The Book of Songs, as the earliest poetry collection in my country, can be said to be the source of Chinese classical literature. Mr. Lin Xingzhai once said in the book "Exploration of the Charm of Art": "Almost all basic human emotional activities have been expressed in some form in the Book of Songs, which has provided poets of all ages with models for expressing various emotions. Lyrical. ”
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Reading the Book of Songs with a heart of “searching for the source”, it is not difficult to discover the many lyrical feelings it has set for future generations. The paradigms unfold before us one by one like dots of stars. 1. "Embrace someone under the moon" type
Ever since we read Li Bai's "Silent Night Thoughts" when we were children, we have known that the moon is a common image in ancient Chinese literary works, representing longing and expressing affection. Later, when I read Zhang Ruoxu's "Moonlit Night on the Spring River", the sentence "Who by the river first saw the moon, and when did the moon first shine on people?" made us sigh with emotion that the moon hanging high in the sky has such a close connection with human relationships in the world. .
However, have you ever thought about who was the first person to look at the moon with such affection and miss the person in his heart under the caress of the soft moonlight? Who was the first to endow that cold planet with tender poetry? Who brings things that are far away into our lives and close to our hearts?
Reading the Book of Songs with a "source-seeking" mentality, we seem to be able to find the answer from an article in "Chen Feng".
Embrace someone under the moon
"Chen Feng·Moonrise" is the first poem about missing a lover under the moon. Fang Yurun's "Original Book of Songs" said it: "From the imaginary imagination of a man, it comes alive. Beauty under the January Moon. "The artistic conception of the poem is blurry. The poet saw the bright rising moon and began to miss his lover.
The moon hangs lonely in the endless night sky, illuminating the earth and covering everything, giving people a distant and ethereal feeling. The moonlight illuminates the beautiful woman in the poet's heart. Her leisurely pace, slender figure, and soft waist all affect the poet's heart and attract readers. The woman may be close at hand, but under the hazy moonlight, she seems so far away, so blurred and hard to find, like a dream.
At the same time, the mood of the poem is melancholy. Through the direct expression of his emotions such as "the heart is laboring in silence", "the heart is laboring in sorrow", and "the heart is laboring in misery", the poet's sorrow and sadness are immediately apparent, and he is full of a sense of regret that can be thought of but cannot be seen. We say that every poem must have its own artistic conception and sentiment. The artistic conception created by the poem "Moonrise" is confusing and the mood is melancholy. Once this tone was established, it set a pattern for later generations of Wangyue Yonghuai's works.
Literary works from past dynasties describing cherishing people under the moon can be said to be backlogged, such as "The bright moon is so bright, it shines on my bed curtains" in "Nineteen Ancient Poems";
Zhang Jiuling's "Looking at the Moon and Huaiyuan": "There is a bright moon on the sea, and the end of the world is at this time";
Li Bai's "Eight Blessings": "If you see the end of the world and miss your old friend, you can see the bright moon on the Huanxi Rock"; < /p>
Du Fu's "Dream Taibai": "The falling moon fills the beams of the house, and I hesitate to see the color";
Chang Jian's "The Retreat of Su Wang Changling": "The moon is dewy between the pines, and the light is clear." You are still a king."
There are countless modern poems that use moonlight to express emotions. No matter how different angles and languages ??are changed in these poems, they all express the confusing artistic conception and melancholy mood. Poems from ancient times to the present seem to be more moved and evocative of readers because of the moonlight. Just like the moon itself, it has been common throughout the ages, but the scenery is always new. 2. "Who is suitable for the appearance" type
"Wei Feng·Bo Xi" is a poem about a woman missing her husband who went on an expedition in the army. There is a saying in the poem: "From the east of Bo, the first poem is like How can I be so beautiful without any ointment?"
Yu Guanying translated it in his "Selected Poems" as: "My brother is traveling from the east, and my hair is matted and fragrant. , ask me to beautify someone for whom!”
As the saying goes, “women want to please their appearance.” Nowadays, the person who pleases herself goes to fight on the front line and cannot be seen again for a long time. The woman who is in her beauty-loving years has no intention of dressing up. Unable to let go and unwilling to let go of the lovesickness that made her "heart-wrenching", she only lived with that lovesickness.
The four words "Who is suitable for the face" vividly express the protagonist's mood of not doing anything because of longing, even the most favorite dressing and grooming of women in the boudoir are left behind, and he is full of resentment. Bitter and deeply affectionate, it sets a classic artistic model for the poem about boudoir.
Who is suitable for tolerance?
In fact, Mr. Qian Zhongshu had already discussed the artistic style of the Book of Songs in his "Sixty Principles of Justice for Braided Mao Poems" The study of types has been involved. He said in a chapter of "Bo Xi": "According to Xu Qian's "Shisi": 'Since the king came out, the bright mirror and the dark will not be cured';
Or Du Fu's "Shi Si" "Wedding Farewell": "I will no longer apply my clothes to you, but I will wash off my red makeup." That is to say, he believes that the above poems are a continuation of the paradigm of "who is suitable for grace."
Today, it seems that there are countless literati who inherited and developed this feeling in later generations. The most famous one is Cao Zhi's "Seven Sorrow Poems": "Who can be blessed with anointing? A bright mirror can't cure a dark one."
Tang Dynasty There is Du Fu's "Wedding Farewell": "I will no longer apply Luo Ru, but I will wash away the red makeup on you." Wen Tingyun, a poet in the late Tang Dynasty, wrote in "Bodhisattva Man": "I am too lazy to paint my eyebrows, and I am too late to put on makeup and wash up." The sadness is beyond words.
However, the most vivid expression of this emotion in the Song Dynasty is Li Qingzhao's "Reminiscences of Playing the Flute on the Phoenix Platform": "The fragrant and cold golden horse was rolled over by the red waves, and I got up and combed my hair lazily. , the curtain hook on the sun. "I am too lazy to light the incense burner, I am too lazy to fold the quilt, I am too lazy to comb my hair, and I am too lazy to brush off the dust on the dressing box. These are the most true and vivid portrayals of the pain of separation.
There is a motto in Chinese aesthetics called "Grooming is a person." Shakespeare also said: "Clothing can often express personality. Grooming is a coat covering the soul, and posture and behavior are expressed through The soul shines like a beam of light on the coat. ”
A person’s modification of appearance and his posture and behavior are all reflections of his psychological characteristics and ideological personality. Therefore, describing a person's makeup can naturally express his mentality and personality, and achieve the effect of seeing the whole thing at a glance.
Women’s thoughts are the most meticulous, and also the most changeable and elusive. It is even more difficult to express them in words. Later generations of writers naturally inherited the " Such an expressive way of expression in the Book of Songs. 3. "On the side of the water" type
"Qin Feng Jian Jia" has always been considered a rare masterpiece and a very famous one in the "Book of Songs". It has not only been translated into many The foreign language version has also been adapted into a song and has been widely sung. The reason must be inseparable from the artistic conception characteristics of its creation and the emotional characteristics of its expression.
The poem begins with "The jianjia is green and the white dew is frost", creating a realm of purity and loneliness with a hint of desolation and pathos. Not only does it describe the clear and desolate scenery of the late autumn morning beautifully, it also highlights the time and place of the poem.
The next key sentence, "The so-called beauty is on the other side of the water," conveys the helplessness of being expected but unattainable in a very simple but expressive way. The "beautiful woman" in the poet's heart seems to be clearly visible, but he has never found it from upstream to downstream, and it is out of reach. Therefore, there is a helpless mood and emptiness and melancholy in the poem.
On the side of water
In life, we all have experience: the more difficult it is to get something, the more we want it, and the thing we desperately want but can’t get will make us feel deeply Helpless.
I really like the words of the Western aesthetician Lipps: "When destiny is suppressed and obstacles are cut off, people's psychological activities are blocked, and they are more nostalgic for the past before the blockage. This kind of nostalgia has Greater intensity and compelling humanity."
Because of the similarity of human nature, the poet does not need to describe it further. He simply uses "on the side of the water." "Explaining "the suppression and cutting off of destiny" can make readers feel the huge helplessness and loss like the poet.
In "Nineteen Ancient Poems": "The water is full of water, and the pulse is speechless", and "The water is gone and the river is clear and shallow", which is a good interpretation of the construction of "on the side of the water" of poetry. "The solitary lamp is not clear and I am heartbroken, I roll up the curtains and look at the moonlit sky and sigh, the beauty is like a flower in the clouds." Li Bai's "Sauvignon Blanc" further expands the feeling of "being on the side of the water".
In addition, Ouyang Xiu's "Traveling on the Shasha": "The buildings are taller than the dangerous railings, the plains are full of spring mountains, and the pedestrians are outside the spring mountains." It describes the wanderer's imagination that the people in the boudoir can't see what they think because of their height. The scene of the person also expresses this state. At the end of the overgrown field is the faint spring mountain, but the person she misses is beyond the spring mountain. The mountain blocks the vision of the woman in the boudoir, but her heart follows her sweetheart gradually farther and farther away, towards the end of the world. .
The poet also expresses the deep love and sorrow of the people in the boudoir through the "suppression and cutting off of fate".
There are many such lyrical models in the "Book of Songs". With an aesthetic vision, read the "Book of Songs" with the heart of "searching for the source", and appreciate the purest and most beautiful poems in "Three Hundred Poems". The most beautiful relationship is really a great joy.