Reading "Mrs. Xiang", we can imagine this scene: Lord Xiang welcomes Mrs. Xiang in Dongting, and when the leaves are falling, it is just out of reach. He built a fragrant palace in the water to wait for Mrs. Xiang's arrival. However, he never saw her and could only hate her for the rest of his life. "The Book of Songs" has: "The so-called Yi people are on one side of the water. If you go back and follow them, the road is blocked and long; if you go back and follow them, they will be in the middle of the water." ("Jian Jia") It writes about the feeling of missing someone, the sadness and admiration. It feels so sad and depressing. In "Mrs. Hunan", it is written that the king of Hunan treated Mrs. Hunan with no feelings of nostalgia and resentment. It is also sad and sad, which is touching. Love without seeing, how can the word "sorrow" be used? In the water where the house is built, the volume is on the riverside. The expectations and disappointments of Mr. Xiang are exactly the same as the deep affection of Mrs. Xiang in "The King of Hunan". It's hard to express one's feelings, two people's feelings are incomprehensible, there is no destiny to meet, life and death are parting, it is natural to hate things since ancient times, and it is not just the charming love between children!
"The autumn wind is blowing, and the waves in the Dongting are under the wooden leaves", the scene is picturesque, like an autumn wind picture. After thousands of years, the autumn scenery of Dongting in Xiang Lake is still as present as now. The author's wonderful thing is to use the visible water waves and wooden leaves to write the invisible autumn wind. The wind is painted with a painterly meaning. Based on the theory of water painting style, Li Shan's annotation of "Selected Works" on "Wise" says: "There are things with literature called color, and although the wind has no positive color, it also has sound. "Annotations on Poems" says, 'Feng flowing on the water is called ripples'." "Yi" said: "The wind is flowing on the water, and it is called Huan." Huanran, even if there is an article. "Su Xun's "Zhong Xiong Lang Zhong Zi Preface": "It is invisible, floating in the distance, and it is past without knowing its traces. , it is the wind, and the water is the real shape." Zhu Yigeng said: "The wind is invisible and cannot be painted, and its quality can only be revealed when it encounters water. Painters do not paint the wind, but the wind outside the water is called a wonderful stroke." (Xie Renhui) "Shallow"). The tree-shaped style is also a common technique in ancient poetry: "The willow branches emerge from the west and the leaves turn to the east. This is not the actual style of painting willows." (Jiang Shi's "Yan Chong Painting Willow Swallows"); "There is an east wind in front of the court, and the willows will have branches at noon." All the way to the west" (Liu Fangping's "Dai Chun Yuan"). The name of the wind in this poem refers to both water and wood, and it appears to be scattered and empty, which is actually higher than that of later generations. Xie Zhuang's "Yue Fu" is based on it, and it is directly used as: "The waves are beginning in the Dongting, and the wood leaves are slightly peeled off." It perfectly sets off the moonlit night scene. The beauty of the two titles of "Mrs. Xiang" lies in the use of scenery to describe emotions. Liu Xizai said: "The narrative of things is based on local sentiments. I said that "Chu Ci·Nine Songs" is the best way. For example, "The autumn wind is curling up, and the waves in the Dongting are under the leaves of the trees." 'Come; look at the desolate landscape in the distance, watch the murmuring water', which is exactly what I wrote, 'I miss you but I don't dare to speak', and it has the meaning of 'witnessing the truth, I can't say anything'" ("Yi Gui·Fu"). "Introduction")
Birds gather in the palm trees, bamboo stalks are on the trees, and elk eat in the garden, and dragons are in the water. This method of using abnormal things as metaphors is very common in "Songs of Chu" . For example, "Xiang Jun" said: "Pick sedge and lychees in the water, pick hibiscus and sprinkle the wood powder." "Bu Ju" says: "The world is turbid and unclear, the dark wings are heavy, and the thousand junctures are light." "Love poems use abnormal and impossible things as metaphors, which is a common method in Chinese and foreign poetry. It is said that "there are no mountains without mausoleums, rivers are exhausted, the thunder is shaking, and the summer is raining and snowing." "(Han Yuefu's "Shangxie") are all examples.
Other related comments
1. Tragic scenes that are rare to encounter in the middle stage of Shenlian's life
Although the title of this poem is “Mrs. A series of pursuit behaviors and psychological activities show Mr. Xiang's sincere love for Mrs. Xiang and his pursuit of a happy life. The whole poem can be roughly divided into four sections. Since it is about the love of God, the artistic conception is hazy and difficult to understand, so you need to concentrate on it. Realization.
The first four sentences are the first paragraph, which always mentions the scene of Mrs. Xiang's unexpected encounter and the sudden sadness of Xiangjun. From the two sentences, it seems that Xiangjun and Mrs. Xiang had an appointment, and Xiangjun came in a hurry to attend the appointment. But when he came to the appointment place, the situation changed: "The emperor descended to Beizhu", Xiangjun. The lady came, but she landed on the small island in the north. The two of them could only look at each other across the water. This scene was just like "the so-called love is on the other side of the water" in "The Book of Songs", which was hard to come by. "My eyes are dim and I am worried." He writes that he can only look and pursue in the vague and seemingly empty world, so a sense of loss and sadness rises in his heart. The autumn wind, rippling water, and falling leaves are all. This melancholy is exaggerated by describing the scenery.
The fourteen sentences in the second paragraph all describe Xiang Jun’s pursuit behavior and psychological activities after the unexpected encounter. "Xi Zhang" is written about climbing high and looking into the distance, waiting day and night. "There are orchids in Yuan, I miss the young master but I dare not say anything." It means that in the places where Mrs. Xiang often hangs out in Yuanjiang and Lishui, there should have been confessions of love when they met. The opportunity was missed, but it makes me regretful and regretful when I think about it. There was no trace of him, so his spirit fell into a trance. "The horse is galloping towards Jianggao, Xiji is Xixi?" It is written that Xiang Jun is still galloping between Yuan and Xiang day and night in a trance, which is quite similar to "Jian Jia". The scenes of "Sui Hui" and "Sui You" repeatedly "follow her", "I heard that the beautiful woman came to call me, and she will fly away together." It is not so much that there is such a call, but it is better to say that it is Xiangjun's inner wish: In his dazed pursuit, he seemed to hear the voice of the Prime Minister calling him to fly together to the happy harbor of love. Therefore, the poetry naturally transitioned to the illusion of the third paragraph.
The third paragraph also intersperses descriptions of four abnormal scenes: "bird he", "he", "finding", and "jiao he", which are a reflection of Xiangjun's embarrassing situation and annoyance. The ratio and dyeing.
The third paragraph, with sixteen sentences, describes the scene of Xiang Jun decorating a new house in the water to marry the prime minister's wife. This is an illusory space born from a trance in the intertwining of disappointment and hope. First, he writes about building a house and beautifying the bridal chamber, and then he writes about decorating the porch and welcoming guests. It is extremely pompous and beautified in every possible way, with gorgeous objects and cheerful mood, which fully demonstrates Xiangjun's persistent pursuit of an ideal love life.
The last six sentences are the fourth paragraph, describing Xiangjun’s behavior and state of mind when he left the scheduled place. Mrs. Xiang failed to appear in the end, and Xiangjun's mood returned from dream to helpless reality. So, he threw his clothes into the river, leaving a token and expressing his true love. If you pick a fragrant flower and leave it to give to someone "far away" later, it means that hope still exists, and longing and pursuit will continue. "Times cannot come suddenly, it is easy to be free and easy", which is to persuade yourself to take a long-term view, and see the resilience of never giving up on a happy love life in your broad-minded self-understanding.
2. Qu Yuan’s emotional sustenance and readers’ starting point for connection
The artistic connotation of "Mrs. Xiang" is multi-faceted, and the above analysis only expands on the love life of God. . There are three other levels worth noting, namely the water god's sacrificial ceremony, Qu Yuan's emotional sustenance and the reader's connection. Regarding the sacrificial ceremony of the water god, let’s talk about the artistic characteristics. Let’s talk about the second and third levels.
"Mrs. Xiang" was composed by Qu Yuan based on the music of worshiping the water god. The processing of sacrificial music must meet the needs of sacrificial rituals, but it is also a process of self-emotional catharsis and spiritual compensation. At that time, Qu Yuan was exiled to the barbaric Yuan and Xiang areas by the King of Chu. He was in a difficult situation and was in a sad mood. However, he still cared about state affairs and persisted in his ideals, hoping that the King of Chu would change his mind. All of this will resonate with Xiangjun's situation, mood, and pursuits consciously or unconsciously in the process of music processing. From the tragic scene of the Xiangjun being hard to come by, can we think of Qu Yuan's experience of being repeatedly alienated and exiled by the King of Chu? Does the figure of Xiangjun wandering and pursuing on both sides of Yuanjiang River and Lishui River sometimes overlap with the image of Qu Yuan's "searching up and down" while "walking along the bank of Yinjiang River"? Does Xiangjun's persistent pursuit of true love and a happy life rely on Qu Yuan's unswerving devotion to political ideals and the cause of rejuvenation? Has Xiangjun's "freedom and tolerance" in the helpless situation been integrated into Qu Yuan's relief and comfort in the turbulent journey of life? The author's emotional penetration in literary works generally cannot be said to be what is here or what is there, but it is indeed everywhere and always present, and it must be understood by readers through careful appreciation.
"Mrs. Xiang" writes about the love life in the divine world, but it is full of realistic sentiments in the human world. Therefore, we can read it as a folk love poem in the Chu region at that time. But this is not enough, because the poem's water god sacrificial background is not love, and Qu Yuan's emotional sustenance is not love either. Moreover, readers' free reading always has to break through the limitations of the subject matter and carry out a wider range of heterogeneous and isomorphic connections. This is an inevitable rule. When we think of the situation where Jun Xiang is rarely encountered, we think of the scene of "the so-called beauty is on the other side of the water", when we think of Jun Xiang searching for his wife everywhere on both sides of Yuan and Hunan, we think of the situation of "tracing back and following her, The road is blocked and long. When you follow it, you will see Wan in the middle of the water" ("The Emperor descends to Beizhu", doesn't it mean "Wan is in the middle of the water"?), the artistic conception space of "Mrs. Hunan" suddenly changes. The expansion is inexhaustible: in social life, all the realistic situations that are persistently pursued but always illusory and rare, and all the sorrow, annoyance, melancholy, and disappointment caused by persistent pursuit but always illusory and rare, seem to be isomorphic here. Induction and spiritual sustenance. This is the artistic space of "Mrs. Xiang" that "contains endless opinions behind the words", and it is also the real charm of the poem.