Although the Ci world in the Northern Song Dynasty was full of slow Ci poets, it was still dominated by Xiaoling. The writer who brought an end to the Northern Song Dynasty's poetry scene was Li Qingzhao. ?Among the Chinese female writers, this is the only one who can occupy a place in the history of literature. The poem was originally a description of female beauty, and she was able to express herself. Although she lived between the Northern Song Dynasty and the Southern Song Dynasty, her style was completely that of the Northern Song Dynasty. She was unwilling to follow the general trend of the time and focused on Xiao Ling's chanting, which was more important in the world of poetry. Now I will bring you about Li Qingzhao's "Wulingchun? Spring Festival Gala", I hope you like it!
"Wulingchun? Spring Festival Gala"
Dynasty: Song Dynasty
Author: Li Qingzhao
The wind and dust have exhausted the fragrant flowers, and I am tired of combing my hair day and night. Things are different and people are not the same. Everything stops. If you want to speak, you will shed tears first.
I heard that the spring in Shuangxi is quite good, so I plan to take a boat trip. I'm afraid that the boat in Shuangxi cannot carry many sorrows.
Translation
The wind has stopped, the dust carries the fragrance of flowers, and the flowers have withered away. The sun has already risen high, but I am too lazy to dress up. The scenery remains the same, the people and things have changed, and everything has ended. I wanted to express my feelings, but before I could open my mouth, tears started to flow.
I heard that the spring scenery in Shuangxi is quite good, so I plan to go boating there. I'm afraid that a small boat like a grasshopper in Shuangxi cannot carry my many sorrows.
Introduction to the poet
Li Qingzhao (March 13, 1084 - May 12, 1155), No. Yi Anju, Han nationality, was from Zhangqiu, Jinan, Shandong Province. A female poet in the Song Dynasty (at the turn of the Southern and Northern Song Dynasties), a representative of the Wanyue Ci School, she is known as the "most talented woman in the ages". In the early stage of his poems, he wrote mostly about his leisurely life, while in the later stage, he mostly lamented his life experience and had a sentimental mood. In terms of form, he makes good use of line drawing techniques, creates his own channels, and uses clear and beautiful language. The argument emphasizes the law of association, advocates elegance, puts forward the idea that lyrics are "different" and opposes the method of writing poetry. He is capable of poetry, but not much remains. Some of his chapters are timely and historical, and his sentimental words are generous, which is different from his style of writing. There are "Collected Works of Yi An" and "Yi An's Ci", which have been lost. Later generations have a compilation of "Shu Yu Ci". Now there is "Li Qingzhao's Collection and Annotations".
Appreciation
This poem was written by the author when he took refuge in Jinhua, Zhejiang in the fifth year of Shaoxing (1135), Emperor Gaozong of the Song Dynasty. She was fifty-three years old at the time. At that time, her country was ruined and her family was in ruins. Her beloved husband died, most of her treasured cultural relics were lost, and she was homeless and helpless, so her poems were extremely miserable.
The first sentence describes what we are seeing now. It is originally a scene of the wind blowing and the flowers all gone, and it is a desolate place. However, it avoids describing the violent wind and the mess of the flowers from the front, and only uses the four words "the wind lives in the dust and the fragrance". To show the consequences of this small disaster, the strong wind destroyed the flowers and the ground was covered in red, which is very subtle in the painting. Moreover, when the wind does not stop, the flowers are flying and falling red like rain. Although it is extremely unbearable, there are still some broken flowers visible; after the wind stops, the flowers are stained with mud, trampled by people and horses, and turn into dust. The remaining traces, but there are If the dust is fragrant, the spring light will be swept away, and there will be nothing left, which is even more unbearable. Therefore, the four words "wind abides in dust and fragrance" are not only implicit, but also because of their implicitness, they expand the capacity, allowing people to experience richer emotions. The second sentence says that because what you see is like that, you do what you do. The sun is already high, but my hair is still uncombed. Although it has the same meaning as "Getting up and combing your hair lazily" in "Recalling the Flute on the Phoenix Platform", it is the sorrow of life and separation. It is the hatred of separation, deep and shallow.
The third and fourth sentences change from implicit to vertical and straight writing, pointing out that the origin of all misery is "things are different and people are different". And this kind of change is different between people, and it is by no means an accidental, individual, slight change, but an extremely extensive, drastic, fundamental, and major change, endless things, endless Pain is all in it, so it is summarized as "everything is over". This is really a seventeenth history. Where to start? So when I was about to say something, tears started flowing down my face.
The first two sentences are implicit; the last two sentences are sincere. Being implicit is because there is nowhere to complain about the situation; being straightforward is because even though you know there is nowhere to complain, you still have to complain. So they appear to be opposites, but in reality they complement each other.
Since the first film talks about the unbearable scenery in front of us and the miserable mood, the second film will stop talking about it from a distance. This female lyricist loves traveling the most. According to Zhou Hui's "Qingbo Magazine", when she was in Nanjing, every day when it snowed heavily, she would wear a hat and a raincoat and look around the city in search of poems. It's like this in winter, and you can imagine it in spring. Since she has a hobby of sightseeing and needs to take sightseeing to relieve her sad mood, and Shuangxi is a scenic spot in Jinhua, she naturally has the idea of ????going boating on Shuangxi. This is what "Nian Nujiao" said? How Many Tours Spring mood?. But in fact, her pain was too great and her sorrow was too deep. How could it be relieved by a boat trip? So before she went on the trip, she had already expected that the boat would not be able to carry the weight of her sorrow. The idea is both extremely novel and realistic. There are four sentences in the second part. The first two sentences are opened and turned once; the last two sentences are combined and turned again; and with "hear and say", "ye imitate", "I only fear" six virtual characters, the turn is expressive. Spring in Sungai is good, but it is just a rumor; a boating trip is just a dream, but a sudden fear of spring appears below, obliterating the news above. I heard about it and thought about it, but in the end, I just sat at home alone and worried.
Wang Shizhen's "Flowers and Grass" says: "Can't carry many sorrows" and "Carry away the sorrows of the evening", "Only carry a boat to leave the hatred and go to the two states", we can look at each other. ?When the two oars leave the ship and sail for a day, the troubles will inevitably be revealed. ?This comment tells us that novel ideas must have limits. Something that is right takes one step and becomes wrong; something that is beautiful takes one step and becomes ugly. Two sentences like "sculls" mean "farewell to the boat" and "a day of troubles". I am afraid that it will not be clear, artificial and unnatural, so it will be difficult for others to accept it. Therefore, "Wen Xin Diao Long: Setting the Stage" says: "Those who meet secretly will gain cleverness through new ideas, while those who are deviant will lose their body and become strange." The difference between cleverness and strangeness is only one step.
Li Houzhu's "Yu Meiren" said: "How much sorrow can you have? It's like a river of spring water flowing eastward." ?It’s just that there are more worries than there are water. Qin Guan's "Jiang Cheng Zi" says: Even in spring, the river is full of tears, and there are many sorrows that cannot be shed. ?Then the sorrow has become materialized and turned into something that can be placed in the river and flow away with the water. Li Qingzhao and others further moved it onto the boat, so Chou gained weight and could not only flow with the water, but also be carried by boats. Dong Jieyuan's "Xianlu's red lips wrapped around her tail" in "The Romance of the Western Chamber" says: "You don't need to ask about the severity of separation, you can't even carry it on a horse." ? Then unload the sorrow from the boat and put it on the horse. Wang Shifu's "The Romance of the West Chamber" drama "Main Palace? Perfect? ??Ending" says: "The troubles in the world fill my mind, and I wonder how these big and small cars can carry it." ? Then he took Chou off the horse and put it on the cart. From these small examples, we can also see the basic principle that literature and art must be inherited and developed at the same time.
The entire layout of this poem is also noteworthy. Ouyang Xiu's "Picking Mulberries" says: "The West Lake is beautiful after all the flowers are fragrant. It is a mess of red, flying catkins and weeping willows are dry in the sun's wind." After the music and songs have dispersed and the tourists have gone, they finally feel the spring sky, the curtains are lowered, and the two swallows return in the drizzle. ?Zhou Bangyan's "Looking to the South of the Yangtze River" says: ?The wandering prostitutes dispersed and circled back to the embankment alone. The fragrant grass is filled with smoke and the water is singing, the dense clouds are holding the rain in the dark west of the city, and the nine streets are not stained with mud. Under the peaches and plums, the Spring Festival Gala has not yet become a trail. There are flowers outside the wall, looking for the way around, horses passing by in the willow shades, and orioles singing, it's desolate everywhere. ?The methods are the same and can be compared. The first sentence of Tan Xian's "Fu Tang Ci Hua" Biao Ou Ci says: "Sweeping away is life." ?This is the most unique feature of the layout of these three poems. Sweeping is the sweeping of sweeping, and birth is the birth of happening. Judging from the first sentences of these three poems, they all talk about the end of the previous stage of the scene. The two poems of Ou and Li say that the spring is over, and the poem of Zhou says that the beauty has dispersed. When it’s not over or gone, the eyes are full of fragrance and the flowers are blooming. Of course, there are many touching scenes to write about. But after it’s over and gone, what else is left to write about? Doesn’t it start like this to limit what can be written? Have all the things in the book been cleared away? As I read on, I realized that another scene happened below.
The European poems describe the idleness and melancholy in late spring, the Zhou poems describe the desolation of walking back to the embankment alone until returning home, and the Li poems describe the deep pain of the change of things and human beings triggered by the wind and the fragrance of dust. And these are what the writer wants to express, and they are also the most moving parts, so it is called "Sweeping and Living". This is like when we go to see a multi-act play and arrive a little late. When we walk into the theater, we have just watched a very lively scene and then the curtain ends. We don’t know what the content of the next scene is. I found that I had caught up with the most exciting climax of the whole play. Any work can only reflect certain aspects of social life. This is especially true for lyric poetry because of its limited length. This way of writing can use the omitted part as a background to contrast the main text, thereby unexpectedly strengthening the appeal of the main text, so it is desirable. (Shen Zufen)