You stand on the bridge and watch the scenery. People are watching you upstairs.
The bright moon decorated your window, and you decorated other people's dreams.
The last part of this poem depicts a picture of tourists looking at the scenery during the day. Although it is written about "seeing the scenery", the pen and ink do not splash on the description of the scenery, but inadvertently reveal the bridges, buildings, tourists, and the running water, cruise ships and shore willows that can be inferred from it ... It is like a faint ink painting, leaving the vague background to the readers to imagine, and the focus of the picture falls on the people watching the scenery on the bridge and upstairs, which is even more important.
You, standing on the bridge and watching the scenery, are obviously ecstatic in the face of the beautiful scenery in front of you. From the side comparison, we can see that he didn't notice that "the people watching the scenery upstairs are watching you". What is intriguing is that the upstairs person who obviously came to see the scenery boarded the tall building. What he saw in his eyes was not the scenery, but the "you" who stood on the bridge to see the scenery. Why don't people upstairs look at you and see the scenery? What deeply fascinated those eyes and touched that heart? This patient and patient "look" is really romantic, which makes the originally peaceful and pleasant picture suddenly rippling and swaying in Chun Qing, evoking many interesting dramatic scenes: "You" who are indifferent to the scenery must be a handsome young man who travels around the world, and the lover upstairs must be a lonely and affectionate woman who longs for spring and has a hard-to-find bosom friend, and a simple and honest girl who is addicted to the scenery. The eyes of a sentimental, stupid, sad person who is ashamed to speak his mind? It's really "falling flowers are intentional, running water is ruthless", and how many such encounters are there on the journey of life, love at first sight, fleeting and unforgettable love! It is with these two short lines that the poet left a picture of Yongheng Zhang, which, like the spark of calcium carbide, evoked memories and reverie of the indescribable and indescribable scene.
In the first section of the poem, realistic brushwork and songs convey the deep affection of the hidden people on the bridge to the scenery and the infinite goodwill of the people upstairs to the people on the bridge, which constitutes a dramatic scene of "falling flowers intentionally, running water ruthlessly". But affection is always annoyed by ruthlessness. Can people who are indifferent to the scenery on the bridge repay those who love them with the same kindness? Faced with this common scene in life, it often ends with helpless regret and endless melancholy memories. The poet gives us a wonderful answer full of fantasy and warm feelings with a unique romantic pen in his next poem.
Time moved to the moonlit night. The people on the bridge and upstairs returned to the rest place with their own satisfaction and deficiency. But who would have thought that in this silence, people's emotional investment during the day was unconsciously rewarded.
"The bright moon decorated your window", isn't this the warm return of natural scenery to people who are indifferent to the scenery on the bridge during the day? From your window decorated with bright moon, we can see how beautiful and charming moonlight will be displayed in the eyes of people on the bridge at this moment! Bridges, water, buildings, boats, willows ... everything outside the window is dissolved in this elegant, soft, misty and ethereal moonlight, which is so mysterious, so wonderful, so sweet and so comfortable compared with everything under the bright sun during the day. Facing the beautiful scenery under the moonlight, how can people believe that the natural scenery is indifferent and incomprehensible? How can we not arouse people's strong love for nature? If you love nature, nature will love you-this is the meaning of poetry!
Natural scenery returns the amorous feelings of people on the bridge in its unique way, and in what way should people on the bridge return the good intentions of people upstairs? The imagination of "you decorated other people's dreams" in the poem gives a fascinating answer to this, so that the hopeless secret love of the upstairs people in real life has been comfortably vented.
This "decorated" dream is undoubtedly a deep dissection of the mystery of the soul for its owner. It clearly shows how intense the secret love suppressed by various external factors is. And the person on that bridge can change from the person in his eyes to the person in his dream, isn't it because he is the right person? Although there is no direct confession of love in the poem, this rosy dream shows how warm and clear the love without confession is, and it is even more exciting to reflect on the "appearance" of the day. Isn't it more exciting to think about how much amorous feelings are wrapped in the plain "look"?
If we only use the composition of "daydreaming, dreaming at night" to express the wonder and charm of unrequited love, it would be too mediocre and conventional. The subtlety and novelty of the poem lies in that the owner of this dream is not only the protagonist of the dream, but also retired from the active position of this love contest, and the person on the bridge is no longer an unconscious lover. In his dream, he plays the role of the giver of love as a master. He is trying his best to "decorate" his dream, and he is also "decorating" his dream according to the wishes of the people upstairs. It is unnecessary and impossible for us to describe this wonderful dream in detail, but we can say for sure that this decorated dream must be extremely sweet, extremely happy, extremely romantic and extremely beautiful. In a word, the fallen petal of the people upstairs finally got a warm and generous return from the flowing water of the people under the bridge, far exceeding the hope value. Here, the motto "Falling flowers are intentional, running water is ruthless" has been accompanied by the long river of life for thousands of years, always giving people regret and regret, and it has lost its real meaning.
But dreams are dreams after all and cannot replace reality; Decoration is just decoration, and there will always be an illusory face. The next day, when the sun is shining brightly, what kind of mood will people upstairs wake up from a deep dream and "freshen up and lean on the Wangjiang Tower"? But I believe that people upstairs who have fully enjoyed the sweet dream of "falling flowers are intentional and flowing water is affectionate" will definitely be freed from ordinary people's faint sadness and will devote themselves to a new life with better vision and deeper love.
Bian (19 10 ~ 2000)
Haimen, Jiangsu 1929 entered the English Department of Peking University, where he was closer to English romantic poetry and French symbolism poetry, and began to write new poems. Sanqiu Cao was published in 1933, Yuzuji was published in 1935, and Hanyuanji was co-edited with Li Guangtian and He Qifang in the following year. To sort it out, his poems pay attention to syllables and pursue the agility of words, which shows the dissatisfaction and thinking of young intellectuals at that time. During War of Resistance against Japanese Aggression's time, he taught in Sichuan University and The National SouthWest Associated University successively. 1938 ~ 1939 visited the anti-Japanese democratic base areas in Yan 'an and Taihang Mountain areas, and taught at Lu Xun College of Literature and Art.. This trip prompted him to create a collection of poems, letters of condolence and reportage "772 regiment in Taihang Mountain area", praising the anti-Japanese soldiers and civilians and describing the life of the troops in the anti-Japanese base areas. 1942, poetry published in ten years. 1946 to teach at Nankai University. The following year, at the invitation of the British Council, I went to Oxford for research. 1July, 949, attended the first plenary congress of China literary and art workers. 195 1 year published poetry anthology, turning a wave. 1979 published the anthology Chronicle of the Carved Insect 1930 ~ 1958. 1949 has been a professor of western languages in Peking University, 1953 has been a researcher at the Institute of Literature of China Academy of Social Sciences, and 1964 has been a researcher at the Institute of Foreign Literature of China Academy of Social Sciences. He has been engaged in the translation and research of works by foreign writers such as W. Shakespeare for a long time, and has translated works such as Tracing the Source of Shakespeare's Tragedy and Selected Poems in English. In addition, he also published a collection of poems, Man and Poetry: Recalling the Old and Saying the New.