The Qing Dynasty poet Huang Jingren (1749-1783), also known as Zhongze, was the most famous poet of the Qianlong period, and Qing Bao Shichen praised him in the "Four Arts of Qimin" as "the first poet in the sixty years of Qianlong".
When Huang Jingren was fifteen years old, he fell in love with a cousin who lived closely. He and his cousin Qingmei Bamboo Horse read, practiced, played chess, played the piano, and beat drums together, and as the days went on, their feelings gradually grew. They began to verbally probe, then agreed with each other, and even went into bed. But this relationship did not have a good result, Huang Jingren went to Yixing to study when he was seventeen years old, and his cousin married someone else.
Ten years later, Huang Jingren recalled this relationship and still found it difficult to let go, so he wrote sixteen poems in a row to remember this emotion. Here I'll pick two of them to share with you.
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Miao is good at humoring the mind, and does not need to exhale a thousand to draw the screen.
The sleeves are twisted into strings, and the partition window is mixed with drums.
The spring of the skirt fighting grass is eventful, and the six bo playing chess has not stopped at night.
I remember that after the wine people dispersed, they counted the spring stars with beads and foils.
Miao is good at humoring the mind, and does not need to exhale a thousand to draw the screen. Qianhu: Bai Juyi's "Pipa Line" has a poetry cloud: "Thousands of calls began to come out, and the pipa was half covered." "The ancients had the disadvantages of men and women, and men and women could not meet casually. The fact that the cousin and the poet can meet so easily shows that the relationship between the two is very intimate.
Shou Lian said that the cousin was witty and humorous, and the poet went to the cousin's house, and without a thousand calls, the cousin would come out to see him.
The sleeves are twisted into strings, and the partition window is mixed with drums. Chōu: Pluck. Càn: Drumming. Zara, Ding Ning: both are instrument sounds.
The second group writes about her cousin's musical talent, she rolls up her sleeves, plucks the strings in a jumble, and plays drums through the window. Playing the piano and drumming is originally a high art, but the poet uses onomatopoeia words such as "Zala" and "Ding Ning" to create a lively and joyful atmosphere. The cousin is not sitting precariously playing, but more like playing with an instrument, and the image of a lively and agile girl jumps out of sight.
The spring of the skirt fighting grass is eventful, and the six bo playing chess has not stopped at night. Jiān skirt, an ancient custom, refers to the first day of the first lunar month to the obscure moon, women wash at the water's edge to avoid disasters and survive the disasters safely. Fighting grass, six bo, and playing chess are all games.
The third couplet recalls the little bits and pieces of playing with his cousin in the spring. In that spring, the poet had a very good time with his cousin, who followed him to the water's edge to play games such as grass fighting, six bo, and chess, often before nightfall.
I remember that after the wine people dispersed, they counted the spring stars with beads and foils. Bead foil: Li Bai's "Stranger to the Beauty" "The beauty of the beauty smiles and the bead foil, remotely pointing to the red chamber is a concubine's family." "Qiān, dial.
The last couplet said, I remember that spring night, the banquet dispersed, the people left, we opened the beaded curtain, sat together and counted the stars in the sky.
This poem is a memory of the time when they were with their cousins, they played the piano, drums, played games together, and counted the stars together, such a life, so warm and beautiful.
However, how beautiful it was once, how painful it is now.
<h1 class="pgc-h-arrow-right" data-track="80" >2, "Qi Huai Qi Fifteen"</h1>
A few times the flowers sat under the blowpipe, and the silver and red walls entered the distance.
It seems that this star is not last night, for whom the wind shines in the middle of the night.
Lingering thoughts exhaust the cocoon, like a heartbreak peeled banana.
In March and May of three or five years, the poor cup of wine never disappeared.
This one is the most classic of the sixteen poems of "Qi Huai", and the second and third links in the poem are the famous sentences in love poems.
A few times the flowers sat under the blowpipe, and the silver and red walls entered the distance. Red Wall: The red wall. Tang Li Shangyin's "Daiying" poem: "Originally, Yinhan was a red wall, separated by the Lu family's white jade hall. "Silver Man, or Milky Way, is said to have separated the Cowherd and the Weaver Girl on either side.
Once, we spent the moon together, playing the piano and listening to the harp, how beautiful, now, the red wall of your residence, I can still see it from a distance, but we can no longer see each other, close to the end of the world, close to the distance in front of us, as far away as the Milky Way. The three words "into the distance" are painful, and the cousin lives there, obviously hopeful, but out of reach.
It seems that this star is not last night, for whom the wind shines in the middle of the night. Stars: Li Shangyin's "Untitled" poem: "Last night the stars last night the wind, painting the west bank of the building Guitang East." "Midnight, that is, midnight.
Tonight's stars are still so beautiful, but this night is no longer the night when we count the stars together, under the stars of that night, is a good memory, under the stars tonight, the wind is cold and dewy, leaving only a person full of love, standing foolishly until late at night. The most painful thing is that this kind of lovesickness is still hopeless, and the result of waiting is nothingness, disillusionment at the end of the thought.
Lingering thoughts exhaust the cocoon, like a heartbreak peeled banana. Cocoon: Tang Li Shangyin's "Untitled" poem: "Spring silkworms to the end of dead silk, wax torch into gray tears began to dry." ”
Endless thoughts, like spring silkworms constantly spitting silk, wrapping themselves in layers, and finally trapping themselves in the cocoon of acacia. The pain of love disillusionment, like peeling a plantain, peels the heart away layer by layer. The parable of the spring silkworm spitting silk is borrowed from Li Shangyin's untitled poem, but the metaphor of peeling the plantain is the poet's original creation. The "thought" and "silk" in the poem are homophonous, the "heart" and the "core" are homophonous, and the homophonic mutual interpretation makes this joint poem and the metaphorical body blend together, which is extremely exquisite.
Through exquisite metaphors, this link writes about the pain of love disillusionment, which is comparable to Li Shangyin's famous sentence "Spring silkworm to the end of dead silk, wax torch into gray tears dry".
In March and May of three or five years, the poor cup of wine never disappeared. Three or five years: about fifteen or sixteen years old. March and May: Lunar 15th, Lantern Festival. This refers to the time when the poet fell in love with his cousin.
On the Lantern Festival when I was fifteen years old, the glass of wine we drank together is still evocative to this day, and the aftertaste is difficult to dissipate.
These two poems, one about the beauty of the past, one about the pain of today, the days that were once together, every moment shines with light, but now in retrospect, it is a little bit of bitterness, the beauty and disillusionment of love, forming a huge emotional impact, making people want to cry.