"Die Lian Hua·How Deep the Courtyard" describes the scenery in its entirety. It is sparse and graceful, blending reality and reality. The language is natural and the meaning of the words is profound and euphemistic. It is especially expressive in portraying the psychology of young women. A model of European poetry. The following is an appreciation of Ouyang Xiu's "Die Lian Hua·How Deep the Courtyard" compiled by me. Welcome to read.
Dielianhua · The courtyard is as deep as it is
Song Dynasty: Ouyang Xiu
The courtyard is as deep as it is, with willows piled in smoke and countless curtains. The jade carving saddle is at the place where you can see the Zhangtai Road.
It’s rainy and windy at the end of March, the door is blocked 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.
Translation
The courtyard is deep, I don’t know how deep it is? Willows are leaning on it, pieces of smoke are flying, and there are countless layers of curtains. The luxurious carriages and horses were parked at the place where the noble princes had fun. She climbed up the stairs and looked into the distance, but she couldn't see the road leading to Zhangtai.
Spring has come to an end, and the rain in March is accompanied by strong winds. No matter how heavy the door blocks the dusk scenery, it cannot retain the spring spirit. With tears in her eyes, Luo Hua asked Luo Hua if she knew my thoughts. Luo Hua remained silent and flew out of the swing bit by bit in confusion.
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 poems, and Ouyang Yong got his depth from it." ("Yi Gai: Introduction to Ci and Music") 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 is used to describe a 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. The three characters "deep deep" in the first sentence of this word have been admired by 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.
Let’s talk about depth of field first. Like a master of stage art design, the poet first made careful arrangements for the heroine's residence. Reading the two sentences "Willows pile up with smoke, curtains are endless", it seems that a set of movie panning shots appeared in front of my eyes, from far to near, gradually moving forward, and gradually deepening. As the camera points, the reader first sees clumps of willows moving past their eyes. "Willow piles of smoke" refers to the scene of layers of fog on the willow cages in the morning. With the word "pile", the willows are dense and the fog is thick, just like an ink painting. As the clumps of willows passed by, the poet panned the camera toward the courtyard and toward the curtain. This curtain is not one layer, but one layer and another. He didn't give any trivial explanation of how much it weighed, and simply said, "It weighs nothing." "No weight" means countless weights. Qin Guan's "Traveling on the Shasha" "The plum blossoms are sent by post, and the fish passes on the ruler, and the countless hates are built into it", which is synonymous with this. The phrase "no more than one" makes people feel that this courtyard is extremely deep. But the poet hasn't let you immediately see where the characters are. He first said "Yule Carved Saddle Traveling to Ye", and then added a line to draw the reader's attention to her husband; then he turned around and wrote: "The building is so high that you can't see Zhangtai Road." It turns out that the woman in this poem is alone in a high-rise building. Her eyes are looking through the heavy curtains and piles of willow smoke towards the place where her husband often hangs out. This kind of writing method is called the desire to exaggerate before suppressing it, making all the arrangements, creating enough suspense, and then letting the characters appear, so that it can leave a deep impression on people.
Let’s talk about deep love. When writing about emotion in words, it is usually combined with scenery, that is, there is emotion in the scenery, and there is scenery in the emotion, but there is also some emphasis. This word digs deep into the emotional layers of the heroine, and uses meticulous brushwork to depict the abstract emotions in detail. The first part of the poem focuses on the scenery, but "all scenery words are words of love" (Wang Guowei's "Human Words"). In the deep courtyard, people seem to see a locked and isolated soul. The second part of the poem focuses on the love story, with the rain blowing wildly and the wind blowing wildly, urging the end of spring and the heroine's youth. She wanted to retain the spring, but the wind and rain were ruthless and the spring could not be retained. So she felt helpless and had no choice but to place her feelings on the flowers whose fate was the same as hers: "With tears in her eyes, she asked the flowers without saying a word, and the red flowers flew across the swing." These two sentences contain an infinite sense of sadness for spring.
Mao Xianshu, a native of the Qing Dynasty, commented: "Poetry writers want to have a deep meaning and a clear language. Most lyricists have deep meanings, and their words are descriptive; those who have a clear language, their meanings are superficial, which is a dilemma. Some people want to draw similarities, but occasionally Nian Yongshu's poem goes like this: "With tears in my eyes, I asked about the flowers without saying a word, and the red flowers flew across the swing." This can be said to be deep and muddy." (Quoted from Wang Youhua's "Ancient and Modern Ci") He means that the language is muddy and the emotions are layered. Deepness is often difficult to have at the same time, but these two European words unify it. The so-called "deep intention" means that the characters' thoughts and feelings should be explored step by step. Let’s see how these two sentences are excavated layer by layer. In the first layer, the heroine sheds tears because of the flowers. Weeping at the sight of flowers and feeling sad for the moon are common feelings shared by ancient women. At this moment, the woman is remembering her husband in Zuma Zhangtai (Zhangtai Street in Chang'an of the Han Dynasty, later generations used it to refer to the place where you wandered), but she can't see it. In her eyes, she can only see the flowers that were destroyed in the violent storm, so she thinks of herself. I couldn't help but shed tears of sadness at my fate. The second layer is about asking flowers because of tears. Tears are caused by sorrow, and you must find someone to vent to. This object has now transformed into a flower, or the flower has transformed into a human being. So the heroine asked the flower passionately. On the third level, Hua'er remained silent and speechless. It's puzzling whether he doesn't understand what she means or whether he refuses to sympathize with her. Immediately after the poet wrote the fourth layer, the flowers not only remained silent, but flew away on the swing one after another as if they had deliberately abandoned her. People walked around the stage, flowers flew across the swing, loving people and ruthless things all responded with indifference to her, it was impossible for her not to be sad. This writing method of using the reaction of objective scenery to set off and contrast the subjective feelings of the characters is precisely to deepen the feelings. The poet digs deep into the emotions layer by layer, not deliberately carving them out, but like bamboo shoots with buds and knots, naturally occurring and unfolding step by step. The natural, clear and easy-to-understand language contains deep and sincere feelings, which is a major feature of this article.
Finally, there is a deep artistic conception. The words describe 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 lines of the film, a recent commentator, Yu Pingbo, commented: "'March twilight' points to the season, 'wind and rain' points to the climate, 'twilight' points to the time, and three layers of rendering, forcing the sentence 'Wuji' to come out." ("Tang Dynasty") "Selected Interpretations of Song Poems") In late spring, at dusk and windy rain, I sit deep in silence behind closed doors, feeling particularly sad. The artistic conception seems to be a poem, but poetry cannot describe its appearance; it is a painting, but painting cannot convey its spirit; only through this kind of graceful words can it be properly sketched. Especially the conclusion is even more wonderful: "One is about love, the other is not about love, but the emotions are boundless." (Shen Jifei's "Cottage Poetry Yu Zheng Collection") Wang Guowei believes that this is a kind of "self-consciousness" realm". The so-called "state of self" means "viewing things with me, and all old things have my color" ("Human Ci Hua"). 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 look of being a sympathetic partner. The lingering emotions and profound artistic conception are particularly fascinating.
Appreciation
The fresh and sweet words of Ouyang Xiu's poem are soaked in pathos; the deep and delicate emotions reveal helplessness; the implicit and euphemistic expression reveals humility. The line "With tears in my eyes I ask the flowers without saying a word, and the red flowers fly across the swing" is a famous song through the ages. The true meaning of this song is naturally difficult to distinguish.
The sentence at the top of the poem begins with "How deep is the courtyard", which points out the "courtyard" where the woman is located, and the use of the overlapping of three "deep" characters more vividly describes the woman's location. The "deep and secluded" environment. These three words not only describe the depth of the "courtyard" but also the depth and loneliness of a woman's heart. The poet then used the images of "willows", "pile of smoke" and "curtain" to vividly depict the sadness and resentment in the woman's heart. Among them, the word "dui" shows how dense the willows are and how thick the smoke is. Imagine a woman standing alone on a tall building in the courtyard and looking 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 do women look to their husbands? 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 women feel sad and empty-hearted. The woman knows that her husband is out on a romantic and snowy night, but she still has expectations in her heart. Even if she only sees her husband's leaving back, this requirement cannot be satisfied, and she has to endure the indifference and loneliness of the deep courtyard alone.
The lower part is about the sentimentality caused by a woman’s inner world. "The rain is blowing and the wind is blowing in March twilight", in which the words "horizontal" and "crazy" directly point out the unusually uneven inner world of women. 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 women have 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 woman has no intention of dusk, and a "cover" expresses 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 fade 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 female protagonist 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 a woman's heart that no one understands. "The red color flies across the swing" is even more helpless and sentimental.
The whole poem is natural in terms of art and emotion. The upper and lower scenes blend and echo each other. The humble status of women, the weak inner world and the strong attachment to men are described in detail and in depth. The poet is artificial We vividly portray the image of a resentful woman deep in the courtyard.
Introduction to Ouyang Xiu
Ouyang Xiu (1007-1072), courtesy name Yongshu, nicknamed Zuiweng, Liuyi layman, Han nationality, Yongfeng, Jizhou (now Yongfeng, Ji'an City, Jiangxi Province) County) native, Northern Song Dynasty politician and writer, and famous in politics. Because Jizhou originally belonged to Luling County, it called itself "Luling Ouyang Xiu". He became a Hanlin bachelor, deputy envoy to the privy council, and participated in political affairs. His posthumous title was Wenzhong, and he was known as Ouyang Wenzhonggong in the world. Later generations called him, Han Yu, Liu Zongyuan and Su Shi, the "Four Great Masters of Eternal Writing". Together with Han Yu, Liu Zongyuan, Su Shi, Su Xun, Su Che, Wang Anshi, and Zeng Gong, they are known as the "Eight Great Masters of Prose in the Tang and Song Dynasties".
Ouyang Xiu was the earliest literary leader to create a generation of literary style in the literary history of the Song Dynasty. He led the new poetry movement in the Northern Song Dynasty and inherited and developed Han Yu's ancient prose theory. His high achievements in prose creation complemented his correct ancient prose theory, thus creating a generation of writing style. While Ouyang Xiu changed his writing style, he also updated his poetic style. In terms of history, he also has high achievements.