Image analysis of "Farewell at the Changting Pavilion" "Farewell at the Changting Pavilion" is selected from "The Romance of the West Chamber" by Wang Shifu, a dramatist with the artistic style of "Beauty Among the Flowers" in the Yuan Dynasty. The beauty of the story, the characters, the artistic conception, and the music and lyrics of the play are harmoniously unified, creating Wang Shifu's reputation as a representative writer of the "Wencai School". The element that plays a key role in it is imagery. Not to mention the whole song "The West Chamber", "The garden is full of spring scenery and can't be contained", just pick out a branch of its "red apricot" - the beauty of imagery in "Farewell at the Long Pavilion" is astonishing to you. Have a taste of Tongmo.
The imagery of "Farewell at the Long Pavilion" is beautiful, and the beauty is as follows: 1. Classicity. Contemporary society respects fashion and loves fashion, but fashionable things are easy to appear and fleeting, while traditional and classic things can be thought-provoking and everlasting. The beautiful and passionate Cui Yingying had to succumb to her stubborn old mother and bid farewell to her sweetheart Zhang Gong in a pavilion in the suburbs. At this moment, so much grief and sorrow of separation welled up in her heart, but as the daughter of the Prime Minister, she could only cry without tears, and could only cry in silence. Wang Shifu cleverly used classical poetry and its related classical imagery, artistic conception and scene blending techniques in the lyrics sung by Cui Yingying, so as to help the heroine express her emotions euphemistically. The whole text uses classical poetry in many places, such as "blue sky, yellow flower ground" is used in Fan Zhongyan's "Su Muzhe" "blue sky, yellow leaf ground"; "Before drinking, the heart is drunk" is derived from Liu Yongzhi's "Reporting Heartfelt Feelings" "Nearly" "My heart is as drunk as before I drink"; "The snail's horn is in vain, but the fly's head is meager", which comes from Su Shi's poem "Man Ting Fang"; "The shrike goes east and Yan returns to the west", which originates from the Yuefu poem "Song of the Shrike Flying East". As a skilled craftsman, Wang Shifu skillfully blended classical poetry into music, and even more deftly used the beautiful artistic conception that accompanies it. In order to achieve the artistic realm of scene blending. In the song "Duanzhao", doesn't the phrase "blue sky and yellow flowers" describe the desolate mood of autumn scenery? Therefore, it can especially set off the bleak and depressing atmosphere of farewell. Cui Yingying, who is in the state of farewell, will naturally be moved by the scene and convey her tenderness and sweetness to Zhang Sheng. There are many examples in "Farewell at the Long Pavilion" where the lyrics, lyrics and melody reach the artistic realm of blending scenes. "Farewell at the Pavilion" is a short opera with nineteen tunes and contains more than 30 kinds of images, all of which are classic images. Blue clouds, yellow flowers, west wind, northern wild geese, red leaves, willow branches, sparse forests, wild grasses, sunset, ancient roads, shrike, swallows... These images have been used countless times by writers to convey emotions in traditional Chinese poems, songs, and prose. , to create situations and situations, and some images are still used repeatedly in modern and contemporary songs. For example, "Old Things in the South of the City" "Outside the pavilion, beside the ancient road, the green grass reaches the sky... The mountains outside the sunset mountain" contain so many traditional images of the pavilion, grass, sunset, ancient road and green mountains.
2. Association. The function of association is to extend something to something similar or related to it. The associative nature of the image invisibly expands the richness of the connotation of the image, which naturally expands the expressive power of poetry and strengthens the lyricism of the tune. Associative nature comes from classics, and classic images have always been used by literati and poets. These traditional images have accumulated rich cultural connotations and unique aesthetic tastes during their long-term use, and their connotations have been continuously expanded and enriched.
"Farewell at the Long Pavilion" contains examples of classic and associative imagery such as "Flowers fall and water flows red, and there are all kinds of leisurely sorrows." They are as beautiful as the wild flowers scattered in the grass and the stars that fill the night sky. . "The sky is blue and the sky is yellow, the ground is yellow, the west wind is strong, and the wild geese from the north are flying to the south. Who will be drunk in the frost forest at dawn? It's always leaving people in tears ("Duanxiangzhao")", a few lines of lyrics use five classic images. For a time, their associative nature can also make many related poems "gather together" in our minds. "Yellow Flowers" can not only touch our emotions, but also think of Yi An's "Yellow flowers pile up all over the ground, haggard and damaged, now." Who deserves to be picked?" "West Wind" also reminded me of Xiaoxiang concubine Lin Daiyu's poem "Ode to Begonia": "I am shy and silent to complain to someone, tired of the west wind and I have fainted at night!" The two images actually appeared at the same time in Li Qingzhao's "Curtain Roll" In the west wind, people are thinner than yellow flowers." "Red leaves" can naturally lead our associative journey to the wonderful autumn scenery of maple forest described by Du Mu, "Stop and sit in the maple forest at night, the frost leaves are as red as the February flowers". "Yisha" writes about Yingying's "farewell", using the words "green mountains", "sparse forest", "light smoke", "evening mist", "sunset", "ancient road", "grain", "autumn wind", "Horse neighing" has various images. We can find them everywhere in Tang poetry and Song lyrics that use these images to write about "sorrow". The green mountains mean that "walkers have endless thoughts of the autumn wind, and the green mountains across the water are like hometown", "the green mountains on both sides of the strait greet each other, but who knows the farewell"; the "ancient road" means "I urge you to drink another glass of wine, and there will be no old friends when you leave Yangguan in the west", "the heart is broken after thousands of miles" , Guanshan Ancient Road, looking back at the high city, it looks like apricots in the sky; "Sunset" means "after the autumn grass has left alone to find people, when the sun sets in the cold mountains", "Outside the setting sun, jackdaws are dotted, and running water surrounds the isolated village;" "Mist" means "sunset" Where is the township? "The smoke on the river makes people sad", "Thinking about it, thousands of miles of smoke, the dusk is sinking and the sky is vast."
"In "Four Evils", Yingying laments, "Who can I complain to for this sorrow? I only know how much I love you." When she is about to leave, how can she express her love and hatred to Zhang Sheng? A direct confession is not in line with her status as a lady. , and is a little frivolous and pale, it is naturally much more euphemistic and profound to use imagery to convey emotions. "The Yellow River overflows with tears, and the mountains and mountains are filled with hatred." Look, water is used to represent sorrow, isn't it the case of the fall of the Southern Tang Dynasty? Jun Li Yu's "Ask you how much sorrow you can have, just like a river of spring water flowing eastward"? "The End" is a classic: "Everyone is filled with troubles, wondering how these big and small cars can carry them?" He writes about the sorrow of separation, with " This tool-based image of "car" is by no means Wang Shifu's first creation. Dong Jieyuan's "Romance of the West Chamber Zhugong Diao" has "Don't ask about the severity of separation, I can't even carry it on a horse." Wang Shifu just changed the horse into a cart. Dong Zhi said Horses are not the first to describe the sorrow of separation. In the poem "Spring in the Jade House" written by Shi Xiaoyou of the Song Dynasty, the metaphor of "spring sorrow and separation is heavier than the mountain, I don't believe that a horse can carry it" is used as an image of transportation in ancient poems such as horses, carts and boats. Writing about sorrow is by no means limited to the above. Li Qingzhao's "Wuling Spring" "I heard that Shuangxi Spring is very good, and I also plan to go out in a light boat." I'm afraid that the boat in Shuangxi cannot carry many sorrows. "The beauty of the images in "Farewell at the Long Pavilion" lies not only in their classic charm, but also in their associative nature, which can easily expand the readers' rich emotional and thinking space, create a wonderful artistic conception, and make the emotional connotations conveyed by the poems infinitely leap forward. , the artistic beauty that readers gain when appreciating it is infinitely higher.
The imagery in "Farewell at the Long Pavilion" is like a master's masterpiece, creating a unique wonderful scene and taking you into the temple of literary education.