Given to the young man Wen Tingyun
When the river and the sea meet, there are many tourists, and the autumn wind leaves the Dongting waves. Farewell to Huaiyin City on a drunken night, the moonlight illuminates the high-rise buildings singing a song. The work is roughly about a wandering poet who met a young man in the bleak autumn season. They had the same affection for each other, but they only met for a moment and then broke up. The poet chose the momentary scene of meeting and parting to express "guest hate", naturally revealing the infinite feelings of separation and separation, giving people a deep artistic impression. If you think that the "guest hatred" in the poem is just a general separation and separation hatred, it would be superficial. Xu Zeng of the Qing Dynasty believed that Wen Tingyun's poem was about his "unexpected encounter" and "chivalrous singing" (Volume 6 of "Er'an Talks about Tang Poems"). This little poem is indeed a way to express the author's feeling of "unexpectedness" while traveling around the world.
When traveling to a foreign country and meeting friends unexpectedly, it should make people happy, but because they both share the same feeling of being in the world and being politically frustrated, they feel a lot of bitterness and resentment. Especially in the autumn when the golden wind is blowing and the fallen leaves are rustling, it is easier to touch the wanderer's heart. "The waves in the Dongting under the leaves of the autumn wind" are adapted from the poem "The autumn wind blows in the autumn wind, and the waves in the Dongting under the leaves of the trees" from "Chu Ci" to describe the desolate autumn scenery in the south, in order to exaggerate the "hate of guests", but it is not the actual meaning. Like "Farewell to Huaiyin City at Night" below, they are borrowed meanings and should not be read in vain. The first half of the poem blends emotions into the scenery, and the meaning of "guest hate" is relatively subtle. In the second half of the time, the meaning became much more obvious when I drank to drown my sorrows. "Farewell to Huaiyin City on a drunken night, the moon shines on the high-rise buildings and sings." "Huaiyin City", although it points out the place where the words are said, the main purpose is to use the wine cup of the ancients to pour the lump in the chest. This is obviously a story about Han Xin, the Marquis of Huaiyin. When Han Xin was young and failed in his ambition, he once begged for food and drifted away from his mother. He was humiliated on his crotch, which made him laugh in the Huaiyin market. But later he fought on the battlefield and became the commander-in-chief of a million-strong army in the Western Han Dynasty. Wen Tingyun was also talented and had great ambitions, but because he relied on his talents and was arrogant, he was never used by the world and ended up in a wandering life, much like the young Han Xin. Therefore, the sentence "Farewell to Huaiyin City after a drunken night" contains the meaning of looking forward to oneself with Han Xin's arms and bidding farewell to yesterday's shame. So in the end, facing the bright moon in a high building, he and his young friend sang a song, encouraging each other with their high aspirations, which expresses a kind of unrestrained and unrestrained feelings. This poem is good at using allusions to convey feelings without leaving any trace. It is naturally integrated with the description of the scene and the scene is reflected in the emotion, which is implicit and meaningful. After secretly using Han Xin's story to tell his own embrace, he evoked the aspirational and heroic sentiment of "the moon shines on the tall building and a song". "The moon shines on the high building" expresses the place of separation, which is a language of scenery and love. The four words embellished the background of singing farewell, showing a magnificent and clear scenery. It is different from the lingering feeling of "The Willow Tops on the Moon" and the sadness of "The Dawn Wind and the Waning Moon", but it is consistent with the sentiment of generous singing, and a kind of heroism is revealed between the lines. This is exactly the portrayal of the poet's ambition and feelings. Poetry has true feelings. Wen Tingyun's works are mostly decorated with slender and beautiful algae, but this piece is unique in its bold and cheerful appearance, which is refreshing. Drunk under the flowers, Li Shangyin searched for the fragrance but didn't realize he was drunk under the flowing clouds. He leaned against the tree and fell asleep. The sun was already setting. After the guests had sobered up late at night, they held red candles and admired the remaining flowers. The first sentence, "Looking for fragrance but not realizing that I am drunk by flowing clouds", describes the process from "looking for" to "drunk". Because I love flowers, I went to "search for them" with great interest and ardent mood. After I "searched" for them, I was really happy to find them. When I met them, I was deeply attracted by the beauty of the flowers, and I couldn't stop admiring them. ; After lingering and praising him, he became "drunk" unknowingly. This is double drunkenness. Liuxia is a kind of fairy wine in myths and legends. "Lun Heng" says that Xiang Manqing was fond of Taoism and learned immortality. He returned home after three years away from home and said to himself: "When I want to eat and drink, the immortals often drink me with flowing clouds. Every time I drink a cup, I will not be hungry for several days." Here, the word "drunk with flowing clouds" is used. ", with a double entendre, not only clearly refers to being drunk by the sweet wine, but also metaphorically means being drunk by the gorgeous flowers. From the word "Liu Xia", we can imagine the splendor and brightness of the flowers, as well as the fragrance and mood of the flowers, which strengthens the specific perceptibility of the word "Zui". Is it because I drank wine before Xunfang and I feel drunk now, or is it because I am intoxicated while enjoying the wine and enjoying the flowers during Xunfang? Is it because I am obsessed with flowers that I feel more intoxicated by the wine, or is it because I am tipsy after being drunk that I feel the intoxicating charm of flowers even more? It's hard to tell clearly. Perhaps the poet wanted to use this pun-intended "drunk clouds" to describe the interaction and strange fusion of physical intoxication and psychological intoxication. The word "unconscious" vividly depicts the state of being dazzled, drunk both physically and mentally without knowing why, and the writing style is extremely wonderful. The second sentence "Leaning on a tree to sleep and the sun has set" further writes the word "drunk". Because I was drunk with flowers, I didn't realize that I was leaning on a tree (leaning on a tree means leaning on a flower, and the flowers grow on the tree, as bright as the flowing clouds); because I leaned on the tree, I didn't realize that I was asleep; because I was in a deep sleep, I didn't realize that the sun was setting in the west. The narration is neat, and the word "drunk" is closely followed everywhere. When you sleep drunkenly under a flower tree, your whole body and mind are surrounded and immersed in the fragrance of flowers, and even your dreams carry the intoxicating fragrance of flowers. So this "sleeping" can be said to be the intoxication with flowers. This sentence seems to be derived from Li Bai's "Sleepwalking Tianmu's Song of Farewell"
"The flowers are leaning on the stone and suddenly it is dark", which deeply describes the state of being obsessed with flowers, which is both physical and mental. Drunkenly asleep under the flowers without noticing the setting sun, it seems that one has reached the extreme state of being obsessed with flowers and cannot continue. In the third and fourth sentences, the willows are suddenly dark and the flowers are bright, and they enter a new realm - "After the guests woke up late at night, they held red candles and admired the remaining flowers." In the deep sleep leaning against the tree, the time unknowingly turned from the sun to the middle of the night, and the guests were already there. After dispersing, the wine has also woken up, and there is a hazy and silent night all around. In this kind of environment, most people would not think of admiring flowers; even if they thought about it, they would feel uninterested because of the cold dew and wind and the lack of flowers. But for a poet who loves flowers, such an environment and atmosphere actually arouses the interest of flower appreciation.
When the guests in the wine shop have dispersed, you can enjoy the flowers in silence; when you are sober, you have a different flavor from admiring flowers in a drunken state; only after late at night can you see the emotions that no one has seen before. Especially when he thought about the flowers that bloomed during the day, and that by the Ming Dynasty they might have fallen in profusion and left red all over the ground, a deep feeling of nostalgia for beautiful things arose spontaneously, prompting him to seize this last opportunity to appreciate what was about to happen. The disappearing beauty, so there is the scene of "holding a red candle and admiring the remaining flowers". In the hazy night, under the illumination of red candles, this withered flower seemed to show a strange brilliance at the last moment of its life, as beautiful as a colorful yet hazy dream. The poet also gained a new and final intoxication in the process of admiring the remaining flowers with a candle. The "appreciation" after waking up late at night is a deeper expression of "drunkness". As Yao Peiqian said, "Fang is the ultimate lover of flowers" ("Li Yishan Poetry Notes"). Ma Wei from the Qing Dynasty said: "Li Yishan's poem 'After the guests wake up late at night, they hold red candles to admire the remaining flowers', which is elegant and profound; Su Zizhan's poem 'I am only afraid that the flowers will fall asleep late at night, and the high-burning silver candles will illuminate the red makeup', which has a wealthy atmosphere. . The second son loves flowers very much" ("Essays on Autumn Window"). Today we may have some reservations about the comments of "elegant and profound" and "wealthy atmosphere", but summarize it. It is completely accurate to say that "the love for flowers is not shallow." Li He is about to enter the wine. Glazed bells are thick with amber. The dragons and cannons are cooked and the phoenixes and jade fat are weeping. The dragon flutes are played and the drums are beaten. What's more, the youthful day is approaching, and the wine in the small trough is dripping with pearly red. Luo embroidered curtain surrounds the fragrant wind. White teeth sing, thin waist dances. The peach blossoms are falling like red rain. I advise you to be drunk all day long, and the wine will not be buried in Liu Ling's grave! Li He's poem expresses the poet's deep experience of life with superb artistic skills. Its artistic characteristics can be mainly discussed in the following three points.
1. The poem uses many exquisite famous objects, the diction is magnificent, and has rich image suggestiveness, and the poetry form is full of painterly beauty. This poem uses a lot of space to highlight the scene of carpe diem, and the author seems to have spared no effort to bring out gorgeous words and exquisite famous objects. The first five sentences describe the luxury and sumptuousness of the banquet: the cup is "glazed bell", the wine is "amber thick" and "real pearl red", the delicacies in the kitchen are "cooked dragons, cannons and phoenixes", and the banquet decorations are "Luo embroidered curtains" . The beauty of its objects and the magnificence of its colors are so enchanting that it cannot be overemphasized. They respectively belong to rhetorical techniques such as description ("glazed bell" describes the preciousness of the cup), exaggeration ("cooking dragons, cannons and phoenixes" is an exaggeration for the rareness of cooking dishes), metonymy ("rich amber" and "real pearl red" are used to describe the color of wine) , which has a strong effect on exaggerating the joyful and intoxicating atmosphere at the banquet. The sound and smell of the wonderful vegetables bursting with oil are difficult to put into poetry, but they have also been poeticized by gorgeous words such as "Jade Fat Crying" and "Fragrant Wind". The use of so many words makes people feel that they are piled up and cumbersome. They only feel colorful and interesting. What is the secret? It is because the poet has a deep attachment to life, and the sounds, colors, fragrances, and tastes in the poem all come from the "true yearning heart" (Lu Xun), so the words can be used by the author without feeling complicated. The following four three-character sentences describe the singing and dancing music at the banquet, which is even more wonderful in terms of wording and setting. When you play the flute, you play the flute, which is called "playing the dragon flute", which vividly depicts the melodious sound of the flute like the long chant of an auspicious dragon - it is music that is not of this world; when you play the drum, you play the drum, which is called "beating the drum". The skin of the turtle is strong and thick enough to cover the drum. If there is a character "鍍" on it, the sound of the drum will be as loud as hearing it. Then, the singer's singing was written as "White Teeth Song", which may have been inspired by the sentence "Who is going to send out white teeth" (Cao Zhi), but the effect is quite different. "Teeth" borrows the beauty of a beautiful woman, and allows people to see the beauty of singing voice from the beauty of body, or in other words, the beauty of hearing is transformed into the beauty of vision. The dancer's dance is described as "slim waist dance". "Slim waist" also represents beauty, and can also vividly display the curvaceous beauty of the dance, killing two birds with one stone. "Teeth" and "thin waist" are each related to the characteristics of singing and dancing, and both have the function of image suggestion and can turn old words into new ones. In just twelve words, the beauty of music, singing and dancing is described in a very beautiful way. "Enjoyment must wait until spring" (Li Bai), if the first sentence is "enjoyment", the next two sentences mean "must wait until spring". The lyrics create an increasingly strange scene: "Peach blossoms fall like red rain", which is a vivid language to illustrate that "youth is approaching twilight" and life does not give people much joy, so they need to enjoy themselves in time. How active it is to reach an association between the two very different scenes of peach blossoms and rain, and create a realm of red rain falling in disorder, which is more novel and thrilling than any sentence about wind and rain bringing spring. What imagination and expressiveness! The imagination and association are active to an incredible extent, which is one of the biggest features of Li He's image thinking. There are countless examples such as "Dark clouds are pressing down on the city and the city is about to be destroyed", "The flowing clouds in Yinpu learn the sound of water", "The sound of Xihe knocking on the glass against the sun" and so on. It is true that "the beauties of the time are not enough for their beauty; the cows, ghosts and snake gods are not enough for their absurdity and illusion" (Du Mu's "Li Changji's Poems"). Because the poet quotes exquisite famous objects, uses gorgeous words, and comprehensively uses a variety of rhetorical techniques, the poem has the beauty of painting forms such as colors and lines.
2. The image in the pen is perceptually displayed in the space. Generally, there is no need for narrative language connection or rational explanation, but it forms a complete artistic conception on its own. The verses about banquets in the poem may remind people of the famous sayings of the predecessors, such as "The luminous cup of grape wine will prompt you to drink with the pipa immediately" (Wang Han's "Liangzhou Ci"), "Lanling's fine wine will bloom with tulips, and the jade bowl will contain the amber light." (Li Bai's "A Guest's Work"), "The purple camel's peak emerges from the green cauldron, and the crystal plate is lined with plain scales. The rhinoceros chopsticks have been worn out for a long time, and the luan knife cuts through the empty space." (Du Fu's "The Journey of Beauty"), compare with each other After a while, you can better understand Li He’s characteristics.
Although they all refer to exquisite and famous things, Li He "disdains to write passages about human beings" (Wang Qi's "Preface to the Collection of Poems by Li Changji"), and he does not use "amber light" to describe "Lanling Fine Wine" - as Li Bai wrote In that way, replacing the word "wine" with "amber rich" has its own unique look. The more important difference is that between famous things, there are very few descriptive words such as "want to drink", "hold it up", "we are tired of it for a long time", etc., but only present the objects one by one in space (that is, there are works) and rational explanation). However, "glazed bells, thick amber, and wine dripping from the small trough are really pearly red". These objects do not give people a sense of disconnection, but have their own meanings of "coming in", "desiring to drink" and "disgusting", which can form a A scene of feasting. This technique is similar to the language of film "montage" (lens editing). Movies cannot rely on verbal narration, but "create sentences and plots" through the connection of some basic visual images, specific pictures, and shots. Although it is purely a perceptual presentation, there is an internal logical connection between the pictures. As in the previous poem, cups, wine, and a bed of dripping wine appear one after another, giving people the idea of ??a banquet in progress. Omitting narrative language not only greatly increases the density of images, but also inspires readers to make active associations, allowing them to actively fill and enrich the gaps between objects.
3. The structure is unique and strongly expresses the theme. The first part of this poem is a long, magnificent and exaggerated description of the pleasures of the world. The last two sentences are violently reversed, and the idea of ??death and the bleak image of "dust on the grave" appear. The front and back seem incoherent but there is an organic connection. The first paragraph uses the pleasures of the world to contrast the sadness of death, and the second paragraph uses all-day drunkenness and late spring sorrow to express the boredom of life. In this way, it is very vivid and true to express the sadness of death and the boredom of life hidden deep in the poet's heart. The biggest contradiction and anguish were revealed. In short, this extremely joyful and tragic structure with a dragon body and a snake tail powerfully expresses the theme of the poem. This again shows Li He's unconventional characteristics in artistic conception.