The second song, followed by the first sentence "Can you forget Jiangnan", starts with "Jiang Nanyi remembers Hangzhou best" and moves the memory lens to Hangzhou. As far as Hangzhou scenery is concerned, what is the most representative? Let's look at Lingyin Temple, Song's masterpiece: ... Looking at the sea from the floor, the door is facing the tide in Zhejiang. In the middle of the month, laurel trees fall and fragrant clouds float outside. "Zhejiang tide and mid-month laurel are the most representative things in Hangzhou scenery, and the author has the deepest feelings about it. Therefore, when he moved the memory lens to Hangzhou, he first reproduced such a moving picture of "searching for laurels in the mountains and temples in the middle of the month". In Tiansheng Temple, the bright moon is in the sky, and sweet-scented osmanthus is fragrant. A poet lingers under the moon, wandering among laurel bushes, sometimes looking up at the moon, and sometimes leaning over to see if there is really a laurel tree falling in the middle of the month and scattered in the shadow of osmanthus. This word "Qiu" makes people feel someone in the poem and affectionate in the scene. The reunion of the bright moon in the blue sky, the towering mountain temple in the moonlight, the Sanqiu laurel in the temple and the dancing moon shadow are all beautiful, but if we don't convey the aesthetic feeling of the lyric hero, we will lack poetry. With the word "Qiu", all these objective scenes are combined and moved with the action of the lyric hero as the focus, and all become sentient things through the vision, smell, touch and even the whole soul of the lyric hero. Therefore, emotion and scenery blend together, meaning and scenery blend together, poetic and fascinating. Zhejiang flows to the southeast of Hangzhou, called Qiantang River; It also flows northeast to Haimen and into the sea. The tide coming in from Haimen is spectacular. "qiantang bore Map" describes it like this: "The tide is always a hundred miles away, if you practice crossing the river; A little closer, I saw that the tide was tens of feet high, the clouds covered the snow, and it rang like a thunder drum. " It is precisely because of the "high tide" that I can see the magnificent scenery of "rolling clouds and rolling snow" in the pavilion of the county government when I am doing the secretariat of Hangzhou. "Mountain temple
","the moon "and" laurel "were originally static, while the protagonist" looking for laurel "was dynamic. Observing the stillness by moving, the stillness also moves, and the scenery in front of us changes with the protagonist's "search". However, the most attractive thing here is not the objective scenery that changes its shape, but the spiritual realm of the protagonist "Looking for laurel trees in the mountain temple in the middle of the month". He thinks that the osmanthus flowers outside the mountain temple are myths and legends of "planting flowers in the middle of the month". What is he looking for laurel seeds for? Do you want to find the seeds of laurel trees falling in the middle of the month and plant them yourself, so that the world can emit more fragrance, or do you want to revel in the fairyland in the middle of the month, feel the vicissitudes of life and explore the mysteries of the universe? Tide flows into Qiantang River, with the tide head dozens of feet high, cirrus clouds grabbing snow and changing rapidly. This is very touching. The hero "watches the tide on the pillow in the county pavilion", whose shape is of course static; But is his inner world still there? The author has a poem "Watching the Tide": "The early tide sets and the late tide comes, and there are ten streams on January 1st and Saturday. Not only did time pass, but Hangzhou was also old and was driven away by the tide. "Needless to say, this is his inner activity when watching the ebb and flow of the tide on the pillow in the county pavilion. But that's it? Is there nothing else? What's more, as far as these inner activities are concerned, it already contains the philosophy that life is limited and the universe is infinite, which deserves people's deep thinking!
The third song, taking care of the end of the first song and the beginning of the second song, recalls Suzhou's past events from the crown of "Jiang Nanyi, Recalling Wu Gong": "Wu Jiu has a cup of spring bamboo leaves, and Wu Wa dances with Furong drunk." Just tasting wine and watching beautiful women dance together. Bamboo Leaves in Spring is a supplement to Yi Bei in May 9th. Zhang Huashi said: "The bamboo leaves are clear, and there are nine clouds in Yicheng." It can be seen that "bamboo leaf" is not "Wu wine", and the use of "bamboo leaf" here is mainly for the literal duality with "hibiscus" in the next sentence. "Spring" is an adjective here. The so-called "spring bamboo leaves" can be interpreted as wine brewed in spring. In another poem, the author has the saying that "the bamboo leaves at the head of the urn are ripe in spring"; It can also be interpreted as wine that can bring spring to the drinker. During the mid-Tang period when the author lived, there were many famous wines named after the word "Spring", such as "Water-rich Spring" and "Spring in the Next Year". Judging from the duality of "spring" and "drunkenness", the latter explanation may be more in line with the original intention. Drunk Lotus is an image description of Wu Wa's duet. The word "drunk" is used to describe "hibiscus", which means that bonuses are as intoxicating as beauty. "Baby", beauty also. At that time, it was called "Wa", and the mansion built for her by Fu Cha, the king of Wu, was called "Guanwa Palace". I said "I remember Suzhou" instead of "I remember Wu Palace" at the beginning, not only to rhyme with the following, but also to arouse readers' association with this peerless beauty. After watching "Wu Wa Dancing with Drunk Lotus", this association became more active. The "May 9th" sentence, drinking wine after the guests, is for the fun of watching the dance, and the focus falls on the "Five Babies" such as "Drunken Lotus", so it ends with "See you again in the morning and evening". "Sooner or later" at that time had the same meaning as "when".
Bai Juyi said in Nine Books of the Same Origin: "Those who touch people's hearts don't care about feelings first, words, sounds and righteousness. Poet: root feeling, Miao language, Hua Sheng, true meaning. ..... those who have no right to speak and should not, and have no feelings. " In the poem "Ask Yang Qiong", he lamented: "The ancients sang and sang, but today people only sing with their voices!" Poetry needs music and images. But its touching artistic charm lies not only in the melodious sound, but also in expressing feelings with sound; Not only picturesque, but also lyrical. Bai Juyi regards emotion as the "root" of poetry, and creates poems and songs, trying to impress people with strong real feelings. This is the most precious artistic experience he left to future generations. These three "Memories of Jiangnan" are also the crystallization of his artistic experience. Such as the title, running through the whole group of poems, is the admiration and nostalgia for Jiangnan. "The river is red as fire at sunrise and blue as spring", which is really picturesque! But this is not a purely objective scene, but an emotional scene created with infinite affection, which also expresses the love for Jiangnan. Reading these two sentences, we not only see the spring scenery in the south of the Yangtze River, but also seem to see the gesture expression of the hero praising and remembering the spring scenery in the south of the Yangtze River, thus imagining his spiritual activities and entering the realm of "love" as the author said. Looking at the couplets of "Mountain Temple" and "May 9th", the situation is similar.
These three words, from now on, recall the past and recall Suzhou and Hangzhou from Luoyang. Today, yesterday, south and north, there is a great span of time and space. The first two sentences of each song are love stories of the past and the present. I am in Luoyang and am fascinated by Jiangnan. The middle two sentences of each song are infinitely affectionate memories of the most unforgettable past in Jiangnan. Conclusion Back to today, I hope those beautiful memories will become a living reality one day. Therefore, the whole set of characters is only a few tens of crosses, but it attracts readers to enter the role from multiple levels, imagining various situations experienced by the protagonist past lives and experiencing various spiritual activities displayed by the protagonist past lives, thus gaining endless aesthetic enjoyment.
These three words, each with a beginning and an end, have certain independence; And between the former, it is the care before and after, and the context runs through, forming an organic whole. In the poems of Zhang Lian, its artistic skills in planning the layout of articles are also worth learning. (Excerpt from A Dictionary of Appreciation of Tang and Song Ci Edited by Huo)