Five Dynasties: Li Yu
Deep courtyard quiet, small courtyard empty, intermittent cold anvil, intermittent wind.
But the night is long and people sleep, and the sound of the moon reaches the curtain.
Master's Order: Deep Courtyard
The autumn wind brings cold anvil sounds, which is particularly vivid in the small courtyard.
But it's hard to sleep at night, and the sound of anvil and moonlight penetrate into the curtains, which makes people sad.
Notes on A Master's Order: Deep Courtyard
Cold anvil (zhēn): anvil, the stone that smashed clothes, here refers to the sound of smashing clothes. In ancient times, silk woven from raw silk was pounded into mature silk on a stone with a wooden pestle and used to cut clothes. Cold anvil, because it is cold at night, it is called. This refers to the sound of clothes being smashed on a cold night. There is a poem in Du Fu's Autumn Xing in the Tang Dynasty: "Cold clothes urge knives everywhere, and Baidicheng is in a hurry."
Helpless: Morning Market is written in Xiao Yu Pu, Zun Qian Ji and Nan Ci Xin Pu.
Sleepless Man: Sleepless Man was written in Xiao Yu Pu, Zun Qian Ji and New Pu of Nanci. Insomnia, can't sleep.
Count: several times, here refers to the sound of smashing clothes.
And the moon: with moonlight.
Pass: Pass.
Dragon: Grilled window with bamboo curtain. A window with a horizontal grid.
Appreciation of A Master's Order: Deep Courtyard
"Cheating" is not only a epigraph, but also the title of this fine print. Practice is a kind of white silk, which must be hammered on the anvil with a wooden pestle; Ling refers to Xiao Ling, which means short song. In this poem with only 27 words, the author focuses on the inner feelings brought by the sound of horseshoes in autumn night to a person who has been sleepless all night because of loneliness and depression, and implicitly conveys an unspeakable psychological secret and emotional atmosphere.
The vivid and picturesque realm and the profound image are the main characteristics of this word in artistic conception creation. The author adopts a technique similar to film pushing, and gradually introduces the close-up of the lyric hero from panorama to close-up with the lens of far and near scenes. The words "courtyard" and "court" in the first two sentences are actually not synonyms, but a clever combination of two far and near shots. The "deep courtyard" is the deep house compound of aristocratic families, and so is the so-called "the door is as deep as the sea" and "how deep is the courtyard". This is a panoramic view. "Small courtyard" is a unit in this whole, that is, an independent small courtyard and a small courtyard in the midst of thousands of changes. The lens zooms in from the panorama, unconsciously introducing the reader into the picture, and placing him in a concrete and sensible environment. The above is just the form of the picture, which belongs to the surface characteristics, and has not yet grasped the "spirit", that is, the inner deep characteristics of the picture. The two pictures are touched by two very common words "static" and "empty", so we should appreciate them carefully. The "quietness" of a luxury house is not only objective and external quietness, but also a strong subjective emotion in the deep structure of discourse. It's scary and breathless. It's a deep sense of peace under psychological depression.
The small court is "empty", which is obviously not empty in the objective sense. There are always too few servants and maids in such a noble house, and there are flowers, trees, ponds and jade fences in the golden well. The author just used the word "empty" and erased it. It can only be said that his subjective feelings are at work and everything is turned a blind eye. It turns out that a small courtyard in a huge building community itself has a sense of oppression and coldness. A lonely, empty and boring life living in this atmosphere will definitely feel unbearable loneliness, depression and anxiety.
"Intermittent cold anvil and intermittent wind" added to this silence and tranquility. The banging sound of the wooden pestle hitting the stone anvil is blown by the sad autumn wind, which is light and heavy at times and intermittent, endlessly deepening the loneliness of the protagonist. Cold anvil, that is, rammed slate, refers to the anvil sound of cold autumn here. The repetition of the word "intermittent" is a deliberate arrangement, which not only embodies the author's language style of avoiding cleverness, but also vividly conveys the lingering charm of the sound of horseshoes in the autumn wind. More importantly, this kind of ethereal auditory effect, which seems to return and be at arm's length, is completely in tune with the extension and change rhythm of the lyric hero's inner feelings. Then the author zoomed in, and the close-up of the lyric hero was revealed: it was late at night, and the autumn moon was like water, pouring in from the doors and windows with the sound of cold anvil, disturbing him to toss and turn and unable to sleep. The word "helplessness" makes readers seem to see his frowning brows and infinite anxious eyes. This is the core of the text context and the focus of the picture, and the above lens picture is the foil and foreshadowing of this focus. A few cold anvils will make the hero sleepless all night, because it is a specific emotional symbol and contains specific emotional information.
In ancient poetry, the voice of slapping clothes or practicing martial arts is often used to express the grievances of the wife of the marriage seeker to her husband who is far away. For example, Xie Huilian, a writer of Liu and Song Dynasties in the Southern Dynasties, wrote a famous poem "Yi Dao Shi" and kept it in Selected Works, which is this kind of accusation against women; The theme of Yu Xin's poem "Listening to Clothes at Night" in the Northern Zhou Dynasty is "Who pities soldiers and is in Jiaohe tonight"; Shen Quanqi, a poet in the early Tang Dynasty, wrote a poem "The Ancient Meaning Completes the Que, the Qiao Zhi", in which there is a sentence: "When I hear the cold hammer, I shake the leaves and remember Liaoyang in October"; Li Bai's "Midnight Wu Ge", with a bright moon hanging high in the capital, was tempered. And the autumn wind blows my heart, forever and ever towards Yutong "naturally everyone knows." It can be seen that the cold anvil sound, as an emotional form or symbol, has gradually been abstracted, symbolized and solidified into a literary tradition. As a symbol of emotion, it has the function of psychological guidance to trigger a specific psychological emotion, which is of course not limited to complaints about women, but also can be the nostalgia of ordinary couples and lovers, or even similar emotions without a specific object but purely psychological feelings. But this small print has the following characteristics: the boundary is simple and clear, but the image is confusing and vague. So, this is a lover, a husband, an old friend, or the old country. The author may have a specific reference at that time, or he may have an inexplicable psychological emotion and feeling. The so-called "memories of this situation are feasible, and you won't know until you come and go". The more obscure the image of some works, the greater the space left for readers to participate in imagination and creation, and the higher the aesthetic value.
This little sentence can be said to be such a beautiful misty poem. On this point, Nalan Xingde, a famous poet in Qing Dynasty, made some discoveries. He once said that Li Houzhu was "free from the confusion of smoke and water" (Miscellaneous knowledge of Lushui Pavilion). Nalan very accurately pointed out another implicit style of Li Yu's ci besides expressing his mind directly.
The Creation Background of A Master's Order: Deep Courtyard
In the eighth year of Kaibao (A.D. 975), the Southern Tang Dynasty destroyed the Song Dynasty, and Li Yu lost his family and country, with bare skin and flesh, and was imprisoned in Bianjing. Quiet in the Deep Courtyard belongs to Li Yu's later works, which describes the poet's parting worries caused by the sound of slapping clothes on a cold night.
A Brief Introduction to the Author of "One Action for Play, Deep Courtyard Quiet"
Li Yu (August, 93715-August, 978 13), the sixth son of Li Jing, was born in Jinling (now Nanjing, Jiangsu) and his ancestral home was Pengcheng (now tongshan district, Xuzhou, Jiangsu). Li Yu is proficient in calligraphy, painting, melody and poetry, especially in ci. Li Yu's ci has inherited the tradition of Huajian poets such as Wen and Wei Zhuang since the late Tang Dynasty, and has been influenced by Li Jing and Feng Yansi. Its language is bright, vivid, sincere and distinctive. After the national subjugation, his ci was characterized by a wide range of themes and profound meanings, and it was unique among the five pronouns in the late Tang Dynasty, which had a far-reaching influence on the later ci circles.