The meaning of this sentence is: Even if eternity lasts forever, there will always be an end, but the hatred of life and death will never end.
The source of this sentence is: "Song of Everlasting Sorrow" by Bai Juyi of the Tang Dynasty
I have excerpted the original text of this sentence for you, which contains this sentence. You can refer to it:
I sent my farewell message again with sincerity, in which I vowed to know each other.
On July 7th, in the Palace of Eternal Life, no one was whispering in the middle of the night.
I would like to be a winged bird in the sky, and a twig on the ground.
The eternity of heaven and earth will eventually come to an end, and this hatred will last forever.
The translation of this article into vernacular is as follows:
When leaving, I diligently asked the messenger to send a message of condolences to the king, and the oath in the message was known only to the king and me.
On July 7th of that year, there was no one in the Eternal Life Palace in the middle of the night, and we made an oath of alliance.
In the sky, I wish to be like two birds flying together, and on the ground, I wish to be like branches growing side by side.
Even if eternity lasts forever, there will always be an end, but the hatred of life and death will never end.
Here are some words that I think are more important, and I will explain them separately for everyone:
Re-send the message: The imperial concubine asked him to send a message again when saying goodbye.
Two hearts know: Only Xuanzong and the imperial concubine understand in their hearts.
Eternal Life Hall: It was built in the Huaqing Palace in Lishan Mountain in the first year of Tianbao (742). The following six sentences based on "July" are the author's fictitious words. The so-called Hall of Eternal Life is not the Hall of Eternal Life of Huaqing Palace, but the customary name for the sleeping hall of Chang'an Imperial Palace.
Hibiscus: The name of a legendary bird. It is said that it only has one eye and one wing, and the male and female can fly together.
Lianlizhi: The trunks of two trees embrace each other. Ancient people often used these two words to describe lovers who love each other and will never be separated.
Hate: Regret.
Mianmian: continuous.
It may be difficult to understand the meaning just by reading the article, so it is easier to understand if we interpret it based on the context of the creation of the article:
The first year of Emperor Xianzong of the Tang Dynasty (806 AD) ), Bai Juyi was appointed county captain in Yuxi (now Zhouzhi County, Xi'an City). One day, I visited Xianyou Temple near Maweiyi with my friends Chen Hong and Wang Zhifu, and talked about Li Longji and Yang Guifei. Wang Zhifu believes that outstanding things like this will disappear over time if they are not heavily processed and polished. He encouraged Bai Juyi: "Lots of happiness are deeper than poetry and more than love. How about singing it?" So Bai Juyi wrote this long poem. Because the last two sentences of the long poem are "Eternity will eventually end, and this hatred will last forever", so they called this poem "Song of Everlasting Sorrow". Chen Hong also wrote a legendary novel "The Song of Everlasting Sorrow".
Now that we have said this, let us appreciate and analyze this "Song of Everlasting Sorrow" together:
"Song of Everlasting Sorrow" is a well-known poem among Bai Juyi's poems. It was written in Yuan and Yuan Dynasties In 806, the poet was serving as county captain in Yusun County (now Zhouzhi, Shaanxi Province). This poem was composed when he and his friends Chen Hong and Wang Zhifu visited Xianyou Temple and were inspired by the stories of Tang Xuanzong and Yang Guifei. In this long narrative poem, the author uses concise language, beautiful images, and a combination of narrative and lyrical techniques to narrate the love tragedy of Tang Xuanzong and Yang Guifei during the Anshi Rebellion: Their love was ruined by the rebellion they caused. We are endlessly eating the bitter pill of this spirit. Xuanzong of the Tang Dynasty and Concubine Yang were both historical figures. The poet did not stick to history, but relied on a little shadow of history, based on the legends of the people at that time and the songs of the neighbors, to create a twists and turns and moving story. Describe and sing it in a round and round, sentimental art form. Because the stories and characters in the poem are all artistic and are complex and true representations of people in reality, they can create ripples in the hearts of readers of all ages.
"Song of Everlasting Regret" is the song "Eternal Regret". "Eternal Regret" is the theme of the poem, the focus of the story, and a seed buried in the poem that touches people's hearts. As for what to "hate" and why to "eternally hate", the poet does not directly narrate and describe it, but shows it to the readers layer by layer through the poetic stories in his writing, allowing people to figure it out, reflect on it, and understand it for themselves. Feel. The first sentence of the poem opens: "The emperor of the Han Dynasty valued beauty and thought of his country." It seems very ordinary, as if the story should have started from here, and the author did not need to put any thought into it. In fact, these seven words contain a lot of content. It is the outline of the entire poem, which not only reveals the tragic elements of the story, but also evokes and guides the entire poem. Immediately afterwards, the poet used extremely frugal language to describe how Emperor Xuanzong of the Tang Dynasty focused on and pursued beauty before the Anshi Rebellion, and finally got Yang Guifei, who "looked back and smiled with all her beauty, and the pink and white in the sixth palace have no color". It describes Yang Guifei's beauty and charm. After entering the palace, she was favored because of her beauty. Not only did she "newly inherit the favor", but her "sisters and brothers were all from the earth". It repeatedly exaggerates how Emperor Xuanzong of the Tang Dynasty indulged in sexual pleasure, had fun, and indulged in singing, dancing, drinking, and sex in the palace after he got the imperial concubine. All of these led to the Anshi Rebellion: "The Yuyang Chao incited the earth to come, shocking the colorful clothes and feathers." This part writes the internal cause of "eternal hatred" and is the basis of the tragic story. Through this realistic period of palace life, the poet ironically introduces us to the hero and heroine of the story: an emperor who values ??sex over country, and a charming and doting concubine. It also vividly hints to us that Tang Xuanzong's lustful behavior was the root of this tragedy.
Below, the poet describes in detail the scene of the emperor's soldiers fleeing into the southwest in a hurry after the Anshi Rebellion, especially the destruction of the love between Tang Xuanzong and Yang Guifei during this turmoil. "The six armies had no choice but to do nothing. They died in front of the horse with their eyebrows turned. The flowers and flowers left the ground without anyone to take it, and the green and green golden birds and jade scratched their heads. The king hid his face and could not save him. Looking back, the blood and tears flowed harmoniously." This is what they wrote in Mawei Poe's farewell scene. "The six armies did not send out" and demanded the death of Concubine Yang because he was angry that Emperor Xuanzong of the Tang Dynasty was infatuated with women and was causing harm to the country and the people. The death of Concubine Yang is a key plot in the whole story. After that, their love became a tragedy. Then, from "the yellow leaves are scattered in the wind and the wind is blowing" to "the soul never comes to dream", the poet It captures the heart-wrenching "hate" in the character's spiritual world, and uses a sour and touching tone to describe and describe Tang Xuanzong's loneliness and sorrow in Shu after the death of Yang Guifei. He also reminisces about the past on the road and sees things after returning to the palace. Thinking about people, touching scenes and feeling emotions, all kinds of feelings about things and people all year round. The lingering longing for lovesickness makes people feel heartbroken. Precisely because the poet exaggerates the emotions of the characters to such an extent, the arrival of the Taoist priests and the appearance of the fairyland later give people a sense of reality, and they no longer think it is just a castle in the air.
From "Linqiong Taoist Hongdu Guest" to the end of the poem, it is written that the Taoist helped Tang Xuanzong find Yang Guifei. The poet adopts a romantic approach, suddenly going up to the sky and suddenly down to the earth, "the blue sky above is poor and the yellow spring is below, and neither place can be seen". Later, Yang Guifei was found on the ethereal fairy mountain on the sea, and she reappeared in the fairyland in the image of "a jade face lonely with tears, a pear blossom with spring rain", and she enthusiastically welcomed the Han family's envoys. The poem reiterates the previous oath, reflects Tang Xuanzong's longing for her, and further deepens and exaggerates the theme of "everlasting regret". At the end of the poem, the line ends with "As time goes by and ends, this hatred lasts forever", it points out the theme and responds to the beginning, and it is "clear and clear", giving readers room for association and aftertaste.
The first thing that gives us the enjoyment of artistic beauty in "Song of Everlasting Sorrow" is the touching and moving story in the poem, as well as the exquisite and unique artistic conception of the poem. The center of the whole article is the song "Eternal Regret", but the poet starts from the "heavy color" and tries his best to elaborate and exaggerate it. "The sun rises high", "does not go to bed early", "nights are full of nights", "not seen enough", etc., seem to be extremely happy, like a comedy scene. However, the extreme happiness reflects the endless hatred behind it. . Tang Xuanzong's debauchery harmed the country, which led to political tragedy, which in turn led to the love tragedy between him and Yang Guifei. The creator of the tragedy finally becomes the protagonist of the tragedy. This is a special and twisty part of the story, and it is also the reason why the hero and heroine in the poem have "eternal hatred". Many people have said in the past that "Song of Everlasting Sorrow" has an allegorical meaning, and this is where the allegorical meaning of this poem lies. So, how does the poet express "eternal hatred"? The poet's depiction of the death of Concubine Yang Guifei in Maweipo was extremely delicate, and he vividly expressed Tang Xuanzong's inner conflicts and painful feelings that he couldn't bear to part with but couldn't save. Because of this "bloody and tearful" farewell, there is that endless hatred. Subsequently, the poet used many pens and inks to repeatedly exaggerate Tang Xuanzong's longing for Yang Guifei from all aspects. However, the storyline of the poem did not stop at one emotional point, but instead unfolded the character's inner world layer by layer, sensing his scenery. Constantly changing, moving time and the story forward, using the characters' thoughts and feelings to develop and promote the development of the plot. Emperor Xuanzong of the Tang Dynasty went to Shu after a farewell, and felt very sad and miserable in his heart. On the way back to Shu, he revisited old places, which brought back sad memories. After returning to the palace, he felt sad after seeing things during the day, and couldn't sleep at night. I thought about it day and night but couldn't get it, so I put my hope in dreams, but "it's been years since birth and death, and my soul has never come to dream." At this point in the poem, the "hate" of "everlasting regret" has been written very touchingly, and it seems that the story can end here. However, the poet changed his writing style, opened up a different realm, and with the help of the colorful wings of imagination, he conceived a charming and moving fairyland, pushing the plot of the tragic story to a climax, making the story more twists and turns, with ups and downs, and waves. This turn of events is both unexpected and reasonable. Due to the constant conflicts and collisions between subjective desires and objective reality, the poem vividly expresses the characters' ever-changing psychology, making the story more vivid and moving.
"Song of Everlasting Sorrow" is a narrative poem with a strong lyrical component. The poet uses the lyrical techniques that traditional Chinese poetry is good at in narrating stories and shaping characters, harmoniously combining narrative, scene description and lyricism. , forming the lyrical looping characteristics of poetry. The poet sometimes injects the characters' thoughts and feelings into the scenery, and uses the refraction of the scenery to highlight the characters' mood; sometimes he seizes the characteristic scenery and things around the characters, and expresses the inner feelings through the characters' feelings about them, rendering them layer by layer, just right. It expresses the difficult-to-reach feelings deep in the heart of the characters. On the way Emperor Xuanzong of the Tang Dynasty fled to the southwest, there were yellow dust, plank roads, and high mountains everywhere. The sun was dim, the flags were dull, and the autumn scenery was desolate. This is a sad autumn scenery to highlight the sadness of the characters. In the land of Shu, facing the green mountains and green waters, I still can't forget my love day and night. The mountains, mountains and rivers in Shu are originally very beautiful, but in the eyes of the lonely and sad Tang Xuanzong, the "green" of the mountains and the "blue" of the water are not the same. It makes people sad. The beauty of nature should be enjoyed in a peaceful state of mind, but he doesn't, so it only increases the pain in his heart. This is to write about sadness through beautiful scenery, which makes the emotion deeper.
The moonlight in the palace and the ringing of bells in the rainy night are already very sultry. The poet captures these ordinary but characteristic things and brings people into a sad and heartbroken state. In addition, the sight and smell, the color One sound, intertwined with each other, and the language and tone also show the character's inner sorrow and desolation, which is another level. On the way back to Dudu, "the world was spinning", which was originally a happy thing, but the old things were over again, and the beauty was gone, and I couldn't help but shed tears of sadness. The narrative adds another layer of painful memories. After returning to Chang'an, "When I came back, the ponds and gardens were all the same. The hibiscus in Taiye was like the willows. The hibiscus was like the face and the willows were like the eyebrows. How could I not shed tears at this?" During the day, due to the triggering of the environment and scenery, I associate the scenery with the people. The scenery remains the same, but the people are gone. I can't help but burst into tears. I seem to see the appearance of Concubine Yang from the hibiscus flowers in Taiye Pond and the weeping willows in Weiyang Palace. It reveals the extremely complex and subtle inner activities of the characters. "The fireflies in the palace are quietly thinking about each other in the evening, and the solitary lamps are all lit up before they can fall asleep. The bells and drums are beginning to ring in the long night, and the stars are about to dawn." Written from dusk to dawn, it focuses on the scene of being haunted by emotions at night and being unable to fall asleep for a long time. This kind of bitter longing is like this "when the peach and plum blossoms bloom in the spring breeze", and it is also like this in "the autumn rain when the sycamore leaves fall". When I saw that the "Liyuan Disciples" and "Ajian Qing'e" from those years had turned gray and faded, which aroused my longing for the joys of the past, I felt sad. From the loose yellow leaves to the green mountains of Shu, from the rainy night in the palace to the triumphant return, from day to night, from spring to autumn, I touch things and feel sad everywhere, and think about people when I see things, repeatedly exaggerating the suffering of the protagonist in the poem from all aspects Pursuit and search. If you can't find it in real life, go to the dream to find it. If you can't find it in the dream, go to the fairyland to find it. Such ups and downs and layers of rendering make the characters' emotions spiral and rise to a climax. It is through such layers of rendering that the poet repeatedly expresses emotions and goes back and forth to make the characters' thoughts and feelings deeper and richer, making the poems "delicate in texture" and more artistically appealing.
People have always argued endlessly about the theme of Bai Juyi's "Song of Everlasting Sorrow", including the so-called love theory, political theme theory, dual theme theory, etc. The author of this article believes in love. First of all, from the four levels of analysis of the work, it is certain that Bai Juyi did not describe Li Yang's story with a preachy face like Chen Hong wrote in "The Song of Everlasting Sorrow". Instead, he used "love" as the main theme to let the protagonist's love move the readers. Make it have a resonance and achieve great aesthetic success. This article also combines the author's life experience and social history to analyze his uniqueness in dealing with the relationship between historical themes, political themes and humanistic themes and psychological themes from the people, and further explains the aesthetic significance of the image of Emperor Ming Emperor Yang Guifei of the Tang Dynasty.
As soon as "Song of Everlasting Sorrow" was published, its theme has become a focus of debate among readers. Opinions are also quite divided. There are roughly three types: one is the theme of love. It is a love poem praising Li Yang. And affirm their sincerity and persistence in love; the second is the political theme theory. It is believed that the focus of the poem lies in allegory, in exposing the "long-lasting hatred" that "the Han emperor focused on sex and overthrowing the country" will inevitably bring about, and condemns the Tang and Ming emperors' debauchery that led to the Anshi Rebellion to serve as a warning to future monarchs; the third is the dual theme theory. It is believed that it is the unity of exposure and praise, and the interweaving of satire and sympathy. It not only sheds tears of sympathy, but also condemns the legacy of political failure. Exactly what it is needs to be analyzed from the work itself.
The poem can be divided into four levels:
The first level starts from "The Emperor of the Han Dynasty focused on color and thought of the country" to "The king never saw enough", narrating the story before the An-Shi Rebellion. Emperor Xuanzong of the Tang Dynasty paid great attention to and pursued beauty, and finally got Yang Guifei, who "looked back and smiled with all the charm". After entering the palace, the imperial concubine became arrogant because of her favor. Not only did she "newly inherit the favor", but her "sisters and brothers were all from the same land", which repeatedly exaggerated the fact that Emperor Xuanzong of the Tang Dynasty completely indulged in singing, dancing and drinking after getting the imperial concubine. The opening sentence not only hints at the tragic elements of the story, but also evokes and guides the entire poem.
The second level is from "Yuyang Ji came to the earth with the instigation" to "Looking back at the harmonious flow of blood and tears", describing the Anshi Rebellion, Xuanzong's escape, and being forced to kill his imperial concubine, and wrote the internal cause of "everlasting regret" , is the basis of the tragic story. The poet deliberately downplayed the Anshi Rebellion caused by Xuanzong's debauchery and misdirected the country, and deliberately described the separation of the two people. The readers were infected by the tragic atmosphere rather than the rational criticism of history. Chen Hong's statement in "The Song of Everlasting Regret" that "punishing beauties and suffocating the ranks" is just making an issue with a straight face, so it cannot be regarded as the motivation for writing this poem.
The third layer, from "Yellow elm is scattered and the wind is blowing" to "The soul never comes to dream", describes the loneliness and sadness of Tang Xuanzong in Shu after the death of Yang Guifei, but also the nostalgia on the road and the palace. Seeing the moon, hearing the bells at night when it rains, there is a "sad color" and a "heartbreaking sound". After the recapture of Chang'an, when he returned to the court, he passed Mawei, "but the place where the jade face died was nowhere to be seen." After returning to the palace, the pond remains the same, with things changed and people changed, and the lingering longing for lovesickness makes people feel heartbroken.
The fourth level, from "Linqiong Taoist Hongdu Guest" to "This hatred lasts forever", writes about Xuanzong sending alchemists to find the soul of Yang Guifei, focusing on expressing Tang Xuanzong's loneliness and past love. Sad memories of life. The poet uses romantic techniques to ascend to heaven and earth, and finally allows the imperial concubine to reappear in the fairyland on the ethereal fairy mountain with the image of "a lonely jade face with tears streaming down her face, and a pear blossom with spring rain". The catharsis of "emotion" has gone beyond the emotional entanglement between emperors and concubines, and has more of the poet's subjective ideal component. It has long gone beyond the scope of historical facts and fully expresses the contradiction between subjective desires and objective reality.
The two sentences at the end, "Eternal life will eventually end, and this hatred will last forever" are the sighs and cries of love. They are the regret that love has been manipulated by fate, and that love has been destroyed by political ethics. The depth of this hatred has transcended time and space and entered the infinite. realm. In this way, the poet uses "eternal regret" to express the eternal love, which also highlights the theme of the whole poem.
It should be said that at the beginning of writing, Bai Juyi at least subjectively agreed with Chen Hong's theory of "punishing beauties and suffocating the ranks". Later, in "Mrs. Li" and "Gu Jia" in "New Yuefu" "Fox" also repeatedly emphasizes the themes of "beautiful things bewitch people" and "fox charms harm people", and clearly promotes the harm of sex, but also admits that "people are not wood and stone, but all have feelings." Sex cannot be eliminated, so the only way to solve the problem is It's "It's better not to meet the beautiful woman". But in the actual writing of "Song of Everlasting Sorrow", he obeyed the human instinct for beauty and emotional desires expressed in folk love stories. In this way, the whole story has a more profound and complex meaning: it describes both true beauty and true evil, and directly links the two; there is a passage in the "Song of Everlasting Sorrow" in "The Collection of Beautiful Love": Uncle Xiangmu Said: "What's beautiful must be what's evil." Li Yannian's song said: "When the country is overturned, the city is overturned." This is what it means. This passage probably represents the final thinking of scholars in the mid-Tang Dynasty on this issue. One of the basic principles that Bai Juyi followed when writing "Song of Everlasting Sorrow" is: Don't obliterate "very beautiful" because of "very evil". Although its theme seems to have deviated from the condemnation of "very evil" in the end, the "very evil" content itself has not been obliterated after all, and in turn enriches the meaning of "very beautiful".
On the one hand, "Song of Everlasting Sorrow" is a major historical and political theme, and on the other hand, it is a humanistic and psychological theme with a long tradition among the people. In his creation, Bai Juyi obeyed the cultural psychology of the nation and the poet's individual thoughts, that is, the traditional model and the author's subjective initiative coexisted at the same time. This is of course inseparable from the poet's life experience and outlook on life. Bai Juyi's life spanned the middle and late Tang Dynasty. His thought was bounded by the demotion of Jiangzhou Sima. He experienced two stages from actively joining the world to passively emerging from the world. He practiced the Confucian life model he believed in: "If you are prosperous, you can help the world; if you are poor, you can be alone." . The basic connotation of Bai Juyi's so-called "unique kindness" is to be optimistic and aware of fate, to be content and to keep peace. From this, it is connected with Buddhism and Lao Lao, and to accept fate and obey nature as the attitude towards the world. In his entire ideological system, "single kindness" and "combination of benefits" go hand in hand. "Giving to others is Yi Lu's career, and saving them is Zhuang Lao's morality" ("A Gentleman Does Not Have a Qi Fu"). They are two aspects of a complete outlook on life. side. Before he was demoted, he worked hard for Yunlong and Fengpeng, and vigorously advocated the New Yuefu Movement with Yuan Zhen. It is precisely because of his great ambition when he was young and his political spirit to save the Tang Dynasty from its decline and save the people from the fire and water that he had enough courage to deal with such a major historical subject and summed it up with "not confused" Empress Tang Ming's half-life political gains and losses resulted in the song "Song of Everlasting Sorrow". In this way, the splitting of Tang Minghuang in his mind must be reflected in the image creation. It is precisely because the passionate Tang Ming Emperor and the Tang Ming Emperor who valued sex over country are a unity of opposites, so Bai Juyi wrote this story as the tragedy of a good emperor. The good emperor was confused and finally caused sorrow to himself and the people. The shaping of Tang Minghuang's character that we see in the works has rejected idealization and is the result of another kind of idealization. What is rejected is the idealization of the feudal ruling class that placed a full halo on the heads of emperors to elevate them to demigods. And this rejection itself includes another ideal of urban residents. Starting from the soil of the decline of the emperor's authority in real life, they imagined the leader of the feudal ruling class as an ordinary person like themselves, a man with love. , a humane and infatuated emperor who has troubles, mistakes, and shortcomings. He is almost the same as the protagonist in ordinary love stories! They idealized the emperor from another perspective. The ideal emperor should be a flesh-and-blood person like the common people, not a god! Bai Juyi, based on his people-centered thinking, conditionally accepted the urban residents' idealization of Tang Minghuang with some sublation, thus completing the shaping of the Tang Minghuang's image. After the poet was demoted to Jiangzhou, the status of "only good" and "Jianji" changed. His spiritual life and official career gradually changed, and finally he used "only good" to eliminate "Jianji". In the process of spiritual self-rescue, , Bai Juyi gradually shifted from paying attention to social politics to paying attention to individual life, and his love for free personality gradually surpassed his persistence in moral personality.
As an eternal narrative poem, "Song of Everlasting Sorrow" has a high artistic achievement. Throughout the ages, many people have affirmed the special artistic charm of this poem. How does "Song of Everlasting Sorrow" artistically infect and seduce readers? It is perhaps its greatest artistic feature, its melodiousness and pathos, and it is also its power that has attracted readers for thousands of years, making them infected and seduced.