenery in the eyes of the writer is full of residual red, falling flowers, spring sorrows, tearful eyes, sick wine, emaciation and other mutilated beauty; the heart is not separated from sorrow, bitterness, resentment, sorrow, showing a strong feeling of loneliness. Xin Zhiyi's "Zhu Yingtai Near late spring" asks, "It is he who brings sorrow in spring, where does spring return?" But I don't understand, and I will take away my sorrows." Spring brings sorrow, but leaves spring sorrow in the human world. Spring and sorrow became the objects of strong connection between southern Song words, which is the most prominent feature of Wing Chun words.

Xin's "Touching the Fish" is a representative of the Southern Song Dynasty Wing Chun words:

More able to eliminate several storms, hurried spring and return. I am afraid that the flowers will bloom early in the spring, not to mention the countless reds. Spring and live, see said, the end of the world herbs have no way back. Complaining about the spring is silent, even if it is only attentive, painting the cobwebs of the eaves, and doing the best of Yogyakarta flying feathers.

This is the upper part of the word. Xin Zhiyi is a flamboyant lyricist, but this song is like a grudge, and the song is written in the heart. After several times of wind and rain, the flowers fell into mud, and the spring returned to nowhere. The foreground is the heart. He borrowed the spring affairs (Xi Chun, Liu Chun, And Wei Chun) to write about the enthusiasm of the loyal king and patriotism, and was ruthlessly suppressed like a spring flower. With the broken spring scenery, the frustration of one's own life deeds is metaphorically conveyed the infinite sorrow of the heart. Another example is Li Qingzhao's "Wuling Spring", "The wind has run out of dust and flowers, and I am tired of combing my hair at night." Things are people and things are not things, and tears flow first. "Writing about the things brought about by the fall of the spring flowers is the sadness and frustration of people; Wu Wenying's "Wind into the Pine" "Listening to the wind and listening to the rain and listening to the Qingming, worrying about the grass and the flowers" said that the wind and rain fell flowers are sad and so on.

In the hands of the relics of the late Song Dynasty and the beginning of the Yuan Dynasty, spring changed from a cheerful and beautiful season to a sustenance of sorrow and hatred of subjugation. "Spring is good for me, but I am worried about spring." (True Mountain People's "Spring Feeling") The flying flowers of the herbs and the green willows of the spring wind have become objects of sorrow and sorrow. Liu Chenweng's "Send spring to go, spring to the human world has no way." ("Lanling King Bingzi Sends Spring") Sending Spring is actually sending to the Southern Song Dynasty. The beauty of spring is a metaphor for the thoughts of home and country. Not only is the remnants of spring and late spring making people groan and sigh, but the remnants' awareness of spring hatred has expanded to the entire spring, and the scenes of early spring, mid-spring, and late spring are all opportunities to express sorrow and sorrow. Although the theme of spring hatred is not unique to Song Ci, the words are exquisite in the Chinese literary genre, and the thoughts of resentment and resentment cannot be achieved. (Miao Yu's "On Words") The spring in the Song Dynasty is precisely because the twists and turns convey a variety of complex and unspeakable thoughts, which are loved by readers.

The spring scenery in Tang poetry and Song poetry is never a simple landscape depiction. They correspond to the atmosphere of the times and the climate of politics. Wu Qiao's "Poetry of the Hearth" of the Qing Dynasty put forward the theory that "there are people in the poem": "The situation of man is poor, and the sorrow of the heart is happy." The Master speaks poetry, nor does it come from sorrow. Poetry and circumstances and feelings, there are people in it. "It is precisely because of the personal situation and the participation of personnel mourning that similar spring scenes can be written so vividly and differently. Through the poems of the Tang Dynasty and song, which are popular, colorful or subtle, we not only see the spring flowers and spring rain, the spring breeze of the moon and the night, but also capture the heart song of the former philosophers and sages. Nature is wonderful enough, and the lyricists and rioters have their own wonderful ideas, nourishing the ying and chewing hua, to help the good scenery.

(Guangming Daily Author: Wang Xin, Professor, College of Literature, Chinese Min University)