At the beginning, it is clear that "wine turns into sorrow and turns into homesick tears" comes from the word "Su Mu man" written by Fan Zhongyan, a writer in the Song Dynasty. The exact words are as follows:
Blue sky, yellow leaves, autumn colors, cold smoke, green waves. The mountain reflects the setting sun and the sky meets the water, and the grass is ruthless, even outside the setting sun.
Dark homesickness, chasing travel, every night unless, good dreams make people sleep. The bright moon building is high and lonely. Wine becomes sorrow, acacia becomes tears.
As a poet in the early years of the Northern Song Dynasty, Fan Zhongyan's Su Mu has not completely broken away from the pattern of five pronouns in the late Tang Dynasty, but his ci works have shown a charm different from that of the five pronouns in the late Tang Dynasty, because the poet's description of the realm of his ci works based on the grand time and space background is different from that of his ci works with the theme of flowers before the moon in the late Tang Dynasty and the Five Dynasties.
Fan Zhongyan's Su Mu Gai is divided into two parts. The first part shows a magnificent and vast Qiu Jingtu. Autumn scenery, vast, lofty and colorful, has no bleak feeling, which is rare in traditional literati's works. Among the words with the constant tone of "sad autumn", there are even fewer words like Fan Zhongyan.
In the opening sentence "Blue sky and yellow leaves", this person presented a broad spatial image to the reader in just six words, which was a scene in late autumn, with deep blue sky and yellow leaves all over the ground.
I have to say that the scenes contained in these six words are vast. Poets pitch the heavens and the earth, lean on the sky and walk from top to bottom, trying their best to create a poetic context and create a poetic meaning.
What is particularly valuable is that the poet seamlessly rendered this vast autumn color with two colors: a word "Bi" depicts the color of the sky and a word "Yellow" depicts the color of the earth. This unique late autumn scenery was accurately captured by the poet and successfully filled in the words.
Poets at this time are very much like masters of oil painting. He accurately selected two colors from the pigments and smeared them on the background board, and a picture of "blue sky and yellow leaves" was presented to people. Everyone who read this sentence seems to have picked up the brush in his hand and rendered a few strokes on the background board. Even people who can't draw can fill this wonderful picture with their own imagination.
The next sentence, "Autumn is full of waves, and the waves are covered with cold smoke and green", the poet changed his form and focused his eyes on the empty land. At the junction of water and sky, he saw a autumn river.
This is the poet's visual experience, showing a beautiful autumn picture. The autumn colors described by the poet are gorgeous, gorgeous and overwhelming.
You see, the blue and far-reaching sky, the earth covered with golden leaves below, extends to the end of the line of sight. At the end of the line of sight, a river is bounded by autumn water, and autumn colors also extend to the river. Water and sky meet, and Tianshui is the same color. What a long-term picture of late autumn.
The river is covered with a thin layer of smoke, and under the shadow of water and sky, it also presents a moving green color of "autumn water and sky are one color". The smoke was originally white, but after the refraction of light, it showed a different moving color in the eyes of the poet.
From a distance, the smoke seems to be connected with the blue sky and the blue waves of autumn water. This is why the poet said "cold smoke is green", and this word "cold" just highlights the hazy beauty and artistic conception that smoke brings to autumn.
These two sentences are far apart and intertwined with the first two sentences, forming an extremely vast and colorful autumn. In the evening, the sunset sprinkled the last afterglow on the distant mountain. From the poet's point of view, this is the ultimate visual experience of clear water, blue sky and green grass.
The poet's eyes are full of autumn colors. The autumn colors in the poet's eyes are overwhelming, extending to the end of the line of sight, and finally disappearing into the horizon where the sunset can't reflect. So when the poet perceived such a scene, he couldn't help writing three sentences after going to the city: "The mountains reflect the sunset water, the grass is ruthless, and it is even more outside the sunset."
The meaning of these three sentences is meaningful, continuous and profound. The colors of heaven, earth, mountains and water are connected by a touch of sunset, and the scenery extends from the poet's line of sight to the imaginary horizon. In particular, the lush grassland written by the poet is enough to remind readers of lovesickness and parting.
Because from the beginning of "Wang Sun wanders away, spring grass grows endlessly" in Chu Ci, it has become synonymous with nostalgia for distant places and homesickness, and has a specific cultural connotation. Like the traditional literati, "Fangcao" has also become the homesick sustenance of Fan Zhongyan, and this emotion is also secretly revealed from the poet's description of the scenery of "Fangcao Tianxia".
The poet's emotions are like a trickle, and the words and meanings are flowing in one go, without a trace of carving. The natural change of the poetic scene from the scenery in Shangtan to the lyricism in Xiatan shows the ingenuity of the poet's creative techniques.
Fan Zhongyan's fragrant grass not only stays in this Qiu Jingtu, but also "beyond the sunset", which makes the image of "fragrant grass" jump out of the picture and extend beyond the sunset, to the distance and to the poet's hometown. At this time, "Cao Fang" has become the emotional bond of the poet and the lyric clue of the whole poem.
Fan Zhongyan is from Jiangsu. Since I came to Yanzhou and Yaozhou to defend the frontier, I have been far away from my hometown, relatives and friends, and my frontier life is sometimes very hard. Therefore, in the long-term frontier life, Fan Zhongyan's long homesickness and sadness of parting will inevitably be revealed in his emotional world.
At this point, the meaning of this poem has been revealed. Every scene in the original poem is endowed with a different kind of emotion by the poet, that is, the lingering sadness and homesickness in the poet's heart.
All these scenes endowed with emotion by the poet finally converge into the image of "fragrant grass", and the poet's emotion also comes from the image of fragrant grass with specific cultural connotation.
After two sentences of "homesickness, homesickness", the poet sticks to the grass in the previous film and directly points out the sadness of travel and homesickness. The word "homesickness" is homesickness. These two sentences mean that one's homesickness is gloomy, and the melancholy of homesickness and travel is getting stronger and stronger.
Hometown soul and travel thinking are intertextual in writing techniques, and intertextuality here is a key point. It can also be seen that the poet has lived for a long time, and the true feelings of homesickness are revealed between the lines.
Hometown has become a lingering place in the poet's frontier life, and his gentleness has also become an emotional sustenance for the poet to comfort himself in a boring life.
The following two sentences "Unless you sleep every night, you can't sleep well" are the poet's description of frontier life. Endless homesickness and sadness of parting bound the poet and haunted him all the time. Every night, this feeling becomes stronger. The poet's homesickness during the day continues into his dream, and only in his dream can he see his long-lost hometown.
In his dream, he returned to his long-lost hometown. While he was exchanging pleasantries with his relatives and friends, the poet woke up from his dream. When I woke up from my dream, the poet was suddenly surprised. It was just a good dream.
It was a long night, and the poet couldn't sleep, so he went outside. It was a moonlit night, and the moonlight was shining on the leaves in the yard. The poet looked up at the moon and the bright moon in the sky. Looking up, I found that it was moonlight and sank again, and I suddenly remembered home. Perhaps he remembered the homesickness of Li Bai, a poet in the Tang Dynasty, on a moonlit night.
Different time and space, different places, but the feeling at that time was the same, that was homesickness on paper, that was homesickness across time and space, and that was the eternal emotion of human beings.
Fan Zhongyan's homesickness cannot be eliminated. At this moment, he can just lean on the floor and meditate on this bright moon. However, this sadness is more intense because of the bright moon. In such a situation, the poet can't help but sigh that "the bright moon is hanging high and lonely."
Fan Zhongyan's writing from the sunset to the bright moon is the transfer of time and the progressive meaning of words. The poet wrote the bright moon and tall buildings from the vast autumn scenery. Although the location has not changed, the poet's perspective has changed. This is like a long shot in film shooting, moving backward from the distant horizon, the distance between the camera and the poet is getting closer and closer, and finally the camera focuses on the poet.
This is a continuous picture with an obvious emotional line running through it, which is the poet's homesickness and parting. The world, yellow leaves, smoke waves, sunset, fragrant grass, bright moon and other scenery in the picture have become the poet's emotional sustenance. The biggest advantage of this writing method is that it not only avoids the linearity of structure and writing method, but also makes the scenery in the first part and the lyric in the next part naturally blend together.
The whole poem slowly came to an end in the sad melody of "wine turns into sorrow and turns into acacia tears". Because the night is long, the poet who leans on the tall building alone under the bright moon can't sleep at night, so he drinks wine, and when the wine enters his heart, it turns into tears of acacia. The poet wanted to drown his sorrows by drinking, but raising a glass to drown his sorrows was even more worrying. On the contrary, the poet's longing for lovesickness adds to his suffering and disappointment.
These two sentences have been received rave reviews, and they are known as famous sentences throughout the ages. The lyrical elements are obvious and strong, and the words are novel. At this time, the homesickness and travel worries trapped in the poet's heart reached a climax under the trigger of foreign things, and the poet drew words in this difficult mood, which made people feel dissatisfied.
In the traditional writing method, homesickness and sad words are often expressed by bleak autumn scenery, but Fan Zhongyan's Su Mu Gai has broken through this traditional writing technique, because the autumn scenery described by Fan Zhongyan in this first word is vast, overwhelming and colorful.
Reading Su Mu's words is like enjoying the colorful Qiu Jingtu. This is reflected in the first few sentences. Try to read more "blue sky, yellow leaves, eyes and cold smoke on the waves", so whenever you read these sentences, you can always give people endless imagination and stimulate people's endless imagination.
The opening words are all beautiful pictures and artistic conception. It shows the poet's broad mind standing between heaven and earth, and embodies the disappointment of homesickness. Wang Shifu, a dramatist in Yuan Dynasty, wrote in The West Chamber that "the sky is blue, the ground is yellow, the west wind is tight, and the wild geese fly south in the north. Who is drunk in Xiao Lai's frost forest? There will always be people's tears. "I used Fan Zhongyan's two sentences and directly used Fan Zhongyan's Su Muzhe's opening two sentences, which became a tune and a swan song.
Reading the words in The Su Mu Man can arouse readers' emotions, which is also reflected in the last few sentences. Let's try "wine turns into homesick tears" Although it is the last few words, the poet expressed his melancholy thoughts with gloomy and vigorous brushstrokes, which pushed his travel and homesickness to a climax. In such a word meaning and context, the feelings expressed by the poet are soft, bony, deep and true.
What is unusual about this word is that the first one contains feelings in the scenery, and the second one uses the scenery to express feelings. This is a common way of combining structure and scene in ci, but this word has its own unusual characteristics: autumn scenery and tenderness are intertwined.
Fan Zhongyan's "Su Mu Gai" is full of sound and emotion and profound artistic conception, which is really different from the general graceful school. Autumn scenery described by Su Muzhe is vast, lofty and colorful, with no sense of bleakness. The tenderness in the ci is tender and touching, and it is lingering, and it is the interweaving and intersection of wandering worries and homesickness.
Through the above two points, we can discover the eternal feelings contained in Su Muzhe's landscape writing, and it is pertinent, appropriate and well-deserved to turn this word into a swan song.