Su Xiaoxiao Lihe Tomb
Dewdrops on orchids in the cemetery are like her sad tears.
There is no knot in the knot, and the flowers in the cemetery are even worse.
Grass is like grass and loose as a cover,
The breeze is her clothes, and Jasper is her Yu Pei.
The oil-wall car used before death should be waiting around at night.
Wildfire Wildfire green, courtesy, lightning.
She walked, under the Xiling, only the wind and rain, whistling.
Enjoy 1
Li He's "Ghost" poems total only a dozen, less than one twentieth of all his works. However, the word "ghost" has formed an indissoluble bond with him and is regarded as "ghost talent" and "ghost fairy". What kind of thoughts and feelings these poems show and how to evaluate them have also become an unsolved pen and ink case. Li He actually writes about people and their feelings in real life by writing "ghosts". These "ghosts" and "although they are different, their feelings are still human" are by no means evil things that people talk about. Su Xiaoxiao's Tomb is a representative.
Su Xiaoxiao was the name of Qiantang in the Southern Qi Dynasty. In the preface of the poem "The Tomb of True Mother", it is said: "There is a tomb of Su Xiaoxiao, a native of Wu, in front of Jiaxing County. On a stormy day, I still hear the voice of singing on it." The whole poem starts from the scenery, and depicts the looming image of Su Xiaoxiao's ghost through melancholy scenes and rich associations.
The first four sentences directly depict the image of Su Xiaoxiao. Write a sentence or two about her beautiful appearance: the orchid is decorated with crystal dew, like her tearful eyes. Here, description is carried out through the eyes of the soul. One is to let people see the beauty of her whole person through her eyes, and the other is to show her mood. Orchids are beautiful, and orchids with dew are even more beautiful. But with the word "static", the realm is very different, giving people the feeling of cold air. It takes care of the word "tomb" in the title and leads to the word "crow" below, which sets a sad tone for the whole poem and creates an atmosphere of ghost activities. Write her mood in three or four sentences: Su Xiaoxiao, who lives in the nether world, has no joy of singing, but is full of worries. She pursued something before her death, and Su Xiaoxiao of Gulefu said, "I ride an oil-walled car and Lang rides a green horse. Where is the knot? Under the pine and cypress in Xiling. " However, after her death, her pursuit failed and nothing could be tied up. The wild flowers on the grave are also unbearable, and everything goes up in smoke. This emotion is the internal basis of the word "crow". In just four sentences and sixteen words, Su Xiaoxiao's ghost image is portrayed in both form and spirit, showing the poet's amazing artistic talent.
The middle six sentences are about the scriptures of Su Xiaoxiao's ghost: sandy green grass, like her wormwood mattress; Graceful pine trees, like her umbrella cover; When the spring breeze blows, her clothes are fluttering; The jingle of running water is her bell. The oil-walled car she took before her death was still waiting for her to have a tryst under the pine and cypress in Xiling. This part secretly takes care of the "disunity" in front. With the word "wait", the scene and atmosphere are even more bleak: the car is still there, just waiting in the air, and it can no longer be used to go to Xiling Mountain to realize the wish of "working together". Things are different, touching the scene makes people feel sad.
The last four sentences describe the bleak wind and bitter rain at the foot of Xiling Mountain: in the bleak wind and bitter rain, there is a flaming jack-o'-lantern with a dim green light. This part is closely related to "oil wall car, treat at night". Bamboo was originally designed for couples to meet. Lovers can't meet as promised, isn't that candle useless? There are candles and no one, which is even more desolate. "Cui Candle" describes the light color of the ghost fire, adding the word "cold", which embodies people's feelings and writes the cold inside the characters; "Glory" refers to the flame emitted by "bamboo", while "fatigue and glory" implies the infinite sadness of the characters. Isn't it? The goal will be difficult to achieve, hope will be reduced to ashes, and green candles will be put there in vain, which is useless. Using the description of the scenery to render the sad atmosphere, at the same time, it also sets off the lonely and cold mood of the characters, and shows the disappointed and empty inner world incisively and vividly.
This poem starts with the scenery, associates the scenery with the characters, and integrates the description of the scenery with personification. Write about orchids, dewdrops, fireworks, grass, pine trees, spring breeze and running water. The pen is about scenery, and the pen is about people. Writing about scenery means writing about people. With the words "Ru" and "Wei", the scenery and characters are skillfully combined, which not only describes the scenery, creates the environmental atmosphere of ghost activities, but also shapes the characters, so that readers can see the scenery and people. The beautiful scenery in the poem not only shows the charm and variety of Su Xiaoxiao's ghost image, but also reflects her loneliness and desolation, thus achieving the artistic effect of killing two birds with one stone. These scenery descriptions all revolve around the central content of "Where is the knot, where is the pine and cypress in Xiling", so there is an inherent organic connection between the various parts of the poem, and the inner world of the characters is also concentrated and fully displayed, which seems to be full of emotions and thoughts and has the characteristics of muddy nature.
The theme and artistic conception of this poem are obviously influenced by Qu Yuan's Nine Songs Shan Gui. From the image of the weeping windbreaker and water jacket of Ghost Orchard Building in Su Xiaoxiao, it is not difficult to find the shadow of Shan Gui being "taken care of by Li Xi" and "laughing and laughing"; Su Xiaoxiao's feelings of loyalty and resentment are closely related to Shan Gui's feelings of "cutting off the fragrance and thinking about the legacy" and "thinking about the child and leaving the sorrow". The state of rain and green candles under the Xiling is as bleak as the scene of "thunder fills the rain" and "the wind is rustling and the wood is rustling" when Shan Gui was looking forward to it. Because the poet adopts the technique of personification by scenery, Su Xiaoxiao's image in his works is more ethereal than Qu Yuan's Shan Gui's, with shadows and ghosts. She is so infatuated that even if she dies like a ghost, she will never forget to be one with her thoughts. She was trapped in prison and couldn't give up her wish. She lingered on the dark road with lingering sadness. In the image of Su Xiaoxiao, that is, from seclusion to leap, we see the poet's own shadow. The poet also has his pursuit and ideal, that is, to do something to save the troubled Li and Tang Dynasties. However, he was born at the wrong time, and the ability of wizards was not appreciated. He is also a "union with nothing"! Through the image of Su Xiaoxiao, the poet's lonely and indifferent mood is fully displayed. Behind the beauty, there is a sad and lonely thought, and through the sad appearance, it is not difficult to feel the poet's fiery liver and intestines. Ghosts are just a form. They reflect the content of the world and express people's thoughts and feelings. (Zhang Yanji)
Appreciate II
Eternal Enjoyment of Truth and Beauty —— Appreciation of Su Xiaoxiao's Tomb by Li He
There are many excellent mourning poems in ancient China, such as Pan Yue's in Jin Dynasty, Yuan Zhen's, Su Shi's "Jiangchengzi" in Song Dynasty (ten years of life and death) and He Zhu's "Partridge Sky" (more important than Nagato). Because the authors are all men, when they mourn their dead wives, they often show their wives' voices and smiles and loving family daily life scenes in those days by recalling the past or dreams, express their grief, deeply touch the readers' hearts with sincerity, and make people feel the beauty and preciousness of family affection and the great sadness after losing family affection.
Su Xiaoxiao's Tomb by Li He is also a mourning work in content, but unlike the mourning poem mentioned above, the author and the mourner are different generations, and there is no family relationship, so naturally there is no life experience with * * *. But after reading it, it is much more shocking in the soul than the previous works. In the gloomy atmosphere, it is really an exception and a miracle to give people an unprecedented emotional experience and emotional tension beyond the limitations of the times.
Li He lived in the middle of the Tang Dynasty and was called "Shi Gui" by later generations. His poems are famous for their rich imagination, Leng Yan color, endless dangers and strange new ideas, also known as "Dragon Lucky Style". He couldn't take the imperial examination because he avoided his father's taboo. He suffered from depression and died young at the age of 27. He was a comet in the Tang Dynasty. Su Xiaoxiao's Tomb can be said to be the most representative of his poetic artistic characteristics.
Orchids are like crow's eyes and have nothing in common, so fireworks are difficult to cut. Grass is like grass, loose as a cover, wind as a skirt, water as a compliment. The oil-wall car used before death should be waiting around at night. Wildfire Wildfire green, courtesy, lightning. She walked, under the Xiling, only the wind and rain, whistling.
Su Xiaoxiao was the name of Qiantang in the Southern Qi Dynasty. Now there is a "Mu Caiting" near the West Lake in Hangzhou, which is said to be the place where she met her admired literati. She used 100 yuan to help a poor scholar catch the exam, waiting for the scholar to return and get married, but the scholar never came back. She was unwilling to be a concubine of others and died young at the age of 19. The image of Su Xiaoxiao itself is like a dream. She attaches great importance to feelings, from loyalty to beauty. She felt at ease in the face of death. She thinks that/kloc-the visit of death at the age of 0/9 is the greatest fulfillment for her, so that she can leave an eternal and beautiful impression on future generations. There is "Su Xiaoxiao Song" in the ancient Yuefu, which is said to be her work:
I ride a tanker, and Lang rides a green horse. Where is the knot? Xiling pine and cypress.
Her unfortunate life experience and outstanding talent have aroused the interest of countless literati in later generations, but most of the works mourning her are just expressing sympathy and sadness for her. The beauty of Li He's poems lies in its scenery and narrative, which completely blends into his own misfortune. It is not only a mourning for Su Xiaoxiao, but also a mourning for myself with her, which has reached the realm of mourning for others and the unity of man and ghost. Only in this way can we cross the gap between life and death and achieve an emotional exchange between heart and heart. Specifically, it has the following three characteristics:
First, the whole poem promotes the in-depth description of psychology with strange illusions, exaggerates the emotional atmosphere with strong colors, reveals the sadness of paper in deep depression, and shows unique poetic talent. Dewdrops on orchids are more like her tearful eyes. The word "you" not only accurately conveys the gloom and coldness of the cemetery, but also vividly depicts her sad crying through this window of the soul, showing the sad mood of a generation. Under the grave, Su Xiaoxiao was lonely. Even if she is a ghost, she stares at the world with eyes full of hard-to-find bosom friends. The green grass on the grave is like the wormwood mattress she used to use; The pine tree next to the tomb is like the hood of her car; The breeze is blowing, like her beautiful clothes fluttering; The water in the mountain stream tinkled like Yu Pei ringing on her. The oil-walled car in front of us seems to be still waiting for the lovers who come to meet in Xiling. These words are vividly used, not only in scenery writing, but also in narration and lyricism, bringing readers into the life scene of Su Xiaoxiao in those days. However, although her beauty and talent are like fireworks, no one cares and cherishes them, and they vanish in a blink of an eye. She can only sigh that "nothing is United." The "nothing" here is actually no one, and the whole world can't find a lover to take care of it, and despair is extreme. The last four sentences of the poem describe a more sad scene in Leng Yan: the bamboo was originally designed for lovers to meet, and the word "cold" was written on it, pointing out that there is light but no fireworks, which actually refers to the jack-o'-lantern in the cemetery, so the glory is futile, and the word "old" vividly shows Su Xiaoxiao's helplessness and sadness. In Xiling, where I met my former lover, there was only bitter wind and rain, which could never extinguish the flame of her love. As time goes by, her beautiful figure can never be blurred.
Secondly, in terms of expression, Li He was able to travel through time tunnel and have an emotional dialogue with the deceased because of his own misfortune. Su Xiaoxiao's misfortune lies in her true feelings and aestheticism. Her true feelings were discarded, and her beauty was heartless. Li He's misfortune is that he blocked his future just because he avoided it. In feudal times, talents with both fame and fortune had to be appreciated by knowledgeable people in order to have a happy ending. Only when literati meet famous people can they display their talents. Although there are gender differences, there is no essential difference between them. Therefore, in poetry, we can often see works that attach the love between men and women to the encounter between monarch and minister. From this point of view, the whole poem is ostensibly mourning for the dead, but actually the dead is mourning for himself, expressing the coldness of his inner world through the gloomy scenery of the cemetery. The image of Su Xiaoxiao is a tortuous embodiment of his own lonely and sentimental psychology. These poems can be said to be the crystallization of tears that Li He earned with his own hard work. They are short and affectionate, and the scenery is cold and passionate. They are a sad and colorful rose blooming in the field of ancient poetry. Quan Deyu and Li He also wrote a poem on the same topic:
There are graves through the ages, and I look for them alone. Loneliness is all pink, dark and deep. The creeping weeds reflect the cold water, and the empty suburbs are warm and cloudy. There is a good saying about romance that makes you sad.
Comparing the two, we can find that Quan Deyu only mourned Su Xiaoxiao as a tourist, but facing the lonely grave, all he was looking for was a beautiful red sentence. Although I have compassion, I can only stay in the state of being pregnant and hurting people because I can't cross the grave. Because he, like Li He, lacks emotional and spiritual communication with the deceased, after all, there is a layer apart. The untimely loneliness enables Li He to look at life in a different way: the death of the body does not mean the end of life, but another existence of life, or the continuation of the soul or spirit on future generations, so he has the enthusiasm and courage to embrace death, and he is also psychologically prepared to accept death. Su Like Xiaoxiao. Due to the mutual understanding and sympathy of different generations, Li He was completely integrated into Su Xiaoxiao's inner and emotional world, which also gave him a heavy feeling of nostalgia and hurting himself. If the dead are in front of us, the cemetery is not terrible, and all the scenery is stained with melancholy and magnificent colors. As long as there is a different confidant, she will come back from the dead and shine brilliantly. Su Xiaoxiao did this to Li He, and so did Li He to later people.
Thirdly, in terms of sentence pattern and rhythm, three sentences give people a feeling of wanting to cry without tears, while five sentences used in the sentence of "nothing in one" seem to be a sigh full of bitterness and sadness when crying. The rhythm of these three words makes the whole poem read more like a gloomy verdict. Under an unusually gorgeous coat, it reveals a gloomy soul, such as "the eyes of the orchid dew", which belongs to Su Xiaoxiao and Li He. The latecomers are crying a true feeling, which is a beautiful swan song. They can cross the barriers between life and death, break through the limitations of time and space, and build true feelings and aesthetic richness in the emotional world. According to (Xu)
Appreciation 3
Compose the Sad Song of Life with the Song of Love —— Appreciation of Su Xiaoxiao's Tomb by Li He
When Li He wrote this poem, Su Xiaoxiao, a beautiful woman as beautiful as flowers and pure as jade a hundred years ago, had already weathered into fertile soil in her grave? In this poem by Li He, we seem to vaguely hear Su Xiaoxiao's song again:
I take the tanker and Lang takes the green horse. Where the knot is concentric, Xiling pine and cypress.
This is Su Xiaoxiao's song written by Yuefu in the Southern Dynasties. Indeed, these two poems are inextricably linked: they both organize images around the love proposition of "being of one mind and one mind"; The images of the two poems also overlap to some extent, which is mainly manifested in the following aspects: the four nominal images of Yuefu in the Southern Dynasties, namely, "oil-walled car", "Xiling" and "pine and cypress", are completely preserved in Li He's poems. The coincidence of meaning and image shows that when Li He wrote this poem, he consciously took Su Xiaoxiao songs of Yuefu in the Southern Dynasties as the prototype of his own creation. Extract the interesting materials from Su Xiaoxiao's songs and project them into his own works. Therefore, Yuefu ancient poems left some fragments in Li He's text.
Li He's poems are like a mirror, reflecting the shadow of Yuefu ancient poems. Therefore, we can say that the Song of Su Xiaoxiao written by Yuefu in the Southern Dynasties is the preface of Su Xiaoxiao Tomb written by Li He. The former exists before the latter, but it is hidden in the latter. Together with other components in the latter, * * * formed the writing of Su Xiaoxiao's tomb. Obviously, Li He's archaized Yuefu poems and Yuefu poems constitute a set of "intertextual texts".
In this group of "intertextual texts", Li He distanced himself from the "pre-text" by changing the identity of the lyric subject of poetry. Yuefu in the Southern Dynasties is the heroine's direct lyric, and Li He describes a story and an emotion as a bystander. In this process of subjective description, what Li He chose and changed directly reproduced his state of mind. Therefore, from the analysis of the relationship between this group of "intertextual texts", the ideological connotation of Li He emerges from the differences between these two poems.
First of all, the biggest difference between the two poems under the same love proposition lies in the absence of the love object in Li He's poems. In Yuefu in the Southern Dynasties, Lang and I were the subjects of love, juxtaposed in a couplet, symbolized by "oil-walled car" and "green horse"; But "Lang" and "Green Riding Horse" were abandoned by Li He, leaving only the "oil-walled car" in Li He's poems to accompany the hostess in the sunset-"oil-walled car, treat each other at dusk". What are you waiting for? It is impossible to wait for nothing. Because the object she is waiting for no longer exists in this text, she can't have the result of waiting in this text.
The theme of love has changed because of the lack of unilateral objects. The faithful love sung in Yuefu in the Southern Dynasties became an elegy. In Li He's poems, women and men coexist and are no longer the subject of love. She was restored by Li He from the theme of love and became an independent woman, a hopeless waiting woman.
On the basis of the distortion of meaning, some changes have taken place in the form and structure of Li He's poems. First of all, around the image of Su Xiaoxiao, Li He set up a series of descriptive images. In Yuefu in the Southern Dynasties, the image of "Su Xiaoxiao" was only replaced by the word "I", and the aesthetic description of itself was not emphasized. But as a bystander, Li He, out of deep concern and love for women, described this imaginary ghost from all angles: "The dew on the empty valley and the orchid turned into Su Xiaoxiao's crying eyes, crystal clear; Grass, loose as a cover. The wind is a petticoat, and the water is an ornament "-she stands slim in the embrace of green grass and pine trees, the light wind is her clothes, and the running water is her belt ... In this ingenious fusion of natural images and humanistic images, Su Xiaoxiao's beautiful figure blends with nature and lives with everything. Unreal, memorable.
Secondly, the structure of Li He's poems has also changed. The expression of love in Yuefu in the Southern Dynasties, "Where we meet, under the pine and cypress in Xiling", naturally serves as the conclusion to strengthen our loyalty to love; In Li He's poems, the expression of love is placed at the beginning of the poem, but it expresses the impossibility of love: "Nothing fits, fireworks can't be cut." As soon as a pair of beautiful eyes appeared, the author knew that tragedy was inevitable. However, following this hopeless love, the author is still carefully showing the ethereal beauty of Su Xiaoxiao and still depicting Su Xiaoxiao's persistent waiting-"waiting for each other at dusk".
Under the observation of the impossibility of love, Su Xiaoxiao's ethereal beauty and persistent waiting show the tension of nothingness. Who can a beautiful face shine for: beauty, like an empty valley and a orchid, blooms and falls; Waiting, like candlelight in the dim wind, burns in vain ... waiting in the front is hopeless, waiting in the back; Such structural twists and turns express the helplessness of continuing to wait even if you know that you can't wait for the result.
From the above analysis, we can find that on the basis of changing the theme of love, the form and structure of the poem Su Xiaoxiao's Tomb have also changed accordingly. The appearance of these changes shows that Li He pays more attention to the female images in love than to love. He separated a waiting woman from the love story and decorated the female image in all directions; Moreover, women's loyalty to love is also abstracted as a persistent and almost aimless waiting.
The female image broke away from her existing state in the "pre-text" and a strange identity appeared in Li He's poems. It is with such a transformed female image that Li He expresses his feelings. Such a well-decorated female image, like Shan Gui with a female dream in Qu Yuan's works, has experienced the longest waiting in her life. The difference is that all the expressions about men in this poem have been expelled from the text; The structure in poetry also shows that women wait hopelessly when they know that they are not waiting.
In this long wait, because of the despair of waiting and knowing that there is no way out of despair, the heavy tragic consciousness hidden in the author's heart floated to the surface of the poem. This tragic consciousness not only reflects Li He's repeated frustration in his official career, but also breaks through Li He's profound understanding of life consciousness.
Su Xiaoxiao was abstracted from the pure love relationship by Li He, who described him as Zhong Ling Yu Xiu between heaven and earth: such a son of nature is obviously the most ideal way of life. But this elf-like life was exiled to the cemetery "under the Xiling, the wind and rain hit". In this helpless wasteland, she can only wait hopelessly for redemption on the dividing line between life and death: love is obviously the way and symbol of redemption; However, due to the lack of male subject in the love relationship, redemption is impossible here: "Cold candle is dying, brilliant." The conclusion that "under the Western Mausoleum, the wind blows and the rain blows" blocks the possibility of redemption and reveals the sadness of the existing state of life.
Life is really like a candle flickering in the wind, burning in vain in the wind and rain, in the wilderness; The exquisite structure of poetry brings that kind of sadness to an infinite realm: the layout of results first and behavior last hides the absurdity of hopeless waiting. Due to premature aging and illness, Li He felt the anxiety and confusion of survival extremely keenly in his short life journey. His poems are obviously like the existential manifesto of China's classical version.
"Huaihai into a bird, my life did not change, and the stream of Luoxi Pavilion died like this. The once-in-a-lifetime feeling is because Tan Hua's morning dew looks like a lucky person. Li He's "Feeling the fleeting time to stay in a hurry" (written in Qian Zhongshu's "Talking about Art") uses poetry as a way to ask about life and borrows an old love song to compose a desolate and sad song of life.