24
Oct
"Butterfly Love Flower: Courtyard Deep and Deep" is a lyric by the Song Dynasty literary scholar Ouyang Xiu. This word describes the wounded spring feelings of the young woman in the boudoir. The previous film writes that the young woman is deeply lonely, with many barriers, and wants to see the person in her heart and cannot; the next film writes that the beauty is late and twilight, hoping that the person in her heart will return and cannot be allowed, and the hatred and resentment will appear on its own. The whole word writes the scenery, the sparse and beautiful, the virtual reality is integrated, the language is natural, the meaning of the words is deep and gentle, and the psychological portrayal of the young woman is particularly expressive.
Translations
The courtyard is deep, I don't know how deep? Willow yiyi, flying pieces of smoke, a heavy curtain does not know how many layers. The luxurious carriages and horses stopped where the noblemen were looking for fun, and when they climbed the tall buildings, they could not see the road leading to Zhangtai.
In the stormy late spring in March, no matter how heavy the door covers the dusk scenery, it is impossible to retain the spring spirit. Tearful eyes asked Falling Flowers if they knew my intentions, and Falling Flowers were silent, chaotic, and little by little they flew out of the swing.
exegesis
(1) Butterfly Love Flower: The original Tang Jiaofang song name, later used as a word brand name. Also known as "Magpie Ta Branch" and "Fengqi Wu". The "Collection of Movements" and "Zhang Ziye Words" were merged into the "Small Stone Tune", and the "Halal Collection" was incorporated into the "Shang Tune". Double tone six crosses, four rhymes each on the upper and lower pieces.
(2) A few: how much. Hsu, the word for estimating quantity.
(3) Pile of smoke: Describe the willow as dense.
(4) "Curtain" sentence: Curtain after curtain, layer by layer, can not be counted.
(5) Jade carved saddle: extremely luxurious car and horse. Jade, a horsebit made of jade. Carved saddles, finely carved saddles. Youye Office: Refers to the brothel of Gelou.
(6) Zhangtai: The name of Han Chang'an Avenue. The "Hanshu Zhang Chang Biography" has the language of "Walking Ma Zhangtai Street". Tang Xu Yaozuo's "Biography of Zhangtai Liu", a chronicle of the prostitute Liu Clan. Later, he used Zhangtai as a place for singers and prostitutes to live.
(7) Rain horizontal: refers to rapid rain, sudden rain.
(8) Chaotic red: Here is a description of the appearance of various flower pieces falling.
Appreciation
This poem is also found in Feng Yanmi's Yangchun Collection. Liu Xizai, a Qing dynasty, said: "Feng Yanshu's words, Yan Tong's uncle got his handsomeness, and Ouyang Yong's uncle got his depth." In the history of the development of words, the style of words in the early Song Dynasty inherited the Southern Tang Dynasty, and there was not much change, while Ou and Feng Jushi were supremely dominant, and their political status and cultural literacy were basically similar. Therefore, the two of them have the same style of words, and some works are often confused together. According to Li Qingzhao's "Linjiang Xian" word order cloud: "Ouyang Gong's "Butterfly Love Flower", there is a sentence of 'deep and deep', to be loved, in its language as 'courtyard deep' number of 阕. Li Qingzhao went to Ouyang Xiu not far away, so the cloud should not be wrong.
This word is written for grievances. The style of words is deep and elegant. The so-called deep one is implicit, gentle and deep, and intriguing. The first three words of this word, "deep and deep", were used by predecessors to lament the use of overlapping words; Zite threw them out to illustrate the characteristics of the whole word. It may be said that the scene of this poem is written deeply, the love is written deeply, and the artistic conception is also written deeply.
The word begins with "the courtyard is a little deeper", pointing out the "courtyard" of the hostess's environment, and the overlapping words of the three "deep" words are used to more vividly depict the "deep" environment in which the hostess is located. These three words not only write the depth of the "courtyard" but also write the deep loneliness of the hostess's heart. The lyricist immediately used the images of "willow", "pile of smoke" and "curtain" to portray the miserable resentment in the hostess's heart to the fullest. Among them, the word "heap" is as dense as the willows and the smoke is thick. Imagine the hostess alone in the courtyard on a tall building looking at the dense willows lingering in the thick mist like an ink painting. However, such a beautiful scenery could not find the trace of her husband, and the objects in front of her eyes fiercely blocked her vision, and infinite sadness rose in her heart for no reason. The imaginary numbers "no weight" echo with "a few", implying that the obstruction of the line of sight is not only "willow", "pile of smoke", "curtain" so simple. Why does the hostess want her husband? Where has the husband gone? Neither a soldier nor a merchant, but a "Yule carved saddle tour smelting place". The husband was happy outside, but he could only go up to the tall building alone and stare at it, sighing that the height of the building made him unable to see Zhangtai Road. The last two sentences name the reason for the hostess's inner misery and empty resentment. The hostess knew that her husband was outside on a snowy night, but she still had expectations in her heart, even if she only saw the back of her husband leaving, but this requirement could be satisfied, so she had to endure the indifference and loneliness of the deep courtyard alone.
The lower part is the sentimentality caused by the hostess's inner world. "Rain and wind crazy March Twilight", in which "horizontal" and "crazy" directly break the hostess's unusually uneven inner world. The spring breeze and drizzle in March were originally extremely gentle, but here the rain is not "oblique rain" but "horizontal rain", the wind is not "warm wind" but "windy wind", and the original beautiful "March" is full of ruthlessness. The word "twilight" shows that the hostess has been waiting for a long time, maybe a day, maybe a year, maybe a lifetime. The amorous wait was exchanged for an endless night in the relentless deep courtyard. "The sunset is infinitely good", the hostess has no intention of twilight, a "cover" to tell her inner desolation. "No plan to stay in the spring" seems to be "no plan to stay in the spring" is actually to lament the woman's face is easy to pass away. "The soldier dies for the confidant, and the woman is pleasing to herself", the youth is not dead, and so, what hope is there for the passage of youth? We can fully imagine this scene: a woman who is alone in a deep boudoir looks forward to a good person every day, but the good person has no intention of being at home, and the wind and snow are hanging out all day; day by day, her youth is also fading day by day, why do you expect the good person to change his mind? Infinite loneliness, sentimentality, and helplessness arise in the heart. In the end, the heroine can only pin her heart on "falling red", just like the withered falling flowers that have gone forever, and no one remembers her pitiful face. "Tearful eyes ask the flowers and flowers are silent, and the red fly over the swing goes", the tears are for the flowers and for themselves, perhaps the cruelty of the flowers has touched the woman's heart, or the woman feels that she has pity for the flowers and weeps. "No words" shows the sadness of the hostess's loneliness and no one understands. "Flying red over the swing" is even more of a helpless sentimentality.
The words write scenes and love, and scenes and emotions are so integrated, natural, forming a complete artistic conception. Reading this word, the overall impression is that the mood is deep, not just a famous aphorism. The lyricist's portrayal of the mood is also hierarchical. From the perspective of the environment, it is from the exterior to the interior, with a deep living room to set off the deep feelings, with gray and miserable colors to render the mood of loneliness and sadness. In terms of time, the upper film is written about the foggy morning, and the next film is about the dusk of the wind and rain, from morning to night, opening the hearts of the characters one by one. After three sentences, the close friend Yu Pingbo commented on the day: "'March twilight' point season, 'wind and rain' point climate, 'dusk' point moment, three layers of rendering, only to force out the 'no count' sentence." (Selected Interpretations of Tang and Song Dynasties) In the late spring, the wind and rain are dusk; sitting behind closed doors, especially compassionate. The mood in it seems to be poetry, but poetry cannot write its appearance; it is a painting, but the painting cannot convey its god; only through this gentle brush can it be properly outlined. In particular, the concluding sentence is more perfect: "If you care about feelings, if you don't care about feelings, and your emotions are boundless." (Shen Jifei's "Caotang Poetry Yu Zheng Collection") Wang Guowei believes that this is a kind of "realm with me". The so-called "state of having me" is "looking at things with me, so everything has my color" ("Words on Earth"). That is to say, the flowers are sad and silent, reflecting the unspeakable pain of the woman in the words; the red flying over the swing sets off the woman's sympathetic partner and lost look. And the beauty of the emotion, the far-reaching artistic conception, is particularly fascinating.
Creative background
This is a poem about women's grievances, the time of creation is difficult to verify, that is, the author is difficult to determine who is. This word is included in Ouyang Xiu's "Six Words" and Feng Yanwei's "Yangchun Collection", and the word names are "Butterfly Love Flower" and "Que Ta Zhi" respectively. Li Qingzhao believes that it was written by Ouyang Xiu, and her "Linjiang Immortal" word order Cloud: "Ouyang Gong's "Butterfly Loves Flowers" has the sentence 'deep and deep', which is loved by it, and uses its language as 'courtyard deep' to count. Wang Guowei was quoted in "Human Words" as a work by Feng Yanwei. In the history of the development of words, the song style of words in the early Song Dynasty inherited the Southern Tang Dynasty, and there was not much change, while Ou and Feng Jushi were to Zaizhi, and their political status and cultural literacy were basically similar. Therefore, the two of them have the same style of words, and some works are often confused together. Just like this word, it is difficult to distinguish.
Ouyang Xiu (1007-1072), the character Yongshu, the number drunk, the late name "Liuyi resident". Han Chinese, a native of Yongfeng County, Jizhou (present-day Yongfeng County, Jiangxi Province), originally belonged to Luling County, and considered himself "Luling Ouyang Xiu". His courtesy name was Wen Zhong ,Ouyang Wen Zhonggong(Ouyang Wen Zhonggong). Northern Song Dynasty politician, writer and historian, together with Han Yu, Liu Zongyuan, Wang Anshi, Su Xun, Su Shi, Su Rui, and Zeng Gong, was collectively known as the "Eight Greats of the Tang and Song Dynasties". Later generations also referred to it together with Han Yu, Liu Zongyuan and Su Shi as the "Four Great Masters of ancient articles".