Author: Song Ouyang Xiu
Full text:
How deep is the iris garden?
In the courtyard, deep willows pile up smoke, and the curtains are not counted. Jade music carving saddle tour smelting place, the building is not high, look at Zhangtai Road.
March storm, closing at dusk, not planning to stay in spring. Tears ask flowers silently, and red flies over the swing.
translate
The courtyard is deep. How deep is it? Willow Yiyi, flying with patches of smoke, a curtain with many layers. Luxurious chariots and horses are parked in the place where aristocratic childe plays. She went upstairs and looked into the distance, but she couldn't see the way to Zhangtai.
Spring is dusk, and the rain in March is accompanied by strong winds. No matter how you hide the evening scenery, you can't keep spring. I tearfully asked Luohua if she knew my thoughts. Falling flowers are silent and chaotic, flying out of the swing bit by bit.
Appreciate:
This word is also found in Feng Yansi's Yangchun Collection. Liu Xizai, a poet in A Qing, said: "In Feng Yansi's words, your uncle won his handsomeness and Ouyang Yongshu won his depth." In the history of the development of Ci, the style of Ci in the early Song Dynasty inherited from the Southern Tang Dynasty and changed little, while Europe and Feng were both officials and masters, and their political status and cultural accomplishment were basically similar. Therefore, their ci styles are similar, and some works are often confused. According to the word order of Li Qingzhao's Linjiang Fairy, "Ouyang Gong wrote" Butterfly Loves Flowers ",and there is a sentence" how much sorrow is deep ",which he loves and uses as" the courtyard is deep ". Li Qingzhao didn't go far to Ouyang Xiu, and she was right.
This sentence will always be in my heart. The style of ci is deep, steady and elegant. The so-called deep, is implicit implication, graceful and deep, intriguing. The first sentence of this word is "deep and secluded", and predecessors have lamented its use of overlapping words; Specially chosen to illustrate the characteristics of the whole word. It can be said that the scenery, feelings and artistic conception of this word are very deep.
Let's talk about depth of field first. Like a master of stage art design, the poet first carefully arranged the heroine's residence. Looking at these two sentences, it seems that there is a group of movies moving from far to near, drifting away and deepening. With the camera pointing, the reader first saw clusters of willows passing in front of his eyes. "Smoke Piles of Willow" is a scene of fog on the willow cage in the morning. With the word "heap", it is dense and foggy, just like an ink painting. When the willow trees pass by, the poet shakes the camera to the courtyard and curtains. This curtain is not heavy, but it is very heavy. He doesn't count the weight. In short, there was no duplicate number on that day. "No multiplicity", that is, there are countless weights. Qin Guan's "Treading on the Sand" is synonymous with this: "Plum blossoms are sent by post, and the fish and dragons stay there for a long time. This hate is insignificant." The phrase "no repetition" makes people feel that this yard is simply extremely deep. But the poet didn't let you see the position of the characters right away. He first said, "Yule carves a saddle and swims around", and then drew a stroke to attract the reader's attention to her husband. Then he folded the pen and wrote, "The building is too high to see Zhangtai Road". It turned out that the woman in this word was alone in a tall building, looking through heavy curtains and piles of willow smoke at the place where her husband often swam. This kind of writing is called "first promote and then suppress", which arranges everything well, creates enough suspense, and then lets the characters appear, which is impressive.
Besides, love is deep. Writing feelings in ci is usually combined with scenery, that is, there are feelings in the scenery, scenery in the feelings, but also emphasis. This word deeply digs into the emotional level of the heroine and depicts the abstract feelings in detail with meticulous brushwork. The first film of Ci is mainly about scenery, but "all scenery Ci are sentimental words" (Wang Guowei's Ci Poems on Earth). In the deep courtyard, people seem to see a imprisoned and isolated heart. The next word rewrites feelings, rain and wind are crazy, urging the end of spring and the heroine to be honored. She wants to catch spring, but the wind and rain are ruthless and can't catch spring. So she felt helpless and had to pin her feelings on the flowers with the same fate as her: "Tears ask flowers silently, and red flies over the swing." These two sentences contain infinite feelings of hurting spring. Mao, a poet in A Qing, said: "Poets want to be deep, but words want to be turbid. The lyricist is generally profound and characterized by language; If the language is vague, the meaning will be superficial and there will be a dilemma. Or to quote, I occasionally read a sentence from Uncle Yong:' Tears ask flowers without words, and they are redder than swings.' This is deep and muddy. "(quoted from Wang's On Ancient and Modern Ci) He means that it is often difficult to have both language and feelings, but these two sentences of European Ci unify it. The so-called "deep meaning" is to deepen the thoughts and feelings of the characters step by step. Let's see how these two sentences are excavated layer by layer. On the first floor, the heroine cried because of the flowers. It is a common feeling of ancient women to look at flowers and shed tears and hurt the moon. At the moment, the woman is remembering her husband walking in Mazhangtai (Zhangtai Street in Chang 'an in Han Dynasty, which was used by later generations to refer to the place where she traveled), but she can't see it. In her eyes, only the flowers destroyed in the storm can be linked with her own destiny, and she couldn't help crying. The second layer is about begging for flowers because of tears. Tears are caused by sadness and need to be vented. This object has been transformed into a flower at this moment, or the flower has been transformed into a person. So the heroine asked the flowers spoonily. The third layer is the silence of flowers. It is very puzzling whether you don't understand her meaning or refuse to give sympathy. Then the poet wrote on the fourth floor, and the flower not only didn't speak, but also flew over the swing, as if she had deliberately abandoned her. People walk on the stage, flowers fly on the swing, and sentient beings are indifferent to her. She couldn't help feeling sad. This writing method of comparing and contrasting the subjective feelings of characters with the reaction of objective scenery is precisely to deepen feelings. Poets dig deep into feelings layer by layer, not deliberately carving, but naturally generating and unfolding like bamboo shoots with buds and knots. In the natural and simple language, there are deep and true feelings, which is a major feature of this paper.
Finally, the artistic conception is deep. Scenery and emotion are written in words. Scenery and emotion are so integrated that they form a complete artistic conception. Reading this word, the overall impression is that the artistic conception is deep, not just famous aphorisms. The poet's description of artistic conception is also hierarchical. From the environmental point of view, it is from the outside to the inside, with deep rooms to set off deep feelings, with gloomy and miserable colors to render lonely and sad emotions. In terms of time, the first part is about foggy morning, and the second part is about stormy dusk, which opens the hearts of characters one after another from morning till night. Yu Pingbo commented on Japan after three sentences: "The sentence" No plan "was forced by the dusk season in March, and the dusk weather was three-layered." ("Selected Interpretation of Poetry in Tang and Song Dynasties") In the late spring, the wind and rain are dusk; Sitting behind closed doors, I feel particularly scared. The artistic conception seems to be similar, but poetry can't describe its appearance; It is a painting, but painting can't convey its spirit; Only through this elegant pen can you draw just right. In particular, the end of that sentence is even more beautiful: "If it is about love, if it is not about love, and feelings are endless." (Shen Jifei's Poems of Caotang) Wang Guowei thinks that this is a kind of "realm with me". The so-called "realm follows me" means "seeing things from me, so everything is my color" ("Words on Earth"). In other words, flowers are sad and silent, reflecting the unspeakable pain of women in ci; Red flies over the swing, setting off a woman's last sympathy for her partner and sense of loss. But the tenderness of feelings and the depth of artistic conception are particularly fascinating.