Youth journey (twelve years old and alone in spring)
[Ouyang Xiu]
A person's spring, the sky is high and the clouds are light, and Wan Li is far away. February and March are sad.
On the Xiejiachi by the Pupu River in Jiangyan, the soul is singing and leaving, which is comparable to the dusk of rain and dew, and what is more special is to cherish the memory of Wang Sun.
Epigraph knowledge
Youth Journey, this song was first seen in Yan Shu's "Zhu Yu Ci", because there is a sentence in the word "looks like a teenager", so I thought it was a song. There are different interpretations of this word. In Lexical, Liu Yong's Ci is the fixed framework, and in Ci, Yan Shu's Ci is the positive body. Flat rhyme, double tone, fifty words, ten sentences, five rhymes on the upper level and five rhymes on the lower level. There are also 48-character, 49-character, 5 1 character and 52-character styles, with different rhymes and other situations.
Also known as "eucalyptus branches" and "small decline".
This word expresses the feeling of parting with acacia by chanting spring grass. The first part of the poem describes the protagonist's feeling of leaning against the fence and overlooking, which leads to the pain of parting with acacia. The next part uses a series of allusions to parting with Acacia, which further deepens the meaning of parting. The whole poem is based on freehand brushwork, and it all depends on the artistic conception of swimming to win. Song Ci has a gradual development process from graceful to bold, and Ou Gong is a link between the past and the future in this process. This is reflected in this word. From an artistic point of view, this word is far wide, and its language is simple and fresh, which is different from the general graceful words describing the pain of lovesickness.
Enjoy 1:
This poem is Ouyang Xiu's masterpiece. It's as famous as Lin Tong's Singing Lips, Spring in the Golden Valley, Mei's Su Mu Man and Luping Smoke in the Mountain Villa, and it's also called the unique three tones of singing spring grass in ci. However, Wang Guowei believes that the first book "Wan Yu Current" is a success and the second one is a failure. That's true. The last film outlines a beautiful picture of spring scenery in March with concise brushstrokes. The author is interested in writing about people and writing about a young woman in a boudoir. Looking from the railing, her eyes are clear, the grass is green, her heart flies to the end of the world, and she is worried about her relatives who have traveled far away. Although only one sentence "deep blue" was written directly here, the reader felt from the young woman's thoughts that the grass grows and the warblers fly, and her eyes are green. Writing heartless vegetation like this reflects the eyes of thinking about women and melts into the feelings of leaving people, which is not only far-reaching, but also real and moving. What about the next movie? I wrote very closely with Cao Chun, but I even used three allusions. There is a famous sentence in Xie Lingyun's poem "Climbing the pond upstairs", in which "Xie Chijia" is used to imply spring grass; Because Jiang Yan wrote in "Biefu": "Spring grass is green and spring water is surging, sending you to Nanpu to feel sad." Therefore, "Jiangpan" also means spring grass; In addition, there is a saying in the Songs of the South, that is, "Wang Sun swims without returning, and spring grass grows happy." In the word, it is raining, and at dusk, Wang is even more missed, so it is still spring grass. However, the life situation, thoughts and feelings of the three works written by these three allusions involving spring grass are different. Although it also depicts spring grass, the specific meanings of the three are quite different. If piled together, it can neither form a complete picture nor express true feelings. People who don't know the source of allusions are of course unintelligible when they read them; Those who know the source of allusions only know that the next film is all about spring grass, and it is difficult to resonate with the author's emotions except for the low-level formal beauty brought by words and melodies. In a word, the first and second parts of this poem create two different aesthetic realms and give people two different aesthetic feelings. This is of universal significance in people's aesthetic activities with poetry as the object. Although it has attracted the attention of ancient Chinese theorists for a long time, it was not until Wang Guowei summarized it theoretically with a pair of opposing aesthetic concepts, namely "separation" and "non-separation". Wang Guowei said:
What is the difference between "separation" and "non-separation"? Yue: Tao and Xie's poems are not separated, but slightly separated during the New Year. Dongpo's poems are not separated, and the valley is slightly separated. "Spring grass grows in the pond" and "empty beams fall in the mud" is the only beauty. So are words. That is, a person, a word, such as the first half of the spring grass recited by Ouyang Gong's "Youth Tour" ... The language is current, but it is not separated. It is separated from the cloud "Xiejiachi, Jiangyan Pupan".
"Born less than a hundred years old, often pregnant with chitose. The days are short and the nights are long. Why not travel by candlelight? " "Taking food as a fairy is often mistaken by medicine. It is better to drink wine and wear tens of thousands of sous. " This is written for the sake of separation. "Picking chrysanthemums under the hedge, leisurely see Nanshan. The mountains are getting better and better, and the birds are back. " "The sky is like the sky, and the cage covers the fields. The sky is gray. Wild. See cattle and sheep when the wind blows. " Writing this scene will not be separated.
(40 human words 4 1)
Wang Guowei put forward the aesthetic concepts of "separation" and "non-separation", but he only gave examples without defining them. According to the examples he provided, we can know that "Ge" and "Bu Ge" are comprehensive evaluations and centralized generalizations of a series of aesthetic activities and phenomena in the process of poetry creation and appreciation. From a horizontal perspective, there are three factors: "emotion", "scenery" and "word"; Vertically, it includes three links: the formation of artistic realm, the materialization of artistic realm and the reappearance of artistic realm. Separately, the three factors and three links are different from each other and have their own uses. Any improper handling will affect the aesthetic effect and cause different degrees of "separation"; On the contrary, in order to obtain the best aesthetic effect and reach a higher aesthetic realm-"non-separation", all factors and links must be dialectically unified. As far as writing "love" is concerned, Wang Guowei believes that "truth" means "not leaving" and painting means "leaving". The two examples of writing love in Nineteen Ancient Poems mentioned above have a common feature, that is, they express their true feelings directly without subtle embellishment, and in the sixty-second article of Life of Ci, he pointed out: "I used to be a housewife, but now I am a slut." I haven't been back for a long time, and it's hard to lie alone in an empty bed. Why not aim high and take the road first? If you do nothing for a long time, you will be poor and bitter. It can be described as obscene. However, those who ignore it as obscene and contemptuous words regard it as true. So did the great poets of the Five Dynasties and the Northern Song Dynasty. Non-obscene text, but people who read it feel profound and moving; It's not a vulgar word, but it's very energetic. It can be seen that the disease of foul language is not the disease of foul language, but the disease of swimming. "In real life, people's emotions are moral, immoral, noble and contemptible, and their ethical values are also different. But if it is written in poetry, only "truth" can be beautiful. If it's not true, it can't be moving, and if it's not true, it can't make people feel beautiful. Liu Xie said that "emotion is a classic of literature", so he praised "poets write and create things for emotion" and criticized "poets eulogize and create emotions for literature". Du Fu wrote a poem, "Take the true nature directly." Liu Xizai commented on Zheng Banqiao's "whether painting and calligraphy are heroic or relaxed, only the naivety of writing". They all believe that "true feelings" are the basis of the beauty of works of art. Wang Guowei further pointed out that lewd feelings in life, expressed as "truth" in poetry, can make people feel beautiful. On the contrary, the noble feelings in life are painted in poems and turned into wandering words. When people know their falsehood, they will not feel their beauty. It can be seen that the "separation" and "non-separation" of poetry works with "emotion" as the aesthetic object are true and false, and the essence is beauty and ugliness. The essence of "separation" and "staying" in the works describing scenes and images also lies in whether it can make people feel beautiful and to what extent, but the reason why it can make people feel beautiful is different from writing feelings. Because it mainly lies in the "spirit" of the scenery, and does not insist on the truth of the modeling. Wang Guowei said: "Mei Cheng (Zhou Bangyan) wrote four words:' Chu Yang on the leaf is dry and rainy at night'. The water is clear and round, and the wind lifts up bit by bit. "This can really get the god of lotus. Jue Baishi's "Nian Nu Jiao" and "Cherish the Red Dress" and the hatred of watching flowers in the fog.
Appreciation 2:
This word expresses the feeling of parting with acacia by chanting spring grass. The first part of the poem describes the protagonist's feeling of leaning against the fence and overlooking, which leads to the pain of parting with acacia. The next part uses a series of allusions to parting with Acacia, which further deepens the meaning of parting. The whole poem is based on freehand brushwork, and it all depends on the artistic conception of swimming to win.
Words are written from columns. The word "spring" indicates the season, and the word "independence" indicates solitude. When will spring be independent? People have no intention of knowing. "Twelve columns", with the word "by", means that it has been completed by twelve columns. Li Qingzhao's Ci: "Walking on the fence is just unintentional." Xin Qiji's words: "The columns have all been filmed, and no one participated." (Shui Longyin) Both "prone" and "pat" are action descriptions. There are twelve columns here, one column at a time, which shows that the characters between the lines have been waiting for a long time and are anxious. This sentence not only points out the time, place and characters, but also writes the scenes, actions and modality of the characters.
"Clear Sky Wan Li Clouds Far" inherits what you saw on the railing, and is colored with "Clear Sky Wan Li", and the grass is sung on the front. Jiang Yan's biefu said, "Spring grass is green". Clear and bright. "Away from the clouds" means that the grass extends to the sky that the eyes can see. Du Mu's "Occasionally Seeing Poems on the River": "Those who have grass and clouds must live." This shows that this scene is really talking about other feelings.
There is also a picturesque method, that is, first point out the central object, and then deliberately render up, down, left and right. The sentence "clear blue" is "point" and the sentence "thousand miles" is "dye". A Thousand Miles of Wan Li inherits the "cloud far away" and renders it from a vast space, saying that spring grass is boundless. "February and March" should start with the word "spring", which should be exaggerated from the time of "grass growing". It is said that spring grass is flourishing.
The phrase "compassion for others" combines people and scenery, resulting in words that are hard to give up and opening up the lyricism of the next movie. "Lustful" sums up the three words of "clear blue", which means the symbol of traveling. This kind of sight is doubly painful in the eyes of the sad and hurt people, because it has aroused the thoughts of people far away.
In the next film, first sing something with Canon and express your feelings. "On the pond in Xie Jia" refers to the famous sentence "Spring grass grows in the pond" in Xie Lingyun's Climbing the pond upstairs. This poem was written by the poet because of the change of time sequence and early spring, so it is called "singing". Jiang Yan Riverside refers to Jiang Yan's Biefu, which describes various parting modes, among which "Spring grass is green and spring water is rippling, so it's sad to bid farewell to Nanpu". Because there are also "drifting away from dreams" in Fu, which means to bid farewell to the flying soul, words such as "Jiang Yanpu" and "leaving the soul" have appeared literally in European words.
Then the phrase "Nakan" took advantage of the change of scenery and turned this unbearable feeling into another layer. Rain Dewatering at Dusk is a scene in Rain at Dusk. Wang Guowei said in Ci on Earth: "As we all know, Dianjiang Lip, Su Mu Man and Youth Travel are the three best ways to remember Wang Sunzi, and Geng echoes Nakan, with a coherent meaning from scene to emotion." "Recalling Wang Sunzi" comes from "Wang Sunzi swims without returning, and spring grass grows" ("Chu Ci? Recruit a hermit "). At this point, it is certain that the protagonist of this word is thinking of a woman. When spring came, she went to Cuilou alone. Whether it is sunny or sunny, rainy or dusk, she is always reluctant to leave her dreams. Song Ci has a gradual development process from graceful to bold, and Ou Gong is a link between the past and the future in this process. This is reflected in this word. From an artistic point of view, this word is far wide, and its language is simple and fresh, which is different from the general graceful words describing the pain of lovesickness.