Huang Donglei's Yan-style calligraphy "Song of everlasting regret" and "Song of everlasting regret" is a well-known masterpiece among Bai Juyi's poems, which was written in the first year of Yuanhe (86), when the poet was serving as a county captain in Mi County (now Zhouzhi, Shaanxi). He visited Xianyou Temple with his friends Chen Hong and Wang Zhifu, and created this poem because of the stories of Emperor Xuanzong of Tang Dynasty and Yang Guifei. In this long narrative poem, the author describes the love tragedy of Tang Xuanzong and Yang Guifei in the Anshi Rebellion with refined language, beautiful image, narrative and lyrical combination: their love was ruined by their own rebellion and they are eating the bitter fruit of this spirit endlessly. Tang Xuanzong and Yang Guifei are both figures in history. Poets don't stick to history, but rely on a little shadow of history. According to people's legends at that time, the singing of the neighborhood has degenerated into a tortuous and moving story, which is described and sung by the art form of reciprocating and touching. Because the stories and characters in the poems are artistic, and they are the complex and true reappearance of people in reality, they can ripple in the hearts of readers in past dynasties.
The Song of Eternal Sorrow is the song "Eternal Sorrow", which is the theme of the poem, the focus of the story and a touching seed buried in the poem. As for what you hate, why do you hate it for a long time? The poet does not directly tell and express it, but shows it to readers layer by layer through the poetic stories he writes, so that people can guess, remember and feel for themselves.
The first sentence in the poem's opening book: "china's Emperor, craving beauty that might shake an empire" seems very common, as if the story should have been written from here, and it doesn't need the author's attention. In fact, these seven words are of great content and are the whole program, which not only reveals the tragic factors of the story, but also evokes and directs the whole poem. Then, in extremely frugal language, the poet described how Xuanzong of Tang Dynasty emphasized color and sought color before the Anshi Rebellion, and finally got Yang Guifei, who was "if she but turned her head and smiled, there were cast a hundred spells and and the powder and paint of the Six Palaces faded into nothing". It describes Yang Guifei's beauty and charm. After entering the palace, she was favored by color. Not only did she "inherit her kindness", but also "all her sisters and brothers were listed in the soil". Repeatedly rendering how to indulge in sensuality, how to have fun, and how to indulge in singing, dancing, drinking and wine all day long in the palace after Emperor Xuanzong of the Tang Dynasty won the imperial concubine. All this led to the Anshi Rebellion: "till war-drums, booming from Yuyang, shocked the whole earth, and broke the tunes of The Rainbow Skirt and the Feathered Coat". This part describes the internal cause of "long hatred", which is the basis of the tragic story. Through the realism of this period of palace life, the poet introduced the hero and heroine of the story to us ironically: an emperor who values the country over the country, and a charming and pampering concubine. It also vividly implies that the misunderstanding of Tang Xuanzong is the root of this tragedy.
Next, the poet specifically describes the scene that the emperor's military forces fled to the southwest after the Anshi Rebellion, especially the destruction of the love between Emperor Xuanzong and Yang Guifei in this turmoil. "the men of the army stopped, not one of them would stir, till under their horses' hoofs they might trample those moth-eyebrows. Flowery hairpins fell to the ground, no one picked them up, and a green and white jade hair-tassel and a yellowgold hair-bird. The Emperor could not save her, he could only cover his face, and later when he turned to look, the place of blood and tears ",written is their scene in where will you go, Maweipo. The "six armies refused to send" and demanded the execution of Yang Guifei, which was angry at Tang Xuanzong's infatuation with women and brought disaster to the country and the people. Yang Guifei's death is a key plot in the whole story. After that, their love became a tragedy. Then, from "was hidden in a yellow dust blown by a cold wind" to "and yet no beloved spirit ever visited his dreams", the poet seized the "hate" in the spiritual world of the characters, and used a sour and touching tone to describe and describe the loneliness and sadness of Tang Xuanzong in Shu after Yang Guifei's death, and also reminisced about the past on the way. The lingering lovesickness makes people feel heartbroken. It is precisely because of the poet's rendering of the characters' feelings to such an extent that the arrival of Taoist priests and the appearance of fairyland behind them give people a sense of reality and do not think that they are purely castles in the air.
From "at Lingqiong lived a Taoist priest who was a guest of heaven" to the end of the poem, the Taoist writer helped Tang Xuanzong find Yang Guifei. The poet used a romantic technique, and suddenly he went to heaven and then went to earth, "above, he searched the Green Void, below, the Yellow Spring, but he failed, in either place, to find the one he looked for". Later, Yang Guifei was found on the ethereal fairy mountain at sea, and she was allowed to reappear in the fairyland with the image of "and the tear-drops drifting down her sad white face and were like a rain in spring on the blossom of the pear", warmly welcoming the envoys of the Han family, expressing affection, sending words by token, reaffirming the previous oath, taking care of Tang Xuanzong's thoughts about her, and further deepening and rendering the theme of "long hatred". At the end of the poem, use "earth endures, heaven endures; some time both shall end, while this unending sorrow goes on and on for ever" to close the pen, point out the theme, respond to the beginning, and achieve "voiceless", giving readers room for association and aftertaste.
The Song of Eternal Sorrow first gives us the enjoyment of artistic beauty, which is an exquisite and unique artistic conception of the poem. The center of the whole article is the song "long hate", but the poet starts with "heavy color" and tries his best to write and render it. "Rise at sunrise", "don't go to court early", "stay up all night" and "don't see enough", etc., seem to be extremely happy, like a comedy. However, the extreme joy is just a contrast to the endless hatred behind. Tang Xuanzong's dissolute and wrong country led to political tragedy, which in turn led to the love tragedy between him and Yang Guifei. The maker of the tragedy finally becomes the hero of the tragedy, which is the special and tortuous part of the story, and also the reason why the hero and heroine in the poem want to "hate" for a long time. In the past, many people said that "Song of Eternal Sorrow" had an allegorical meaning, and this is the allegorical meaning of this poem. Then, how does the poet express "long hatred"? After the death of Yang Guifei in Ma Jipo, the poet described it with great delicacy, which showed the inner contradictions and painful feelings of Tang Xuanzong, who could not bear to give up his love but wanted to save it. Because of the death of this "blood and tears", there will be endless hatred. Later, the poet used a lot of pen and ink to repeatedly render Tang Xuanzong's yearning for Yang Guifei from all aspects, but the story of the poem did not stop at an emotional point, but with the layers of the inner world of the character, he sensed the constant changes of his scenery, pushed the time and story forward, and used the thoughts and feelings of the character to develop and promote the development of the plot. After his death, Emperor Xuanzong of Tang Dynasty went to Shu, and his heart was very sad. Still on the road, the old place revisited, and it evoked sad memories; After returning to the palace, I experienced physical injuries during the day and trouble sleeping at night. I miss it day and night, so I hope for a dream, but it is "with the distance between life and death year after year, and yet no beloved spirit ever visited his dreams". At this point in the poem, the "hate" of "long hate" has been written very touching, and it seems that the end of the story is ok. However, the poet's pen was bent, and with the help of the colorful wings of imagination, he conceived a charming fairyland, which pushed the plot of the tragic story to a climax and made the story more tortuous, ups and downs and waves. This turning point is both unexpected and reasonable. Due to the constant contradiction and collision between subjective desire and objective reality, poetry vividly shows the psychology of the characters, and the story is even more moving.
"Song of Eternal Sorrow" is a narrative poem with strong lyrical elements. The poet adopts the expressive techniques that China's traditional poems are good at in telling stories and portraying characters, and harmoniously combines narrative, scenery description and lyricism, thus forming the characteristics of poetry's lyricism. The poet sometimes injects the thoughts and feelings of the characters into the scenery, and uses the refraction of the scenery to contrast the mood of the characters; Sometimes we grasp the characteristic scenery and things around the characters, express their inner feelings through their feelings, and render them layer by layer, appropriately expressing the difficult feelings hidden in the hearts of the characters. On the way to the southwest, Emperor Xuanzong of Tang Dynasty was surrounded by yellow dust, plank roads and high mountains. The sun was dim, the standard was dull, and autumn scenery was desolate. This is based on the sad autumn scenery to set off the sad thoughts of the characters. In Shu, facing the green mountains and green waters, we still can't forget ourselves. Shui Yuan, the mountain and water in Shu, is beautiful, but in the eyes of lonely and sad Tang Xuanzong, the "green" of the mountain and the "green" of the water are also sad. The beauty of nature should be enjoyed in a quiet state of mind, but he doesn't, so it increases the inner pain. This is to write sad feelings through beautiful scenery, which makes the feelings go deeper. The moonlight in the palace and the ringing of the bell in the rainy night are already very exciting. The poet grasps these unusual but characteristic things and brings people into the realm of sadness and heartbroken. Plus, when they see and smell, they are intertwined with each other, which also shows the sadness and sadness of the characters in language and tone. This is another layer. Still on the road, "everything is spinning", which was originally a happy thing, but the old place was over, and Yu Yan disappeared, and I couldn't help but cry. In the narrative, another layer of painful memories is added. After returning to Chang 'an, "the pools, the gardens, the palace, all were just as before, the Lake Taiye hibiscus, the Weiyang Palace willows. But a petal was like her face and a willow-leaf her eyebrow, and what could he do but cry whenever he looked at them? ". During the day, triggered by the environment and scenery, people are associated with the scenery, but the scenery remains the same, but people are gone. I can't help but burst into tears. From the hibiscus flowers in Taiye Pool and the weeping willows in Weiyang Palace, I seem to see Yang Guifei's appearance, showing the extremely complicated and subtle inner activities of the characters. "over the throne flew fire-flies, while he brooded in the twilight., he would lengthen the lamp-wick to its end and still could never sleep.. Bell and drum would slowly toll the dragging nighthours, and the River of Stars grow sharp in the sky, just before dawn ". From dusk to dawn, it focuses on the scene of being haunted by emotions for a long time at night and unable to sleep. This bitter yearning is the same with "peach-trees and plum-trees blossomed, in the winds of spring" and "lakka-foliage fell to the ground, after autumn rains". It was sad to see that the "disciples of Liyuan" and "A Jian Qing E" in those days were all white-haired and faded, which even aroused the thoughts of the past pleasures. From yellowish dust's rambling to Shushan's green, from the palace's rainy night to the triumphant return, from day to night, from spring to autumn, we are touched by things everywhere, always thinking about people, and repeatedly rendering the protagonist's hard pursuit and search from all aspects. If you can't find it in real life, look for it in your dreams. If you can't find it in your dreams, look for it in fairyland. Such ups and downs, layers of rendering, make the characters' feelings whirl up and reach a climax. It is through such layers of rendering that the poet repeatedly expresses his feelings and goes back and forth, so that the thoughts and feelings of the characters are more profound and rich, and the poetry is "delicate in texture" and more artistic in appeal.
As a narrative poem that will never be sung again, Song of Eternal Sorrow has achieved great success in art.. Throughout the ages, many people have affirmed the special artistic charm of this poem. What infects and tempts readers with the art of Song of Eternal Sorrow? Moving and touching, I am afraid it is its greatest artistic personality, and it is also the power that it can attract readers for thousands of years, making them infected and tempted. Appreciation Four people have always argued about the theme of Bai Juyi's Song of Eternal Sorrow, including the so-called love theory, the political theme theory, the dual theme theory and so on. The author of this article holds the theory of love. First of all, from the analysis of four levels of the work, it is affirmed that Bai Juyi does not describe Li Yang's story with a moralistic face like Chen Hong's "The Legend of Eternal Sorrow", but takes "emotion" as the main theme, so that the hero's emotion can move the readers, making it produce a * * * sound and achieve great aesthetic success. Combining the author's life experience and social history, this paper also analyzes his uniqueness in dealing with the relationship between historical themes, political themes, human themes and psychological themes from the people, and further explains the aesthetic significance of the image of Yang Guifei in the Tang Dynasty.
As soon as The Song of Eternal Sorrow, a micro-engraving, came out, its theme became the focus of debate among readers. There are also quite different views. Generally, there are three kinds: one is the theme of love. It is a love poem praising Li Yang. And affirm their sincerity and persistence in love; The second is the theory of political theme. It is believed that the focus of the poem lies in allegory, in exposing the "endless hatred" that "china's Emperor, craving beauty that might shake an empire" will inevitably bring, and condemning the dissoluteness of the Tang and Ming emperors that led to the Anshi rebellion to admonish the later monarchs; The third is the dual theme theory. It is thought that it is a mixture of exposing and praising unity, irony and sympathy, which not only sheds a tear of sympathy, but also blames the loss of government and resentment. How, still need to analyze from the work itself.
Poetry can be divided into four levels: The first level is from "china's Emperor, craving beauty that might shake an empire" to "the Emperor's eyes could never gaze on her enough", which describes how Xuanzong of Tang Dynasty emphasized color and sought color before the Anshi Rebellion, and finally got Yang Guifei of "if she but turned her head and smiled, there were cast a hundred spells". After the imperial concubine entered the palace, she was pampered and arrogant. Not only did she "inherit her kindness", but also "all her sisters and brothers were listed in the soil". After repeatedly rendering the imperial concubine of Emperor Xuanzong of Tang Dynasty, she completely indulged in singing, dancing and drinking. The first sentence of the book not only hints at the tragic factors of the story, but also evokes and directs the whole poem;
The second layer, from "till war-drums, booming from Yuyang, shocked the whole earth" to "and later when he turned to look, the place of blood and tears", describes the Anshi Rebellion, when Xuanzong fled and was forced to grant the imperial concubine a death, and describes the internal cause of "long hatred", which is the basis of the tragic story. The poet deliberately downplayed the Anshi Rebellion caused by Xuanzong's debauchery and wrong country, and described their where will you go deliberately. The reader was infected by the tragic atmosphere rather than the rational criticism of history. Chen Hong's theory of "punishing the stunner and smothering the disorder" in "The Song of Eternal Sorrow" can't be regarded as the writing motivation of this poem.
The third layer, from "was hidden in a yellow dust blown by a cold wind" to "The Soul Never Comes to Dream", describes that after the death of Yang Guifei, the loneliness and sadness of Emperor Xuanzong of Tang Dynasty in Shu were all about reminiscing about the past, seeing the moon in the palace and ringing the bell in the rain at night, which was a "sad color" and "heartbroken sound". When Chang 'an returned to Korea after its recovery, it was more important than Ma Wei and that memory, that anguish. Where was her jade-white face?. After returning to the palace, Chiyuan is still the same, and things are different, and the lingering lovesickness makes people feel sad;
On the fourth floor, from "at Lingqiong lived a Taoist priest who was a guest of heaven" to "while this unending sorrow goes on and on for ever", it is written that Xuanzong sent alchemists to look for the soul of Yang Guifei, focusing on her loneliness and sad recollection of her love life in the past. The poet used romanticism to go from heaven to earth, and finally let the imperial concubine reappear in the fairyland with the image of "and the tear-drops drifting down her sad white face, were like a rain in spring on the blossom of the pear" on the illusory fairy mountain. The catharsis of "emotion" has gone beyond the emotional entanglements between emperors and concubines, but has more subjective ideal elements of poets, and has already gone beyond the scope of historical facts, showing the contradictions and conflicts between subjective wishes and objective reality. The last sentence of "earth endures, heaven endures; some time both shall end, while this unending sorrow goes on and on for ever" is a sigh and cry of love, and it is a lament that love has been spread by fate and destroyed by political ethics. This hatred has gone beyond time and space and entered the infinite realm. In this way, the poet expressed the eternal love with "long hatred", that is, to point out the theme of the whole poem.
It should be said that at the beginning of writing, Bai Juyi at least subjectively agreed with Chen Hong's theory of "punishing stunners and suppressing disorder". Later, he repeatedly emphasized the themes of "stunners confusing people" and "being fawning on others" in Li Furen and Gu Jia Fox of New Yuefu, clearly proclaiming the harm of sex, but admitting that ". However, in the actual writing of Song of Eternal Sorrow, he obeyed the human instinct and emotional desire for beauty expressed in folk love stories. In this way, the whole story has a more profound and complex meaning: it writes both true beauty and true evil, and directly links the two; There is a passage in the book "Love Collection" and "A Song of Eternal Sorrow": Uncle said to his mother, "It is very beautiful and will be very evil." Li Yannian sang, "Return the country to the city." This is also called. This passage can probably represent the final thinking of scholars in the middle Tang Dynasty on this issue. One of the basic principles that Bai Juyi followed when writing Song of Eternal Sorrow was that "beauty" should not be erased because it was "very evil". Although its theme seems to deviate from the condemnation of "very evil" in the end, the content of "very evil" itself has not been erased, which in turn enriches "very evil"