The People's Education Press high school Chinese textbook has selected the article "Speaking of Konoha" by Mr. Lin Geng. The following is the text of the high school Chinese "Speaking of Konoha" that I brought to you. I hope it will be useful to you. help.
"Say? Wooden Leaves?" Text The autumn wind is blowing, and the waves in the Dongting are under the wooden leaves. ?
("Nine Songs")
Since Qu Yuan sang this moving poem, its distinctive image has influenced poets in subsequent generations. Many of the poems that have been recited are just like this. I got inspiration from here. As Xie Zhuang's "Yue Fu" said: "The waves are beginning in the Dongting, and the wood leaves are slightly peeled off." ?Lu Jue's "Song of the Linjiang King's Festival" also said: ?Under the wooden leaves, the river waves are connected, and the autumn moon shines on the clouds resting on the mountain. ?As for Wang Bao's famous line in "Crossing Hebei": ?The autumn wind blows the leaves, still like waves in Dongting. ?The impact is even more obvious. Here we see that "Konoha" has become so prominently a beloved image in poets' works. What is Konoha? According to the literal explanation, "wood" means "tree", and "konoha" means "leaf". This seems to need no further explanation; but the question is why we use it in ancient poetry. It is rare to see the use of "leaves". In fact, "trees" are quite common. For example, Qu Yuan said in "Ode to Oranges": "The empress is a beautiful tree, and the oranges are blooming." ?And the book "Recruiting Hermits" in Huainan Xiaoshan also says: ?The mountains are secluded with osmanthus trees. ?An ancient poem by Anonymous also said: ?There are strange trees in the courtyard, with lush green leaves. ?But why is just "leaf" not common? Generally speaking, when encountering "leaf", it is simply called "leaf". For example: "The dense leaves prevent birds from flying, and the flowers fall slowly when the wind is light." ?(Xiao Gang's "Breaking Willows") The bright moon among the clouds scorches the Chinese leaves. ?(Tao Yuanming's "Ancient")
Of course it can be said that this is due to the refinement of the poets' words, but this explanation does not solve the problem, because when I met "Konoha", The situation is obviously different; poets no longer seem to consider the issue of word refining, but try their best to use "wood leaves" to write famous sentences that are popular among people, such as: "Tinggao Under the wood leaves, Longshou autumn clouds fly" . ? (Liu Yun's "Poetry on Clothes") The cold anvils in September rush the wood leaves, and the ten years of military campaigns recall Liaoyang. ?(Shen Quanqi's "Ancient Meaning")
It can be seen that refinement cannot be used as the reason for the exclusive use of the word "leaf", so why has no one ever cared about "leaf"? At least there has never been any wonderful works. verse. And the fact is exactly like this. Ever since Qu Yuan discovered the mystery of "Konoha" with his astonishing genius, poets since then have been unwilling to let it go easily; so use it again and again, practice makes perfect; and in the language of poetry In, it is not limited to the word "Konoha". For example, Du Fu's famous poem "Ascend the High" says: "The endless falling trees are rustling, and the endless Yangtze River is rolling in." ?This is a famous sentence that everyone is familiar with, and the word "falling wood" here is undoubtedly developed from the "wood leaf" in Qu Yuan's "Nine Songs". The meaning of "falling wood is rustling down", of course, is that the leaves are rustling down. According to our ordinary thinking, then the word "leaf" seems not to be omitted. For example, we might as well say: "The boundless fallen leaves are rustling down", wouldn't it be more accurate? Do you understand? However, the genius Du Fu would rather save the leaves of Konoha than give up the wood of Konoha. What is the reason for this? In fact, before Du Fu, Yu Xin wrote in " It has been said in "Ai Jiangnan Ode": "I left Dongting to visit the falling trees, and went to Xianyang to visit Jipu." ?Here we can see that the word "falling wood" is indeed no accident. Ancient poets learned from the creations of their predecessors and created in their own learning, which made the language of Chinese poetry so rich and colorful. This is just a small example.
The key to the development from "wood leaves" to "fallen leaves" is obviously the word "wood", which is also different from "leaf" or "fallen leaves". Needless to say, "leaves" is rarely used in ancient poetry; "fallen leaves", although common, is just a general image. It turns out that the subtlety of poetic language is different from ordinary concepts, and even a little difference can lead to a lot; and this is why poetic language cannot rely solely on concepts. Conceptually speaking, "konoha" is "leaf", and there is nothing to argue about. However, in the image thinking of poetry, no one cares about the latter, while the former continues to develop; like "borderless falling trees rustling"? With such a bold display of creativity, aren't you afraid that hard-nosed people will mistake it for wood falling from the sky? But our poet Du Fu would rather take this risk and create a poem with a vivid image that has been passed down through the ages; this risk, this image , in fact, they are all in the word "木", but isn't the origin of this word worth pondering? Here we have to analyze the word "木" first.
First of all, it seems that we should study, on what occasions did ancient poets use the word "wood"? In other words, on what occasions can the word "wood" just constitute exquisite poetic language; In fact, they are not used everywhere. If they were, they would be a "universal tablet". Since Qu Yuan began to use it accurately in a season of autumn leaves falling, subsequent poets, including Xiezhuang, Lu Jue, Liu Yun, Wang Bao, Shen Quanqi, Du Fu, and Huang Tingjian, all used it in the autumn scene. Achieving a distinct image is no accident. For example, Wu Jun's "Reply to Liu Yun" said: "The autumn moon shines on the ridges, and the cold wind sweeps the tall trees."
Is it okay to use the word "tall tree" here? Of course it is possible; Cao Zhi's "The Journey of the Yellow Bird in Noda" says: "Tall trees are full of sorrowful winds, and the sea water stirs up its waves." ?This is also a famous saying through the ages, but here, "the tall trees are full of sad wind" does not have the image of falling leaves, but "the cold wind sweeps the tall trees" is obviously a scene of falling leaves. The former is about to use the blowing of the leaves on the tree to express the deep unevenness like the tide. The more leaves here, the fuller the feelings; while the latter is a situation where the leaves are getting fewer and fewer, the so-called "sweeping the tall trees"
Isn't it exactly the spaciousness of "Thousands of Falling Trees"? However, "Tall Trees" are full, while "Tall Trees" are empty. This is where "Wood" and "Tree" are the same but different. The tree here appears to be more innocent than the tree. The so-called "withered mulberry trees know the wind" seems to be closer to the tree; it seems to contain an element of falling leaves, which is exactly the tree. ?’s first artistic feature.
To explain why ?木? has this characteristic, we have to touch on the issue of suggestiveness in poetic language. This suggestiveness seems to be the shadow of a concept, often hiding behind it, and we don’t pay attention to it. You won't notice its existence. Sensitive and well-educated poets are able to recognize all the potential forces in language images, and interweave and combine these potential forces with the meanings in concepts, thus becoming colorful and indescribable speech; it affects people unconsciously. We; it is here that it is full of contagion and inspiration, and it is also here that it does not fall short of words. While "timber" is the concept of "tree", it has the shadow of general "wood", "timber", "plank", etc. This potential image often affects us to think more of tree trunks and rarely I thought of leaves, because leaves are not originally woody, so leaves are often excluded from the sparse image of wood. This exclusion is why it implies falling leaves. As for the tree, it has lush branches and leaves, and both it and the leaves are associated with dense layers of shade. The so-called:? At noon, the trees are clear and round. ?
(Zhou Bangyan's "Man Ting Fang")
If the word "木" is used instead, the more realistic image of "Wu Yin" will be missing. However, not only are the images of "tree" and "leaf" not mutually exclusive, but they are also very consistent; and precisely because there are so many similarities between them, "leaf" will not be more than a single "leaf" character. Bring something, in classical poetry that is accustomed to using words, so the word "leaf" has never been seen. As for Konoha, it's completely different. Here we need to talk about the second artistic feature of "wood" in its image. The wood not only reminds us of tree trunks, but also brings the color suggested by the wood. The color of the tree, as far as the trunk is concerned, is generally brown-green, which is relatively similar to the leaves; as for the wood?
It might be yellow, And it may be dry rather than wet to the touch; the door bolts, sticks, masts, etc. we are familiar with are all like this; here there is a more general character of the word "wood". Although "wood" appears here as a special concept of "tree", the more general potential implications of "wood" still influence this image, so "wood leaves" naturally have the meaning of fallen leaves. Slightly yellow and dry, it brings a refreshing autumn atmosphere. ?The autumn wind is blowing, and the waves in the Dongting are under the wooden leaves. ?These fallen leaves are definitely not green and soft leaves, but rustling and slightly yellow leaves. We seem to hear the sigh of the departed and think of the wanderer's wandering; this is why the image of "Konoha" is so vivid. It is different from: "The beautiful enchantress is idle, picking mulberries on the crossroads; the soft branches are blooming, and the fallen leaves are fluttering." ?
(Cao Zhi's "Beauty Chapter")
The fallen leaves in the poem are because they are dense leaves full of moisture at the turn of spring and summer. It is also different from: ? There are no neighbors around in the quiet night, living in a deserted old industry and poverty; there are yellow-leafed trees in the rain, and white-headed people under the lamp. ?(Sikong Shu's "Happy to Meet My Brother Lu Lun")
The yellow leaves in the middle, because the yellow leaves are still growing quietly on a tree, in the misty rain, although it is It has the slightly yellow color of "Konoha", but does not have the dry feeling of "Konoha", so it lacks the drifting meaning; and its yellow color has obviously become too yellow due to the moisture of the rain. ?Konoha? Therefore, it belongs to the wind rather than to the rain, and to the refreshing clear sky rather than the heavy cloudy sky; this is a typical Qingqiu character. As for "fallen wood", it seems even more spacious than "leaf". It even washes away the dense meaning retained in the word "leaf": "The wind blows at dusk, and the leaves fall on the branches." ?
(Wu Jun's "Qingxi Sister's Song")
It is enough to illustrate the lingering side of this "Ye". However, there is still a certain distance between "wood leaves" and "falling wood". It is the unity of "wood leaves" and "falling wood", the intertwining of sparseness and denseness, a beautiful image of distance and deep affection. This is exactly the character image of Mrs. Xiang in "Nine Songs". The difference between "wooden leaf" and "leaf" is just one word. Conceptually, "wood" and "tree" are almost the same. However, in the field of artistic images, the difference here is almost a thousand miles.
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