?——Passionate but spared from hatred, sorrow of separation since ancient times
All scene language is love language. So, what is "scenery language" and "love language"? All language used to describe scenes is for the purpose of conveying emotions, that is, the existence of "scenery language" creates "love language". In "Song of Everlasting Regret", the poet adopts the lyrical techniques that traditional Chinese poetry is good at in narrating stories and shaping characters, harmoniously combining narrative, scene description and lyricism. At the same time, he makes good use of antithesis, thimble, repetition and other techniques to convey emotions. It is cleverly connected with scenes, people and things, forming the lyrical looping characteristics of the poem, and closely connecting the things, scenes and emotions in the poem.
With refined language, beautiful images, and a combination of narrative and lyrical techniques, the poet narrates the love tragedy of Tang Xuanzong and Yang Guifei during the Anshi Rebellion: Their love was ruined by the rebellion they caused, We are endlessly eating the bitter pill of this spirit. Sometimes the poet injects the characters' thoughts and feelings into the scenery, and uses the refraction of the scenery to highlight the characters' mood; sometimes he seizes the characteristic scenery and things around the characters, and expresses his inner feelings through the characters' feelings about them, rendering them layer by layer and expressing them. It captures the inaccessible feelings deep inside the characters' hearts.
1. Looking back and smiling, admiration is born
? The first part of "Song of Everlasting Sorrow", that is, before the Anshi Rebellion, introduces the growing environment of Yang Guifei, her overwhelming beauty and Emperor Xuanzong of the Tang Dynasty How to value color, the process of seeking it, and the happy life that follows with the company of the beauty you have “not been able to find for many years.”
"Looking back, you will be full of charm when you smile. The pink and white in the Sixth Palace are colorless.", "There are three thousand beauties in the harem, and three thousand people love them."
The poet does not use direct description here. To show the beauty of Concubine Yang, he first narrates the birth of Concubine Yang, and then "chooses him to be on the side of the king once". He uses exaggerated techniques to combine the forms in the palace and repeatedly highlights the scene of Concubine Yang's smile. Charming, charming, and charming, she looks back and smiles in various poses and charms. She also uses contrasting techniques to highlight the overwhelming beauty of Yang Guifei. The various shapes and appearances of thousands of women in the Sixth Palace are eclipsed in front of her, clearly showing The character image of Concubine Yang. This kind of beauty is also the reason why Concubine Yang was favored by "three thousand people" by Emperor Xuanzong of the Tang Dynasty, who "the emperor of the Han Dynasty paid great attention to beauty and loved the country". "Sisters and brothers are all foreigners."
Regarding Yang Guifei’s beauty, Li Bai once praised her in the poem "Qing Ping Diao", "The clouds think of her clothes, the flowers think of her face, and the spring breeze blows on the threshold and the dew is rich. If I hadn't seen her at the top of the jade mountain, I would have gone to Yao "Meeting under the Moon" describes Yang Guifei's gorgeous appearance, which even white clouds and peonies want to dress up, and her every move is even more fascinating under the spring breeze and dew. Her appearance is like that of a fairy. Generally, it should only be seen by people in heaven.
"Qingyun enters the heights of Li Palace, and the wind of fairy music can be heard everywhere", "Slow songs and dances of silk and bamboo, the emperor can't see enough", "The fish and sun are stirring the earth, shocking the colorful clothes and feathers." . ”
Here, the method of expressing music through music and scenery is used to describe the towering Yuyu Qiong Tower in Huaqing Palace on Lishan Mountain, and the gentle breeze carries sweet music, making the fairy music float in all directions. Songs and dances, singing and flute rhymes, like knocking autumn bamboo, Yang Guifei dances gracefully to the beat, the palace seems to have turned into a fairyland, with orioles singing and dancing, fairy music floating, delicacies from mountains and seas, and beautiful women as companions, a sense of beauty and a light and happy mood arises spontaneously . Naturally, Tang Xuanzong got the beauty he had been looking for all his life, and he was naturally happy. He was obsessed with Yang Guifei's beauty and her graceful dancing. Because of Yang Guifei, he realized that time passed so fast. Greedy and Yang Guifei The imperial concubine never even went to court again during their time together. There were three thousand beauties in the harem, but they were only in love with her and gave her three thousand favors to one person.
There were many folk theories at that time about the origin of "Nishang Qu". This song is recorded in "Tang Huiyao" compiled by scholars in the early Song Dynasty. "The Song of Colorful Feathers" was adapted from the "Brahmin Song" presented by Yang Jingshu, the governor of Hexi Province in the Western Regions, by Emperor Xuanzong of the Tang Dynasty in the 13th year of Tianbao's reign. In the twenty-eighth year of Kaiyuan, when Yang Guifei came to see her for the first time, Emperor Xuanzong of the Tang Dynasty ordered people to play "The Song of Colorful Clothes and Feather Clothes" as a guide. At that time, Zhang Shuo, a minister of the imperial court, wrote "Huaqing Palace" for this purpose, saying: "The sky is dark and the night is still young, and the green clouds and immortals are dancing in colorful clothes; a jade flute is heard in the sky, and the moon is full and the Lishan Palace is long." But at this time, Tang Dynasty Xuanzong was dissatisfied with the performance of "The Song of Colorful Clothes and Feather Clothes" performed by the court because it only had fairy music and lacked graceful dance. After Yang Guifei entered the palace, Emperor Xuanzong of the Tang Dynasty revised it again to make it more perfect. He also used musical instruments from the Central Plains and five musical instruments from the Western Regions to hold a concert on the night of the Mid-Autumn Festival. That night, the bright moon was in the sky, the stars were shining, and the breeze was blowing. Concubine Yang held the pipa in her arms, and Emperor Xuanzong of the Tang Dynasty held the drum. They led the maids to sing and dance, and the night went on. The two worked together perfectly, and Concubine Yang was deeply loved by Emperor Xuanzong of the Tang Dynasty. This incident also became a legend among the people.
2. Sad separation, endless thoughts
The second part is mainly about the helplessness and pain of Xuanzong when he fled and was forced to kill Yang Guifei when the Anshi Rebellion broke out. His love was destroyed and left behind. The endless "hate".
Because of Tang Xuanzong's indulgence in pleasure and disregard for government affairs, Concubine Yang was charged with bewitching the king. But in fact, which woman doesn't want her husband to focus on herself and pamper her alone? It's a pity that the person she loves is not an ordinary man. The love she wants is the love she can't always get. In the end, the imperial concubine chose to die for her beloved Xuanzong. She was willing to use her death in exchange for Tang Xuanzong's life. Isn't it a great fulfillment and a kind of love?
"The six armies had no choice but to do nothing. They died in front of the horses with their eyebrows turned. The flowers and flowers left the land without anyone to take it, and the green jades and jade scratched their heads. The king hid his face and could not save him. Looking back, blood and tears flowed harmoniously."
These lines describe the parting scene between Emperor Xuanzong of the Tang Dynasty and Concubine Yang Guifei in Maweipo, depicting the scene of their separation. The reason why the "six armies did not send out" was to ask Tang Xuanzong to execute Yang Guifei, because he was angry that Tang Xuanzong was infatuated with women and was causing harm to the country and the people. Their love eventually became a tragedy. The poet described the scene in detail. The jewelry scattered on the ground was not picked up. In this case, it is unimaginable how embarrassing Yang Guifei's makeup was at that time, and "Looking back and smiling a hundred times" "Mei Sheng" creates a huge gap. Xuanzong watched Concubine Yang leave, but still could not prevent this tragedy from happening. Looking at the scene of Concubine Yang's tragic death, only blood and tears could express Tang Xuanzong's pain and despair.
"There are few people walking at the foot of Mount Emei, the flags are dim and the sun is thin. The water of the Shu River is green, the mountains of Shu are green, and the Holy Lord is in love with him day and night."
The poet focuses on describing the place where Emperor Xuanzong of the Tang Dynasty fled to The scenery on the southwest road uses the method of borrowing scenery to express emotions. There are few people here, and there are hazy yellow dust, lonely plank roads, and towering mountains everywhere. They block the sun, the sun is dim, the flags are lightless, and the autumn scenery is desolate. The autumn scenery exaggerates the sad atmosphere and highlights the infinite sadness of Emperor Xuanzong of the Tang Dynasty. In Shu, facing the green mountains and green waters, I still can't forget my love day and night. The mountains, mountains and rivers in Shu were originally very beautiful, but in the eyes of Tang Xuanzong, who was heartbroken after losing Yang Guifei, the "green" of the mountains and the "green" of the water "Bi" also makes people sad. The beauty of nature should only be enjoyed by people with a peaceful mind, but he does not, so it increases the pain in his heart. This is to write about sadness through beautiful scenery, making the emotion deeper.
"When I see the moon in the palace, I look sad, and when it rains at night, I hear the sound of broken bells. The sky spins and the earth spins back to the dragon, and I hesitate and can't go."
This sentence is very representative of Tang Xuanzong's loss of Yang Guifei. Endless sadness, regret, and longing. Borrowing the moonlight in the palace and the ringing of bells in the rainy night, these ordinary but characteristic things, stimulating emotions, naturally brought Tang Xuanzong into a sad and heartbroken state. After the rebellion subsided, Tang Xuanzong returned to Chang'an and passed by Mawei Slope, seeing things and missing people, hesitates. I thought it would be better if I stayed away from Maweipo, but she is still there everywhere. When I see Furong, I think of her crimson cheeks. When I see the curved willow leaves, I think of her picturesque eyebrows. In addition, Her every word and deed, every frown and smile, intertwined with each other, are full of memories, trying their best to express the sadness and desolation in Tang Xuanzong's heart.
"The peach and plum blossoms bloom in the spring breeze at night, and the sycamore leaves fall in the autumn rain. There are many autumn grasses in the South Garden of the West Palace, and the fallen leaves are full of red leaves that are not swept away."
These two lines of poetry are neatly contrasted, making it easy to recite. Chanting is musically beautiful, expressive and expressive, and lyrical. The more typical natural scenes in spring and autumn were selected, such as peach and plum blossoms and autumn rain and sycamores, to express Tang Xuanzong's endless longing for Yang Guifei, thus closely connecting "things", "scenery" and "love"; from time to time From the perspective of understanding the poem, during his lifetime and in the four seasons of the year, Xuanzong of the Tang Dynasty would always touch things and feel sad, and miss people when he saw things. Various landscapes in nature, no matter whether he was happy or sad, would cause Xuanzong endless sadness and The lingering longing can be described as deep love, sadness, and pain. The spring breeze blows slowly, the peach blossoms have blushed on the cheeks, and the plum blossoms are blooming desperately. But it is a pity that Yang Guifei is no longer by Tang Xuanzong's side. Time passes slowly, and the wait is indeed autumn rain and fallen leaves. The place where Yang Guifei lives is also It is overgrown with weeds and extremely desolate. Xuanzong is still waiting for you to enter his dream one day, just hoping to see you again. This part vividly shows the love between Emperor Xuanzong of the Tang Dynasty and Concubine Yang. Unfortunately, things change and people change, and they eventually part ways.
3. See Penglai, hate forever
The last part is a dreamy description of the scholar helping Tang Xuanzong to find Yang Guifei. The two met briefly in the fairyland in exchange for the promise. Farewell. It was the sudden separation of the two and the pain of Tang Xuanzong's missing day and night that was written so carefully and painfully that the encounter between the two in the fairyland was completed. This scene is precisely because of the poet's experience of visiting Xianyou Temple that made the two meet again, because at that time both Buddhism and Taoism believed that there was a fairyland outside the human world, where humans and gods could communicate, and the suffering in the human world could be restored. Get liberation in the fairy world.
At this point in the poem, the "hate" of "Eternal Hate" has been written very touchingly, and the story seems to end here. However, the poet changed his writing style, opened up a different realm, and conceived the idea with the help of the colorful wings of imagination. A charming and moving fairyland pushes the plot of the tragic story to a climax, making the story more twists and turns, with ups and downs and waves. This turn of events is both unexpected and reasonable.
Due to the constant conflicts and collisions between subjective desires and objective reality, the poem vividly expresses the characters' ever-changing psychology, making the story more vivid and moving.
"I'm wandering around with my clothes on my pillow, and the silver screen of pearls and foils is meandering. I'm sleeping with my temples half fresh, and I'm out of the hall with my corolla not straight."
The poet is wandering in "I'm wandering on my clothes and pillows." "In one sentence, the four verbs "take", "push", "qi" and "open" are used to show a series of actions of Concubine Yang after hearing about the arrival of the emperor's envoys, revealing the concubine's sadness, loneliness and The sad mood also shows the imperial concubine's eagerness to see Xuanzong. At the same time, it also shows from the side that Yang Guifei's love for Xuanzong has not diminished, but this love can only leave a promise that is not full of regrets but will last forever. No matter in the sky or on the earth, keep the tokens, don’t forget them, and look forward to seeing you again.
"Suddenly I heard that there is a fairy mountain on the sea, and the mountain is in the ethereal space.", "I sent the words again diligently, and there is an oath in the words that the two hearts know."
Using the thimble technique, The flow further advances the storyline and makes the pacing tighter.
When Emperor Xuanzong of the Tang Dynasty couldn't find it in reality, he went to look for it in a dream. If he couldn't find it in a dream, he asked a Taoist priest to go to the fairyland to look for it. Such ups and downs, layers of rendering, repeated expressions, and loops, making The characters' emotions spiraled upward and reached a climax, making the characters' thoughts and feelings deeper and richer, and more artistically appealing. Finally, the two met in fairyland, leaving behind the words "I wish to be a winged bird in heaven, and wish to be a winged bird on earth." The beautiful wish of "Lian Lizhi" fully displays the final "hate" in "Song of Everlasting Sorrow" before people's eyes.
In fact, they are also ordinary people. Now it seems that Tang Xuanzong is just a humane and infatuated emperor with desires, worries, mistakes, and shortcomings, while Yang Guifei is a She is just an infatuated woman with a face as shy as a moonflower, and is willing to go through fire and water for her lover. She is no different from the protagonist in ordinary love stories! I just hope that when we meet in the next life, Longji will no longer be a king, and Yuhuan will no longer be a concubine, but they will be an ordinary couple and spend their loving life in peace and laughter.
Looking at the whole poem, the poet cleverly combines the narrative, scene description and lyricism in "Song of Everlasting Sorrow", not only vividly showing the love between Tang Xuanzong and Yang Guifei, but also deeply analyzing The reason for the tragic love between the two was that after the death of Concubine Yang, Emperor Xuanzong of the Tang Dynasty expressed his longing for her through the description of scenery and things, which closely connected the events, scenery and emotions in the poem, and better demonstrated the The details and overall look of the poem.