Appreciation of Chrysanthemum Poems in "Chrysanthemum Nian Nu Jiao Ju"
Wang Yan
Little makeup is made of bamboo threshold, which protects the autumn, and the gold is like a cluster. The yellow leaves and white apples are cold in the morning, only lonely and fragrant. Huafa is pale, and the official feelings are lingering, so I come to accompany the flowers. I'm speechless when I'm patrolling the eaves. Why bother? Because of the love of wine, the east fence is elegant and elegant, and there is no one to continue for thousands of years. You must get drunk in lace and get drunk in a small cup. After the double ninth festival, twist the branches and smell the core, so don't sigh at the speed of time. Next spring, Chen Gen will be greener.
This poem Nian Nujiao expresses the lingering thoughts of official feelings by chanting chrysanthemums, which is profound in implication and not empty in words, and quite represents the basic content and creative style of Shuangxi Ci.
The first five sentences in the last film are written by chrysanthemum, and the last five sentences are written by people. In late autumn, golden chrysanthemums are in full bloom under the escort of mahogany fences; Yellow leaves shake the wind, white apples freeze, and only lonely chrysanthemums silently exude a wisp of fragrance. Of the first five sentences, the first three are described purely from an objective perspective, while the second two are obviously infused with subjective feelings, thus subtly deriving the following five sentences. The poet came to accompany him because he felt lonely in chrysanthemum. The word "solitude" and the word "companionship" take care of each other, which not only keeps the blood of words flowing, but also makes the meaning change naturally. Here, on the surface, the poet wrote "flowers are lonely", but in fact he said he was lonely. I have been an official in a foreign country for a long time, but now I have "added frost to my temples when I am old, and my thoughts are full of surging waves" ("Xiao Chongshan"), but the official can't help but return home, and I am afraid that "only flowers know" ("Lang Tao Sha Ling"). It can be said that people are lonely with flowers, and that flowers are lonely with people in secret, which is just a matter of love and affection. The use of pen in this way is intended to avoid direct exposure, and also to make the two meanings of writing people and flowers closely linked. In fact, flowers, as an objective foreign object, have no loneliness at all, and the solitude of flowers comes from the solitude of people. You see, the poet wandered around the flowers under the eaves speechless. Isn't this the vivid externalization of his inner loneliness and meditation? After filming "How to clear your worries?", I wrote the intangible worries as an entity with weight and volume, which was extremely melancholy. This technique can be said to be different from Li Qingzhao's famous poem "I'm only afraid of the boat sailing in two streams, but I can't move it and have a lot of worries" ("Wulingchun").
In the next film, the word "cause" is used as a link between the preceding and the following. The first five sentences are written about drinking while the last five sentences convey a heart song that is not sad for the passage of time. In the Eastern Jin Dynasty, Tao Yuanming, unwilling to bow down for five buckets of rice, resolutely abandoned his official position and retired, and planted chrysanthemums under the east fence, enjoying himself. Here, on the one hand, poets naturally think of the owner of Dongli in those days because of enjoying chrysanthemums, and on the other hand, they lament that "elegance is not sustainable" because they cannot abandon their official position and retire like Yuanming. This meaning is actually a complement to the word "sorrow" in the previous film. Since you can't get back, you might as well follow the example of the sage Dongli and get drunk with lace. "Xiao Fu" speaks carefully and drinks slowly. "It's wine. Next, the poet made a sudden turn of the pen, swinging out a layer of new ideas with extremely powerful brushstrokes. As the saying goes, "flowers will bloom again, and people will never be young again." In the face of Chongyang Jin Ju, people twist the branches with their hands, sniff the fragrant buds, and when they watch it, they can't help sighing that "life can get several Chongyang". However, the poet unexpectedly said: Don't sigh that the years are like water, "the dead are like this", and when they return to the earth next spring, the chrysanthemums that have withered in winter will still be green again and give birth to more beautiful flowers again! The brushwork of these words is correct, sweeping away a lonely and lonely mood, which is in stark contrast to the over-shooting. At this point, the mood of the whole word has changed from low to high, from depression to open-mindedness, especially the ending sentence, which not only gives people an optimistic and upward meaning, but also contains rich connotations: the world is endless, and the spring of life is always full of green symbolizing hope!
from the above analysis, it is not difficult to see that the level of this word is clear, and the cohesion and transformation of word meaning are natural and ingenious, leaving no trace. Poets also chant things and express their feelings; Things are sung because of feelings, and feelings are born by touching things. The two complement each other and blend into an organic whole. From this, it seems that we can arbitrarily say that, as an aesthetic subject's observation of objective external objects, chanting words should have both lyrical characteristics. If the poet does not inject feelings into his writing, he only gives a purely objective description of what he sings, then it is not an artistic creation.