Yang state slow
Song Jiang Kui
Huaizuo Mingdu, Zhuxi Jia, Xie An Shao stationed in the initial journey.
Ten miles through the spring breeze, as far as the grass wheat green.
Since Huma peeped into the river, the pond trees were abandoned, and the soldiers were tired of talking.
Gradually dusk, the clear horn blows cold, all in the empty city.
Du Lang Jun's reward, counted now, heavy to the point of shock.
Cardamom word workers, Qinglou dreams well, it is difficult to give affection.
The Twenty-Four Bridges were still there, the waves were waving, and the cold moon was silent.
Read the red medicine by the bridge, and know who is born every year.
The title is orderly cloud: "Chun Xi Bing Shen to the day, to Wei Yang." The night snow is at first, and the grass is looking forward to it. Entering the city, looking around at the depression, the cold water is blue; the twilight is gradually rising, and the horns are groaning. Yu Huai ran. Sigh the past and present, because of this song. Old Man Qianyan thought that there was sorrow for the departure. Shortly after it was written, this poem was called "the sorrow of detachment" by his uncle Xiao Dezao (that is, the old man of Qianyan), and the lyrics that express this sadness fully reflect his proposition that poetry should be "noble and subtle" and "there is a taste in the sentence, and there is a surplus in the article" ("Shiraishi Poetry"). It can be said to be an outstanding practice of Jiang's theory of words, and it is also a rare masterpiece of the past generations of lyricists to express the "sorrow of separation" and have a rich taste.
During the Southern Song Dynasty, due to the successive invasions of foreign rulers, the small imperial court always adopted a policy of humiliating and seeking peace, and on this basis, on the one hand, there were generous and extravagant works by Xin Renjie and Lu You, who marked the restoration of the Central Plains; on the other hand, among some poets who were negative in thought and deliberately paid attention to lexical methods, although they were inevitably divorced from reality, they often reflected their low-back grievances and the sorrow of some of their homelands and countries being destroyed or even fallen. "The Sorrow of Departure" is not only only in Jiang Kui's pen, but also in his lyricist, touching on this kind of low-level feelings; however, generally speaking, no such word is written with "aftertaste". For example, Jiang Jie's "He Groom Yu Wu" is a good word depicting the wandering life he experienced when he was in Suzhou after Yuan Bing occupied the capital Lin'an. The following film changes its head: "Looking at only the mountains as old, sighing floating clouds, originally unintentional, but also into a dog." Tomorrow the dry lotus bag cold rice, and then pass the front head of the small fu. Take advantage of the lack of hair, and taste the village wine. "The true feeling of the lyricist is possessed, and the pen edge is also sharp, but it is always difficult to be intriguing." At the end of the Southern Song Dynasty, he wrote a poem "A Red Statue of DengpengLai Pavilion with Feeling", which is the work of his life, and it is also full of thoughts of leftover water and mountains. There are a few sentences in the following film, which especially seem to be full of feelings: "The mountains and rivers of the homeland, the heart of the homeland, and the eyes of the heart of the homeland, it is like Wang Yue climbing the stairs, the most negative for his Qin beard makeup mirror, what is the good river and mountains at this time!" "Although the country and mountains are good, when you travel, you are in this year when the state affairs are unmanageable. The idea is not in-depth, but compared to the "intention in Yangzhou Slow", "there is a scene in the scene, the scene is intentional", it is inevitably a bit empty and superficial. Another example is Tu Cisun's "Eyebrow Drama." The word "Crescent Moon" is also written for "the sorrow of separation". The beginning of the following film; "Asked the ancient profit and loss, sighing slowly grinding the jade axe, it is difficult to replenish the golden mirror." The pool of liquid is still there, in a desolate place, who will re-give the scenery? The use of the "golden mirror that is difficult to repair" to explain the country's damage and difficult to repair, and the former prosperity of the "Tailiu Pool" to cushion the bleakness of the current on the eve of the fall of the country, cannot be said to be without exquisite ideas. However, the problem is that he can be implicit but not natural, carved too much, flowing in obscurity, and has not become implicit, unlike Jiang Ci, who can combine implicit and natural, as later generations call the beauty of "clear air and empty space": "Wild clouds fly alone, leaving no trace." (Ge Zai's "Seven Selected Words")
The reason why Jiang Ling's famous poem can use creative practice to confirm his "aftertaste" proposition is first of all that he is good at turning reality into fiction, that is, transferring emotions from the scene of the scene, and injecting it into the material environment through the trigger of the current things, and expressing it through the description of the scene. Not only does it make each scene vivid, but it also makes the scene and the scene between each other and the picture of the before and after changes of the scene reflect the ups and downs of the lyricist's image. As Fan Weiwen's "Night Talk to the Bed" (Volume II) cloud: "The cloud of the Four Imaginary Orders: Not to take the virtual as the virtual, but to take the real as the virtual, to turn the scenery into the feelings, from the beginning to the end, nature is like the flowing clouds, which is also difficult. Try to see the film "Yangzhou Slow", the lyricist just pointed out that after arriving in Yangzhou to "stay in the first journey", he unfolded a series of real scene depictions. The vast countryside is a "vegetable wheat qingqing", after the destruction of "Huma", there are "waste pond trees" everywhere, and the sound that rises leisurely in the infinite silence is "gradually dusk, clear horn blowing cold". Generally speaking, when the writer unsaddled, it was fifteen years after the southern invasion of Yan Liang (1161) and thirteen years after the defeat of Fu Li (1163). The land where the poet unsaddles is Yangzhou, which is ravaged by iron hooves and the scenery is depressed, and it is an "empty city". However, the author never wrote about the empty city for the sake of writing the real scene of the empty city, but to express the sentiment of "the sorrow of separation". For example, "Qingqing" is reminiscent of the poem "Pi Di Di Di" repeatedly chanted by ancient poets, and increases the feeling of the homeland of Qingshan from a poignant color unique to "Qingqing". The "waste pond" is extremely deeply devastated, and the "arbor" is attached to the love of the homeland. When the sun sets at dusk, the low groan of the clear horn is heard, which particularly causes depression. The "empty city" appears to be a physical object on the surface, but precisely because of the word "empty", it has become what Fan Weiwen said about "turning the scenery into a sentiment": he wrote about the indignation caused by leaving this empty city after the destruction of the Jin soldiers; he wrote about the pain of the Song Dynasty's unwillingness to restore it, and even gently cut off this famous city; and also wrote about how the Song Dynasty relied on such an "empty city" to defend the border, how not to cause people to worry and deeply hate.
The next film changes its head, turns the pen edge, and writes the history of Du Mu. Du Mu, a talented poet, wrote "Spring Wind Ten Mile Yangzhou Road, Rolling up the Bead curtain is always better" ("Farewell"), wrote "Ten Years of Yangzhou Dream, Win the Qinglou Bo Jia Name" ("Repatriation"), and also wrote "Twenty-Four Bridges Bright Moon Night, Where jade people teach blowing pipes" ("Send Yangzhou Han Shu Judge"). All in all, when Jiang Fu arrived in Yangzhou, he couldn't help but think of his predecessor Du Mu. However, it is obvious that the main day of the lyricist is not to comment on and miss Du Mu, but still to point out such a kind of "sentiment" through the means of "turning the real into the virtual": even if Du Mu is as charming and handsome as Du Mu, "cardamom word worker", if he returns to Yangzhou now, he will certainly be surprised by the difference in rivers and mountains. The word "longitudinal" (vertical) is a virtual technique of "counting" and "counting", expressing the deep pain of the lyricist. More importantly, it borrows the historical facts of "Du Lang" to tease out and contrast the suffering of "difficult endowment". This shows that the grief caused by the scene after the disaster of the homeland is really complicated, really deep, and difficult to describe; it also shows that even if he has Du Mu's talent, because he is in a sad environment and has a depressed mood, it is difficult to have such a gentlemanly mood. In this way, the so-called "difficult to endow affection" naturally leads to the following "red medicine by the bridge" from the reverse padding, borrowing the scene of "every year" blossoming to express the feeling of "knowing who is born". It can be seen that although the lyricist says "difficult to endow", he actually gives and deepens the affection.
The art of casting the realm of "knowing who lives" is common in the original poetry. Du Fu's "Jiangtou Palace Locks a Thousand Doors, Thin Willows and New Pus are Green for Whom", Samson's "The Garden Tree Doesn't Know Where people Are Gone, and The Flowers Of the Old Time Are Still Haired in The Spring", and Lu You's "The Bridge Outside the Stagecoach, the Silence Opens without a Master", the techniques are generally similar, all of which are still blossoming with flowers, reflecting that the personnel affairs are wrong; but Jiang Kui's words can turn out new ideas. After the cold spring after the snow, there is no such thing as the red flowers blooming, unlike what Li and Lu Sanzuo wrote about, the flowers have indeed bloomed. Here is only from the bridge side of the red peony and the association unfolds: even if the flowers bloom in the coming day, I am afraid that it will only add to the sentimentality of the empty city in vain. The more brilliant the flowers, the more sorrowful the people become. Although the flower had not yet bloomed at this time, the fate of the flower could be known, the chaotic scene of the Twenty-Four Bridges could be known, and the "Sorrow of Departure" caused by the empty city could be known. The whole lyric is to do its best to outline and render the "scenery" of this "empty city", and dot the "meaning" of the lyricist's "sorrow of separation".
Secondly, the anti-reality of "the sorrow of separation" is also manifested as being good at reflecting the historical characteristics of the situation. This is necessary for poems such as Nostalgia and Ji You to express the feelings of the past. This is precisely because, from the present can be linked to the past. Although the historical relics of the past are generally not depicted positively, but are only gently brought out through the pen and ink of the wounded present and nostalgic past, as a foil, it is best to let the readers who know the historical sites expand their associations and compare themselves, so as to enrich their understanding of the present. For example, Zhang Yuangan sent Li Gang's "He Groom" in the words: "Ten years a dream Yangzhou Road." "Although there are few words, they seem to have thunderous power." This not only contains the past of Ten Years ago when Emperor Gaozong of Song claimed that Emperor Gaozong of Song had been stationed in Yangzhou in nanjing in the first year of Jianyan (1127), but also conveyed the feelings of Li Gang as a minister at that time and the people's guidance of him, and also contained the current sadness that Yangzhou became an empty city after the Jin soldiers burned down. It is these few seven words that write the vicissitudes of Yangzhou and cause the following "sorrow in the homeland". When a sense is included, it also contains a stroke. Similarly, Xin Renjie's "Bodhisattva Man" highlights the vicissitudes of the Jiangxi stoma wall, and rises with "the water of the Qingjiang River under the Lonely Platform", not only writing about the "how many pedestrians' tears" in history, but also writing the current "Jiang Wanzheng is worried, and the mountains are deeply smelling partridges". Feeling time and Fu Xi were originally complementary and indispensable in the nostalgic ancient words, but for "Yangzhou Slow", there are two more characteristics: one is the interweaving of the two into one; the other is the use of a variety of powerful contrasts in the interweaving to strengthen the rendering of the specific Yangzhou depression atmosphere felt by the lyricist.
Let's start with interweaving. At the beginning of the word, it is pointed out that in the past, Yangzhou was a "famous capital" and "good place" in history, and it was a prosperous resort. However, the pen turned, showing the reality of Yangzhou, but it was extremely broken and desolate, appearing to be an "empty city". The next film goes back from reality to history, showing that this kind of deep affection of "sorrow of separation" that is difficult to form in ink and ink is difficult to describe even if it is as talented as the poet Du Mu. As for what exactly is this "affection"? The lyricist did not give a positive answer, but only showed a picture of the twenty-four bridges and the red medicine by the bridge that had been full of vicissitudes. This is not only to gaze at the present, but also to the suspense of the scene of the city in time and space when the spring blossoms bloom. Generally speaking, the interweaving of the past and the present is not only reflected in the transition between the present and the past, but also shows the artistic characteristics of writing the past and writing the past, and is cast as an artistic realm that deeply engraves the historical site of Yangzhou, a specific "empty city" after the "Huma Peeps at the River".
Let's talk about the backdrop. Because of the intertwining of feeling and touching the past, the contrast has become a factor that must not be reduced. For example, the historical "famous capital" contrasts with today's "empty city", and the "DuLang Jun reward" and "cardamom word worker" in the past reflect "difficult to endow affection"; with the "wave of the heart" of the Twenty-Four Bridges, it contrasts with the quiet of the "cold moon and silence"; with the annual blossoming of the "red medicine by the bridge", the flowers that "know who lives" are ownerless and desolate. The prosperity of the past is written enough, and today's depression can be seen. This is exactly what Wang Fuzhi said: "Write mourning with a happy scene, write music with a mourning scene, and double its mourning" ("Jiang Zhai Poetry"). Because of the mutual promotion of the two, it has opened up the field of people's imagination and enriched the color of emotional contrast. In this way, the aftertaste in the word is deeper.
Thirdly, through the subtle portrayal of the small scene, the specific atmosphere of the "empty city" is also one of the factors that have a lot of aftertaste in this song. If the "empty city" is a large scene, a panorama, "ten miles through the spring wind, as far as the grass wheat qingqing", and "waste pond trees", etc., are all bird's-eye view of the clouds and flowing water, then, in the upper and lower pieces of the knot, after the author arranged two similar close-up shots, it belongs to the small scene. The two small scenes in the word do not focus on the specific portrayal of the appearance of the scene, but only deliberately render the unique atmosphere, air and emotional infection of the two small things in a certain time, place and conditions.
The end of the film "New Dusk, Qingjiao Blowing Cold, All in the Empty City" Is the sense of the bleakness of the six cities of Lida that ruled Shen Shannian. This kind of horn sound is a specific horn sound that is expressed as a specific atmosphere. It is neither the sound of "four sides of the side sounding and cornering" ("Fisherman's Pride") that Fan Zhongyun heard in the northwest border defense front, nor is it different from the sound of "gradually whimpering, painting horns and stuttering" ("Qi Shi") that Liu Shui heard when he was thinking about leaving people in the autumn night. This horn sound is sounded in the snow after the wucheng, and it is sounded when the twilight is getting thicker. It not only deepens the darkness and chill, causing people to feel depressed and miserable, but also makes the lyricist nostalgic for all the scenes at that time to bring "the sorrow of separation", that is, the four words in the knot in the upper piece - "all in the empty city". The "dusk" seen by the visual, the "clear angle" heard by the hearing, and the "cold" sense felt by the touch, these various sensory factors themselves have distinct personalities, and they have a certain internal connection with each other, indeed as the word "all in the empty city" is said. The so-called "all in" is precisely to show that a number of scenes and feelings that cause "the sorrow of separation" are completely integrated in the lyrics, and that "the wonderful union is boundless" (Wang Fuzhi's "Jiang Zhai Poetry"), converging into an atmosphere and air that integrates special feelings into special scenes.
The knot in the next piece is also the knot of the whole word, "read the red medicine by the bridge, know who is born every year", which is the finishing touch to describe Wucheng. The lyricist first wrote from the "still" of the Twenty-Four Bridges that marked the affair of Yangzhou in the past, and the dark point showed that the scenery was still the same, and the personnel was no longer human. However, the lyricist does not directly describe the vicissitudes of personnel, but only starts from the waves under the bridge and the moon of the waves, writing that although the lake waves are turbulent, the cold moon shadow projected on the water is always silent. It can even cause the reader to have another kind of reverie like this: even if the lake waves ripple, after all, because they are shrouded by the glow of the cold moon, even if the ripples float, they can't help but appear silent, and everything is silent. Isn't the red pill blooming every year, just as the Twenty-Four Bridges are still there today? The "cold moon" under the bridge is already silent, so what about red peony? When it blooms in the coming day, I am afraid that it will also be dulled because no one cares. From the bridge to the flower, from the wave to the moon, it can be said that only a few scenes are highlighted; and in a few scenes, it is only to grasp a few of its characteristics, to win more with a little, and to "unify all things with a few words" (Fang Dongshu's "Zhao Ming Zhan Yan"), and finally make the realm fully out. This is exactly the wonderful point of the Song Dynasty Sima Chi's saying that "Lai De Danqing has no place to paint, and the painting should be worried about a lifetime" ("Xingse").