Lin Geng
"The autumn wind is curling, and Dongting waves are under the leaves." (Nine Songs) Since this touching poem was written, its vivid image has influenced the poets of later generations, and many poems passed down by people are inspired by it. For example, Xie Zhuang's Yuefu said: "The waves in Dongting begin, and the leaves of the tree are slightly detached." Supplement to Lu Jue's Song of King Linjiang. As for the famous sentence in Wang Bao's "Crossing Hebei": "Autumn wind blows the leaves of wood, such as Dongting waves." Its influence is even more obvious. Here we can see that "leaves" have become a favorite image of poets.
What is "konoha"? Literally, "wood" means "tree" and "wood leaf" means "leaf", which seems to need no more explanation; But the question is why we seldom see the usage of "leaf" in ancient poetry. In fact, "trees" are quite common. For example, Qu Yuan said in Ode to Oranges that "after the Emperor, oranges are attractive." "Lonely Mountain in Huainan" said: "There are many osmanthus trees and quiet mountains." In an anonymous poem, he also said: "There are strange trees and green leaves in full bloom in the courtyard." But why are "leaves" not common? Generally speaking, when we meet "leaves", we call them "leaves" for short. For example, we say, "the leafy birds fly on the road, and the wind is light and the flowers fall late." (Xiao Gang's "Folding Willow") "When will the bright moon shine, and the red leaves will burn China?" (Tao Yuanming's "Antique") This can of course be said to be the washing of the poet's words, but it is like this. It seems that the poet no longer considers the problem of washing words, but tries his best to write famous sentences and spread them to the crowd through "Mu Ye", for example, "Under the leaves of Mu Ye, Gao Ting, Gansu flies in the first autumn." (Liu Yun's "Poetry of Changing Clothes") "I heard the cold sound shaking the leaves, and Liaoyang expedition for ten years." (Shen Quanqi's ancient meaning) It can be seen that washing cannot be used as a special reason for the word "Ye". At least, there has never been a wonderful poem, but the fact is that since Qu Yuan discovered the mystery of "Konoha" with amazing genius, poets have refused to let it go easily since then. So once used again, practice makes perfect; In the language of poetry, it is not limited to the word "konoha". For example, Du Fu's famous poem "Ascending the Mountain" said: "Leaves fall like the spray of a waterfall, and I watch the long river always roll forward." This is a well-known saying, and the "falling wood" here is undoubtedly developed from the "wood leaf" in Qu Yuan's Nine Songs. According to the meaning of "falling wood rustling", of course, it means that leaves rustle. However, the genius Du Fu would rather leave out the "leaf" of "konoha" than give up the "wood" of "konoha". What is the reason for this? In fact, before Du Fu, Yu Xin had already said in "Jiangnan Fu": "It is no accident to say that the word' falling wood' was lost to the hole and lost to the sun. It's just a small example created by ancient poets in their own study, which makes China's poetic language so colorful.
The key to the development from "wood leaf" to "fallen leaf" is obviously the word "wood", which is different from "leaf" or "fallen leaf". Needless to say, "leaves" are rarely used in ancient poetry; It is a "fallen leaf", although common, but it is also a universal image. The subtlety of the original poetry language is different from the general concept, which will be much worse; Poetic language can't just rely on concepts, which shows that conceptually, "konoha" is "leaf" and there is nothing to argue about; But when it comes to thinking in images of poetry, the latter is ignored, while the former is developing constantly. As bold and creative as "leaves fall like the spray of a waterfall", do people who are not afraid of die-hard mistake wood for falling from the sky? But our poet Du Fu would rather take the risk and create a vivid poem handed down from generation to generation. This adventure, this image, is actually on the word "wood", but isn't the origin of this word worth thinking about? Let's analyze the word "wood" first.
First of all, it seems to be necessary to study where ancient poets used the word "wood". In other words, under what circumstances can the word "wood" just constitute a subtle poetic language; In fact, they are not used everywhere. In that case, they will become "universal ingots". It is no accident that since Qu Yuan began to use it accurately in the autumn when the fallen leaves were falling, poets from then on, no matter Xie Zhuang, Lu Jue, Liu Yun, Wang Bo, Shen Quanqi, Du Fu and Huang Tingjian, have made vivid images in autumn scenery. For example, Wu Jun. Sure; Cao Zhi's "Ode to Noda's oriole" says: "I hate many trees in Taiwan, and the sea is full of waves." This is also a famous sentence throughout the ages, but the image of "hating too many trees on Taiwan" here is not fallen leaves, but "cold wind sweeping trees" is obviously fallen leaves. The former is about to borrow leaves to blow, expressing grievances as deep as the tide. There are many Harrison here, and the more full the feelings are; The latter is the situation that there are fewer and fewer leaves. Isn't the so-called "sweeping the high wood" the emptiness of "falling the wood"? However, the "towering tree" is full, while the "towering tree" is empty; This is the difference between "wood" and "tree". "Wood" is simpler than "tree" here, and the so-called "withered mulberry can smell the wind" seems to be closer to "wood"; It seems to contain a defoliation factor, which is the first artistic feature of wood.
To explain why "wood" has such characteristics, we can't help but touch the suggestibility in poetic language. This suggestibility seems to be the shadow of a concept, which is often hidden behind the scenes. If you don't pay attention, you won't notice its existence. Sensitive and cultured poets are trying to understand all the potential forces in language images and interweave these potential forces with the meanings in concepts, thus becoming colorful and complex sentences. It affects us unconsciously; It is very infectious and inspiring here, and so is it. As the concept of "tree", "wood" has the general shadow of "wood", "wood" and "board", and this potential image often affects us to think more about trunk and less about leaves, because leaves do not belong to wood, and "leaves" have lush branches and leaves, which are closely related to "leaves". The so-called "a beautiful tree in the afternoon, clear and round." (Zhou Bangyan) If the word "wood" is used here, a more realistic image of "afternoon shade" is missing. But the images of "tree" and "leaf" are not exclusive, but very consistent. It is precisely because there is too much agreement between them that "leaf" will not bring more than one single word "leaf". In classical poetry, the word "leaf" has never been seen. As for "konoha", it is completely different. Here we need to talk about the second artistic feature of "wood" in image.
"Wood" not only reminds us of the trunk, but also brings the color implied by "wood". The color of trees, that is, as far as trunk is concerned, is generally brown-green, similar to leaves. As for "wood", it may be yellow, and it may be dry rather than wet to the touch; Door bolts, sticks, masts, etc. What we are used to seeing is like this; The word "wood" here has a more general nature. Although "wood" appears as a special concept here, its more general potential implication still affects this image, so "wood leaf" naturally has a sense of withered leaves, which brings the breath of the whole clear autumn. "The autumn wind is warped and windy." This is why the image of "Konoha" is so distinct. It is different from: "the beautiful demon is idle and adopts mulberry road;" The leaves in "Cao Zhi's Beautiful Woman" are different from those in "There are no other neighbors but quiet nights, and I live in the same old hut here", because they are dense and full of moisture at the turn of spring and summer. Raindrops illuminate the yellow leaves, and lights illuminate my white hair. "(SiKongShu's" Cousin Lu Lun came to spend the night ") Yellow leaves, because they still grow quietly on a tree, in the misty rain, although there is a yellowish color of" Konoha ",there is no dry feeling of" Konoha ",so they lack the meaning of falling; And its yellow is obviously too yellow because of getting wet in the rain. "Konoha" belongs to the wind, not to the rain, to the bright and sunny sky, not to the heavy cloudy day; This is the typical character of clear autumn. As for the "falling wood", it is more spacious than the "wood leaf", and even washes away the subtle meaning of the word "leaf": "The wind blows the sunset, and the leaves fall off the branches." (Wu Jun's "Qingxi Sister-in-law Song") is just enough to illustrate the lingering side of this "leaf".
The difference between "konoha" and "leaf" is just one word. The concepts of "wood" and "tree" are similar, but in the field of artistic image, the difference here is almost a thousand miles away.