Spring breeze will also want to leave the pain of parting, instead of urging this willow tree to turn green.
"Those who are ecstatic just don't want it." (Jiang Yan's "Biefu") In life, it is inevitable to have the pain of parting, but it is difficult to impress others just by expressing this inner feeling. Only when it is embodied by external things can it easily lead to others' * * *. "Biefu" relates festivals with other feelings, and writes the atmosphere of parting with different phenological forms: "Or spring moss grows at the beginning, autumn wind lingers at the beginning (praise is temporary). Therefore, my son is heartbroken and I am sad. " Lao Laoting is a sad work, which describes the parting scene in early spring.
In early spring phenology, grass and swaying willow branches are the most striking, and writing love with grass and willow branches has become the most commonly used image of poets in past dynasties. Not to mention the grass, there are many willows, which are homophonic with "stay". The ancients had the custom of folding willows to see guests off a long time ago, and they used willows to persuade them to stay and miss each other. In The Book of Songs Xiaoya Cai Wei, there is a poem "I passed away and the willow said goodbye". In Li Bai's "Remembering Qin E", there is also a description of "willow leaves every year, Baling hurts". Lao Laoting describes the farewell scene in early spring, and also connects willow branches with other feelings.
However, when the poet conceived "Strange Police", he did not directly use willow branches to compare other feelings, but went deeper and wrote about the pain of parting from a specific time and space. Space is the most likely place to cause sadness rather than hatred. "The world is cold, please work hard to see the guests off." . The pavilion is located on the old Laoshan Mountain in the southwest of Nanjing, which is an "ancient farewell place" (Jiankangzhi, Ding Jing). Time is the most worrying and annoying early spring season. At this time, the spring is chilly and the wicker has not yet sprouted. I want to climb the willow branches and give you a wanderer, but the branches are inconvenient. This particular time and space has caused great regret in the world, but the sensitive poet suddenly had a whim. He doesn't think that this is nature's ruthless teasing of the world, but that it is nature's sympathy for the suffering of the world. "Spring breeze knows that it is not bitter, and it does not send willow green", which means that people's true feelings have touched nature, and the passionate spring breeze can't bear to see the scene of human parting, but it is too late to make willow green.
Obviously, people are sad to leave, but this poem was written as a spring breeze for the separation of human beings. This is the so-called "empathy" phenomenon of "projecting oneself into nature", that is, giving nature human life, as if nature also has various passions like human beings, thus reflecting human inner feelings with the help of nature, and even integrating human feelings with natural objects. Li Bai is a poet with a strong subjective color. His works often add his subjective feelings to objective things, as if everything in the world has a deep tacit understanding with him, has a vigorous vitality and can be in tune with his feelings. Take the wind for example, it is quite human in Li Bai's works. When I miss my children, "the south wind blows home and falls in front of the restaurant" ("Send two children from the East"); When I missed the imperial court, "the wind blew my heart and hung Xianyang trees in the west" ("Jinxiang sent Wei Ba Xijing"); He even regarded the originally ignorant spring breeze as an affectionate and intentional visitor: "Spring breeze, since I dare not know you, why do you separate the silk curtain beside my bed?" ? This writing style of "Everything is my color" is an important factor to form the romantic characteristics of Li Bai's poems.
In the poem Old Pavilion, the spring breeze is not a slightly unconscious natural phenomenon. It not only communicates with characters, but also has deep feelings for the world. Not only considerate, but also thoughtful. However, the passionate world can't keep the wanderers away, and natural and reasonable things can't eliminate the hatred in people's hearts. "The spring breeze knows whether it is bitter or not, and it is not only a relief for the sad parting scene, but also a deeper sorrow for the irreparable human defects. How can the lingering phrase "Don't be bitter" in "the sad place on earth" be particularly touching in the place where it is most likely to cause bitterness and hate, and in the season when it is most inconvenient to relieve troubles and troubles? The poet's whimsy is both free and easy and bitter. Graceful images are appropriate, and the emotions are profound and complex, which really makes readers feel the same, leisurely and fascinated, and chews repeatedly, with endless aftertaste.
It is worth mentioning that, as an image in the traditional aesthetic category of China's classical poetry, that is, a concrete artistic image with subjective feelings injected into objective things, although the accumulation of cultural traditions has specific symbolic significance, such as the beauty of grass and lofty ideals, the loyalty and integrity of pine trees and red berries, running water and sorrow, floating clouds and wanderers, etc. , does not prevent each author from giving full play to his talents, writing new interests and adding new meanings, and is generally consistent in metaphor. For example, willow trees are also used to write farewell feelings, and some highlight their meaning: "Willow is weeping, and spring comes to weave farewell" (Dai Shulun's "Willow on the Dike"); Some describe it as rude: "Thought is a heartless willow, no matter how you welcome people, you just give them away" (Pei Shuo's Willow); Border soldiers rely on it to pin their love for each other: "For the Near East West Road, they will hang on to their parting feelings" (Liu Zao's "Border Town Willow"); Boudoir young women use it to express their grievances: "I suddenly saw the willow color in the strange head and regretted teaching my husband to find a marquis." (Wang Changling's in my heart forever); Some people advise to climb wicker to cherish trees: "Young trees have to climb hard, begging you to stay two or three" (Bai Juyi's Yang Liuzhi); Some people advise people to climb branches and persuade them to send them away: "Stop reporting pedestrians, leave half to bid farewell, and half to welcome guests" (Yang Liuzhi by Li Shangyin) ... Li Bai believes that caring for the world, so protecting willow branches is indeed a whimsical idea, but later generations think that caring for the world will never be reluctant to part with willow branches: "Except where will you go, the spring breeze strives to cherish long strips" (Li Shangyin) is precisely because of the unremitting efforts of poets of all ages. Grasping the characteristics of concrete images by reciting a large number of poems is an effective way to learn China's classical poems.