"Partridge Tian·Dai Ren Fu" - Annotation of "Partridge Tian·Dai Ren Fu" "Partridge Tian·Dai Ren Fu" contains more than 600 poems by Jiaxuan, using more than 100 tunes. Among these tones, the most frequently used is "Partridge Sky". There are sixty-three poems, accounting for more than 10% of the total. They express feelings, express anger, express sorrow, lament the old, reward, say goodbye, wish birthday, that is, Things, chanting things, describing scenes, discussing? 6? 8? 6? 8 are all included. I am afraid that it is precisely because of the ease of using this tune that "Dai Ren Fu" naturally chose this tune. The title of the poem is "Ode for a generation", but it is no longer possible to figure out for whom it was written. It can be seen from the lines that the protagonist is a woman whose heart is filled with "hate" and "love". The first part of the film starts with the description of the scene: "The jackdaws are sad in the evening, but the new green in the willow pond is gentle." "The new green in the willow pond" indicates that the season is early spring; "The jackdaws in the evening" indicate that the time is evening. This scene is a scene of love. The sun is about to set and the jackdaws are returning to their nests, which can easily cause people to miss the old friends and lament loneliness. The dim light of the "evening sun" can easily cause people to think about old age and feel unhappy. The sad cry of "jackdaw" can easily make people feel uneasy and irritable, so after "evening jackdaw", the word "sorrow" is added immediately to express its emotion. It is a common technique used by poets to describe scenes first and then express emotions later, and the author can apply it with ease. "The new green of the willow pond" is a beautiful scenery. It should be a wisp of "tenderness" in the heart of the hostess, which makes her see the "tenderness" of the scenery in her eyes. "But for whom are the thin willows and new cattails green?" For whom does infinite "gentleness" exist? Wang Fuzhi said in "Jiangzhai Poetry Talk": "Use happy scenes to describe sorrow, use sad scenes to write joy, and double the sorrow and joy." "This "gentle" scene of "new green in the willow pond", in the same way, can only intensify the "sadness". "Wen Nong" is preceded by the word "que", which aims to highlight the inconsistency between the happy scene and the sadness. The following "If there is no hatred in the eyes, I don't believe that there are white heads in the world", which follows the "sorrow" above, is a hypothesis, a wish and a deep sigh. The above is another manifestation of the reason for "sorrow", which is based on the condition that "there is no hatred of separation in the eyes". Now that the "eyes" are full of "hatred of separation", then there is only "the world". I can "have white hair". This is a euphemistic way to emphasize the hurt of "living hatred", which makes people "grow old". These two sentences, to put it bluntly, are the words "Missing the Lord makes one grow old" in "Nineteen Ancient Poems". The implication of these two sentences is the ardent hope that there will really be "no hatred" in the "eyes" and that there will never be "aging" in the "world". In the last four sentences, the author uses both positive and negative techniques to express the protagonist's melancholy, savoring the feelings that have not yet reached their climax, but are already stagnant in the heart, just waiting to be released. After the film, the sadness enters another level, that is, from saying "a piece of sadness" in a general way to describing the feeling of "lovesickness" through specific actions, deepening the "a piece of sadness". "The Red Mansion" is an act that expresses the heroine's hatred of separation and deep longing for lovesickness. This adds to the emotion accumulated in the film and triggers a new level of sadness. She hates and misses lovesickness, her inner heart is broken, and her outer appearance is full of emotions. It was hard to hold back her tears. "Going back to the little red building" meant that she and her sweetheart once met in the same place. I'm afraid she went back to the "little red building" to relive their past together. The joy of being side by side, loving each other, imagining that the sweetheart may still be upstairs. It is really "the heart is broken by separation, and the bones are broken by the love" (Chen Houzhu's "Poem to Biyu"), the feelings of this heroine are so lingering and pathos. How poignant and moving! The ending line "Love and knowledge has been blocked by the mountains, and I can't feel free when leaning against the wall" further expresses the heroine's infatuation. She clearly knows rationally that her sight has been blocked by the green mountains, and her sweetheart cannot be seen. As Ouyang Xiu said in "Traveling on the Shasha": "Wherever the plains end, there are spring mountains, and travelers are outside the spring mountains. "However, the longing for my lover makes me unable to rely on the railing upstairs to look into the distance again and again. Knowing that leaning on the railing is useless, I still have to lean on the railing and look into the distance again and again. Such is his infatuation. It's amazing! It ends with the sentence "I'm not free when I lean on the wall", which is really wonderful.
The author of Xia Qianli captures several typical behaviors of the heroine and uses "difficulties" to express his feelings. Words such as "collection", "respect", "emotional knowledge" and "frequent reliance" accurately describe the protagonist's involuntary infatuation, and his inner sorrow is also self-evident.
Although this poem is a "generational poem", in feudal society, longing for one's wife is common, and there are many poems about missing one's wife and there is a profound tradition. Therefore, when Jiaxuan writes about the protagonist's depression and thoughts, he can empathize with her and write down his feelings. It is not empty, and its meaning is not separated. "The true feelings and the true scenery are different from the words in the air" (Xu Angxiao's "Ci Zong Ou Commentary"). We boldly hypothesize that it is very possible that "poems from generation to generation" are used as a cover-up to write one's own feelings, such as Li Yishan's "Gifts from Generations" and Su Dongpo's "Youth Travel in Runzhou: Writings for Generations to Send Away" and so on. "Partridge Sky · Dairen's Fu" - Appreciation of "Partridge Sky · Dairen's Fu" "Partridge Sky· Dairen's Fu" "Jackdaws in the Late Sun", this is the scene in the eyes after returning from sending someone off. The afterglow of the "evening sun" dyes the sky red, and also dyes the ancient road of Changting and everything as far as the eye can see. This is space. The sunset is getting fainter and night is about to fall. This is the time. And the person she sent away moved further and further away in this space and time. When the "evening sun" comes, the "jackdaw" should naturally be looking for a place to perch, probably croaking around the tree! But that traveler, where is he walking all alone at this moment, and whose house is he staying in? Because of this, the originally emotionless "Wanri" and "Jackdaw" became "sad" in the eyes of the heroine. This poem is about separation and sorrow. "Sorrow" and "hate" are the keynotes of the whole story. According to the general concept, the author still has to write about sorrow and hatred, but the author did not do this. Instead, he jumped out of the box and no longer wrote about sad scenes. Instead, he used fresh and pleasant brushwork to outline a happy scene: "Willow" "The pond is fresh and green but gentle" brings the readers into a realm of spring, rippling love and warmth. A poem by Yan Wei of the Tang Dynasty goes: "The willow pond is full of spring water, and the flower pond is late in the sunset." Mei Yaochen, a poet in the Northern Song Dynasty, said that "the sky is tense, harmonious and graceful" and "as if it were now" ("Liuyi Poetry Talk"). Xin Qiji's "The Willow Pond is Newly Green but Gentle" has a similar artistic mystery. The word "willow pond" makes people imagine that weeping willows are planted all around the pond; but it is impossible to know what season it is. When you think of the "jackdaw" in front of you, you will think that it is the severe winter, the willow leaves are falling, and the pond water is frozen or even completely dried up. The scene is naturally depressing. However, the poet was ingenious and added "new green" after "Liu Pond", which immediately called us spring: the willows around the pond shook gold, and the spring waves in the pond turned green, which is pleasing to the eye; but what if we expected that on this basis? , adding the word "gentle". Compared with the severe winter, the water in early spring appears "warm", which is the so-called "duck prophet of warm water in the spring river". But to call it "tender" is to express not only the feelings of the lyrical protagonist, but also her emotions. This feeling is extremely subtle and thought-provoking. Based on our experience: that pool of spring water not only reflects the skylight, cloud shadows and surrounding weeping willows, but also has pairs of mandarin ducks or other waterfowl floating in it. When the lyrical protagonist sees all this, she naturally feels "gentle", and thus she also thinks of how "gentle" she is when she is reunited with her beloved. "Jackdaws in the Evening Sun" and "New Green in the Willow Pond" are two scenes that come into view one after another after seeing off pedestrians. It is not difficult to imagine that this is the early spring when it is suddenly warm and then cold. The former is said to be parting, so "sun" is called "night", and "crow" is called "cold", which causes the inner feeling of "sorrow". The latter said about the memories and prospects of getting together, so the spring scenery is like a spring, full of spring spirit, and the inner feeling caused by it is infinite "tenderness". This poem can really be said to be "worked on from the beginning". The two scenes, two feelings, and the complex psychological activities reflected in the two emotions in the first two sentences make the lyrical protagonist fully present, so the following words flow out from her heart. "The new green of the willow pond" is beautiful in spring. If you can play in the water with the person you love like mandarin ducks and never be separated, you will stay young forever and will not grow old. But in fact, the one you love is heading towards the end of the world when the "evening" is sinking and the "jackdaws" are returning home! If you can read it at your fingertips, the ancient poem "Lovesickness makes you grow old" can be used as a portrayal of the mood at this time. However, literature is a kind of creation, and the most important thing is originality. Please see how the poet innovated: "If you don't have hatred in your eyes, you don't believe that there are white heads in the world." How low and wandering his mind is, how swaying his writing is! "No separation and hatred" is a hypothesis, and not "growing old" is the expected result after the hypothesis becomes a fact. But what about now? Assuming that the hypothesis cannot be established, "grey head" is inevitable, so the next film closely follows "living hatred" and "grey head", starting with "The intestines are broken, and the tears are hard to hold back", expressing it freely without any subtlety. When feelings break out like a flood and break all embankments, it is impossible to be reserved, because there is no need to be reserved. The beauty of the sentence "Lovesickness returns to the Little Red Mansion" lies in the word "heavy". After the heroine sent her beloved away, she climbed up the small building again and again to look into the distance. At first it was visible, but then only the "evening jackdaws" were visible, and no one could be seen.
Because I was very lovesick, I couldn't see anyone, but I still wanted to look, so I "went back to the Little Red Mansion". The word "frequency" in the concluding sentence "Knowledge of love has been blocked by the mountain, and I often lean on the railing and cannot be free" echoes the word "heavy". Knowing clearly that pedestrians have reached the other side of the distant mountains, staring in vain; yet they still can't help but "go up to the red building again" and "frequently lean on the railings". The depth of separation and hatred and the deep longing for each other are self-evident. . The next part of Ouyang Xiu's "Traveling on the Shasha" says: "Every inch of soft intestine is full of pink tears. Don't lean on the dangerous railings near the tall buildings. Wherever the plains are, there are spring mountains, and travelers are even outside the spring mountains." It is written that travelers get further and further away, so the heroine I can't bear to continue to look far away. Xin's poem writes that the travelers are already outside the mountain, but the hostess often leans on the railing and looks far away, unable to control herself. Expressing different personalities and mentality, each is wonderful. "Partridge Sky·Ode to Generations" - About the Author Xin Qiji Xin Qiji (1140-1207) was a poet in the Southern Song Dynasty. The courtesy name is You'an and the nickname is Jiaxuan. He was born in Licheng (now Jinan, Shandong). When he was born, Shandong was already occupied by the Jin soldiers. At the age of 21, he joined the anti-Jin rebel army and soon returned to the Southern Song Dynasty. He successively served as the pacifier of Hubei, Jiangxi, Hunan, Fujian, and eastern Zhejiang. During his tenure, he took active measures to recruit exiles, train the army, reward farming and fighting, crack down on corruption and powerful people, and pay attention to stabilizing people's livelihood. He firmly advocated resisting gold throughout his life. In memorials such as "Ten Essays on Meiqin" and "Nine Discussions", he made a detailed analysis of the political and military situation at that time, and made a strong refutation of the fallacy of exaggerating the strength of the Jin army and advocating compromise and surrender; he called for strengthening combat preparations and encouraging morale. to restore the Central Plains. None of the anti-gold suggestions he put forward were adopted, and he was attacked by the peace faction. He was laid off from his job for a long time and lived idle in Shangrao and Qianshan, Jiangxi. In his later years, Han □ (tuo1) Zhou came to power and was appointed for a time, but soon died of illness. His poems express the patriotic enthusiasm of trying to restore the country's unity, express the grief and indignation of unrealized ambitions, expose and criticize the humiliating surrender of the upper-class ruling group of the Southern Song Dynasty; there are also many works that sing about the mountains and rivers of the motherland. There are various artistic styles, but the main ones are bold and unrestrained. Enthusiastic, generous and tragic, with strong writing power, he is called "Su Xin" together with Su Shi. "Po Zhenzi·Write a poem for Chen Tongfu", "Yongyu Le·Jingkou Beigu Pavilion Nostalgia for the past", "Shuilongyin·Dengjiankang Shangxin Pavilion", "Bodhisattva Man·Book on the Ostomy Wall of Jiangxi", etc. famous. But some works also reveal the negative emotions caused by unfulfilled ambitions. There is "Jia Xuan Long Short Sentences". Today, there is a compilation of Xin Jiaxuan's Poems and Notes.