Ouyang Xiu
How deep is the yard? The willow piles up smoke, but the curtain is not heavy. Jade music carving saddle tour smelting place, the building is not high, look at Zhangtai Road.
March storm, closing at dusk, not planning to stay in spring. Tears ask flowers silently, and red flies over the swing.
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This is a sad word for a lady in a boudoir. The author described the complex thoughts and grievances of a young woman living in a deep courtyard with profound brushstrokes. Don't write beauty, write beauty mansion first. When the word "deep" is repeated three times, it is conceivable that the beautiful woman imprisons the high door, is isolated from the inside and outside, and the boudoir is silent. The trees are foggy. The tighter the curtains, the deeper. "Zhangtai Road" refers to the Iraqi people's "land of visiting metallurgy", but it doesn't come from deep houses and tall buildings. It can be seen that the luxury of the material environment will eventually make up for the sadness of the emotional world. Looking at what you like without seeing it, you feel that youth is hard to stay, and the scenery in the eyes of beautiful people will inevitably become bleak and desolate. Feel the flowers falling with tears, ask the flowers falling with tears, and say nothing about the flowers falling. Hurting a flower is actually hurting yourself. Beauty and falling flower are the same fate. Is it flowers or people? The unity of things and me, the blending of scenes, has the deepest significance. The whole poem is tearful, touching, beautiful in artistic conception and beautiful in language, especially the last two sentences, which are highly praised by critics.
The word "deep" in the first sentence of this word overlaps words, which makes the whole word written with deep feelings and gives birth to far-reaching artistic conception. The poet first described the heroine's residence in detail. The sentence "The willow piles up smoke, but the curtain disappears" seems to be a series of Tik Tok shots in a movie, drifting away and deepening from far to near. As the camera pointed out, I first saw clusters of willows passing by my eyes. "Smoke Piles of Willow" is a scene of fog on the willow cage in the morning. With the word "heap", it is dense and foggy, just like an ink painting. When the willow trees pass by, the poet shakes the camera to the courtyard and curtains. This curtain is not heavy, but it is very heavy. He doesn't count the weight. In a word, "there is no duplication." "No multiplicity", that is, there are countless weights. The phrase "no repetition" makes people feel that this yard is simply extremely deep. At this point, the author used the phrase "You Le Carves Saddles and Wanders Fairy" to draw her attention to her husband. Then he folded the pen and wrote, "The building is too high to see Zhangtai Road". It turned out that the woman in this word was alone in a tall building, and her eyes looked through heavy curtains and piles of willow smoke at the place where her husband often swam.
The first film of Ci was mainly about scenery, but "all scenery Ci is sentimental" (Wang Guowei's Ci on Earth). In the deep courtyard, a imprisoned and isolated soul has been seen. The next word rewrites feelings, rain and wind are crazy, urging the end of spring and the heroine to be honored. She wants to catch spring, but the wind and rain are ruthless and can't catch spring. So she felt helpless: "Tears ask flowers silently, and red flies over the swing", so she had to pin her feelings on flowers with the same fate as her. These two sentences contain infinite feelings of hurting spring. A Qing Dynasty Mao commented: "Tears ask flowers without words, and red flies fly over the swing." This is deep and muddy. "(quoted from Wang's On Ancient and Modern Ci) He means that it is often difficult to have both language and feelings, but these two sentences of European Ci unify it. The emotional levels of these two sentences are as follows: the first layer writes that the heroine is crying because of flowers. It is a common feeling of ancient women to look at flowers and shed tears and hurt the moon. At the moment, the woman is remembering her husband walking along Mazhangtai (Zhangtai Street in Chang 'an in Han Dynasty, which was used by later generations to refer to the place where she traveled), but she can't see it. In her eyes, there are only flowers destroyed in the storm, which reminds her of her fate and she can't help crying. The second layer is about begging for flowers because of tears. Tears are caused by sadness and need to be vented. This object has been transformed into a flower at this moment, or the flower has been transformed into a person. So the heroine asked the flowers spoonily. On the third floor, the flowers were silent. Then the poet wrote a fourth story: the flower not only didn't speak, but also flew over the swing, as if she had deliberately abandoned her. People walk on the stage, flowers fly on the swing, and sentient beings are indifferent to her. How can I not make people sad! This writing method of comparing and contrasting the subjective feelings of characters with the reaction of objective scenery is precisely to deepen feelings. Poets dig deep into feelings layer by layer, not deliberately carving, but naturally generating and unfolding like bamboo shoots with buds and knots. In the natural and simple language, there are deep and true feelings.