Su Muzhe nostalgic original
Author: Fan Zhongyan
Blue sky, yellow leaves, autumn colors, cold smoke, green waves.
The mountain reflects the setting sun and the sky meets the water, and the grass is ruthless, even outside the setting sun.
Dark homesickness, thoughts of chasing travel. Every night unless, sweet dreams make people unable to sleep.
The bright moon tower is lonely, and the wine turns into sorrow and tears.
Emotional appreciation
This word expresses homesickness, and the theme is basically not out of the traditional range of parting from sorrow and hatred, but the artistic conception is wide, which is rare for this kind of words.
In the first film, I wrote that autumn scenery was beautiful and far away, and I was homesick. The first sentence is "blue sky and yellow leaves", that is, from the big picture, the pen and ink are thick and colorful, showing a lofty realm of the sky. If you don't write autumn scenery, it often appears to be declining.
"full of autumn waves, cold waves and thick smoke", from the blue sky and wide fields to heaven and earth. Autumn color refers to the blue sky and yellow leaves. This bright blue sky and golden earth extend all the way to the distance, connecting Simon Qiu Jiang at the end of heaven and earth. Above the river waves, there is a layer of emerald cold smoke. Fog was originally white, but because it is connected with the blue sky and the blue waves, it is the same color as the blue sky in the distance, so it is called "cold smoke", just like the so-called "autumn water is the same color as the sky". The word "cold" highlights the feeling of autumn given by this emerald haze. These two sentences are far apart, and cooperate with the first two sentences to form an extremely vast and colorful autumn map.
"The mountains reflect the sunset water, and the grass is ruthless, even outside the sunset." In the evening, the sunset reflects the distant mountains, the blue sky is connected with the green waves of autumn water, and the sorrowful grass extends to the distance and disappears in the sunset, not reflecting the horizon. These three sentences further connect heaven, earth, mountains and water through sunset and grass, and the scenery extends from what you can see to the imaginary horizon. Although the grass here may not have a clear metaphorical meaning, this image can really trigger relevant associations. Since it was written in "Songs of the South to Recruit Hermits" that "the prince and grandson don't return, spring grass grows", in poetry, fragrant grass is often associated with homesickness. The grass here is also a catalyst for homesickness. It is far away, far away from home, even far away from sunset, making it difficult for tourists to look forward to their hometown, but they don't care about people's feelings, so it is said to be "heartless". Here, only by writing about the scenery can you feel homesick and leave your feelings.
The scenery in autumn is vast and beautiful, without sentimental flavor, which is rare in literati's works, especially in the words with the theme of sad autumn and hurting spring. The long homesickness is also secretly revealed from the description of the scenery in Tianya, and it can't be written without trace. This natural transition from scenery to emotion is also ingenious.
Through the film, you can directly point out the "hometown soul" and "travel thinking". "Hometown spirit" and "travel thinking" have similar meanings. Two sentences mean that one's homesickness is gloomy and melancholy, and one's travel worries overlap and continue. The intertextuality between the upper and lower parts is the key point, while the protagonist's long stay in a foreign land and deep homesickness is his own opinion.
"Every night unless, good dreams make people sleep", read these nine words. Saying "unless" shows that there is only this and there is no other way. The implication is that good dreams are rarely done and I can't sleep for a long night. This leads to the following sentence: "Mingyue Building rests on its own." Under the bright moon, Chiang Kai-shek can lean against the building to meditate, but leaning against the high building reflected by the bright moon alone will inevitably make him more worried, and he can't help but sigh that he is "unable to sleep alone." From "Sunset" to "Bright Moon", it shows that time has passed, and the place where the protagonist is still is a tall building, which shows that homesickness is deep. "Building Height" and "Solitude" remind us of the above, suggesting that what we wrote in front of us was seen by leaning against the building. This kind of writing not only avoids the straightforwardness of structure and writing, but also integrates the landscape writing of the first article with the lyricism of the second article.
"When wine enters sorrow, it turns into acacia tears." Because I can't sleep at night, I drown my sorrows in wine, but once the wine enters my heart, it turns into homesickness, which really increases my homesickness. Take a few words, lyrical and profound, and create new words. The author's other song "Walking in the Imperial Street, the Masonry with Fragrant Leaves" is even turned into a layer, saying: "The sorrow has been broken for no reason, and the wine has not arrived, and it will become tears first." It seems more surprising and profound, but it is a little artificial, not as natural as these two sentences. Writing here, homesickness and homesickness reached a climax under the trigger of foreign objects, and the words were difficult to close under this emotion.
The first part of this poem describes the scenery, and the second part expresses the emotion. This is a common combination of structure and scene in poetry, and its particularity lies in the unity of beauty and tenderness, more precisely, the unity of vast and far-reaching territory, beauty and affection. When writing homesickness ci, it is often expressed by bleak autumn scenery, but the scenery described by this ci is vast and beautiful. On the one hand, it shows the poet's broad mind and love for life and nature, and then sets off the feelings that can be hurt. On the other hand, it also makes the feelings expressed in the following films look soft and deep, but not decadent. On the whole, although the language and technique of this word are similar to ordinary words, its artistic conception and artistic conception are close to traditional poetry. From this, it can be seen that the small words of parting sadness and no hate can be expressed, and they are not limited to the boudoir courtyard.