Young Master Qiu Xu is the guest of the five nobles, drinking a thousand bells is like building a palace. Explanation: A general with a beard, a noble son, a distinguished guest from the five princes, and the house is full of distinguished guests. They can drink a thousand cups of wine in one go, and the force of pouring wine is like rain pouring down from a high roof. Poem title: "Night Banquet Ballad". Real name: Wen Tingyun. Nicknames: Wen Qi, Wen Tingyun, Wen Tingyun, Wen Bacha, Wen Bayin. Font size: Zi Feiqing. Era: Tang Dynasty. Ethnic group: Han. Birthplace: Qi, Taiyuan (now Qi County, Shanxi). Time of birth: approximately 812 (or 824). Time of death: approximately 866 (or 882). Main works: "Passing Chen Lin's Tomb", "Returning Ballad", "River God", "Returning Ballad", "Resentment of Tibetan Women", etc. Main achievements: poetry creation.
We provide you with a detailed introduction to "The Five Marquises of Mr. Qiuxu" from the following aspects:
1. For the full text of "The Ballad of the Night Banquet", click here to view the full text of "The Ballad of the Night Banquet" Details
A long hairpin has two dragonflies falling from its hair, and the painting screen opens diagonally on the Bijin Mountain.
Young Master Qiu Xu is the guest of the five nobles, drinking a thousand bells is like building a palace.
Luanyan_Singing is full and smooth, eyebrows drawn together, Xiang smoke sleeves returning to the snow.
On a clear night, the four seats of kindness are the same, and the water in the ditch is different from the east and the west.
The wax tears and fragrant beads in the pavilion are left, revealing the dawn wind and the cold curtain.
Gone with the wind, the halberds and belts are arranged one after another, and there are twenty-four dragon-painted poles.
The cracked pipe lingers on the strings, and the complex music is played, and the fragrant bottles and gentle waves pour out the spring_.
There are many apricot flowers scattered among the guests in high-rise buildings, and the new toads are as bright as eyes.
2. Other poems by Wen Tingyun
"Morning Journey to Shangshan", "Luoyang", "Lotus", "Gengluzi", and "Sending People Back East". 3. Note
_: One is "姹".
Remnant: One work is "splash".
Piao_: One work is "Piao Piao".
Fangzun: One work is "Fangzun".
4. Translation
The long hairpin has two dragonflies falling from it, and the Bijin Mountain is tilted to draw a screen.
A group of stunning women wearing long hairpins and loose hair, dressed very coquettishly, came out. How come there are such beautiful mountains and valleys here? Past Bishan, oh, it turns out to be a big picture screen!
Young Master Qiu Xu is the guest of the five nobles, drinking a thousand bells is like building a palace.
The Qiu-bearded general, the noble son, the five princes are distinguished guests, and the house is full of distinguished guests. They can drink a thousand cups of wine in one go, and the force of pouring wine is like rain pouring down from a high roof.
Luanyan_Singing is full and smooth, eyebrows drawn together, Xiang smoke sleeves returning to the snow.
The singing girl's voice is like a luan and a phoenix singing in harmony, but it is out of tune due to choking; the dancer's posture is charming and charming, but her eyebrows are slightly furrowed when spinning.
On a clear night, the four seats of kindness are the same, and the water in the ditch is different from the east and the west.
The master hopes that the four of them will share the same grace, so that they can drink for a long night and have a feast that lasts forever, so that these princes, princes and grandsons will always be with him, and will not separate things from east to west like ditch water.
The wax tears and fragrant beads in the pavilion are left, revealing the dawn wind and the cold curtain.
However, when the wine is flowing and the ears are hot, who would think of tears because of the remaining candles? Who would feel cold for others because of the cold wind before dawn?
Gone with the wind, the halberds and belts are arranged one after another, and there are twenty-four dragon-painted poles.
Look, on both sides of the garden, elegant and luxurious ribbons are hung on the neatly arranged halberds. There are a total of twenty-four halberd poles with dragons painted in gold.
The cracked pipe lingers on the strings, and the complex music is played, and the fragrant bottles and gentle waves pour out the spring_.
In the guild garden, the singers and dancers were singing and dancing at the top of their lungs; the princes, princes and grandsons were drinking and laughing while pushing cups and cups.
There are many apricot flowers scattered among the guests in high-rise buildings, and the new toads are as bright as eyes.
At this time, the new moon is high, the banquet has ended, and the princes and grandsons are going back to their homes. At this time, the lanterns and torches were lit, and the apricot flowers that were blooming in the garden in the hazy moonlight were suddenly illuminated red.
5. Appreciation
The title of this poem is "Night Banquet Ballad". As you can imagine, it is about the "drunken singing and dancing" nightlife in the Tang Dynasty. Mr. Wang Guo'an introduced in the preface of "Wen Feiqing's Collected Poems":
"Generally speaking, Wen Tingyun's poems are easy to use colorful words, lack profound ideological content, and have a strong formalist tendency. This tendency , which is most obvious in his Yuefu poems."
This passage was also said in Huang Ziyun's "Yehong Poems":
"Feiqing's Ancient Poems. It is similar to Yishan, the title is meaningless, and the poem is absurd; if you ignore the meaning and just take the posture, it will be enough."
This argument has long become orthodox political wisdom. Many commentators regard Wen Tingyun as an aesthetic formalist and believe that the ideological content of his works is unhealthy, and some even call him obscene and decadent. Mr. Wang Anguo went on to say:
"Originally in the mid-Tang Dynasty, due to Bai Juyi's advocacy, poets were 'motivated by events' and competed to create new Yuefu, criticize current ills, and reflect reality. This is a good trend. , has not disappeared among writers of the late Tang Dynasty. However, Wen Tingyun's Yuefu poems rarely reflect social reality, but deliberately pursue the beauty of form, describing the luxurious life of drunken singing and dancing, which is full of jewels and perfume. This is also the case in Wuqilu. This flamboyant and frivolous poetic style is inseparable from his dissolute life of frequenting singing venues and dancing pavilions for a long time.
”
Obviously, in Mr. Wang Guoan’s view, from the perspective of New Yuefu, the late Tang Dynasty was inferior to the middle Tang Dynasty, and Wen Tingyun was the most unhelpful person in the late Tang Dynasty.
In fact, I’m afraid this is It's a misunderstanding, or it's actually a prejudice. Complexity in art is a sign of maturity; we can't use straightforwardness and roughness as progress, and gorgeous and colorful original chrysanthemums, when the simple yellow stars are scattered all over the mountains, maybe. The autumn colors are pleasant and wild, but the "flowers" are a little less beautiful. If all the yellow flowers on the mountain were replaced by hundreds of them cultivated by future generations with hard work and wisdom on the basis of the original chrysanthemums. There are thousands of famous chrysanthemums, such as "The Coach's Red Flag", "Xi Shi's Shampoo", "Yellow Sea Autumn Moon", "Blue Water and Long Sky", as well as "Green Peony", "Jasper Hairpin", etc. (only this name, If it is enough to make people enchanted), then the whole nature will be a discovery full of beauty, which will make people marvel and linger every time they see a branch. It will be clear at a glance and has more interest and interest than a single yellow flower. Charm. Poetry, like all arts, should be like this. Take Bai Juyi's famous New Yuefu, which Mr. Wang praised, "the face is dusty and smoky, and the temples are gray and the fingers are black", which depicts an old man burning charcoal. The image is certainly clear, and the poet's "painful palace city" feeling is also clear. However, to be honest, the exposure of the ruling class is definitely like a news report, and the reason is that it is not readable. It's no wonder, because as he said himself: "On this day, when he was promoted to the Imperial Academy, he was an admonishment officer. He asked for remonstrance papers. In addition to writing, he could relieve people's illnesses and help mend the time. But those who have difficulty pointing out the words often sing about them, hoping to listen to them a little bit further. The first one is "Guang Chen Cong", and the deputy is worried and diligent; the second one is "reward and reward", and the bottom one is "recovering my life ambition". He originally wrote it to the emperor, so he could only do this. Of course, as a kind of There is nothing wrong with the way of writing, but if you raise it too high and think that this is the only thing that makes a good poem, it would be a bit of a generalization, and you will not know what "let a hundred flowers bloom" mean. After Mao Zedong summarized the rules of poetry in the Tang and Song Dynasties, He pointed it out: “Poems need to think in images and cannot speak directly like prose. "According to Mao Zedong's opinion, it can be seen that poets who think in images cannot be said to be inferior to poets in prose culture. A wise saying is: they are all flowers of the times, and each has its own characteristics given to them by the times.
The characteristic of Wen Tingyun as an artist, which is also his unlucky thing, is that his poems rarely use prose language, and he rarely expresses his feelings directly. His poems are only used to speak through images. It can be said that he is superb in his art. It seems that he understood montage more than a thousand years ago, which is only mastered by film masters in film aesthetics today. He only mastered the "classics" of logical thinking. To highlight the image that appears as "weft", let the gorgeous patterns weaved cover up the warp, and let these seemingly jumpy or even irrelevant scenes show the work through their cutting and combination. The connotation. Even in movies, this technique once made people fuss, not to mention that it appeared in poetry more than a thousand years ago. Therefore, although it is not true, it is formalistic. That is understandable. Take the song "Night Banquet Ballad" which Mr. Wang believes "describes the luxurious life of drunken singing and dancing" as an example. Reading it makes people feel that there is a heart in this ugly reality. The great heart that can see the tears in other people's laughter is trembling because of other people's pain. Of course, this is for the readers to experience, rather than for him to tell them directly. It can be seen that criticism is based on measuring people. In fact, you are also weighing yourself. You cannot distinguish the good from the ugly, the great from the vulgar under the gorgeous appearance, and think that gorgeousness is debauchery. Such hasty assertion that others are formalists just proves that this criticism itself is indeed formalism.
"The Ballad of a Night Banquet" is not only gorgeous in form, but also profound in ideological content. However, unlike "The Charcoal Seller", it does not lay out the ideas it wants to express, but just asks people to follow it. Let’s explore his form carefully later. This is probably due to the decline of the feudal ruling class in the late Tang Dynasty. Scholars have divided the middle Tang Dynasty and the late Tang Dynasty politically and economically, but require the writers of these two different eras to have the same style, which itself violates the logic of history. In fact, the poems of the late Tang Dynasty also have a unique flavor.
This poem begins: "The long hairpin has two dragonflies falling, and the blue mountain is tilted to draw a screen. "It is indeed not as easy to understand as "The charcoal seller, cutting down firewood to burn charcoal in the southern mountains". Since the title is "Night Banquet", of course, the "Changchai" written here refers to the concubines, singing girls and dancing girls. When the whole hall is full of "Qiu Xu Gongzi and Wuhou guests", especially when it is pointed out below that this is the emperor's private banquet, there will definitely be more than one of these singing and dancing prostitutes, so this sentence can be understood as a long team. It goes without saying that a beautiful woman with a hairpin, loose hair, and a very coquettishly dressed palace with such superb skills is rich and wealthy. . This is not a subjective imagination of the poet, but an inevitable connection of internal logic, so the poet only points it out here; this is the point of his economy of writing and connecting them according to the poet's special delineation. , it was like a movie camera, which first panned from groups of singing and dancing prostitutes, and then panned to the Bishan Mountains, where you could see strange peaks and green waterfalls.
From the delicacy of the makeup to the majesty of the mountains. Readers may wonder: Where can such beautiful mountains and valleys come from here? The green mountains are gone, and it turns out to be a huge painting screen here. The screen moved away, and the banquet scene appeared. At this point, readers cannot help but be surprised by the novelty of the author's artistic techniques. In this couplet at the beginning, there are actually many suspense and twists and turns. It is very fascinating to write from afar. Without novelty, there is no art. What's more, the novelty he has here is not an extraneous addition just for the sake of curiosity. It was originally a typical environment here, but some twists and turns were made during the introduction to make it look unique.
The second couplet: "Young Master Qiuxu and his five guests, one drink of a thousand bells is like a palace." The poet uses a writing method that avoids reality and uses virtuality, and combines virtuality with reality. Guests who come to the banquet must be clearly identified, so "Master Qiuxu is the guest of the five nobles" without any ambiguity. Because if you don’t point it out, you won’t know the nobility of their status. In fact, this palace banquet is just to point out that this is the epitome of the upper class. But he used the word "ke" and dodged again. The Qiuxu is a beloved general; the son is a noble descendant; and the five princes are borrowed from the Eastern Han Dynasty to refer to the authoritative eunuchs. In the late Tang Dynasty, the eunuch disaster reached an extremely serious level. "The Preface to the Biography of Eunuchs in the Old Book of Tang Dynasty" says: "Since the Zhenyuan period, authority has been growing day by day. All the generals and ministers of Lanzhou and Bo are sons and beasts; the generals of Rongjun in Fanfang must be bribed; all opportunities are used to seize the affection, and the nine levels are abolished and established. "It's up to oneself." Therefore, Wen Tingyun's writing is definitely not without reference. But he used the word "guest" to push away, not revealing the traces of the monarch and his ministers, so as not to irritate. But using subjects and guests to write about monarchs and ministers is actually the greatest stimulation. Virtual and real, it is true that "the antelope hangs its horns and there is no trace to be found". As for how many guests there were, how sumptuous the banquet was, and how dissolute the hosts and guests were, it was not easy to write about it in poetry, so he used the method of deforming the real objects and only used the sentence "One drink of a thousand bells is like a palace." Of. The bell is a round pot with a big belly. "One drink of a thousand bells" is just like "three thousand feet of gray hair", although it is true, it is still false. Because it can mean that they are very happy, drink a lot of wine, and can swallow a thousand bells of wine in one breath. But it can also refer to the crowd of guests gathered together. When everyone raises their glasses, the countless glasses take a thousand minutes to fill. The virtual here has a greater capacity than the real. Since one drinks a thousand minutes, the force of pouring the wine will be like rain pouring down from a high roof. This is just like the subjective shot in modern movies. He vividly turns the pouring wine of a thousand bells into a waterfall. Although this appearance is illusory, it is very substantial. The poem profoundly expresses the shocking extent of luxury. What it reveals will be much richer than any narrative language.
It seems that the "Qiuxugongzi Wuhou Ke" was not the poet's intended master, so they just made a false shot, and then used very delicate brushwork to write down the appearance of the singer and dancer: "Luanyan_sings roundly and without knots, the eyebrows are drawn together and the smoke on the sleeves of Hunan is covered with snow." Luan and phoenix sing in harmony, which was used in ancient times to describe the beauty of the sound. _, is a beauty. In the Tang Dynasty, eyebrows were decorated with smoke-containing eyebrows. The word "Xiang" reminds people of Qu Yuan's demeanor of "the osmanthus branches are standing still, the Qiang is getting more thoughtful and the people are sad". The beautiful sound is associated with the throat, and the beauty is associated with sadness, which makes beauty cause sadness, just like when people see Xizi and hold their hearts together, it is very easy to move the heartstrings of compassion. The artistic effect of this couplet is very strong. Of course, if compared with Bai Juyi's new Yuefu "Hu Xuannu" "The strings and drums are heard, both sleeves are raised, and the snow is falling, turning around and dancing. Turning left and right without getting tired, endless twists and turns," then it is beautiful. The famous Wenbacha is indeed not as smooth as the Xiangshan layman. When she "wanted to thank the emperor at the end of the song, and the emperor opened his mouth slightly," the dancers here and the dancers appreciating her were emotionally harmonious. Although Bai Juyi intended to "enlighten the Lord by singing this song several times", the poet only admired the dancing girl who spins so pitifully that "it is incomparable to all things in the world, the running wheel is slow and the whirlwind is slow", but he has no pity or sympathy at all. His eyes are looking upward. His "pointing out the ills of the times" was just a way of telling his master not to burn his robes, as Mr. Lu Xun said. It seems that poems like Wen Tingyun's reflect less reality. He was not reporting on the news, so what he saw was not the dancers' "fighting for excellence" or "obeisance at the end of the song", but the singer who was choked and out of tune, and the dancers frowned slightly while spinning. . Wen Tingyun is proficient in music. Just like "if the music is wrong, Zhou Lang will take care of it", their subtle mistakes cannot escape his keen nerves. However, this has nothing to do with the understanding of music. He is feeling with his conscience and out of great sympathy. Only in this way can he be seen by others as "a fragrant shirt with narrow sleeves" and a "thin red shirt with golden threads and mist". Mr. Lan said that when they "pretended to be flattering, especially lascivious," what Wen Tingyun saw was painful sorrow and sadness.
Being considerate also requires a foundation in life. Unless he is familiar with their pain, or he has similar experiences himself, it is impossible for him to feel such a mist of sadness in the joyful Hualin. . Wen Tingyun only wrote about the pain of the concubines who lost their personal dignity and lived a life of spiritual humiliation. He did not directly criticize that society and this extravagant life. Like Bai Juyi, he clearly said "Lushan Hu Xuanmi" In the eyes of the king, the soldiers crossed the Yellow River and were suspected of not turning back; the noble concubine's wild thoughts confused the king's heart, and she abandoned Ma Wei even more deeply." ——In fact, Bai Juyi equates maiko with An Lushan and Yang Guifei here. Regardless of the immorality, it is just an old saying that women are a disaster, just to excuse Emperor Ming of the Tang Dynasty.
Although Wen Tingyun only sketches these two details of a wealthy family's night banquet, the writer's progressive tendency is reflected in these details. He just wants to poke a hole in such a wonderful life, instead of making up for it or whitewashing it. In his writing, the jewels and jewels are nothing more than shackles on their pure hearts, and the fragrance of pink and white is nothing more than a sign of humiliation on their dignified personalities. He was writing about another reality. His eyes are downward. So what he saw was not the face of the supreme emperor, but the pain of the prostitutes who were oppressing the bottom. In modern terms, he not only wrote about class antagonisms, but even the roots of oppression. It writes about the joy of kings and nobles, which is based on their pain. Although it was impossible for him to understand the theory of class struggle at that time, it can be said with certainty that if he had not opposed the progressive ideas of the declining rule of the late Tang Dynasty, he would never have been emotionally compatible with these "Qiuxugongzi Wuhou Ke" So completely opposite. In this aspect alone, he is far better than many ancients, and also far surpasses Bai Juyi's Yuefu level. Such a poem with a clear stance cannot be called a masterpiece of realism, but it is a great injustice to insist that it is "corrupt in content" and "no more than a deformation of the palace style". Although he participated in the night banquet, his feelings were different. Being so intentional could not be called "debauchery" at all. Not only did he see the pain of these female slaves, but he also had the courage to express it for them in his own music house. This cannot be said to be "formalism" at all. Of course, it was his stance and performance that the feudal scholar-bureaucrats would say was "incompetent"; if he had "practiced", he would be just like them. However, for modern people and progressive commentators, due to their different positions, they cannot share the same tone as the feudalists. Therefore, it would be unavoidable to follow the predecessors and say without analysis that Wen Tingyun "lacked profound ideological content" and that he "depicted a luxurious life of drunken singing and dancing" and did not "reflect reality" or "point out the ills of the times." There is no real insight into art.
It is precisely because of his sympathy for the female slaves that he cannot but feel resentful towards their opposites - the hosts and guests here. On the surface, he describes how hospitable his hosts are, but in fact, he is exposing their greed. "The kindness of the four people is the same in the clear night, and the water in the ditch is not separated from the east and the west." He wanted to make the four people be kind to each other and drink in the long night. He even extravagantly hoped that their days like this would last forever and that they would really have a never-ending feast, so that these princes, princes, and grandsons could enjoy the feast. They will always be with him, and don't differentiate between things like ditch water. The master's desire to enjoy all the wealth and glory in the world is very strong. But since their happiness is based on the pain of the singing and dancing concubines, the result of this pair of contradictions must be: the longer the rulers enjoy themselves, the deeper their pain will be. This kind of "kindness" towards the princes, princes and grandchildren is the sin placed on them. The rulers enjoyed themselves so much that they had to sing with cracked throats and dance with broken waists. They could not be as "tireless" as Bai Juyi said. In Wen Tingyun's writing, they are exhausted both physically and mentally. He used a metaphor similar to today's montage and wrote, "The wax tears in the pavilion are broken, and the fragrant beads are broken, and the dawn wind is exposed and the curtain is cold." When the wine is full of wine and the ears are hot, who would think of the tears because of the broken candle? Who would feel cold for others because of the cold wind before dawn? This will definitely not be the guest who "drinks a thousand bells and feels like a king", but only the state of mind of those concubines. Therefore, this couplet is actually about the concubines, but it is about what the poet felt with his heart. The same maiko looked sexy and sensual to others, but he saw tears and trembling. This is indeed a huge ideological gap.
The world has always despised Wen Tingyun because he sympathized with prostitutes, but little did they know that this just put him in the position of a feudal lord. This is just like what Jia Zheng said in "A Dream of Red Mansions": If it continues like this, "tomorrow it will lead to regicide and father murder." But in Jia Baoyu's view, "I am willing to die for these people!" This is exactly the case for Wen Tingyun. The difference in attitude is originally a difference in stance. Wen Tingyun's anti-feudal stance here is very clear.
The poet cleverly used time and space to intersperse, and added the identity of the owner here: "The fluttering halberd belts are arranged one after another, and the twenty-four dragons draw poles." According to "Dian Lue": "The Emperor Twenty halberds are four." So Wen Tingyun is pointing the finger of criticism at the supreme feudal ruler. He used rules and regulations to tell people vividly: It turns out that the owner of this place is the emperor, no wonder it is so luxurious. This halberd pole with a dragon painted in gold, which symbolizes the majesty of the emperor, is funny to the frivolous drunkard; and the ribbon on the halberd, which shows grace and splendor, flutters in the shivers of the singing and dancing prostitutes, forming the image of Mu Su. A majestic yet desolate mood. This is really an extremely vivid and profound portrayal of the late Tang Dynasty.
There are four unique features in the whole poem, and his narration is carried out in a cross way. That is to say, in each chapter, the singing and dancing prostitutes are compared with the emperor and nobles, which creates a strong impression on people. I don’t know whether he did it intentionally or unintentionally, but in each poem, he always wrote about singing and dancing prostitutes in the first couplet, and then the kings and nobles in the second couplet. Under the strict hierarchical system of feudal society, this disorder alone is treasonous. So Wen Tingyun didn't end up in the end, which is inseparable from his upright and unconventional integrity. He can be said to be a tragic character. It is a shame for contemporary scholars not to look for integrity in the decline of feudalism, but to belittle it along with the clichés of feudalism.
The last trick is even better. "The cracked pipe lingers on the strings and the complex music, the gentle waves pour out the spring_.
There are many apricot blossoms scattered among the guests in high-rise buildings, and the new toads are as bright as eyes. "The cracked pipes lingering on the strings" are the sorrow of the singers and dancers; "The gentle waves" see the comfort of the revelers. There is a slight change here in the poem: he uses a couplet to combine the joys and sorrows of the prostitute and the host and guest, both contradictory. The related relationships are put together to make a brief summary for the night banquet. It is not like the first three chapters are written in two couplets, but merged into one couplet. However, the writing method is still to put the prostitutes first and then the kings and nobles, freeing up the second couplet. Expressing emotion. But his emotion is also special, it is still an image rather than an argument, so the last couplet is the most difficult to understand; but it is also profound.
"There are many apricot flowers in high-rise buildings", here is the point. It's early spring when the apricots are blooming. The new moon is high, which means that the night is dark, so the singing and dancing girls in gauze will feel the chill of spring. The banquet has ended, and the princes and grandsons are going back to their mansions. At this time, the deacons of each mansion lit up lanterns and torches, and a blaze of light suddenly illuminated the palace garden. As a result, the original garden was brightly lit. The apricot blossoms hidden in the hazy moonlight suddenly turned extremely red. He once wrote this in another poem "Zou Ma Lou San Geng Song": "The Jade Emperor enters the Weiyang Palace at night." , a long fire with thousands of strips shining on the perching bird. "The originally invisible bird perched on the tree in the dark night was suddenly illuminated by thousands of long fires, which is a footnote to this poem. It shows the grandness of the scene at that time. The characteristic of his art is that he does not talk about carriages and horses." , but I would like to say that the lights are bright and the apricots are melting. This not only describes the number of guests and the grandeur of the scene, but also highlights the beauty of the host's courtyard. Zhou Bida's "Er Laotang Poetry" records: "Bai Letian." The 15th volume of the collection "Poems on Banquets" says: "After a small banquet, I am chasing Liangsan, and my steps on Pingqiao are delayed by the moon." The music returns to the courtyard, and the lights come down from the balcony. The remaining summer cicadas are exhausted, and the new autumn geese are coming. How will you welcome sleep and raise the remaining cup before going to bed? ’ There is no aura of wealth in this poem. The second couplet was published by Yan Wengong, which is completely different. "Yan Shu picked out the second couplet with a sense of wealth and nobility, which is exactly what Wen Tingyun meant here. However, Bai Juyi just narrated the incident directly, while Wen Tingyun wrote about the visual psychology of light and people. What's even better is that he used comics The brushwork outlines "the new toad is as wide as the eyes", and it is enough to conclude with a simple drawing of a fledgling moon, stunned by such a luxurious scene.
He did not say why the moon stared, leaving it to everyone to think; but this does not mean that he did not say. The image of the moon's eyes widening in shock is very novel and very subtle and meaningful. The true meaning of "praising the guest house for its good lights, but not knowing how to use it" is too confusing. What is meaningful is that Chang'e originally escaped into the moon palace in order to live forever. However, in the poet's writing, the life of the moon is too long. There are only thirty days; from the first day of the lunar month, there is a new moon every month. Therefore, the "new" toad, who has just met the world, is so naive that he was dumbfounded when he first saw this scene; The magnificence of this place is really enough to shame the moon, making Chang'e also feel the shabbyness of the moon palace. Even if the gods are like this, the world is certainly more surprised. In fact, the description of the naivety and ignorance of the gods is exactly the corruption of the human world that has reached the level of human beings and gods. * Angry. He just doesn't use such narrative style, but uses figurative meaning. So the poet also contains strict criticism in this extreme exaggeration.
This is Wen Tingyun. . If Du Fu's "The rich people smell of wine and meat, and there are frozen bones on the road" is an oil painting with very sharp color contrasts, which is good at being realistic, but it is just a painting, then Wen Tingyun's ending is a more realistic one. A satirical cartoon that makes the moon stare at the scene of the banquet. This is extremely artistic and ironic, and it is not limited by the "gong style".
Poems from the same dynasty
"Sangu Stone", "Warm Cui", "Farewell to Xu Kan", "Poems of Deep Regret", "Inscription on Jiadao Tomb", "Tiantai Chanyuan Couplet", "Song of Everlasting Sorrow" ", "Remembering the South of the Yangtze River", "Spring Journey to Qiantang Lake", "Ode to the Dusk River".
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