The content of Pipa Xing, as stated in the preface, tells the story of the author's relegation from Chang 'an to Jiujiang, listening to an Chang 'an's commander play the pipa and telling his life story. As a long narrative poem, this poem is rigorous and meticulous in structure, with twists and turns in plot and ups and downs.
In the first part, from "I saw the guests off on Xunyang River in the dead of night" to "I still hid half my face behind her guitar so that we wouldn't see it", I described the regret that there was no music at the farewell party, invited businessmen to play the pipa, described the timbre of the pipa in detail, and tried to shape the image of the pipa girl.
The first sentence, "I see a guest off at night in Xunyang River", is only seven words, which roughly introduces the people (host and guests), the place (head of Xunyang River), the event (host sees a guest off) and the time (night); Dye the environment with the phrase "Maple leaves and adult rushes rustle in autumn", and the bleak feeling of farewell to Fujian in autumn night has already spread.
But it's bleak and lonely, so it starts from "We raise our glasses and hope to drink-but, alas, there is no music". The word "no orchestral strings" not only echoed the later "no strings and no bamboo for a whole year", but also paved the way for the appearance and performance of pipa girls.
Because the foreshadowing of "No strings" and "We are unhappy after drinking all, and we are leaving" is very strong, then "When the river mysteriously widens to the full moon" is used as an environment for baking and dyeing, which constitutes a strong sense of depression, and makes "We heard a sudden sound and a guitar crossed the water" have a strong hollow footstep to prepare for the sudden change below.
From Autumn's Bleak, No Chord and Farewell at Night to Sudden Smell, Sounding for Sound, Quietly Asking, Moving Boat, to Inviting to See, it can be said to be "yet we called and urged a thousand times before she started toward us". But "inviting to meet" is not so easy. It takes a long-awaited process before she will "come out". It's not that she cares about identity
Just like "I" is eager to listen to Yue Xian's pipa, which means "I am eager to write about the hatred of the end of the world", so she is "but we called for it a thousand times and urged it a thousand times before she set off for us", because she is full of "the hatred of the end of the world", so it is inconvenient to say it and she doesn't want to see anyone.
Because of this, the poet used the voice to cut off the portrait ... Then, she reluctantly answered, still hiding half of her face behind the guitar from us to express her indescribable pain. The description of this pipa girl's appearance is vivid and touching. She didn't see the pipa before she heard it, and her inner pain was slightly revealed before she heard it, which caused many suspense for the development of the next story.
The second part, from "... she turned the string shaft and tried to pluck a few strings," We saw the white autumn moon enter the middle of the river "to describe the pipa girl and the pipa music she played, which showed the inner world of the pipa girl concretely and vividly. First, I used the word "... she turned the tuning pin, tested several strings, and wrote down the string calibration and audition. Then I praised" we could feel her feelings even before she played "and emphasized the word" love ".
The six sentences of "one thought for each string, one thought for each tone" always describe the playing process of "rainbow skirt first, then six-year-old children", in which "she frowned and bent her fingers, and then began to play" and "she brushed the strings, twisted them slowly, swept them and plucked them" are used to describe the playing methods. And "as if telling us the pain of her life" and "let her heart share everything with us bit by bit" are used to summarize the thoughts and feelings expressed by Pipa women through music. In the following fourteen sentences, when copying music with the help of the phonology of language, various vivid metaphors are used to enhance its vividness.
The big string is like rain, which not only uses the overlapping word "noisy" to describe the sound, but also uses "like a downpour" to visualize it. The same is true of "whispering as a secret". That's not enough. "Humming, whispering-and then mixing together" reproduces the interlaced features of two melodies, such as "like a shower" and "like a whisper". If we use the metaphor of "like pouring large and small pearls into a plate of jade", the visual image and auditory image will be exposed at the same time, which is dazzling and dazzling.
The melody is constantly changing, and there are two artistic conceptions: first "slippery" and then "astringent". "Off-site" sound is light and smooth, which is like "flower bottom", and the beauty of visual image strengthens the beauty of auditory image. The sound of "choking" is sad and choked, which is like "a clear spring flowing under the ice". The coldness of visual image intensifies the coldness of auditory image.
From "indifference" to "silence" is a process of "silence". The poet's quatrains of "Going into mourning and hiding deeply, silence is better than sound" describe the artistic realm with lingering sound and endless meaning, which is amazing. At this point, I thought it was over.
Who knows that "sadness and dark hatred" has accumulated infinite power in the process of "the voice gradually subsided" and cannot be suppressed. In the end, just like the "silver bottle bursting", the water slurry burst, and like the "iron horse standing out", the sword roared and suddenly pushed the undercurrent of "Ningjue" to a climax. It was only at the climax that I received a painting and came to an abrupt end.
Although the song is over, the soul-stirring and soul-stirring musical charm has not disappeared. The poet takes the environmental description of "the east boat is quiet, the west is quiet, and we see the white autumn moon entering the heart of the river" as the side lining, leaving readers with a broad space with lingering charm.
This is a famous masterpiece of realism. The full text takes the characters as clues, not only writing the life experience of the pipa girl, but also writing the poet's feelings, and then meeting in the sentence "We are both unhappy-to the end of the day".
The singer's tragic experience is very specific and can be regarded as a bright line; The poet's feelings permeate between the lines, and with the constant changes of the music played by the pipa girl and her life experience, it can be regarded as a dark line. This one is bright and dark, one is real and one is empty, which makes the plot ups and downs. The story it tells is tortuous and touching, and the emotion it expresses can arouse people's voices. The language is beautiful but not flashy, refined but not obscure, the content is close to life and has a wide range of sociality, elegance and popularity.
Creative background:
In the 10th year of Yuanhe (8 15), in June, the forces of the Tang Dynasty sent assassins to stab the prime minister Wu and the suggestion Pei Du at the head of Chang 'an Street. Therefore, the forces of the buffer region further demanded the removal of Pei Du, so as to stabilize the buffer region's "anti-frontier" heart. Bai Juyi advocated the strict arrest of murderers, was suspected of "exceeding his authority", and often wrote allegorical poems, which offended the dignitaries in the DPRK, so he was demoted to Jiangzhou Sima.
Sima is the assistant of the secretariat. In the mid-Tang Dynasty, the placement of "criminal" officials was a disguised distribution. This incident had a great influence on Bai Juyi and was a turning point in his ideological transformation. Since then, his early fighting spirit has gradually worn away and his negative emotions have increased.
In the autumn of the 11th year of Yuanhe (8 16), Bai Juyi saw off guests in Jiangtou, Xunyang, and met an Changan, who played the pipa, so he took this as the theme. This narrative poem is Pipa Xing.