In fact, there are many famous sentences that have been passed down through the ages, not all of which are original by the author, but many of which are "transformed".
For example, Wang Bo's "However, when China holds our friendship, heaven is still our neighbor" is from Cao Zijian's poem "A White Horse for Wang Biao": "My husband is interested in the whole world, but Wan Li is still nearby". But now the former is widely known, while the latter is relatively unknown. Another example is Zhang Jiuling's famous saying, "The sea rises and the moon rises, and the horizon rises at this time", which comes from Xie Zhuang's Yuefu, "Beauty walks away from the dust, and the moon is * * * thousands of miles away". Similarly, Zhang Shi is more favored by later generations.
What's more, sometimes "Hua Yong" can actually seize the original naming rights. For example, people (non-professionals) often think of Yan's "Linjiang Fairy" at first, but in fact, it was first written by the Five Dynasties, which can be found in his poem "Spring Remnant". Falling flowers are independent, and the swift flies. "However, after this poem was incorporated into Yan's own words, it suddenly became Yan's credit.
Why is the "chemical use" method so attractive? What are the characteristics of "Hua Yong" in Tang and Song poetry? What enlightenment does the emergence of a large number of "Hua Yong" techniques give us? This is what I will talk about next.
First, the charm of "flower use" technique
In my opinion, the charm of Hua Yong mainly comes from its dual content.
On the one hand, it is based on original content and integrates original ideas and connotations, that is, a solid foundation and a high starting point.
In Wang Wei's Autumn Night in the Deep Mountains, "My friend's prince, spring has passed and you are still here. What does it matter?" The words "Wang Sun swims without returning, the spring grass is long and lush" and "Wang Sun returns, but he can't stay in the mountains for a long time" used in the book "Songs of the South" run counter to each other, thus transferring part of the poem into allusions and expanding the capacity of the poem.
A model in this respect is Su Shi's famous poem "Water Talk", in which "Dream in Wan Li with the wind, looking for a place, but also awakened by the sound of warblers", which seamlessly integrates the poem "Drive the orioles away from the trees" in Jin Changxu's "Spring Complaint" in the Tang Dynasty. The poem "They woke her up in her dream and said that she had gone to the camp in western Liaoning to be with him" gave the word "English" all the contents of "spring resentment".
As for the seizure of the "naming right" mentioned earlier, it is not difficult to explain it here. Although Ewong?'s poem "Falling Flowers Are Independent, Swift Qi Fei" is good, there is a sentence without chapters. There is not enough "space" in the whole poem to accommodate this sentence, and its appeal may be greatly reduced. But when it is applied to Yan's Linjiang Fairy, its value is fully reflected. So the whole word was greatly improved by this sentence, and this sentence was also glorious because of this word.
By the way, there is a controversy about Ci. Some people suspect that Chen Ziang didn't write You Zhou Tower. One of the reasons is "before me, where did those lost times go?" Behind me, where is the next generation? " Appeared in the dynasty before Chen. If written by Chen, this poem should not enjoy such a high reputation. I don't think this can be used as evidence, that's why.
On the other hand, through the author's processing and carving, the deeper or more novel connotation is excavated and developed, which is more artistic and appealing.
In the Tang Dynasty, Han Wo wrote a poem "Lazy", and the last four sentences were like this: "It rained last night, but it is cold now. Is the begonia flower there? Watch over there. " This poem is not widely known, but in the Song Dynasty, Li Qingzhao took this poem as a "dream order" and became the swan song of the ages: "Last night, there was a shower, and a deep sleep was not necessary. Ask the shutter man, Haitang is still there. Do you know that?/You know what? Do you know that?/You know what? It should be green, fat and thin. " The poetess perfectly used the artistic conception of "Haitang" in the original poem and created a higher realm through her brilliant creative art.
For another example, Li Qingzhao's "I can't get rid of this feeling, but I frown, but I feel my heart" is a sentence from Fan Zhongyan's "I'm here, but I don't have any plans to avoid it" in A Trip to Yu Jie. But after her biochemical and clever pen style changes, I separate "eyebrow" from "heart" and use the next sentence to say.
Zhou Bangyan's famous phrase "There are countless flowers in the smoke, and the geese are dying" is also obtained through this technique. Xie Tiao's poem "A row of holes in the window" and Wen's poem "There are many sunsets on the crow's back" are used in the two sentences respectively, but they are more verve than the original sentence. Its beauty lies in that when the author "uses" the original sentence, he vaguely mixes an unspeakable emotion, which makes the original scene and the original feeling establish a detached connection and express far-reaching connotation.
It should be pointed out that the above two aspects are closely related and there is no need to forcibly separate them. Only by combining "reference" with "re-creation" can we turn it into a thoroughly remoulded effect.
For example, the example of Zhang Jiuling mentioned above. In my opinion, the original poem "The Moon Shines Thousands of Miles" is quite good. Zhang Jiuling's success lies in that he absorbed the essence, and strengthened his sense of space and times, which made the image wider, and at the same time strengthened people's feelings, which made the feelings contained in his poems deeper. Because of this, this poem will be passed down through the ages.
Second, the Tang and Song poetry "flowers" technique characteristics
Looking briefly at the "transformation" of Tang and Song poetry, I think it can be basically defined as two characteristics, one-way genre and personal tendency.
The so-called genre unidirectionality here mainly means that in the Song Dynasty, when poetry flourished, it was generally poetic (the poems here were actually mainly Tang poems), but there were few poetic words.
This is natural. First of all, this is determined by the relative position of poems and words. From the early Song Dynasty to the middle Song Dynasty, the status of Song Ci was not high, and it was regarded as "poetry surplus". Even later, it did not surpass poetry. As a latecomer, in order to catch up with poetry as soon as possible, of course, we should learn from the creative experience of poetry with an open mind, thus enriching ourselves, which has prompted many poets to humanize poetry into poetry. On the contrary, poetry, as a big brother, naturally disdains to ask questions about words, and because of the achievements of poetry and ode in the Tang Dynasty, it is completely sufficient for the study of Song poetry, and there is no need to learn from other teachers. Secondly, objectively speaking, the sentence patterns of poems are relatively neat, while the sentence patterns of words are often different in length, which is very conducive to the transformation of poems into words.
The so-called personal tendency means that poets (poets) have different tendencies to choose "practical" prototypes, which is often closely related to their personal preferences and styles.
Su Dongpo likes to turn Li Bai's poems into words, probably because both of them have romantic feelings. Su Shi's Mid-Autumn Festival in Niannujiao "I clap my hands and sing wildly, and till, raising my cup, I asked the bright moon becomes three guests" is obviously from Li Bai's "Drinking the bright moon alone": "Until, I raise my glass, I ask the bright moon, take my shadow, and make the three of us" and "I go back to song month and dance. My shadow is rolling behind "; When will there be a bright moon? "Asking for wine from the blue sky" in his masterpiece "Shuidiao Tou" should be changed from "When is there a moon in the blue sky?" I'm going to stop for a cup of coffee today and ask. "
As mentioned earlier, Li Qingzhao used Han Wo's poem Lazy. In fact, her love for this poet goes far beyond this. Li Qingzhao has a "little red lip": "Stop posing, get up and adjust your delicate hands. Dew is thick and flowers are thin; Sweat thin and clothes light. Seeing someone coming, I slipped away with my socks and walked away in shame. Looking back at the door, Wen Qingmei. " And Han Wo's poem "Occasionally See" wrote: "Shake off the skirt and show a statue. Laugh away when you see the guest, and rub the plum in your hand and reflect it in the middle door. " A little comparison between these two songs is self-evident.
Of course, if we make a statistical analysis of these personal tendencies, we can find some * * * characteristics: the language describing things in The Book of Songs and Songs of the South (such as the sentence "Autumn wind blows, waves in Dongting are under the leaves"), and the ci poems represented by Cao Zhi and Chu Ci are more selected by poets in the Tang Dynasty. Poets in the Song Dynasty mainly imitated the poems and songs of the Tang Dynasty.
Third, enlightenment-looking at culture through "use"
I think the emergence and popularity of "flower use" technique has a very deep cultural origin. In a sense, it reveals the inheritance of culture, tells us the fundamental reason for the change of literary genre, and also puts forward the crisis faced by poetry and literature.
Why do you say that?
Throughout the Tang and Song poetry works, if we don't look at the performance art, only from the content, there is almost nothing in the Song Dynasty that can surpass the Tang Dynasty (except some things in the times). In other words, the content written by the Tang people will be repeated by the Song people; The content written by the Song people was already in the Tang Dynasty. No matter in which dynasty, the content of culture is the same or similar, the only difference is the form of expression. The relative invariance of cultural content fully explains the cultural inheritance, and the "utilization" mentioned in this paper is only a way of cultural content inheritance.
As for the change of literary genre, I think it is the objective requirement when literary expression can't meet the literary content. When all the contents of Tang poetry have been written and it is difficult to write new ideas, Song Ci came into being-writing the same content in another form. Similarly, when Song Ci was at the end of its tether, Yuan Qu began to appear on the stage. ...
Based on this, I think that Tang poetry, Song ci and even a series of literary genres that appeared later are just literary forms that have declined in the history of literature. When I say it's gone, I don't mean it will disappear, but I don't think it will ever reappear.
Even so, I think we should not be pessimistic. On the contrary, we should be thankful that it is precisely because of the finiteness of literary content and the infinity of literary forms that we can see such colorful literary forms today.
abstract
The phenomenon of "flower use" is a phenomenon worthy of study in poetry and even in the whole literary history. It plays a very important role in the understanding of works and deeper literary analysis.