Speaking of "Konoha"
The original text has made the key points very clear. Take a look
Lin Geng
"The autumn wind is blowing, and the waves in the Dongting are under the leaves." ("Nine Songs") Ever since Qu Yuan sang this moving poem, its vividness The image of the poet influenced the poets of all generations, and many of the poems that have been recited were inspired by this. For example, Xiezhuang's "Moon Fu" said: "The waves are beginning in the Dongting, and the wooden leaves are slightly peeled off." Lu Jue's "Song of the Linjiang King's Festival" also says: "Under the wooden leaves, the waves of the river are continuous, and the autumn moon shines on the clouds resting on the mountain." As for Wang Bao's famous sentence in "Crossing Hebei": "The autumn wind blows the leaves of the trees, and they are still like waves in the Dongting." The influence is even more obvious. Here we see how prominently "Konoha" has become a beloved image in poets' works.
What is "Konoha"? According to the literal interpretation, "wood" means "tree" and "wood leaf" means "leaf". This seems to need no further explanation; but the question is why we rarely see the use of "leaf" in ancient poetry. Woolen cloth? In fact, "trees" are common. For example, Qu Yuan said in "Ode to Oranges": "The queen has many beautiful trees, and oranges are everywhere." And in "Recruiting Hermits" in Huainan Xiaoshan, it is said: "There are clusters of osmanthus trees on the mountains. "Secret." Anonymous's ancient poem also said: "There are strange trees in the garden, with lush green leaves." But why are "leaves" alone not common? Generally speaking, when you encounter "leaf", you just call it "ye" for short. For example: "The dense leaves prevent birds from flying, and the wind is light and the flowers fall late." (Xiao Gang's "Folding Willows") "The bright moon among the clouds , Burning leaves of China." (Tao Yuanming's "Ancient") This can of course be said to be due to the refinement of the poets' words, but this explanation does not solve the problem, because when one meets "Konoha", the situation changes. It is obviously different; poets no longer seem to consider the issue of refining words, but try their best to use "wooden leaves" to write famous sentences that are popular among people, such as: "Under the wooden leaves of Tinggao, the autumn clouds fly in Longshou." (Liu Yun's "Poem of Punching Clothes") "The cold anvils in September urge the leaves, and the ten years of military expeditions recall Liaoyang." (Shen Quanqi's "Ancient Meaning") It can be seen that refinement cannot be used as the reason for the exclusive use of the word "leaf", then "leaves" "Why has no one ever asked? At least it never produced brilliant poetry. And the fact is exactly like this. Ever since Qu Yuan discovered the mystery of "Konoha" with his astonishing genius, poets since then have been unwilling to let it go easily; so use it again and again, practice makes perfect; and in the language of poetry Among them, it is not limited to the word "Konoha". For example, Du Fu's famous poem "Deng Gao" said: "The endless falling trees are rustling down, and the endless Yangtze River is rolling in." This is a famous sentence that everyone is familiar with, and the "falling trees" here are undoubtedly from the "falling trees" in Qu Yuan's "Nine Songs". "Konoha" developed. According to the meaning of "falling trees rustling down", of course it means leaves rustling down. According to our normal thinking, it seems that the word "leaf" should not be omitted. For example, we might as well say: "Boundless falling leaves rustling down", wouldn't it be more accurate? Do you understand? However, the genius Du Fu would rather save the "leaf" of "Konoha" than give up the "wood" of "Konoha". What is the reason for this? In fact, before Du Fu, Yu Xin had already said in "Ai Jiangnan Fu": "I left Dongting to visit Luo Mu, and went to Xuanyang to visit Jipu." Here we can see that the word "Luo Mu" is indeed not accidental. Ancient poets learned from the creations of their predecessors and created in their own learning, which made the language of Chinese poetry so rich and colorful. This is just a small example of it.
The key to the development from "wood leaves" to "fallen leaves" is obviously the word "wood", which is also the difference from "leaves" or "fallen leaves". It goes without saying that "leaves" are rarely used in ancient poetry; even "fallen leaves", although common, are just general images. It turns out that the subtlety of poetic language is different from ordinary concepts, and even a little difference can lead to a lot; and this is why poetic language cannot rely solely on concepts. Conceptually speaking, "wooden leaves" are "leaves", and there is nothing to argue about. However, when it comes to the image thinking of poetry, no one cares about the latter, while the former continues to develop; like "the boundless falling trees are rustling" With such a bold display of creativity, aren't you afraid that hard-hearted people will mistake it for wood falling from the sky? But our poet Du Fu was willing to take this risk and create a poem with a vivid image that has been passed down through the ages; this risk and this image are actually all in the word "wood", but the origin of this word is not great. Thinking? Here we have to analyze the word "wood" first.
First of all, it seems that we should study, on what occasions did ancient poets use the word "wood"? That is to say, under what circumstances can the word "wood" just form the exquisite poetic language; in fact, they are not used everywhere, if so, it would become a "universal ingot". Since Qu Yuan began to use it accurately in a season of autumn leaves falling, subsequent poets, including Xiezhuang, Lu Jue, Liu Yun, Wang Bao, Shen Quanqi, Du Fu, and Huang Tingjian, all used it in the autumn scene. Achieving a distinct image is no accident. For example, Wu Jun's "Reply to Liu Yun" says: "The autumn moon shines on the ridges, and the cold wind sweeps the tall trees." Is it okay to use "tall trees" here? Of course it is possible; Cao Zhi's "The Journey of the Yellow Bird in Noda" says: "The tall trees are full of sorrowful winds, and the sea water stirs up its waves.
"This is also a famous saying through the ages, but here, "the tall trees are full of sad winds" does not have the image of falling leaves, while "the cold wind sweeps the tall trees" is obviously the scene of falling leaves. The former is about to use the blowing of the leaves on the trees to express There is an unevenness as deep as the tide. The more leaves here, the fuller the feelings. But in the latter, there are fewer and fewer leaves. The so-called "sweeping the tall trees" is not the same as the emptiness of "the falling trees on thousands of mountains"? However, "tall trees" are full, while "tall trees" are spacious; this is where "wood" and "tree" are similar but different. "Wood" here appears simpler than "tree". The so-called "withered mulberry". A tree like "Tianfeng" seems to be closer to "wood"; it seems to contain an element of falling leaves, which is the first artistic feature of "wood".
To explain "wood" "Why it has this characteristic must touch upon the issue of suggestibility in poetic language. This suggestibility seems to be the shadow of a concept, often hiding behind it. If we don't pay attention, we won't notice its existence. Sensitive and thoughtful The well-educated poets are able to recognize all the potential powers in language images, and interweave and combine these potential powers with the meanings in concepts, so that they become colorful and indescribable speech; it affects us unconsciously; it This is what makes it so contagious and inspiring, and this is what makes it true to words. While "wood" is the concept of "tree", it also has the same meaning as "wood", "timber" and "board". " and other shadows, this potential image often affects us to think more of the trunk and less of the leaves, because the leaves are not originally woody, so "leaf" is often excluded from the sparseness of "wood" In addition to the image of the tree, this is why it implies falling leaves. And what about the "tree"? It has lush branches and leaves, and both it and the "leaf" are associated with the so-called "noon shade". Jiashu is clear and round. " (Zhou Bangyan's "Man Ting Fang") If the word "wood" is used here, it will lack the more realistic image of "Wu Yin". However, the images of "tree" and "leaf" are not only not mutually exclusive, but also very similar. consistent; and precisely because there are too many similarities between them, "leaf" will not bring anything more than a single "leaf" word. In classical poetry that is accustomed to using words, it has never been very common. The word "leaf" is rarely seen. As for "wooden leaves", it is completely different. Here we need to talk about the second artistic characteristic of "wood".
It reminds us of tree trunks easily, and it also brings the color implied by "wood". The color of trees, that is, the trunk is generally brown-green, which is relatively similar to the leaves; as for "wood". " Well, then maybe it may be yellow, and it may be dry rather than wet to the touch; the door bolts, sticks, masts, etc. we are familiar with all look like this; here is the The more general character of the word "wood" Although "wood" appears here as a special concept like "tree", the more general potential implications of "wood" still influence this image. Therefore, the "wooden leaves" naturally have the yellowish and dry feeling of fallen leaves, which brings the whole sparse and clear autumn atmosphere. "The autumn wind is blowing, and the Dongting is rippled under the wooden leaves. "The fallen leaves are definitely not green and soft leaves, but rustling and slightly yellow leaves. We seem to hear the sighs of Li Ren and think of the wandering wanderers; this is why the image of "Konoha" is so vivid. It is different from: "The beautiful lady is idle, picking mulberries on the crossroads; the soft branches are blooming, and the fallen leaves are fluttering." "The fallen leaves in "Cao Zhi's "Beauty" are because they are dense leaves full of moisture at the turn of spring and summer. They are also different from: "Quiet night with no neighbors, living in desolation and old poverty; yellow-leafed trees in the rain, white-headed people under the lamp." "(Sikong Shu's "Happy Brother Lu Lun Sees the Stay"), because the yellow leaves still grow quietly on a tree, in the misty rain, although it has a "wooden leaf" slightly yellow The color does not have the dry feeling of "Konoha", so it lacks the meaning of drifting; and its yellow color is obviously too yellow due to the moisture of the rain, so "Konoha" belongs to the wind. Rather than belonging to the rain, it belongs to the bright clear sky rather than the heavy cloudy sky; this is a typical character of Qingqiu. As for the "falling wood", it is even more spacious than the "wood leaves", and it is even connected with the "leaf". The little dense meaning retained in this word has also been washed away: "At dusk, the wind blows, and the leaves fall on the branches. " (Wu Jun's "Song of Qingxi Sister") is enough to illustrate the lingering side of this "leaf". However, there is still a certain distance between "wooden leaves" and "fallen wood". It is the relationship between "wood" and "leaf" Unification, the intertwining of sparseness and density, a beautiful image of distance and deep affection. This is exactly the character image of Mrs. Xiang in "Nine Songs".
"Konoha" and "Konoha". "Leaves" is just a word difference. The concepts of "wood" and "tree" are almost the same. However, in the field of artistic images, the difference here is almost a thousand miles.