Die Lian Hua·The courtyard is a little deep

Feng Yansi/Ouyang Xiu [Song Dynasty]

The courtyard is a little deep, the willows are piled with smoke, and the curtains are weightless number. The jade carving saddle is at the place where you can see the Zhangtai Road.

The rain is blowing and the wind is blowing at the end of March. The door is closed at dusk, and there is no way to stay in the spring. Tears asked the flowers without saying a word, and the red flowers flew across the swing.

Appreciation

This poem is also found in Feng Yansi's "Yangchun Collection". Liu Xizai, a native of the Qing Dynasty, said: "Uncle Yan Tong got his beauty from Feng Yansi's poetry, and Ouyang Yong got his depth from it." ("Yi Gai·Ci Qu Gai") In the history of the development of Ci, the style of Ci in the early Song Dynasty was inherited from the Southern Tang Dynasty, and there was not much change. , while Ou and Feng both served as prime ministers, and their political status and cultural quality were basically similar. Therefore, their writing styles are very similar, and some of their works are often confused together. This word is based on the preface of Li Qingzhao's "Linjiang Immortal": "Ouyang Gong's "Butterfly Loves Flowers" has the sentence "deep, deep and a few times". I love it so much that I use it to write "the courtyard is deep" for several rows." Li Qingzhao It's not far to go to Ouyang Xiu, so what I said is correct.

This word refers to the relationship between a close friend and a close friend. The style of writing is profound, steady and elegant. The so-called deep one means that it is implicit, melodious, profound and thought-provoking. In the first sentence of this word, the three characters "deep and deep" were praised by the predecessors for their use of overlapping words; hereby I single them out to illustrate the characteristics of the whole word. It might as well be said that the scenery of this poem is deeply written, the emotion is deeply written, and the artistic conception is also deeply written.

The top line of the poem starts with "How deep is the courtyard", which points out the "courtyard" where the hostess is located, and the use of the overlapping words of three "deep" characters more vividly depicts the hostess. The environment is "deep and secluded". These three words not only describe the depth of the "courtyard" but also the depth and loneliness of the hostess's heart. The poet then used the images of "willows", "piles of smoke" and "curtains" to vividly portray the misery and resentment in the mistress's heart. Among them, the word "dui" shows how dense the willows are and how thick the smoke is. Imagine that the hostess is alone on a high building in the courtyard and looks out at the dense willows surrounded by thick mist, just like an ink painting. However, despite such beautiful scenery, there was no trace of her husband. The scenery in front of her cruelly blocked her sight, and infinite sadness arose in her heart for no reason. The imaginary number "no multiplicity" echoes "how many", implying that what blocks the view is not just "willows", "piles of smoke", and "curtains". Why does the hostess want to see her husband? Where has the husband gone? He is neither a soldier nor a businessman, but "travels around the jade carving saddle". Her husband was enjoying life outside, but she could only go up to the high-rise building alone and stare at the sky, sighing that the height of the building prevented her from seeing Zhangtai Road. The last two sentences name the reasons why the hostess is sad and resentful in her heart. The hostess knew that her husband was out on a windy and snowy night, but she still had expectations in her heart. Even if she only saw her husband's leaving back, she could not satisfy this requirement, so she had to endure the indifference and loneliness of the deep courtyard alone.

The lower part is the sentimentality caused by the hostess’s inner world. "The rain is blowing and the wind is blowing in the evening of March", in which the words "horizontal" and "crazy" directly point out the unusually uneven inner world of the hostess. The spring breeze and drizzle in March were originally extremely gentle. However, the rain here is not "slanting rain" but "horizontal rain", and the wind is not "warm wind" but "strong wind". The originally beautiful "March" is full of ruthlessness. . The word "twilight" shows that the hostess has been waiting for a long time, maybe a day, maybe a year, maybe a lifetime. The passionate waiting was replaced by endless darkness in the heartless and deep courtyard. "The sunset is infinitely beautiful," the hostess no longer cares about dusk, and "covers up" her inner desolation. "No plan to stay in spring" seems to be "no plan to stay in spring", but it actually laments that women's beauty is easy to pass away. "A man dies for a confidant, and a woman dies for a woman who pleases her." This is true even before youth is gone. If youth is gone, what hope is there? We can completely imagine this situation: a woman living alone in a boudoir is looking forward to her husband every day, but her husband does not want to go home, and she hangs out all day in windy and snowy nights; as the days go by, her youth also disappears. As each day passes, why should I expect my husband to change his mind? Feelings of infinite loneliness, sadness, and helplessness suddenly arise in my heart. In the end, the heroine can only place her affection on "Luohong". She is just like the withered fallen flower, gone forever, and no one will remember her lovely face. "The tearful eyes asked the flowers without saying a word, and the red flowers flew across the swing." The tears are for the flowers and for herself. Perhaps the failure of the flowers touched the woman's heart, or perhaps the woman felt pity for the flowers and shed tears because of her own life experience. "Speechless" expresses the loneliness and sorrow of the mistress in her heart, which no one understands. "The red color flies across the swing" is even more helpless and sentimental.

The poem contains scenery and emotion, and the scenery and emotion are so integrated and natural, forming a complete artistic conception.

When reading this word, the overall impression is that it has a profound artistic conception and is not just a famous saying. The poet's artistic conception is also layered. In terms of environment, it goes from the exterior to the interior, using deep rooms to set off deep feelings, and using dark and miserable colors to exaggerate the lonely and sad mood. In terms of time, the first film is about a foggy morning, and the second film is about a windy and rainy dusk. From morning to night, the characters' hearts are opened one by one. After three sentences of the film, the contemporary Yu Pingbo commented: "'March twilight' points to the season, 'wind and rain' points to the climate, 'dusk' points to the time, and three layers of exaggeration are used to force the sentence 'Wuji'." "("Selected Interpretations of Tang and Song Ci") In late spring, when it is windy and rainy, I sit behind closed doors and feel particularly sad. The artistic conception seems to be poetry, but poetry cannot describe its appearance; it is like painting, but painting cannot convey its spirit; Only through this melodious style of writing can the poem be properly sketched, especially the conclusion, which reaches a wonderful state: "One seems to be about love, the other is not to be about love, but the emotions and thoughts are boundless. " (Shen Jifei's "Collection of Poems in the Thatched Cottage") Wang Guowei believes that this is a "state of having me." The so-called "state of having me" means "viewing things with me, and all old things have my color" ( "Human Poetry"). In other words, the flowers are sad and silent, reflecting the unspeakable pain of the woman in the poem; the red flowers flying across the swing highlight the woman's desolate and lost expression of a lover who has never been sympathetic. , the artistic conception is profound and fascinating.