Liu Yuxi
The emperors of the Six Dynasties were famous for their extravagance and debauchery, especially the last emperor, Chen Houzhu. In the luxurious Taicheng, he built three pavilions tens of feet high, namely Qi Jie, Lin Chun and Wang Xian. Leaning on jade all day long, ignoring state affairs. He also wrote a new song, yushu backyard flower, and filled in obscene words, which made thousands of beautiful women sing and dance. Unexpectedly, before the strike was over, the soldiers of the Sui army had forcibly opened all the doors, and the red light upstairs was connected with the war situation downstairs. The Golden Powder Southern Dynasties ended in this decadent sound. This nostalgic poem takes Taicheng, the core of Jinling, the ancient capital, as the theme. This is the place where the emperors of the Six Dynasties lived in politics, and it has placed infinite feelings of mourning for the past and drawing lessons from mistakes.
The first sentence is always written in Taicheng, which is a bird's eye view of the six generations. "Six generations contending for luxury" is only a narrative at first glance, but when it begins with "Taicheng", it immediately reminds people of the imperial spirit of Jinling in those days, and today's broken and shabby has an image. Before "luxury", there was a word "contention", which ran through the history of six dynasties for more than 300 years, and nearly 40 emperors ascended the throne successively. Of course, "contention" is not an intuitive image, but it is used to touch "luxury" and turn it into countless magnificent six-generation palace pictures, which is more full than the image provided by one picture.
The second sentence highlights two tall buildings in the air, Qi Jie and Lin Chun (including another "Wang Xian Pavilion"). "Things are the most luxurious" is a comment made on the basis of "luxury". The word "most" is followed by the word "competition", and its luxury is the highest in the Six Dynasties. So it's not hard to imagine the fate of Chen Houzhu. This sentence seems to be written about two tall buildings, but the discussion has melted into images. Although these two tall buildings are only static images, poems can arouse readers' imagination of people and things in the balcony. Like a heavy curtain, the fragrance is misty, the dancing shadows are dancing, and the songs are bursting. Chen Houzhu had a good time with the charming girls. The capacity of poetry is further expanded because of the association caused by "spring marriage".
Third, remember past lives on the balcony. In front of us, weeds are overgrown and devastated, which is in sharp contrast with the bustling scene of "thousands of families" in that year. A word "success" gives people a fleeting feeling. Hundreds of years ago, it seemed that the magnificent scenery suddenly turned into weeds, which was of great significance. We seem to be in a pile of tragic and sad rubble, when pink moths are faintly visible; There are many bones today, and I am shocked.
At the end of the sentence, the reason why Chen Houzhu lost his motherland is discussed. Poets use auditory images to express themselves. In the bleak scene of "thousands of households become weeds", it seems that you can vaguely hear the music of "Flowers in Yushu Back Garden" echoing in the air. This song reminds people of the scene of slow singing and slow dancing on the red carpet with green sleeves, and can't help but make people sigh deeply about this historical tragedy.
It is often necessary to express opinions on nostalgic poems, but this poem does not make abstract comments, but combines comments with concrete images to arouse people's rich associations. Let serious historical lessons turn into concrete images that shock the soul, and let poetry have infinite charm and make people think deeply. In this way, we don't feel that we are listening to the poet's boring comments on ancient things, but only feel that we have enjoyed a kind of beauty in reading poems.
In Wei Zhuang's poem Taicheng, it is said that the ruthless function of Taicheng willow is to reveal people's infinite pain.
Poetry does not directly show readers the dilapidated state of Taicheng. On the contrary, it presents a picture with Jiangnan flavor: it is raining, the grass on the riverbank is slender, the birds are singing clearly, and the willows on the riverbank are as dense as smoke cages. Together, these four scenic spots are typical "just good scenery in the south of the Yangtze River" (Du Fu's On Meeting Li Guinian in the Lower South of the Yangtze River). However, when we carefully taste and notice several "keywords" that can reflect the poet's emotional attitude, we will find that the connotation of this poem is not enough to "touch the scene".
Look at "empty" first. It is the easiest to remind us of the poet Du Fu's "birds singing and flowers fragrant" in "Shu Xiang". Why is it "empty" Du Fu said "empty" because no one came to worship the ancestral temple of the Prime Minister. Although Huang Li sang beautifully, no one came to listen, and then he knocked out Zhuge Wuhou's achievements and was forgotten. Wei Zhuang said "empty" because the prosperity of the Six Dynasties had already "like a dream" disappeared and the personnel were gone. Although the crow is beautiful, no one comes to listen to it. The word "empty" immediately pointed out the bleak appearance of Taicheng. If it is "heartless" again, the vegetation is already heartless, so why accuse it of ruthlessness? It can be seen that the poet actually wrote Taichengliu as a sentient thing. Judging from the traditional application of images, "Liu" is indeed related to human feelings: when leaving, the willow is sent to each other (meaning "stay"), and after leaving, the willow is hurt (such as Liu Yong's poem "Where to wake up tonight?" Yang Liuan's "The Remnant Moon in Xiao Feng"), and the decline of the Six Dynasties is a farewell to the times. Mao Zedong, a close friend, has a saying that "if there is love in the sky, it will age". In Wei Zhuang's eyes, the willow that witnessed the departure of the Six Dynasties should be "old", but it is "a smoke cage with a mile of embankment" and it is flourishing. Attention should be paid to the word "return" in this sentence, which reminds people of the word "return" in Liu Yuxi's Stone City, and "the old moon in Huaidong comes to the female wall at night", which forms a contrast between the past and the present, and contains the poet's deep affection for "world changes". It is precisely because of the special role of "Liu" in traditional images that the poet used the word "most". The normal word order of "ruthlessness is the most ruthlessness" is self-evident. While strengthening the ruthlessness of Taicheng, it also highlights the image of a poet looking back at history with a little resentment.
If we consider that the poet lived in the late Tang Dynasty, we will find that the poet is not so much sorry for "Taicheng" as for his own dynasty, which is more and more like the Six Dynasties. Rather than saying that Liu was "heartless" to the Six Dynasties, it is better to say that Liu Ye will "ruthlessly" witness the disappearance of another era.