At ordinary times, green chariots pass by, and Kong Wen's midnight ghost laments.
Today has not returned to the whole city, and the Jade Palace still divides Yuan Bo.
When I am dead, I still remember the smell of Huating crane, and I am always worried about the crying bronze camel of the royal family.
Although eternal change of heart is broken, it is not much more than hurting spring.
Source:
China's Poetry-Tang and Five Dynasties-Li Shangyin
Precautions:
Qujiang, the largest scenic spot in Chang 'an in the Tang Dynasty, "is a scenic spot in Kaiyuan ... surrounded by flowers and beautiful smoke and water. Everyone enjoys traveling, which is better than the festival of neutralization and superiority "("A Talk on Kang Pian's Opera "). Abandoned after An Shi Rebellion. Tang Wenzong wanted to restore the story of Shengping. In February of the ninth year of Daiwa (835), he sent Shence Army to repair Qujiang. In October, a banquet was held in Qujiang to entertain officials. Shortly after changing manna, it was ordered to stop repairing. Li Shangyin wrote this poem in the spring of the second year after the incident.
The rise and fall of Qujiang is closely related to the rise and fall of Tang Dynasty. In "Ai Jiang Tou", Du Fu used Qujiang past lives to express the pain of the broken country. In the face of Qujiang, which experienced another "eternal change"-the change of manna, Li Shangyin could not help but feel similar to Du Fu. Du Fu's "Mourning for a General's Head" may have inspired his conception of this poem, but his feelings have already contained concrete realistic content and brought more tragic colors of the times.
From the very beginning, I deliberately rendered the desolate scene of Qujiang: looking around, I couldn't see the grand occasion of the emperor's special car at ordinary times, but I could only hear the sad songs of ghosts at midnight. What is contained here is not a historical feeling of mourning the past and hurting the present, but a deep affection for real politics. "Usually it's a green life" refers to the scene when the literati drove out of Qujiang before the incident. Elegy of Midnight Ghost is the scene of Qujiang after the incident. This scene is full of sadness, which just implies the tragic event of "thousands of zombies" in the past. In the poet's feeling, this great event seems to be divided into two eras: the scene of "the usual lush years have passed" has become a distant past that can no longer be seen, and it is such a dark, bleak and frightening reality. "Wang Duan" and "Kong Wen" imply an "eternal change" from both positive and negative aspects.
Third, fourth, the sentence of "looking at the broken" said that the beautiful palace princess who accompanied the emperor today is no longer here, and only the flowing water of Qujiang is still quietly flowing to the imperial ditch next to the Jade Palace (Qujiang and Imperial Ditch are interlinked). In the sharp contrast between "no return" and "farewell", a desolate and cold Qujiang scene is revealed, which contains infinite sense of vicissitudes. Wenzong built Qujiang Pavilion to enjoy the scenery of Xia Yuan. He wants to restore the story of Shengping. Coupled with the manna incident, he was enslaved by domestic slaves, like a prisoner in confinement, and he disappeared in Qujiang. Here, there is a kind of deep affection that will never return. The sadness of "thorny bronze camel" and the feeling of "hurting spring" in the next two couplets were born.
The fifth sentence follows the "Kong Wen" sentence. Lu Ji in the Western Jin Dynasty was punished by eunuch Meng Jiu. Before he died, he sighed: "Huating (the name of the valley next to Lu Ji's former residence) is a crane. How can I hear it again? " This is used to imply that a large number of courtiers were killed by eunuchs during the Mana incident, in response to the second sentence "ghost elegy". The sixth sentence contains "Wang Bu" sentences and couplets. Before the demise of the Western Jin Dynasty, Suo Jing foresaw the chaos in the world, and pointed to the bronze camel in front of Luoyang Palace and sighed, "The middle ear of thorns met you! Here, I can express my concern about the national luck of the Tang Dynasty. These two allusions are very accurate, which not only slightly increases the things that are inconvenient to express, but also strengthens the tragic atmosphere of the whole poem. The two sentences seem to be disconnected, implying causal connection.
The final couplet is the whole knot. In the poet's view, the eternal change of "thousands of zombies"-the change of manna is heartbreaking, but what is even more distressing is the fate of national decline. The word "Wounded Spring" occupies a particularly important position in Li Shangyin's poetry vocabulary. It was used by him to summarize the basic theme of his poetry creation. This refers to being confused when you are injured and feeling sad for the declining fate of the country. When drawing lessons from the painful experience, the poet did not confine his eyes to the event of manna change itself, but thought deeply about the cause and effect of the event and was keenly aware of the historical trend shown by this historical chain. This is precisely the place where the ideological content of this article is more profound than ordinary poems that simply describe current events, and it is also the reason why its style is particularly deep and dignified.
This poem has a remarkable feature in conception: it uses past lives of Qujiang to conceal current events, and expresses the feeling of "hurting spring" by current events. As far as the whole article is concerned, the sadness of "eternal change" is not the main body, but "hurting spring" is the real center. Although only two sentences (six or eight) are written in the poem, in fact, all the previous descriptions revolve around this center directly or indirectly, and all of them reveal a strong breath of "hurting spring", so it is natural to make the topic clear in the end.
Writing desolation with beautiful sentences and expressing emotions with exotic words are the remarkable characteristics of some of Du Fu's rhythmic poems. Li Shangyin learned from Du Fu, and in this respect he also got the knack of Du Fu's poems. Reading Qujiang may remind us of Du Fu's Autumn Xing, although there are still significant differences in their artistic techniques.
(Liu) According to