Traveling in the Spring Eve
Cui Tu
The water flows and the flowers wither without mercy, sending the east wind across Chucheng.
The butterfly dreams of a home thousands of miles away, and the cuckoo branches watch the third night of the moon.
The books in my hometown have faded away over the years, but the splendor of spring is only reflected in the mirror.
If you don’t return, you will get it. Who can compete with the misty scenery of the five lakes?
Cui Tu (850-?), courtesy name Lishan, was born in Fuchun, Tonglu, Jiangnan (now Tonglu, Zhejiang). Emperor Xizong of the Tang Dynasty became a Jinshi in the fourth year of Guangqi's reign (888) and wandered around Bashu, Wuchu, Henan, Qinlong and other places throughout his life. Gong's poems are mostly works of separation and resentment, with a melancholy and desolate mood. One volume of his poems is recorded in "Complete Poems of the Tang Dynasty". "Spring Eve" is a work of "Spring Eve", also written as "Traveling in Love".
The first couplet is inscribed late spring. The sentence begins with the feeling that "the water flowing and the flowers fading are both ruthless." Jin Shengtan analyzed in Volume 9 of "Guanhuatang Selected Poems of Tang Talents": "'Flowing Water' means water is ruthless, and 'flowers fading' means flowers are ruthless. What is ruthlessness? Ming Dynasty" Seeing the guest but not returning home, he sent many guests away in spring, which is why he was called ruthless. "The second sentence writes that the flowing water and falling flowers sent away the spring breeze of "Chu City", but left the poet in "Chu City". On the one hand, this shows the ruthlessness of flowing water and falling flowers, on the other hand, it also shows the helplessness of the poet. The word "send" personifies spring water, spring flowers and spring breeze. "Chu City" originally belonged to a city on the territory of Chu State.
The chin couplet enters the main title to write about the longing for hometown on Spring Eve. The three sentences follow the above and write about returning home in a dream. But this dream is the butterfly dream described in "Zhuangzi: Equality of Things". It is illusory. When I wake up, I am still the same. The four sentences describe that after waking up from the dream, it was difficult to fall asleep due to homesickness, so in the middle of the night when the moon was shining like a wash, I kept hearing the cry of the cuckoo on the branches: "The child is returning! The child is returning!" Of course, it deepened the poet's homesickness, and the poet became even more unable to sleep.
The neck couplet expresses one’s feelings directly. The five sentences lament the scarcity of letters from home. Not only have they not been able to go home for a long time, but they have not even received a letter from home for many years. How can we not make people worried and worried! The word "moving" expresses the poet's complex mood of expectation, resentment, and frustration. Of course, it was difficult to receive letters from home, which was also caused by the social unrest in the late Tang Dynasty. In six sentences, he lamented that he was the only one who grew a head full of white hair in the spring when all things sprout. "Spring is only the birth of the full mirror", one is "Spring is the birth of the two temples", and the other is "Spring urges the growth of the two temples". This is based on the second volume of Tang Weizhuang's "Youxuan Collection" and the second volume of Wei Yu's "Cai Tiao Collection". On the one hand, the version is original, and on the other hand, it also reflects the insomnia caused by homesickness in the middle of the night. His hair was white and he was in mourning. It is also quite novel to describe a person with a head full of gray hair as a person with a full head of mirrors.
The last couplet expressed his opinion and said that it would be better to go back. The seven sentences contain a sense of self-blame, and the gray hair is all caused by "not returning home", and "returning" is undoubtedly the most correct choice, because after returning, you no longer need to miss home. The last sentence expresses what Li Bai said in "Song of Xiangyang" that "you don't need to buy a clear breeze and a bright moon". Naturally, there is also dissatisfaction and boredom with the struggle for power and intrigue in social reality. Xue Xue of the Qing Dynasty pointed out in "Yi Lao Poetry Talk": "Cui Lishan's natural return will be returned. Who can fight for the misty scenery of the five lakes' and' meet each other and retire from office? How can I see anyone under the forest? The same wonderful principle." Those who fail to return to seclusion may not only be greedy for officialdom and wealth, but may also be fettered by other factors and have no choice but to do so. Just as Huang Sheng of the Qing Dynasty said in Volume 3 of "Excerpts from Tang Poems": "I can't go back, but those who say this are saying something strange about themselves." "Five Lakes" refers to Taihu Lake and its nearby lakes, which were the names of the Yue Kingdom in the Spring and Autumn Period. The place where the doctor Fan Li retired.
The characteristic of this poem is the blending of scenes. From the perspective of being a stranger in a foreign land, the poem creates a desolate and desolate scene for us through the description of flowing water, falling flowers, singing birds and moonlight on a late spring night. The mood of loneliness and desolation, the long-term homesickness accumulated in dreams, listening to the regulations, seeing the bronze mirrors, and the smoke scene of my hometown in late spring in March, although it is thousands of miles away, it seems to be right now. Therefore, Qingmao Zhang Jian's "Tang Ti Skin Interpretation" said that the poem "love creates scenery, scenery creates emotion, there is scenery in the emotion, there is emotion in the scenery, lingering and misty, making the reader's mind move."