“Seeing him build a tall building, seeing him entertaining guests, seeing his building collapse.”——A: It means “watching him build a tall building, watching him entertaining guests, watching him The building he built collapsed."
Original text of the work
Ai Jiangnan
[Qing Dynasty] Kong Shangren
[Ai Jiangnan][ Bei Xin Shui Ling] Mountains, pines, wild grasses and flowers are picked up, and Moling suddenly rises. The remnants of the army left behind abandoned fortresses and thin horses lying in empty trenches; the villages were desolate and the city faced the setting sun.
[Zhu Ma Ting] Wildfires burned frequently, and most of the catalpas guarding the tomb were half burnt. The goat herd ran away, and the prison guard who guarded the mausoleum escaped. Pigeon feathers and bat droppings are thrown all over the hall, and dead branches and leaves are used as a cover for the steps; whoever sacrifices and sweeps, the shepherd breaks the dragon tablet hat.
[Intoxicated by the East Wind] Eight white jade pillars fell down and fell half the height of the wall into red mud. There are many broken glazed tiles and few rotten emerald window lattice. Dancers and sparrows often come to the palace. Artemisia grows all the way to the palace gate, where a few beggars live and die of hunger.
[The Order of Gui Gui] asked Qinhuai about the old window houses, with torn paper facing the wind, broken sills exposed to the tide, and broken eyes and souls. Back then, where was Fendai playing the shengxiao? It's boring to put away the lanterns and boats during the Dragon Boat Festival, but it's boring to put away the wine flags during the Double Ninth Festival. White birds are fluttering, green water is surging, some butterflies are flying around the tender yellow flowers, and no one is looking at the new red leaves.
〔Good wine〕You remember the half-mile bridge across the Qingxi River, there is not a single old red board. The autumn water is long and there are too few people in the sky, and the deserted sunshine falls, leaving only a willow tree bent over.
[Taiping Order] When you go to the old courtyard gate, there is no need to knock lightly, you are not afraid of the little dog. It's nothing more than a dry well and a decaying nest, just bricks and moss built with grass. The flowers and willow tips planted by the hands are used to gather wood; whose kitchen stove is this black ash?
〔Le Pavilion Banquet with Rest and Zhisha〕I have seen the orioles in the Jade Palace of Jinling crow at dawn, and the flowers on the Qinhuai Waterside Pavilion bloom early, who would have known that they would easily fade away in the ice! Watching him build a Zhulou, watching him banquet guests, watching his building collapse! I once slept in this mossy and green tile pile, watching the rise and fall of fifty years. That Wuyi Lane is not named Wang, the ghosts of Mochou Lake cry at night, and the owl roosts on the Phoenix Terrace. The dream of a broken mountain is the most real. It’s hard to lose the old environment. Don’t believe this map revision! Make up a set of "Sorrow for Jiangnan" and sing it until you grow old.
Translation of the work
I walked through the pine trees and weeds in the mountains, carrying flowers and firewood. When I suddenly looked up, I realized that I was back in Nanjing. The defeated army was still garrisoned in the ruined fortress, and the thin old horse lay on its belly in the empty trench. The village is already in a state of depression, with the city walls and ancient roads reflecting each other in the sunset.
The wildfires burned again and again, and most of the tall trees guarding Xiaoling were burnt. Groups of goats were running around, and the old eunuch who guarded Xiaoling had long since disappeared. The hall was filled with bird feathers and excrement, and the steps were covered with dead branches and leaves. Who will come to worship and clean? The shepherd boy even broke the hat ornaments on the dragon tablet.
(And what is the scene like in the Forbidden City?) All the white jade pillars collapsed, the red mud wall collapsed and only half of its original height was left, and the glazed tiles were more broken than intact, and the emerald green There is not much left of the emerald window lattice. Only the flying chaffinches are left in Danqi to go to court all year round. The palace gate is covered with dark green wormwood, and there are also a few beggars and refugees who have died of hunger.
I came to the prosperous place of Qinhuai River again to inquire. Now the paper on the windows has been torn and rustled in the wind, and the tide is beating against the rotten door. Where are the beauties and beauties who once made people's eyes wander to this magical place playing the shengxiao now? On the night of the Dragon Boat Festival, there is no lively light boat on the river, and on the Double Ninth Festival, the sun market is closed and the pubs are boring. Only the unchanging white birds and the flowing green water on the Qinhuai River remain. The red leaves on the river bank are like fire, the yellow flowers are blooming, and butterflies are flying around, but there are no more people to watch and play.
Do you remember the half-mile-long bridge across Qingxi River? None of the old red boards from back then are visible. There were no pedestrians passing by in the crisp autumn weather. The sunset was deserted and only a willow tree was left hanging down.
When you walk to the courtyard where you used to be, where do you need to knock on the door gently? (The door has long since fallen down.) You are not afraid of the guard dog barking at you. All that is left is the exhausted abandoned well, the decayed bird's nest, and the old moss-covered bricks and dead weeds between the tiles. The flowers and willow branches planted by one's own hands were left unattended, and are now ready for cutting firewood. Which family's stove is this pile of black ash?
I once saw the orioles singing among the jade trees in the morning in Nanjing. I once saw the fragrance blooming on the pavilions along the Qinhuai River in early spring. But who could have imagined that all this would dissipate like ice and snow melting? So thorough. I watched him build large-scale construction projects, I watched him feast guests, and I watched his building collapse! I once slept in this moss-covered pile of green rubble, and watched the rise and fall of it over the past fifty years. The famous Wu Yi Lane is no longer named Wang, real ghosts cry at night by Mochou Lake, and only owls perch on the Phoenix Terrace! The dream I once had on Canshan Mountain seems to be real. The old state of mind is unforgettable. I don’t want to believe that this country has changed hands! I had no choice but to compose a song mourning Jiangnan and sing this sad voice until I grow old.
Notes on the work
Mo Ling: Today’s Nanjing, Jiangsu Province, it was called Moling in the Qin Dynasty;
楸 (qiū): a tall tree;
Ajian: eunuch;
Ling: feather;
Chí: the red steps in front of the palace and the open space on the steps, here refers to the emperor The place where ministers are received;
Piǎo: a person who starves to death;
Window (liáo): generally refers to a window;
Duanyang: that is Dragon Boat Festival;
Chongjiu: Double Ninth Festival;
哰哰 (láo): onomatopoeia, describing the sound of dogs barking;
Qiaoqiu: chopping firewood; < /p>
Wuyi Lane: Located in the southeast of Nanjing, two noble families, Wang Dao and Xie An, lived here during the Eastern Jin Dynasty;
Mochou Lake: Located to the west of the Qinhuai River in Nanjing, it was called Hengtang in ancient times and is said to be beautiful. Mo Chou, the young girl, committed suicide by throwing herself into the lake here;
Owl bird: a metaphor for a wicked person or a rebellious son;
Atlas: a map of a territory;
Fake: a random fabrication.
Creative background
In 1644, the peasant uprising army led by Li Zicheng occupied Beijing, Emperor Chongzhen committed suicide, and the Ming Dynasty fell. Wei Zhongxian's remnants in the south, Ma Shiying and Ruan Dacheng, supported King Fu as emperor and established the Nanming Hongguang Dynasty in Nanjing. After King Fu ascended the throne, Ma Shiying and Ruan Dacheng took control of the government. They formed cliques for personal gain, sold their officials and titles, and unscrupulously plundered the people's property. At the same time, they also persecuted dissidents, and the same party defeated those who were different. Nanming only lasted for one year. After the Qing army crossed the river, it swept through many towns and captured Nanjing. Although King Lu, King Tang, and King Gui came to the throne one after another, the Ming Dynasty's momentum was exhausted, the general situation was over, and it was difficult to reverse the decline. "Sorrow for Jiangnan" is the last suite in "Peach Blossom Fan: Aftertaste", which shows this period of history: the historical picture of the rise and fall of Hongguang in the Southern Ming Dynasty.
Appreciation of Works
"Sorrow for Jiangnan" is a set of northern songs included in the "Aftermath" at the end of the legendary "Peach Blossom Fan". The song describes the desolate scene that Su Kunsheng, a music teacher, saw when he visited Nanjing after the fall of the Nanming Dynasty. It talks about the rise and fall of the country, expresses the pain of the country's demise, and expresses a strong sorrow for the motherland. The whole song has a melancholy style and has been selected into teaching materials many times.
The first song [Beixin Shui Ling] is about returning to Moling (Nanjing), and the desolate scene in the suburbs of Nanjing in the evening: the characters appear first, Su Kunsheng is carrying firewood on his shoulders, walking on the road to the old capital. on the way. "Mountains with pines and wild grasses carrying flowers" clearly indicate that the old artist was a woodcutter who retired to seclusion after the country's subjugation. "Raise Your Head and Return to Moling" depicts emotions through movements. The characters are filled with the pain of the country's subjugation. They lower their heads in meditation all the way. Seeing their old capital again, it arouses a strong emotional shock and makes them look up and stare. The two words "Chongdao" contain the infinite feeling of the past and present, and structurally refer to the whole piece. The whole set of music is unfolded layer by layer from these two words. Then, from people to scenes, the two sentences "The remnants of the army left abandoned forts, and the thin horses were lying in empty trenches" outline the scene of the suburbs of Nanjing, a cross between four scenes, and the scenes are frightening and shocking. Everything was completely ruined, and all that could be seen was the ruined army, abandoned fortresses, thin horses and empty trenches; the lonely village was desolate in the sunset. The four words "crippling, crippled, empty, thin" aptly describe the desolation and gloominess after the war, with broken mountains and rivers, and depression everywhere. It is also set against the scenery of an isolated village in the sunset, which is like a panning shot of a big scene. This person and scene were enveloped by the dim afterglow of the setting sun, making them even more bleak and miserable, making it sad and tragic. The author's descriptions of people and scenes highlight the characteristics of the times when the country was destroyed and mountains and rivers were transformed. The first song sets the pathos tone for the entire set.
And [Zhu Ma Ting] wrote that Su Kunsheng paid homage to Xiaoling. Xiaoling Mausoleum is the mausoleum of Zhu Yuanzhang, the founding emperor of the Ming Dynasty. It is a symbol of the country and is guarded by soldiers from the palace. This sacred place is now in ruins: the author writes that the Xiaoling Mausoleum is dilapidated and unguarded, with flocks of goats, flocks of birds, fallen leaves and branches, and traces of the mountain fire remaining, which is even more unbearable to see. It is highlighted here that it has changed from a sacred and inviolable place to a place where people walk and trees are scorched, and animals roam freely. The chaos and noise presented by the sentence "goats running" sweep away the solemnity of the holy place. The sentence "Pigeon feathers and bat guano are thrown all over the hall" turns the moving scene into a still scene. The author uses pigeon feathers and bat guano all over the floor to describe the flocks of pigeons and bats flying and roosting. The mausoleum has become the home of birds. . When the old artist witnessed this scene, he felt deeply sad. Asking oneself softly, "Who sacrifices the emperor?" It implies a condemnation of the monarch and ministers who have wronged the country, and is full of infinitely poignant thoughts about the motherland. The last sentence "Mu'er broke the hat of the dragon monument" means that the monument was destroyed. There are many stone carvings in Xiaoling Mausoleum. They are arranged along the undulating mountain road to form a Shinto stone carving about 800 meters long, which is very spectacular. The most symbolic hat ornament of the dragon tablet has been smashed to pieces by the ignorant shepherd boy. This finishing touch at the end of the song leaves people with endless aftertaste.
The old artist left Xiaoling and went to the Forbidden City. The Forbidden City was built in the early Ming Dynasty and is extremely majestic and gorgeous. The song "Intoxicated with the East Wind" depicts a "picture of the decaying scene of the Forbidden City": the author uses line drawing techniques and strong colors to depict the fallen white jade pillars, the red mud walls lying on the floor, the broken and incomplete orange glazed tiles, and the emerald green emeralds. There are not many window lattice left, the palace gate is covered with dark green wormwood, and chaffinches are flying in the red ridge. This picture is brightly colored and combines the past and present. The desolation in front of you still retains the luxury of the past. The extravagant extravagance of the palace owners in the past has turned into the present devastation, and the country has become more surnamed. In line with the previous song, the imperial mausoleum and palace ban were the symbol of the ancestral temple and the country in the feudal era and the symbol of the country. Such a solemn sweeping scene can arouse people's feelings of mountains and rivers and the sorrow of grains. Therefore, this sorrow is by no means a personal complaint.
The so-called Ming Dynasty was defeated by who and what happened? The author said in "Xiaoyin" that "it not only makes viewers cry with emotion, but also punishes people's hearts and serves as a salvation for the apocalypse." Although the meaning is subtle, the implication is clear. The great changes in the Forbidden City itself illustrate an important reason why the Nanming regime did not last long. This shot of the beggar at the end of the song in the palace vividly expresses the old artist's emotion of not being able to look back on his homeland.
[The Order of Guigui] is a song about Su Kunsheng’s revisit to Qinhuai. The Qinhuai River runs through the city of Nanjing. Both sides of the river are scenic and prosperous places, but what Su Kunsheng saw at this time was a state of ruin: "Torn paper catches the wind, broken sills catch the tide", two sentences that sound lonely. On the windows, torn paper rustled in the wind, and outside the rotten door, waves of tide beat against the empty city. The sound of wind and tide contrasted with the silence of human voices, and the feeling of depression and desolation. Then, the author compares the characters and festival situations between the past and the present, highlighting the emptiness of the Qinhuai River today with no one, no joy, no festivals and celebrations. In the past, this place was crowded with tourists, beauties gathered, danced on the pavilion, sang on the stage, and played sheng and xiao all night long. In the river, colorful paintings are displayed to celebrate the Dragon Boat Festival, and on the bank, wine flags stand to celebrate Chongjiu Festival. The author uses the characteristic "pindai", "shengxiao", "light boat" and "wine flag" to describe the bustling scene of the Qinhuai River in the past, with the singing girls fleeing. Without silk and bamboo, the Qinhuai River will no longer have the lingering charm of its past. Even if it falls on a festival, "Duanyang Festival is not noisy" and "Double Nine Festival is boring". "Duanyang" and "Chongjiu" represent major festivals in the south, while "not noisy" and "boring" highlight the desolation and desolation. "Not noisy" In terms of the environment and atmosphere, although it is a festive season, there is no warm and joyful atmosphere. From an emotional point of view, "boring" describes people's exhausted mental state where they have no interest and no thoughts. If this is the case during festivals, it is even more conceivable on weekdays. How deeply the author dug into the people's grief for the country's subjugation and how vividly he expressed it! The Qinhuai River Dance and Song Pavilion also contrasts with the beautiful music and dance pavilions and singing platforms of the Southern Ming Dynasty. In the comparison, it deepens people's feelings of rise and fall. After comparing the past and present, the description of the natural scene in the four sentences "White Bird Floating" further expands the artistic conception. Birds fly freely in the white clouds, the green water of the Qinhuai River is surging, the red leaves on the river bank are like fire, the yellow flowers are blooming, and butterflies are flying. What a great school of vitality that strives for freedom for all things. This lush and eternal nature forms a strong contrast with the depressed and declining Qinhuai society. In the artistic contrast, the expression of the theme is deepened.
[Gure Wine] The long Banqiao described in the song is between the two temples of Jiuguang and Lufeng. The scenery is excellent: a winding stream, as clear as a wash, with green willows on the banks and silk threads. Verdant green. A red plank bridge is hidden among the green bushes. It is really elegant, pleasant, delicate and delicious. And now? The song begins with the words "do you remember", and Su Kunsheng asks Liu Jingting to evoke memories. Then, he introduced Changqiao with great emotion. The author chose several typical scenes such as an empty bridge without a bridge board, a fallen willow tree, the same color of water and sky, and the setting sun to draw the remaining scene of the Banqiao with a minimalist brushwork. Among the two words "one strip" and "one tree", the very small number "one" highlights the scattered beauty and expands the desolate and bleak realm. It is really thought-provoking to win more with less. The word "deserted and clear" is full of charm. It not only describes the natural scenery of late autumn sunset, but also conveys the subjective feeling of the old artist's physical and mental coldness. It describes the autumn mood of Banqiao and reveals the deep sorrow of the old artist’s heart for the subjugation of his country and the loss of his land. The author writes "Leng Qing Qing", which shows the whole realm and the essence of creating the environment, which is amazing.
Bypassing Banqiao is the old courtyard. [Taiping Order] A song describes the desolation of the old courtyard. The old courtyard was where Qinhuai singers and prostitutes lived together. In the past, when Su Kunshengyi left the Ruan family, he came here every day to teach music and singing. He was very familiar with every plant and tree in the courtyard and had deep affection for it. The author grasps the close relationship between the characters and the environment, and writes about the old artist who feels deeply unfamiliar in the completely changed courtyard, trying to find traces of the past: the courtyard of the old courtyard has fallen doors and walls, and the buildings are empty after people leave. desolate. With a melancholy mood, Su Kunsheng wandered among the broken wells and ruins, walking through the cobweb-covered land, lamenting that the flowers and willows planted by his own hands had become firewood that could be cut down, and he was confused by the pile of black ash, unable to identify who it was. Home kitchen. It's really nothing, not even a trace of identification can be found. By creating characters who are caressing and searching, the author combines the desolate scene of the old courtyard and the sigh of the ups and downs in an indistinguishable way, which is full of vivid image and touching power. "The Peach Blossom Fan" starts from the fifth chapter, blindly exaggerating the bustling and lively, but makes a big conclusion in the last chapter. It is said that "the lively scene is the root of indifference", "beside Sun Chu Tower, on Mochou Lake, there is no such thing as a Sheng song." "Beautiful lively and prosperous", looking at it, it can be seen that the author has gone through a bleak management.
The above six pieces of music are mainly about describing scenes. As the scenery unfolds step by step, the old artist's emotions gradually become more and more passionate. In "Le Pavilion Banquet with Rest and Zhisha", he sang a tragic song and expressed his heartfelt expressions: "Le Pavilion Banquet with Rest and Zhisha" pushes the sentimentality to the extreme, and its beauty lies in the strong contrast.
The first level, from "I have seen it" to "Seeing the rise and fall of fifty years", uses repeated emphasis to condemn the luxury and decadence of the rulers. The first four sentences are not long to describe the beautiful scenery. The two sentences "Jinling" use typical scenery to summarize the beautiful scenery recalled in the previous song. The locations of "Jinling Jade Palace" and "Water Pavilion Qinhuai" indicate that the emperor and dignitaries were enjoying the scenery. "The orioles sing at dawn" and "the flowers bloom early" condemn the monarchs and ministers of the Southern Ming Dynasty for living in obscurity and enjoying themselves in the face of the shrinking territory. "Who knew it would be easy to sell out", pointedly pointed out the fate of destruction brought about by enjoyment. The three words "who knows" are full of ridicule for the ignorant king and the sycophant minister.
Then, the author uses a short parallel sentence composed of "seeing him". The three "seeing him" are nothing more than the words "rise and fall". This is similar to the "hurala building will collapse" in "A Dream of Red Mansions". The author focuses his description on the "building" and uses closely connected "buildings", "banqueting guests", and "buildings collapse" to eloquently show the inevitable connection between debauchery, corruption and national subjugation. The urgent rhythm expresses anger. "I once slept in a romantic sleep" echoes the opening "I once saw", which shows that the old artist is narrating the painful history of the country's subjugation as a historical witness. Su Kunsheng once said that he "looked at four generations with his fifty-year-old eyes." In his fifty-year career, he experienced the rise and fall of the Wanli, Chongzhen, Tianqi, and Hongguang dynasties. His identity as a Qinhuai artist gave him a deeper understanding of the ruler's obscenities. "Watching the rise and fall of fifty years" sums up his infinite emotion when looking back on history and witnessing the current situation. It was a long sigh, speechless and choked. The image of the word "satisfaction" shows that he has a clear, profound and thorough understanding of the historical facts of this period of rise and fall. This word has a sharp tone, rich semantics, and a large emotional capacity. It is the eye of a song. "Watching the rise and fall of fifty years" has played a structural role as a link between the past and the future.
On the second level, the author uses a step-by-step and in-depth approach to express the strong pain of national subjugation. The three sentences of "Wo Yixiang" expand the scene of "the building collapsed" in the upper level, and expand the consequences of the shameless rule from the collapse of the ruler to the great changes in the country's mountains and rivers. The sentence "Wo Yi Xiang" refers to the decline of Wang Dao and Xie An. Wu Yi Xiang changes the history of its owners and laments the rise and fall of reality. The two sentences "Mo Chou" cleverly use place names to express changes. From Mochou to Crying, from Phoenix to Owlbird, it describes the people's deep sorrow and pain at the changing colors of mountains and rivers. "Remnant mountains", "old landscape", reality and dreams, things are blurred and people have changed, mountains and rivers have changed owners, old dreams only have a moment of joy; incomplete mountains and rivers clearly appear in people's dreams, all the things in the past cannot be forgotten, reality is all gone. It's infinite sadness, it's the words of limitless sorrow and extreme pain. How profound and touching this patriotic feeling is! "The map catalog has been revised" is obviously a cold reality, but it is also labeled with the word "disbelief", which actually means that you don't want to believe it. The word "unbelief" is accompanied by tears and blood. It is so wonderful that heaven and man cannot do it except a great master. Believe it or not, the reality is: "The surname is not Wang in Wuyi Lane, the ghosts in Mochou Lake cry at night, and the birds perch on the Phoenix Terrace." This is another contrast. Whether you believe it or not, the harsh reality is beyond your control. changed. The word "change" in "Yu Si Change Draft" contains a lot of unspeakable content. After the fall of the Ming Dynasty, the Qing regime encircled the land, the Qing soldiers massacred, and the literary inquisition was widespread... The mountains and rivers changed color, and the people's blood and tears were all vaguely included in the word "change". The concluding sentence, "Made a series of poems to lament the south of the Yangtze River, and let out sad songs until old age" deepens the feelings one step further and shows that we will never forget the sorrow of the country's subjugation. It even made people burst into tears, unable to hold back any words. It turns out that there is a general comment here: "The sky and the earth are vast, let's shout and sing freely to conclude the whole "Peach Blossom Fan"."
About the author
Kong Shangren (November 1, 1648 - 1718), also named Pinzhi, also named Jizhong, named Dongtang (composed as Dongtang in Suiyuan Shihua), also known as Antang, and called himself a native of Yuntingshan. A native of Qufu, Shandong Province, the 64th generation grandson of Confucius, a poet and dramatist in the early Qing Dynasty. Kong Shangren inherited the ideological tradition and scholarship of Confucianism. He paid attention to etiquette, music, military, agriculture and other knowledge since he was a child. He also studied music temperament, laying the foundation of musical knowledge for opera creation. His main works include the legendary drama "The Peach Blossom Fan", "The Legend of Xiaohu Lei" (cooperated with Gu Cai) and the drama "Big Hu Lei", etc. Kong Shangren and Hong Sheng, the author of "The Palace of Eternal Life", are collectively known as "Southern Hong and Northern Kong", and are known as the twin stars that illuminated the literary world during the Kangxi period. Their works represent the highest achievements of ancient Chinese historical dramas and are also treasures and wonders in the world's cultural treasure house.