Zhou Bangyan was a member of the Northern Song Dynasty and had an important position in the history of words. His birthplace of Qiantang, now Hangzhou, is a scenic spot and cultural city known as the "first state in the southeast". Liu Yong, a talented man of the wind, once visited here and wrote a famous article that has been passed down through the ages, "Looking at the Sea Tide", vividly laying out the prosperity and wealth of Qiantang with a cheerful writing, doing his best to level the weather and alarming the capital. Zhou Bangyan was born in Zizi, grew up in Zi, the feelings for his hometown are naturally very deep, whether it is studying in other places, living in Beijing or wandering in the eunuchs, his heart is always haunted by the customs of his hometown, staring at the direction of his hometown.
<h1 class= "pgc-h-arrow-right" > the grand view of the homeland complex</h1>
For example, Zhou Ci "Bing Shan Xi" Yun: "Because of the stalk, the smoke bottom, the only love of the soup is beautiful." According to the scholar Sun Hong, the word was composed in 1073, and it was written by the lyricist who traveled from Qiantang to Jingzhou to study, according to his birth in the first year of the Song Renzong Jiayou (1056), when he was only seventeen or eighteen years old. The young lyricist was not far from his hometown, so he began to be homesick, and before he had entered the career path, he was worried about the soup. The following year, he also wrote "Early Meifang" Yun: "Flooding the years in a foreign land, drunken eyes and obsessive overlooks." The road is long, and the hatred is full of grass. "The upper part of the word focuses on the beauty of song and dance, the joy of feasting and drinking, and the lower que expresses the melancholy of the wine after the awakening of the people, and the lyricist ascends to the far side under the high rotation of the Milky Way, hoping to see the hometown through the tall buildings that stand on the surface of the earth, but the road is winding, and it is impossible to see, and the joy and sorrow of the feast have become a bubble, leaving only the sad thoughts of the embrace and the grass. The sadness of the young Zhou Bangyan can be seen from this. After some ups and downs in the eunuch sea, Zhou Bangyan served as the commander of Lishui County, composing "Man Tingfang" Yun: "Haggard Jiangnan tired guest, unbearable to hear, anxious to orchestrate. Beside the song feast, first put on a pillow, let me sleep when I am drunk. At this time, everyone is middle-aged, the age is not confused, the person is tired, and the style of words is also humble and low, as Chen Tingzhuo commented: "Although the grievances are not fierce, the depression and frustration are not spared." He no longer said "hate the grass of a thousand miles", only said "the rush is unbearable", nor did he "drunkenly look at the eyes", but withdrew his gaze, exiled his soul to wine and sleep, and read it as if he had the feeling of "now knowing all the sorrows". By the time of the twilight of the eunuchs, the passage of time added to the sorrow, coupled with the social turmoil at the end of the Northern Song Dynasty, the writers were displaced, and eventually they could not end up in their hometown. The lyrics of this period, just as Long Yusheng said, are a kind of "Xiao Sa desolate", the structure is no longer "rigorous", and the temperament is no longer "deep". But because of this, the homesickness in an evacuation has instead taken away the fierceness and glitz, and no longer diligently grasps the arrangement of thinking, and draws on the craftsmanship of the carving, showing the true sadness and decadence of the lyricist, and also showing the wanderer's deep attachment to the hometown.
<h1 class= "pgc-h-arrow-right" > second, the comparison between the front and back of the homeland complex</h1>
The following will be combined with two specific words to analyze the change of homesickness in the weekly words.
"Su Mu Zha Liao Shen Xiang" is Zhou Bangyan's homesickness masterpiece, whether the "Chang'an" in the word is a real or false meaning, it is certain that this word was written in the lyricist's adolescence, is a representative work of homesickness when the lyricist was young, the word cloud:
Burn the incense and cool off. Birds and finches call out to the sun, invading the eaves. The first sun on the leaves is dry and rainy, the water surface is clear, and the wind is lifted. Hometown Haruka, when to go? The family lives in Wumen, and has long been a Chang'an brigade. May fisherman reminiscences? Xiao Yu light boat, dreaming into Furong Pu.
Although the small order is small, it shows that the words are artificial in the rules. "Burning incense, dissipating the heat" is to write indoor night, "birds and birds call the sun, invade the eaves" is to write the outdoor day, "incense" is the sense of smell, "summer" is the body sensation, "birds and birds call the sun" is the combination of vision and hearing, "invasion of the eaves" is to win dynamically. The so-called "emotional body, poor craftsmanship" is already ready. But what is even better is the famous sentence that is later known as "the divine principle of the lotus flower", and the juxtaposition of "first sun" and "su rain" gives people a sense of the passage of time, which is also the most sensitive field of human beings. The phrase "the water surface is clear and round, and the wind and the lotus are lifted" presents a three-dimensional space with multiple dimensions: the lotus leaves close to the water surface can be "clear and round"; the lotus leaves lifted by the wind attract a green luo skirt with thousands of styles. When our gaze swept through the apparent or potential blank space between "Clear Circle" -- "Wind" -- "Lotus Lift", suddenly, the words seemed to be incomparably vivid and vivid, and they grew on their own. Compared with the willow words "Three Autumn Guizi, Ten Mile Lotus", one is the magnificence of the extremely peaceful in the eyes of tourists, and the other is the grace of the kindness and subtlety in the heart of the wanderer. The flowers in front of the eyes are like hometown flowers, after writing the scene in front of you, the writer will naturally lead to homesickness, real and deep but not heavy, the upper part is real writing, the lower que uses virtual writing, thinking of the distant hometown, the guest self, and broadening the expression space of the word with the question sentence form, forming the interaction of time and space, and then ending with "dream", and finally returning to the Dutch image, the virtual reality is born, and the scene is harmonious. And homesickness, under the careful arrangement of the lyricist, is also very leisurely and appropriate.
Qian Hongying once commented on "Su Musha Liao Shenxiang" in "Liu Zhou Ci Biography": "The work of homesickness is a tradition in classical Chinese poetry, which has a deep social soil and a long cultural background. The main theme of such works is often sadness, sadness, and even sadness. The words of halal labor and travel are also more lyrical and lonely feelings. Although this word is also homesick, the style is clear and bright, which can be described as unique in the traditional works of bondage. Combined with the halal life, it was the work of the first person in his youth. The nostalgia of his youth and the nostalgia after the vicissitudes of the world are very different, and reading this word against his masterpiece "Xi Pingle" will know that this statement is not false. As Si Yan said, "Xi Pingle Zhiliu Suqing" Yun:
At the beginning of the Yuan Feng, he was given the cloth to go west and cross the long road of heaven. After more than forty years, Xin Ugly was in the first month, avoiding thieves and returning to his hometown. Sigh years, occasionally become this word.
The willow is sunny, the old creek is raining, and the river is not aware of spring credit. Camel brown cold invasion, is pity for the first day, light shade against death must be covered. Sighing things one by one, the lonely Hong is gone, and the body and Tang Pu are late, arguing to know this, the journey is passed, and the dust and sand are standing. Read Zhu Yan Cuifa, once everywhere, the old place makes people oh. The road is even three Chu, the sky is low and the four fields are low, the trees are in front of it, and the road is oblique. Heavy admiration, Tanglin obscure traces, Peng Ze returned, left and right piano books self-music, pine chrysanthemums rely on each other, not to mention the flow of sideburns. Thank you very much for the deceased, pro-Chi ZhengYi, when the time is poured into honor, persuade this to drown, and when the time comes, turn over the tired Hakka Sijia.
The comparison of time and space is the usual method of Zhou Zi, although the first word "Zhi Liu" and "Gu Xi" are in the same physical space-time, but there is already a difference between the old and the new in the psychological time and space, the words revisit the old place, the past and the present come together, and the change of mood shoots out of the "Zhi Liu" and "Gu Xi". The cold of early spring invades, and the light shade covers not only the daylight, but the writer perceives with keen sensitivity that a shadow is enveloping his life and oppressing his life. So he then sighed that as the years passed, the personnel had gradually faded away, and although this body was frightening, the soul and body were lonely and fragile, wandering in the wind and sand. "Read Zhu Yan Cuifa, once everywhere, the old place makes people snort" a sentence, it seems to have a sense of strength. In the openness of the scenery, in an empty sky, the writer began to dream of the idyllic scene of returning home to the garden, and the yearning was overflowing with words. In the face of the warm hospitality and affectionate invitation of the deceased, the lyricist only paid back with sincere thanks, and firmly chose the latter between "Zheng Yi", "Rong Zun" and "Tanglin" and "Peng Ze". The whole song finally ended with the four words of "Tired Hakka Sijia", and the lyricist's creative career ended in the longing for the hometown. This homesickness is no longer leisurely or inappropriate. It is painful, straightforward, cannot be blocked, cannot be hidden, cannot be neglected.
< h1 class= "pgc-h-arrow-right" > third, the reason for the change before and after</h1>
The homesickness in Zhou Bangyan's early words is like "looking at the mirror before and after the flowers", the eyes are clear, the dream is warm, if he is willing to say sad, it is "hating the grass of a thousand miles", if he wants to change the chapter, it is "dreaming into Furongpu", even if there are hardships and tribulations, the young man's heart always has a tenacity, and he is rightfully full of expectations for the future. The homesickness in the twilight lyrics is tainted with the fatigue of a long time away from home, condensed with the remembrance and regret of the past, and the lyricist is a heart that has been tormented by displacement and the sea of ups and downs, looking at the distant hometown and looking at the beauty that has been lost. Therefore, the real expression is better than the thoughtful arrangement, and the homesickness that was once cleverly placed gradually breaks away from the shackles of formal rules and regulations, and escapes in a relaxed posture.
Zhou Bangyan's homesickness has obvious differences before and after, which are inseparable from his innate personality and acquired experiences. Zhou Bangyan fell into disarray when he was a teenager, and instead of becoming a "lady of the state" as his father Zhou Yuan had hoped, he became a "good man of the state", but became a talent like Li Shangyin, Wen Tingjun, and Liu Yong, so he was treated coldly in his hometown. This lack of censorship and debauchery in his bones made him have a natural Chu-Han gap between him and the feudal orthodox literati, so his career was bumpy and depressed. At the age of twenty-nine, Zhou Bangyan presented the "Fendu Fu" to the Shenzong Sect, and was promoted to the title of Taixuezheng, but he was not promoted for the next five years. After Emperor Shenzong's death, Empress Gao used the old party to depose the New Deal, and Zhou Bangyan, who had won the official position in praise of the New Deal's "Fendu Fu", was released. From the third year of Yuan You (1088) to the fourth year of Shaosheng (1097), Zhou Bangyan spent ten years floating in the prefecture and county, which was the so-called "scattered wind and light, juvenile detention brigade" ("Trivial Window Cold"). In the fourth year of Shaosheng, Zhou Bangyan was summoned back, spent fourteen years in Beijing, and then released many times, until the sixth year of Zhenghe (1116) to do the Dasheng Fu Lezheng, at this time he was sixty-one years old. Two years later, it was released again, and drifted on the road at the age of sixty, which can be described as a late scene and a pity. At the age of sixty-six, Zhou Bangyan died unexpectedly on the way to Chuzhou in Shunchang Province, but his life was desolate. In the past sixty-six years, he has paid everything into the words, resulting in many of his words and works swaying with a sense of drifting, appearing desolate and lonely, profoundly influencing the tone of halal words, contributing to the formation of his "depressed and frustrated" style, which is called "Lao Du in words" by Wang Guowei. He wrote in "Yulou Spring": "People are like the wind after entering the river and clouds, like rain and sticky to the ground." "Enough to sum up his scattered and sad life." And the sadness of his twilight years in the later stages of his life also confirms the decline of a dynasty, and the most prosperous era in ancient history is irretrievably declining. Six years after his death, the Northern Song Dynasty was destroyed by the Jin Dynasty.
Overall, the change in the emotional intensity of homesickness and the change in the way of expression in Zhou Ci are closely related to the experience and situation of the writer himself, and roughly follow the path from abundance to decline, from craftsmanship to evacuation.