Original text: "Ode to the Buried Flowers" Flower pavilions are flying all over the sky, and the fragrance of red silk ribbons is gone. Who can pity it? The soft hairspring is tied to the floating spring pavilion, and the fallen catkins lightly touch the embroidered curtain. The daughter in the boudoir cherishes the twilight of spring, full of sorrow and has nowhere to complain; she hoe the flowers out of the embroidered curtain, and endures stepping on the fallen flowers to come and go. Willow silk and elm pods are blooming, regardless of peach blossoms and plum blossoms. If peaches and plums bloom again next year, who will be in my boudoir next year? In March, the fragrant nest is first built, the swallows in the beams are so ruthless! Although you can peck at the gray hair next year, you won’t be able to enjoy it even if you leave the nest empty! Three hundred and sixty days a year, the wind, the sword, the frost, the sword force each other; how long can the bright and fresh beauty last, and it is difficult to find it once it is wandering. Flowers are easy to see when they are in bloom but hard to find when they fall. I worry about killing the flower buryer in front of the steps. I hoe the flowers alone and secretly shed my tears. I can see traces of blood on the empty branches. The cuckoo is speechless. It is dusk, and the hoe returns to cover the heavy door; the green lantern shines on the wall, and the man is sleeping for the first time, while the cold rain knocks on the window and the quilt is not warm. Strange things about Nong are doubly distressing, half pity for spring and half anger for spring; pity for spring comes and goes, anger and then go, and then there is nothing to say but not to hear. Last night a tragic song was played outside the court, did you know it was the soul of flowers and birds? The soul of a flower is hard to retain, and the soul of a bird is hard to retain. The bird is speechless and the flower is ashamed. May I have wings today and fly with the flowers to the end of the sky. The end of the world! Where is the fragrant hill? It is not like a brocade bag to collect the beautiful bones, but a cup of pure soil to cover the wind; the essence comes and goes clean, which is better than the filth sinking into the ditch. If you die now, you will be buried. Who knows when you will be buried? People who bury flowers today are laughing like idiots, but who do you know who they will bury next year? Just look at the flowers that are left in the spring and gradually fall, which is the time when the beauty will die of old age; once the spring is gone, the beauty will grow old and the flowers will fall and people will die without knowing it! Appreciation: "Ode to Burial Flowers" is the representative of all the lamentations of Lin Daiyu lamenting her life experience. It is also an important work by the author Cao Xueqin to shape this artistic image and express her character traits. Like "Elegance of Furong's Daughter", it is a text copied by the author with great effort. The style of this song imitates the style of the early Tang Dynasty. It is lyrically vivid and artistically very successful. This poem is not simply sad, but there is still an air of depression and injustice in it. "The willow silk and elm pods are young, regardless of the peach blossoms and Li Fei", which expresses resentment towards the harsh world and the warmth and coldness of human relationships; "Three hundred and sixty days a year, the wind, the sword, the frost and the sword force each other." Isn't this a reflection of the long-term persecution of her? An indictment of cold, hard reality? "May I have wings under my wings and fly with the flowers to the end of the sky. Where is the fragrant hill at the end of the sky? It is not like a brocade bag to collect the beautiful bones, but a cup of pure soil to cover the wind. The essence comes and goes clean, and it is better than the filth. "Quogou." It is the aloof character that is unwilling to be humiliated and tainted, and unwilling to bow its head when it is impossible to obtain freedom and happiness. These are where its ideological value lies. Another value of this poem is that it provides us with important clues to explore the tragedy of Bao Dai written by Cao Xueqin. There is a comment in the Jiaxu version: "I read "The Song of Burial Flowers" again and again, and it was so sad and regretful that it made me forget my life experience. I raised my pen again and again, but could not write down the comment. A visitor said: "Mr. Treasure Lord, how can you write? "The words are double-circled, and the words are written by immortals. Unexpectedly, it is difficult to follow the meaning of Bian'er, and I will wait for Brother Yu to comment later. 'Geez! The rest of them want to read "The Story of the Stone", so they stop writing and wait. " It is worth noting that the criticism points out that it is impossible to criticize this poem without reading "Brother Yu's Later Articles"; it is the "after articles" related to this poem that the reviewer "stopped writing to wait for". So-called The "poster text" undoubtedly refers to the text in the second half of the lost manuscript describing Daiyu's death. If this poem only uses falling flowers to symbolize the beauty's fate, there is no need to wait for the later text; When the words written in the poem are not general, but most of them are closely related to the subsequent plot of Daiyu's death, it is necessary to emphasize that after reading the following words, you should go back and deepen your understanding of the poem. It can be seen that "Yan of Burying Flowers" is actually a poem or prophecy written by Lin Daiyu. This is proved by the quatrain of "A Dream of Red Mansions" written by the author's contemporaries and most likely his friends: "A sad poem." The poem "Burning Flowers" seems to come true. It's not as good as the fragrance that brings back the soul, and the red thread of Qing Shenmin is restored? "It seems that the prophecy comes true". This is only for those who know the plot of Daiyu's death written by the author. In the past, we thought that Mingyi might not be able to read the entire novel like Zhi Yan. Now it seems that it is very likely that he has read the second half of the manuscript, or at least heard about it from the author's circle. If we say that the Mingyi quatrains mentioned later events such as "gathering like a spring dream and scattering like smoke" and "the stone returning to the mountain without spiritual energy" can be inferred from others. If we know it; then, we can no longer rely on the poems such as "The king and his grandson are thin and ragged" about the poverty of King Bao, and "Ashamed of Shi Jilun" when he was convicted and the people in his heart died of sorrow and anger for his misfortune. The same is true for the last two sentences in the poem quoted above: The clear meaning is that he really hopes that the incense of resurrecting the dead can save Daiyu and make the two lovers Bao and Dai become dependents. The broken red silk rope held by the old man under the moon can be connected again. Just imagine that as long as the "sin" can be revived, the "red silk" can also be continued. This is consistent with the later continuation of the book imagining that the cause of Bao and Dai's tragedy was their marriage. How different it is to be involuntary! If everything is as written in the sequel compiled by Cheng Weiyuan and Gao E, then Baoyu already belongs to another person. I wonder, what is the use of "continuing red"? "Si" is to make her the second aunt of the treasure? This poem "I am going to bury the flowers today and I will laugh like crazy. Who will I bury next year?" ..." The last few sentences are repeated several times in the book, with special emphasis, and even mentioned in the parrot poem. It can be seen that the day when the beauty dies of old age is indeed when the spring flowers are dying, and it is not an empty comparison.
At the same time, it is said here that "I don't know who he will be buried in", and it is said before that "who will pity her when her fragrance fades", "it is hard to find her once she wanders", etc., then Daiyu also died in a very miserable and lonely death like Qingwen. There is no doubt that in the situation. At that time, it was not that everyone was busy organizing a happy event for Baoyu and therefore had no time to take care of it. On the contrary, both Baoyu and Sister Feng were living abroad to avoid disaster. Those were the days when "when a family dies, no one cares about relatives" and "everyone has to find his own family." , in the poem "willow silk and elm pods are fragrant, regardless of peach blossoms and plum blossoms" may have this meaning. "In March, the fragrant nest has been built, but the swallows in the beams are too ruthless. Although the flowers can be pecked next year, the empty nests in the beams will fall if people go to them." The original sentence is between the incomprehensible and the incomprehensible, pity for the fallen flowers and resentment for the swallows returning. Go, the intention is very difficult to grasp. Now, if we look at the prophecies, it will be more clear. Probably Baodai's marriage was basically decided in the spring, that is to say, "the fragrant nest has been built". However, in the autumn, something happened, just like the swallows flying ruthlessly from the beams, Baoyu was forced to run away from home. . Therefore, she lamented that "the souls of flowers and birds are always hard to keep", and then left with the fantasy that she could "give birth to two wings". She cried sadly day and night, and finally "all her tears came to bear witness to her fate." In this way, "Flowers fall and people perish." If "flowers fall" is compared to Daiyu, and "people perish" (people go into exile) is used to describe Baoyu, it is completely consistent. Whenever Baoyu encounters a so-called "ugly misfortune", someone else will suffer the same misfortune. First there was Jinchuaner, then Qingwen, and finally Daiyu was sealed in turn. Therefore, there is a pun in the poem that "the nature is originally clean and comes and goes, it is better than the dirty water sinking into the ditch", which can be used to express and show integrity. "Farewell to the autumn wind and another year", Baoyu returned to Jia's house in the next autumn, but what he saw was that the Yihong Courtyard was "red, thin and green" (Zhi's review), and the Xiaoxiang Pavilion was even more "fallen leaves rustling, and the cold marriage was deserted". (Zhi Ping) shows a desolate scene. Daiyu's boudoir is the same as Baoyu's Jiangyunxuan, with only "spider silk covered with carved beams" (Zhi Ping refers to Bao Dai's residence). Although Baochai is still there, and in the future. It also became his "golden marriage", but how could this make up for the huge mental pain caused when he "mourned his ugly son"? "Although you can peck at the gray hair next year, it won't make you fall into an empty nest!" Isn't that what it means? These are just some details that can be confirmed from the clues mentioned in the fat review, and not all of them may be accurate. However, this poem must correspond to the plot of Bao Dai's tragedy, which is probably not a subjective assumption; in fact, there are more poems that "seem to come true", such as Daiyu's "Farewell in the Autumn Window on a Stormy Evening" and "Peach Blossom Row" 》 also has this nature. The former seems to unfortunately describe the scene of her later farewell to Baoyu, while the latter seems to be a pre-portrait of her ending of "dying in tears" (Zhi Ping). Some people say that "Ode to Burial Flowers" was "derived" from two poems by Tang Yin ("A Dream of Red Mansions"). Of course poetry can be inherited and used for reference, but the relationship between the "source" and "flow" of literary and artistic creation should not be reversed. When it comes to the use of previous works in terms of certain words, sentences, artistic conception and style in "The Song of Burial Flowers", there is no need to look for it in Ming Dynasty collections. In the early Tang Dynasty, Liu Xiyi's "Sorrowful Pulsatilla" and other well-known poems such as "the color of the flowers will change this year, who will be there next year when they bloom again" and "the flowers are similar every year, but the people are different every year" are not enough to be borrowed. Take advantage? Even the flower burial plot does not necessarily follow Tang Yin's story of "packing the peonies in a brocade bag and burying them on the east side of the medicine column". The author's grandfather Cao Yin's "Mei Pavilion Poetry Notes" also contains the "Hundred Years of Solitary Tomb Burial" Isn't the poem "Peach Blossom" enough to inspire his ideas? But these are all "flows" and are just uses. They neither express the main spirit of the poem nor can they replace the author's creation derived from real life. What's more, as mentioned before, the author's uncanny craftsmanship in this poem does not lie in the seemingly sentimental and lingering words about hurting spring and cherishing flowers. Of course, the negative and decadent emotions in "The Burial of Flowers" are also extremely strong and cannot be ignored. It has had a negative impact on readers who lack analytical thinking skills. Although this kind of emotion is artistically completely consistent with the ideological and character formed by the environment and status of Lin Daiyu, it is revealed because the author consciously expresses his feelings about his life experience to a certain extent through the mouth of the character he is attracted to. revealed the weakness of his own thinking. We sympathize with Lin Daiyu, but at the same time we see that this sentimental aristocratic lady is very fragile in her thoughts and feelings.