Ouyang Xiu [Song Dynasty]
I don't know how far you are after leaving, which is bleak and boring. Drifting away, no books, rich water and heavy fish.
In the middle of the night, the wind and bamboo knock on the autumn rhyme, and Chiba hates it. Therefore, _ looking in a single pillow, dreams are neither lights nor embers.
2. Translation
After parting, I don't know how far your trip is, and I have endless sadness in my heart. You are getting farther and farther away from me, and your letter is gradually broken, and there is no news of you. Where can I ask?
At midnight, the wind blows on the bamboo leaves, and every leaf seems to say goodbye. I want to see you in my dream, but the dream has not been made into a wick, and it has burned out.
Step 3 enjoy
This word describes the sadness of thinking about women far away. The loneliness and sadness of Shang Kansi's wife's writing and her deep attachment to distant wanderers; Xia Kun used the scenery to express his feelings, describing a woman's thoughts when she couldn't sleep alone with a lonely lamp on a lonely night. The whole word highlights the word "hate", which is progressive, profound, graceful and touching, and vividly depicts the desolation and sadness of a woman living alone in a boudoir after her lover left, as well as her resentment against that heartless and silent person. Delicate and euphemistic style, plain language and simple emotion; The realm is sad and lingering, beautiful and sparse, and tastes both refined and popular; Combining lyricism with scenery description, the scenery contains graceful feelings, taking sadness as the scene, showing a unique artistic style with deep melody and graceful beauty.
This word is deeply influenced by Huajian Ci in the Five Dynasties, which shows the deep sadness of women in boudoir. The whole poem is full of profound feelings and scenes, and the context of the poem is euphemistic and tortuous, deep and delicate, gentle and sincere.
The first sentence "I don't know how far you have gone" is the reason to hate. Because I don't know the whereabouts of my loved ones, I feel sad and depressed when I contact the scene, which is everywhere. "How much" is numerous in vague language. Three or four sentences go further, expressing the distant situation and sadness.
The word "drifting away" appears repeatedly in the sentence "drifting away", which gradually pushes the imagination of a thinking woman from near to far away, as if pursuing the footsteps of a lover. However, the goose is absolutely heavy and the cliff is nowhere to be found. The first sentence of "no book" should be "I don't know", and there is no reason to know, so she has to immerse herself in the endless sorrow of "where can a rich fish sink?" "Broad water" is a symbol of "far away" and "heavy fish" is a symbol of "no books". The word "where to ask" expresses the unexpected sadness of a woman who wants nowhere to go and wants to sue. In the vast waters and vast space where she is separated from her relatives, it seems that everyone is full of sad parting pain. The strokes of Chinese characters are deep and beautiful.
Judging from the following films, the lyrics describe Sifu's inner world profoundly and delicately, and strive to render her sad feelings of sleepless nights in autumn. "Since ancient times, I have been sad and far away, climbing water and staying late. Evening and grass wither in autumn. Ordinary scenery is a kind of sadness here. " (Zhang Xian's "Linjiang Fairy is sad since ancient times, but far away") The charm of wind, bamboo and autumn was originally an "ordinary scenery", but for a homesick woman who lives far away from her relatives and has an empty bed, it is Chiba who is sad because of hate, and every leaf touches her infinite sadness.
"So, if you look for it in a single pillow, the dream will not turn into a lamp and burn." . In order to get rid of the bitter reality, Sifu is eager to fall asleep and dream, so she leans on the lonely pillow and fantasizes that she can find relatives who can't be found in reality in her dreams, but "Qianshan can't do it all the time. Where can I find a soul dream? " (Wei Zhuang's "Magnolia, Alone in the Small Building") Even a little hope was shattered. Not only was it "difficult to dream but sad" (Xue's "Hills, Spring Come, Spring Grass"), but even the accompanying lights went out at last. "The light is on again" is a pun. The snuff in the boudoir burned to ashes, so she couldn't see her relatives. Sifu's fate has also become as bleak as snuff. From words to sentences, the feeling of sadness lingers and has a deep artistic appeal.
Poets of Huajian School, who were earlier than Ouyang Xiu, often liked to describe women's external clothes in detail, but rarely revealed the inner thoughts and feelings of the characters. Ouyang Xiu is obviously a big step ahead of them. In this poem, he did not use a word to describe Sifu's appearance and image, but focused on revealing Sifu's inner thoughts and feelings. Every word is leisurely, every sentence is advanced, such as peeling bamboo shoots and cocooning, deepening step by step, from parting-far away-no news-listening to the wind and bamboo at night-dreaming is not successful-the lights are turned off again. Liu Xizai said: "In Feng Yansi's ci, Tong Yan's uncle won his handsome, and Ouyang Yongshu won his deep." (Art Outline) This language brilliantly points out the elegant and profound features of European writing. This style is extremely obvious in this word.
The whole word is from far and near, from outside to inside, from reality to fantasy, from fantasy to reality. The lyrical scenery writing has two advantages: the scenery writing sentence contains graceful feelings, and the romantic sentence carries the bleak scenery, which shows the deep and sad hatred of the lady in the boudoir to the fullest.