Zhang Xian, a northern Song Dynasty poet, a representative of the EunIty School, was a contemporary of Yan Shu, and befriended Su Shi, and also interacted with poetry. "Noh poetry and lefu, until the old age", also passed on with Liu Yong's name, good at Xiao Ling, lived for 89 years, in that era is undoubtedly a long life. Many people may not know much about his life, but many of his works have been heard. For example, this sentence "The clouds break the moon to make flowers and shadows", plus "delicate and lazy, the curtain rolls up the flower shadow", "the willow path is unmanned, the fall is flying without shadow", these three sentences together, thus forming another name of Zhang Xian, Zhang Sanying, he himself said that this is his proud text. But since it can be on a par with Liu Yong, there must be more than these works, and we will look at this poem together today, "The sky is not old, and it is difficult to despair." The heart is like a double wire mesh, and there are thousands of knots" is also a classic word, which is widely circulated.
"Thousand Autumn Years: Counting The Birds" Count the birds, and report to Fang Fei Xie. Xi Chun folded the remnant red even more. The rain is light and the wind is stormy, and the plums are green. Yongfeng willow, no one spends the day flying snow. Don't pluck the strings, the strings of resentment can be said. The sky is not old, and the emotions are hard to despair. The heart is like a double silk mesh, with thousands of knots. Night also, the east window is not white condensed moon.
The whole word begins with a scene, started by the sound of the birds, expands the association with the twilight spring, and writes about the various feelings it triggers, with extreme twists and turns.
The lyricist said: "Count the sounds of the birds, and then report the Fang Fei Xie", the birds in the vein of Chinese culture, as a cultural symbol, often point to the image of things turning into a fall. The Chu Ci RenUn said: "Fear of the first sound of the birds, so that the husband and the grass are not fragrant." "Here, the cry of the birds is a signal that the hundred flowers will fall. Or it can be extended to an ominous sign that things are about to decline. Therefore, when the writer hears the cries of the birds, he inevitably thinks that the beautiful spring day is coming to an end, and produces the sigh of Fang Fei Xie.
Flowers bloom and fall is the law of nature, spring to summer and year after year, which is the common experience of all living beings. Repeatedly experience birth and death in the four seasons. Chun Fei Fei Zero does not seem to be anything special, it is a phenology that must be experienced every year. However, the lyricist said "and repay Fang Fei Xie", as if revealing that the lyricist is particularly sensitive to this year's spring twilight, and it seems that it is more difficult to bear this year's spring twilight, so he will be full of nostalgia for the spring again, emphasizing the regret of this re-experience.
It is also because of this unavoidable emotion of re-experience that the writer is introduced and stimulated to pluck the flowers that have not yet fallen and bloom on the branches, and to preserve a little memorable memory for the spring days that they once had. Compared with the loss of several birds and repaying Fang Fischer, this act of cherishing spring with a broken red shows that this is an amorous lyricist, and how deep his affection for spring is. Therefore, the sentence "Xi Chun folded the remnants of red" can also be said to be the summary of the first two sentences.
Immediately after the conversation, talking about the dilemma he encountered, the writer said that in the rainy season at the end of spring, the wind and rain fell in a light posture and the intensity of blowing was violent. Light and violent are two completely different forces, this extreme conflict, may be a portrayal of the mood of the writer's heart, for the twilight spring plum rain, he is confused and does not know how to deal with it. Or the setbacks suffered by the beautiful things of spring, for the writer, it is just like the "rain and wind storm" imposed on the spring. But no matter whether the wind and rain are light or stormy, rain and light storms are always a merciless blow from heaven, and there is no way to avoid it, and people have no way to escape the opening and falling of nature and the regret of life and death, year after year.
"Yongfeng willow, no one spends the day to fly snow", born from Bai Juyi's "Willow Branch" "Yongfeng West Corner Desert Garden, no one belongs to A who", writing that the pet concubine is flourishing and graceful, but the good person who spoils the concubine is aging. The gradual aging self contrasts with the vigorous object of the concubine's "a tree with thousands of branches in the spring breeze, tender in gold and soft in silk". It was a deep fear in Yongfeng Willow. Although Zhang Xian's poem does not blatantly lay out this sense of fear, "No one spends the day and the snow" also vaguely reveals the helplessness and loss of the willow even if there is no one, but also the sun flower flying snow, because the willow is still swaying all day long, but the opposite of the main lyricist may be unable to care for and master the willow.
"Don't pluck the strings, complain about the extreme strings can say", the emotions of people, compared to music, is a common encoding in Chinese literature. For example, the voice of Zheng Wei is often referred to as an obscene sound other than relatively gagaku. The friendship of the Boyazi period is precisely through the ambition and character revealed by the sound of the piano. Here, the writer associates the self with the "string". "幺弦" refers to small strings, Ling Tingkan "Yan Le Kaoyuan" thinks that the sound of the urgent, called the "single string side tune"; Yan Xiaoshan's "Xie Pei Ling": rely on the string, hate long and difficult to complain. It can be seen that the rhythm of the string music is complicated, and the emotions it triggers are different from the peace and dignity of the gagaku zhengle, and Yan Xiaoshan even compares it to the regret and regret in his heart. Why does the protagonist in the poem have to explain that he cannot convey his feelings through music? It turns out that once it is played, it will leak out the hidden grudge. Conveying a complex mood of wanting to send it, layer by layer, the sadness in the hearts of the words is expressed in a flexible way, and the complex feelings of grief and complexity are expressed in a simple and ethereal text.
It seems indescribable and difficult to say.
Where do the feelings of the writer go from here? Is there an exit that can be liberated? "The sky is not old, the love is difficult, the heart is like a double silk net, there are thousands of knots", in addition to the complex and entangled feelings of the writer, the exit of this feeling is also revealed behind it. The lyricist quotes Li He's famous sentence about the change of years and the pain of separation from relatives and friends: "If there is love in the sky, the sky is old." Li He is talking about a huge sadness that the heavens should also share with, and here the lyricist goes further, pointing out where this sadness is going: beyond death and life, the passage of time, this affection cannot be broken, which is really a great sadness and deep affection in the world.
After the night, suddenly the time and space turned, and the original high mood took a sharp turn: one night was about to pass. In addition to the implication that the lyricist cannot sleep all night, it seems that this huge grief can be slightly calmed down with the night, but the lyricist says that "the east is not white and the lone lamp is extinguished", the east window is not white, and the moon is bright. The candle that had not yet come out of the day and the candle that had accompanied him for a long night had been extinguished. For a long night, the writer is only accompanied by a lone lamp, and what is hidden in the middle is how lonely and sad, and what a person has to fight against is the desolation and loneliness of the whole world. And now, before the day came, the only pillar of the soul he relied on, the faint candlelight, was extinguished first, leaving the word alone to face the long day before the long day came, the long, lonely soul was desolate, and after the lone lamp was extinguished, what was left was the deep meaning of regret.
No wonder critics point out that the word "has implications and transgressions; but the implications are not like Wen Wei, and the hair is not like The Haosu Greasy Willow". Wen Wei refers to the "Huajian School" lyricists Wen Tingjun and Wei Zhuang, whose lyrics are mainly expressive in a gentle way, similar to euphemisms, but pay more attention to musical rhythm and aesthetic beauty, the reason may be that Wen Tingjun, the originator of Huajian, is proficient in musical rhythm, writes more about girlfriends, and pays attention to the literary style and vocal sentiment of words. Hao su greasy willow refers to Su Shi's "butterfly love flower spring scenery" in "the willow cotton on the branches blows less, where there is no grass at the end of the world", this sentence is considered to be comparable to Liu Yongzi. Zhang Xian's poem can be said to be both "implicit" and "fa yue", which has both the softness and rhythm of the flower words and the beauty of the euphemistic style.