Like flowers or not, no one regrets teaching? . On the road from home, I thought, heartless and thoughtful? . My heart hurts and my eyes are sleepy. Do you want to open it or close it? . To go with the wind, to find a loved one, but also by the relentless call of the oriole.
I don't hate this kind of flowers falling completely, but I hate the West Garden, which is full of withered flowers. Where are the traces when it rains? A pool of ping is broken. If the spring scenery is divided into three parts, two of them become dust, and the other part disappears when it falls into the water. In detail, it seems that it is not a little flower, but a tear.
-"Water Dragon Hidden, Two Rhymes Zhang Zhifu Huayang Ci"
There have always been two opinions about the creation time of Su Shi's Shui Long Yin. One was written in two years (1087), and Su Shi was a bachelor of Hanlin in Bianjing. There is another view that it was written in Song Shenzong Yuanfeng four years (108 1), when Su Shi was demoted to Huangzhou. It doesn't matter when it was written, what matters is the artistic charm of the word itself.
Su Ci is famous for being bold and unconstrained, but Su Shi also writes graceful and restrained words, which can send graceful and restrained feelings to the bold and unconstrained. This word is a classic in Su Shi's graceful and restrained words. At that time, Zhang Zhifu, a good friend of Su Shi, wrote a poem "Hidden Water Dragon" to praise Huayang. Zhang Zhifu's Huayang painting has both form and spirit, exquisite brushwork, and reached a fairly high artistic level, which was widely praised and praised by the literati at that time. The exact words are as follows:
Swallows are busy, warblers are lazy and fragrant, and flowers fall on the embankment. Flying lightly, stippling the green forest, all without talent. Idle and gossamer, quiet in the depths of the courtyard, Nagato closed. The bead curtain is loose, hangs down and is lifted by the wind.
Blue people sleep, blame Tsing Yi, snow stained with Joan compose. The embroidered bed is getting full, and there are countless fragrant balls, round and broken. The fish swallowed the water when they saw the bees sticking pink on their backs. Looking at Zhangtai Road, the golden saddle lingers with tears.
Su Shi also liked this song "Hidden Water Dragon" very much, so he used the rhyme of Zhang Zhifu's original words and gave it to him. Su Shi explicitly told Zhang Zhifu not to show it to others. Zhang Zhifu had a good eye for pearls, and he appreciated harmonious language, so he ignored Su Shi's special suggestion and gave them to others for appreciation. Therefore, Su Shi's Ode to Huayang has been handed down from generation to generation.
Words have always been difficult to recite. Zhang Yan said in Etymology: "Poetry is difficult to recite things, especially words." Zhang Zhifu's ci described Huayang's demeanor very cleverly and became a masterpiece for a while. Su Shi's rhyming words, from form to content, are bound and restricted by the original words, so it is not easy for harmony to surpass the artistic height of the original words. Su Shi, on the other hand, lifted his weight lightly, endowed Huayang with form and spirit by personification, and truly achieved "borrowing things to contain temperament" and became a masterpiece in the history of chanting poems about things.
"Flowers are like flowers, and no one regrets falling from teaching." This sentence tells the nature and destiny of Huayang. It is also called a flower, but it is different from what people usually know. It is colorless and odorless, floating in the wind, and it is really difficult to compare with the flowers in people's memory, so Su Shi said it was "like a flower but not like a flower".
The flowers we usually see, whether they are fragrant in color or beautiful in shape, will always cause people's pity and sadness. On the other hand, Huayang is colorless, tasteless and inconspicuous, so no one cares how it fell.
People often use "easy virtue" to describe people's feelings, but in Su Shi's works, Huayang is "thinking away from home, but thinking mercilessly". Huayang drifted in the wind, left home and finally fell on the side of the road. This is not Huayang's nonsense, but the ruthlessness of the wind. Huayang doesn't want to leave her home, but Huayang's fate is like this, which is really helpless. Isn't the fate of Huayang the fate of those officials who are wandering outside?
In his letter, Su Shi said that because Zhang Zhifu was an official and far away from his family, he wrote this first word because he was "closed to the outside world and worried about his country". Therefore, writing about Huayang means writing about Zhang Zhifu, a prodigal son, and actually writing about Su Shi himself. Su Shi traveled all over China all his life, either relegated or an official. He has never come back since he left his hometown Meishan, so he has a real and profound experience.
If Huayang is thoughtful, then his emotion should be that he misses his home like a wanderer. For Huayang, his home is the willow tree he left behind. If Huayang is a wanderer, then Liu Shu is a homesick woman. "Broken heart, sleepy charming. I want to open it and close it. " Delicate willow branches are like the soft heart of a homesick woman. Green willow leaves are like its charming eyes. It seems that the spring sleep has not disappeared, and I want to open it.
"In the dream, Wan Li took the wind and wanted to find a place to go, but it was also, Yingying called? . "This sentence is the Tang Dynasty poet Jin Changxu's" Spring Complaint ":
Get rid of the oriole, get rid of all the music on the tree.
They woke her up when she dreamed that she went to meet him in Liaoxi camp.
These sentences use the artistic conception of the poem "Spring Complaints", comparing the willow tree to a homesick woman and the Yang flower to a wanderer. A woman who is wandering outside and homesick at home misses someone so much that her dreams are endless. Willow probably feels the same way. In her dream, she chased Wan Li, as if she had found her sweetheart, the wandering Huayang, but she was about to meet each other when she was awakened by the early oriole crow. Isn't the infinite bitterness of a woman who "misses her husband more than her husband" like the willow tree's yearning for Huayang? Huayang flies with the wind, but wants to spin and fall, as if it had gone and come back. Why does it want to leave the willow tree? Isn't it true that wandering wanderers are attached to their hometown? I want to go back, but I have to leave.
The first half of the word compares Huayang to an adult and writes Huayang's special modality. The second half echoes the first half, mainly about the final destination of Huayang, with a stronger sense of * * *.
When the willows are flying, it is already late spring, and the splendid spring is gone forever. In the face of falling flowers, people are always sad for the fleeting spring. Since Huayang is not valued, even if it flies away, it will not cause people's sadness about spring. So the poet said, "I don't hate this flower flying out. I hate the West Garden and it is difficult to compose music."
Now Huayang has flown away. Where has it gone? The poet told us, "Where are the traces when it rains?" A pool of ping is broken. "It rained in the morning, and Huayang has become a pool of duckweed. The ancients believed that duckweed was caused by Huayang falling into the water. There is no scientific basis for this statement, and it is only used for lyricism here.
As the saying goes, "all loves" is "colorful", but Su Shi divides spring scenery into three parts: "Spring scenery is divided into three parts, dust is divided into two parts, and water is divided into one part". "Two-part dust" means that flowers are turned into mud, and "one-part running water" means that flowers fall into the water and become ducklings. Where do you see that spring is over? Look at two points from the complete path of falling red and one point from the fall of young flowers. Here, poets cherish young flowers, and then the scenery in spring. Because the residual red has dispersed, the flowers have all flown away, and the splendid spring scenery no longer exists.
"Falling red is not heartless, but turning into spring mud is more protective of flowers." Falling in love is emotional, and Huayang is also meaningful. Although it has no choice but to go with the flow, "in detail, this is not Huayang's little tears." Huayang's departure is not to pursue vulgar material enjoyment, but the helplessness of fate. It is attached to its home, but it can't resist the reality. The wind blew it down and the running water sent it away, but Huayang was obviously attached to the willow branches. Therefore, it is not flowers that fall into the water, but sad tears in people's eyes.
This sentence echoes Shang Kun's last sentence. Shang Kun's last sentence is about lovesickness, and this sentence is about tears. Yes, the wandering wanderer had to leave his hometown in pursuit of fame and fortune, but did they forget their home? Even if they leave Wan Li, the warmest and softest place in their hearts must be home. Some people may think that they can harden their hearts and stay away from their homeland, but in fact they can't see the lovesick tears after wandering.
There was a poem in the Tang Dynasty that said, "Look, plum blossoms are all blood in people's eyes." Su Shi's intention here is more sincere and full of feelings, and the implication is also memorable. Wang Guowei commented on Su Dongpo in "Human Thorn" and said: "Dongpo's Huayang Ci is like singing in harmony; Yuan sings like a harmony. " From Su Shi's graceful words, we can feel his emotional inner world, and appreciate his gentle and graceful side in his broad-minded and bold style.
In a poem, "it is better to say temperament than charm, rather than realm." There is a realm, which is also. Temperament, charm, and finally. There is a realm, and both go hand in hand. "Whether it is a tune, a painting, a calligraphy work, excellent works can express artistic conception, and poetry is no exception. Wang Guowei also paid special attention to the artistic conception of the words in The Thorn on Earth.
The reason why Su Shi's Shui Ci is higher than Zhang Zhifu's original Ci is that Su Ci has a higher realm. Su Shi poured sincere feelings into Huayang's poems, which endowed Huayang with the thoughts and feelings of "human" and produced a strong artistic appeal, thus giving the poem Shui Long Yin eternal artistic life.