The plum blossom fragrance comes from the bitter cold.
In the minds of Chinese, plum blossoms are not only a natural object with elegant flower shape, pure flower color, fresh floral fragrance, thin and thin flowers, but also a symbol of high purity and elegance.
Whether it is the appearance characteristics of plum blossoms or the symbolic spirit of plum blossoms, they have been deeply integrated into everyone's cultural memory. The "Four Gentlemen" are headed by Mei, who is also among the "Three Friends of the Cold Age", and common phrases related to Plum, such as Wangmei Quenching Thirst and Green Plum Bamboo Horse, add a colorful and colorful color to the treasure house of idioms.
Mei culture was carried forward in the Song Dynasty, and a large number of Yongmei poems emerged in the Song Dynasty, and there were more than a thousand Song Dynasty Yongmei poems that were handed down alone.
For example, Lin Kui, who is well known as the "Plum Wife crane", his plum blossoms are the hazy beauty of "the shadow is shallow and shallow, and the dark incense floats in the dusk of the moon"; Wang Anshi has the famous aphorism of "remote knowledge is not snow, for there is dark incense to come"; the bold poet Xin Zhiyi also wrote the gentle and full of "a hundred flowers blossom on the head, see in the cold of ice and snow"; Lu You even wrote more than a hundred poems about plums, of which "zero falls into mud and dust, only incense is like the past", "snow abuse wind is more awe-inspiring, the flowers are the strongest in temperament", and so on, which are even more famous sentences that are sung.
The literati of the Song Dynasty not only chose the image of plum blossoms as the carrier of lyricism in their poems, but their intentional attachment and depiction made the image of plum blossoms more fully literati. They not only inherit the traditional folk concepts and feelings of plum blossoms, but also give their unique personality spirit and life perception to plum blossoms.
The image of plum blossoms in the Song Dynasty not only highlights the distinct personality of the lyricist himself, but also forms a common characteristic of the times. Plum blossoms were placed on the aesthetic taste and spiritual pursuit of the literati of the Song Dynasty, reflecting their outstanding and elegant and delicate mentality. This kind of collective self-conscious singing also makes the plum blossoms have a deeper ideological connotation and richer cultural meaning.
Jiang Kui is a famous lyricist of the Southern Song Dynasty, whose words are unique in art, with distinct personality and artistic style, and his elegant and empty word style had a great influence on the Southern Song Dynasty and the Qing Dynasty, and made important contributions to the history of Chinese words. What is particularly striking is that among the 84 poems of Jiang Kui, nearly 30 of them write about plum blossoms. From the quantitative comparison, it can be said without hesitation that a considerable number of works in Jiang's words use the image of plum blossoms to convey affection.
Why is Jiang Fu so fond of plum blossoms? This is related to the life pursuit of the writer. The plum blossom symbolizes the cultural connotations of purity, elegance and firmness, and has always been respected by the world. Jiang Fu did not become an official in his life, his temperament was lonely and indifferent, to some extent, the two were connected, Jiang Fu regarded plum blossoms as a confidant, and used plum blossoms to express his elegant and quiet personality, indifferent to fame and fortune.
Just like Jiang Kui in the Wing Mei Zi "Bu Operator", "The green calyx is more horizontal, how many plum blossoms are like." In the spring of the West Village, no one appreciates it", the plum blossoms are open, but no one appreciates it, and it also gives the meaning of not meeting their own talents. In the early years, the writer failed many examinations, and has been wandering in the rivers and lakes, wandering uncertainly. Although he befriended the famous people of the dynasty, he was poor all his life, and perhaps it was this life experience that created Jiang Kui's noble and elegant character.
Jiang Kui (江夔), courtesy name Yaozhang , was a native of Poyang , Raozhou ( present-day Poyang , Jiangxi ) , and a famous lyricist and musician of the Southern Song Dynasty. Jiang Fu was studious in his early years, but he took the imperial examination many times, but he always lost touch with Dengke, so he did not have the opportunity to enter the career and cloth for life.
Jiang Kui has a deep knowledge in music, he is familiar with music and painting, all of which are proficient, and he is a person with a variety of talents. He was especially known for his song-filling and composing, and was deeply appreciated by the famous artists of the time, such as Xin Shuyi, Yang Wanli, Fan Chengda, Xiao Dezao and others.
Jiang Kui's achievements in lyrics and music are completely incompatible with his identity. If he could teach in the high-level music institutions of the Southern Song Dynasty, perhaps his musical talent would get more attention and recognition, but the failure of the imperial examination was doomed to Jiang Kui's career. All his life, in order to make a living, he could only be a "cleaner" in the house of the nobles, relying on writing lyrics and composing music to gain the appreciation of the officials and nobles. To put it bluntly, it is to rely on one's own talents to receive a meager income.
Jiang Fu and the poet Xiao Dezao had a friendship, in the early years of Jiang Fu was a cleaner in Xiao Dezao's place, Xiao Dezao was very good to Jiang Kui, and also appreciated Jiang Fu's talent, and he also married his niece to Jiang Kui.
In the spring of the fourteenth year of Song Xiaozong's reign, after Xiao Dezao's recommendation, Jiang Kui went to Nanjing to visit the famous poet Yang Wanli. Yang Wanli felt that Jiang Kui's talent was very high, and he recommended Jiang Kui to the famous poet Fan Chengda. Fan Chengda was a famous pastoral poet of the Southern Song Dynasty, with meticulous descriptions of pastoral life.
Fan Chengda once served as a counselor and governor, and also occupied a place in the poetry world, which can be said to be a celebrity in the cultural circle at that time. Fan Chengda loved plum blossoms, retired to Shihu in his later years, and planted hundreds of plum blossoms on the jade snow slope of Shihu Lake, but he still felt that the place was not wide enough, and the varieties of plum blossoms planted were not complete enough, so he bought a large area in the south to plant some varieties of scarce plum blossoms.
Jiang Fu came to Fan Chengda's Shihu Manor and spent a comfortable life here. And Jiang Kui's most representative Yongmei words "Dark Incense" and "Shuying" were composed after admiring plum blossoms in Fan Chengda's Shihu Manor.
In fact, there is a concise preface in front of the two words of "Dark Fragrance" and "Shadow", which clearly explains the process of songwriting, and the preface reads:
In the winter of Xinhai, the rest of the snow is the stone lake. Stop the month, teach the simple suo sentence, and recruit new sounds, compose these two songs, Shi Hu played endlessly, so that the two prostitutes practiced wildly, the syllables were harmonious, and the names were "Dark Incense" and "Shuying".
The time in the word is the third year of the Southern Song Dynasty Guangzong Shaoxi, that is, in 191 AD, when the writer was 37 years old, he came to Fan Chengda's retired and hermitaged Shihu Villa near Suzhou as a guest. Fan Chengda also loved plum blossoms, bought a garden to plant plums, and wrote "Plum Spectrum". Jiang Fu invested in the master's elegance and talent, and created these two Yongmei songs.
These two words of Jiang Kui were deeply loved by Fan Chengda because of their gentle syllables, so he gave the maid Xiaohong to Jiang Kui. Jiang Fu won the beauty with his talent. Later, Jiang Kui returned to Wuxing with Xiaohong, and when he passed the rainbow, he couldn't help but give a poem in the snow: "Self-contemplation of new words rhymes the most delicate, Xiaohong sings my flute in a low voice." At the end of the song, we will cross Songling Road and look back at the Fourteenth Bridge of Yanbo. From the poem, it is not difficult to see that Jiang Fu was full of pride at this time.
"Dark Incense" and "Shuying" are the representative works of Jiang Kui, and also the famous works of the Song Dynasty Yongmei, which have always been well received. Zhang Yan, a famous lyricist at the end of the Song Dynasty, commented on these two poems of Jiang Kui in "Etymology": "The word of the plum, but Jiang Baishi's "Dark Incense" and "Shuying" two songs, no ancients before, no comers after, self-reliance and novelty, really for the best song." ”
"Dark Incense", borrowed from Yongmei to integrate into nostalgic thoughts, with jade people reflecting plum blossoms, from appreciating plums and jade people, reminiscing about the past and feeling the present, the picture is injected with rich poetry, the realm is high, and the concept is exquisite. "Shuying" Yongmei skillfully transports and integrates allusions, portrays the style and character of plum blossoms, and injects deep thinking and emotions into the ethereal and super-wonderful pen and ink.
Well, having said all this, let's still walk into Jiang Kui's plum blossom words together, and enjoy these two well-known masterpieces together, first look at the first song "Dark Incense", the original words are as follows:
In the old days, how many times did you look at me, and the plum played the flute? Evoke the jade people, regardless of the cold and climbing. He Xun is now getting older, and he has forgotten and written in a spring breeze. But strangely, the bamboo is sparsely flowered, and the incense is cold into the Yao mat.
Jiang Guo, is lonely. Sigh with the road, the night snow began to accumulate. CuiZun is easy to cry, and the red calyx is speechless. Long memories have been hand in hand, a thousand trees pressed, West Lake Hanbi. And the pieces are blown out, when will it be seen?
Jiang Fu wrote plum blossoms, first of all, to set off the atmosphere of the environment and create an artistic realm, and the lyricist caused memories of the past by playing the flute from the plum side under the moon.
The four words of "old moonlight" outline the scope of time and space and render the emotional tone. Recalling the old times, the distance of time is opened; the moonlight is in the sky, holding up the spatial situation; the scene in front of you is connected to the past experience, which makes people sway.
The lyricist writes from the moonlight to the contemplative mood when recalling the past: such a beautiful moonlight, such an amorous night, the lyricist has experienced more than once, how many times the moonlight has reflected the lyricist. On the steps where the moonlight sat, the figure of the lyricist was also faintly left; on the forest path where the moonlight wandered, the footprints of the lyricist were left; on the lake where the moonlight shone, the silhouette of the lyricist walking forward at night was left.
Next, the lyricist wrote: Blowing a jade flute against the plum blossoms is harmonious. The sound of the flute evoked the beautiful lady, and she climbed the plum blossom with the lyricist, and he did not care about the cold and cold of the night. At this point, a three-dimensional, dynamic picture of life is outlined and dyed by the lyricist, thus creating a beautiful and moving mood.
The people and things, emotions and scenes, sounds and colors in the picture are intertwined and displayed one by one in front of the reader, and this new artistic creativity of the lyricist also brings the reader the ultimate visual experience.
Under the moonlight and the sound of the flute, a beautiful woman is picking plum blossoms, and a piece of the woman's affection is poured into the plum blossoms, and the feelings of the writer in the plum blossoms are particularly sincere and touching. This woman is the person who loves the lyricist, and the woman he loves with one heart is together, folding plums and giving them poetry, and plum blossoms bear witness to their love. This scene is beautiful and moving, and it is gripping.
In the next two sentences, the lyricist returns from memory to reality. In order to make a living, he traveled in many places, and time passed like a white colt, hurrying by, and the writer's body also left the imprint of the years. The lyricist could not help but sigh that the brilliant words and writing of the past spring breeze were like the passage of time, and he could no longer write such beautiful words.
In order to illustrate the situation in front of him, the lyricist compared himself to He Xun, a literary scholar of the Southern Dynasty Qi Liang. Hexun is also a person who loves plums, loves plum blossoms, and has always been worried about the plum blossoms in Yangzhou that make his heart long, but later, when he specially rushed back to Yangzhou from Luoyang and visited the plum blossom tree again, it seemed that he wandered all day long, could not be written, and even the original mediocre poem could not be written.
The four words of "Spring Wind Word Pen" are actually from He Xun, who wrote in the poem "Wing Chun Feng": "It can be heard and not seen, and it can be repeated and light." Powder fell in front of the mirror, and the piano sounded. "This is actually a well-crafted poem.
Although He Xun has the heart of loving Mei, his talent cannot accurately and delicately outline his state of mind. Jiang Fu's self-comparison with He Xun is actually a kind of humble tone, which is appropriate and pertinent from the perspective of the lyricist's state of mind at this time.
The writer's pen sharp turned sharply, the realm suddenly changed, he lamented that the years were easy to pass, he lamented that time is easy to grow old, he lamented that poetry is no longer the same as it was then, in the face of red plums, it is difficult to have the confident writing of the spring breeze of that year. These two sentences write the mood of the lyricist.
"But strange, bamboo outside the flowers, incense cold into the Yao mat", these two sentences write flowers and trees ignorant, amorous still, sending the cold fragrance into the lyricist's room, soaking everything around.
Although it is difficult for the lyricist to give affection, it is still inevitable to arouse deep feelings and arouse the poet's poetic excitement; although the lyricist humbly believes that his talent cannot express the beauty and elegance of the stone lake plum blossoms, he is still willing to try it to thank the master for his hospitality.
"Bamboo outside the sparse flowers, fragrant cold people Yao seat", is Jiang Kui's specific depiction of the plum blossoms in Shihu, the lyricist uses bamboo branches to contrast the sparse plum blossoms, writing the shape and appearance of the plum blossoms; the lyricist uses the Yao mat to reflect the fragrance of the plum blossoms, and writes the noble character of the plum blossoms. These short nine words, not much ink, but both form and god, vividly reproduce the shape and quality of plum blossoms. This also shows the lyricist's superb ability to express words and artistic expression.
Fan Chengda's Shihu Manor is located at the foot of the mountain above Suzhou, which is a typical Jiangnan water town. When Jiang Fu came to Shihu Manor, the plum blossoms in the manor first bloomed, but the beautiful plum blossoms in front of him still could not hide the cold and lonely feelings of the writers living in a foreign country.
The emotional ups and downs of the writer's heart: he first thought of picking a plum blossom to send to a distant lover, but because of a snow at night, he broke the thoughts of the writer, the water was far away from the mountains, the wind and snow were blocked, and the plum blossoms were difficult to send; he wanted to borrow wine to pour sorrow, but in the face of the plum blossoms in front of him, it was wine into the intestines and turned into tears of lovesickness.
"CuiZun is easy to cry, the red calyx is speechless", the lyricist held the jade wine glass in his hand, and could not help but spill sad teardrops, facing the red plum silently. The lyricist wants to seek sustenance from the red plum outside the window and use it to dispel the hatred in his chest, but the writer sees things and thinks of people, touching the scenery, and the red plum outside the window causes him to miss the past more deeply.
The lyricist's choice of words is very elaborate, "cui" and "red" are the lyricists deliberately selected a very visual impact color, which is in stark contrast with the light color words such as "moon" and "jade", "Qing" and "Yao" in the previous film.
The emerald green wine glass contrasts with the bright plum blossoms, and the wine in the glass thinks of tears, and the writer sees the plum blossom in front of him as a distant thought, and he faces the cold plum that blooms in the snow. There are no words for each other, but there are thousands of tears. But the emotions in the writer's heart are also like churning waves, he can't suppress the deep thoughts, his thoughts turn into a thousand words, but not a thousand words, love words can not be said even for a few days and nights.
The lyricist naturally continued from "xiangyi" to "long memory", so he opened another heart of memory: long memories were hand in hand, a thousand trees pressed, west lake hanbi. And pieces, blow out, when to see?
Here the lyricist writes about the time when he accompanied his beloved woman on a tour of Merlin. A thousand plum blossoms on the shore of Hangzhou's West Lake, endless and prosperous, reflected on the clear water of the West Lake, but also reflected on the smile of the lover like a flower, it is a crimson, charming, enchanting beautiful face.
The plum blossoms in the stone lake in front of you are also like the fragrant snow sea of Deng Wei Mountain in Suzhou. Deng Wei Mountain is a plum viewing resort, when the plum blossoms bloom, the mountains are full of flowers, a sea of flowers. The white plum blossoms are like snow, and the dark incense is very beautiful when it floats, and the breeze blows and the incense smells for miles.
Meilin in Hangzhou and Xiangxuehai in Deng Weishan are all places where they travel hand in hand, where they have left their sweet and warm romantic love, and where they have left too many memories for the lyricists.
Shihu Manor's proud snow and cold plum, and Hangzhou's Merlin, Deng Weishan's "Fragrant Snow Sea" in the plum blossom is so similar, the scene in front of the writer and the past familiar scenes and places, although so similar, but the person is no longer the person of the year, because he can not even know where she is, the situation of the thing is not human, the word person is very emotional.
The Tang Dynasty poet Cui Hu has a poem "Title Capital City Nanzhuang": "Last year and today, in this gate, the faces of people were red with peach blossoms. People don't know where to go, and peach blossoms are still smiling in the spring breeze. "If you use Cui Hu's poetry to annotate the meaning of Jiang Fu's "Dark Fragrance", or to describe the inner emotions of the lyricist at this moment, I think this can really be regarded as a commentary on the same destination.
The last two sentences write about the withering and drifting of plum blossoms, and the meaning of the words gradually calms down like the mood of the lyricist. Helpless to fall, in the face of the pieces of plum blossoms that fell with the wind in front of him, the writer could only helplessly issue a long sigh: When can I re-appreciate the beauty of plum blossoms with you?
In the preface, Jiang Kui said that "making these two songs" refers to "Dark Fragrance" and "Shuying", which are very characteristic from the genre. Musically, they are two pieces of music with completely different styles; but from the level of lyric content, they are two words written for the same topic, which can be said to be a sister piece to the same topic.
This ingenious and ingenious creative style is original to Jiang Kui, and the meanings of the two words are in the same vein, and the two rings are connected, so with the above interpretation of "Dark Fragrance", and then the interpretation of "Shadow", it will also come to the water. The original words of "Shadow" are as follows:
Moss branches are dotted with jade, there are small kingfishers, and the branches live together. Guests meet, hedge corners at dusk, wordlessly rely on themselves to repair bamboo. Zhaojun is not accustomed to Hu Shayuan, but secretly remembers that Jiangnan and Jiangbei are north and south. I want to wear a ring, return from the moon and night, and become this flower.
Remembering the old story of the deep palace, the man was sleeping, flying near the moth green. Mo is like a spring breeze, regardless of Yingying, early with the arrangement of the golden house. He also taught a piece to go with the waves, but he complained and the jade dragon mourned. When waiting for the time, re-looking for the fragrance, has entered the small window banner.
"Shuying" is a piece of writing with extremely peculiar penmanship, laying out five allusions in a row, using five female characters to contrast plum blossoms, thus personifying and personalizing plum blossoms.
The opening three sentences are to the effect that the branches of the moss plum are dotted with plum blossoms, such as jade crystals, two small kingfishers, double and flying, they sometimes dance in the flowers, and sometimes inhabit the plum blossoms.
In these three sentences, the lyricist cleverly uses the allusion that Zhao Shixiong met the fairy in Luofu Mountain. Legend has it that Zhao Shixiong passed through Luofu Mountain, and at dusk, he met a beautiful woman in Merlin, and they enjoyed flowers and drank in Merlin, during which a boy dressed in green laughed and danced. The beautiful woman Zhao Shixiong met was the plum goddess, and her attendant turned into a kingfisher with plum tree branches after dawn.
The allusion of Jiang Kui is used exquisitely, and the four characters of "moss branches embellished with jade" are used to describe the style and mood of the goddess Luofu, and "the same residence on the branches" is a metaphor for Zhao Shixiong's fairy adventures. This allusion makes the plum blossoms also like the goddess of Luofu, adding a layer of mysterious color of trance in addition to the elegant and beautiful.
The next three sentences are to the effect that when you see its shadow when you are traveling abroad, like a beautiful person in the dusk of the sunset obliquely reflecting the fence, silently lonely, leaning on the slender green bamboo. Thus leads to the second allusion, the Tang Dynasty poet Du Fu's "beautiful person".
Du Fu's poem "Beauty" describes this "beautiful person" as follows: "There are beautiful people in the absolute generation, living in the empty valley... The cold green sleeves are thin, and the sunset leans on the bamboo. "This absolutely beautiful woman is the ideal artistic image of the poet, and It is most appropriate that Jiang Kui used it as a metaphor for plum blossoms to show the arrogant and noble character of plum blossoms.
Before introducing the artistic image of the beauty, Jiang Kui first wrote about the encounters in the guest's hometown, so that the meaning of the word brought a kind of worldly mood of red face confidant; the lyricist also wrote about the sunset and dusk, although this is a very suitable environmental background with plum blossoms, but also revealed a little snubbed and late sigh, so that the image of the beautiful person is more plump.
In the last few sentences of the film, the lyricist uses Wang Zhaojun's allusions to simulate plum blossoms and render the image of plum blossoms. These few sentences are to the effect that: Just like Wang Zhaojun who is far away from marriage, he is not used to the life of marrying far away, and he often misses his homeland in his heart. The writer thought to himself, she wore a tinkling ring, and when she returned from the moonlit night, she turned into a dark fragrance of plum blossoms, which was ethereal and lonely.
Jiang Kui uses beauty to imitate plum blossoms, which is the poet's usual rhetorical technique, because the main purpose of "Shuying" is to write plum blossoms, not Zhaojun, so the use of canons is close to the topic of plum blossoms. This is the reason why the lyricist finished writing Zhaojun, turned the pen sharply, and then wrote other character allusions.
In the first three sentences of the next film, the lyricist uses the allusion of Princess Shouyang to write about plum blossoms, to the effect that I still remember the old things in Shouyang Palace, Princess Shouyang is dreaming, and a plum blossom that flies down is falling on her eyebrows.
These three sentences write the light appearance of plum blossoms when they fall with the wind, and also write the artistic conception of people and flowers blending together, writing people is writing flowers, writing flowers is writing people. The allusion of Princess Shouyang is that the lyricist deliberately arranged the atmosphere group, which should be in response to the scene, bringing a lively and relaxed atmosphere to the atmosphere of the whole word tour, bringing some moments that make people laugh.
The last allusion is the Han Wu Emperor's "Golden House Hidden Jiao" incident, which is caused by the falling of plum blossoms to arouse the mood of the lyricist to cherish the flowers, and then associated with the protection of plum blossoms. "No like the spring breeze, no matter Yingying", is an earnest call, "early and arrange the golden house", but also a fervent hope. However, in the end, "still teach a piece to go with the waves", the flowers fall into the water, in vain to cherish the heart of the flowers and have no power to protect the flowers, the plum blossoms will eventually wither and drift away.
The plum blossoms in Jiang Kui's pen are simulated from five allusions of five women, including historical figures, legendary stories, and literary images. It has some special metaphor and symbolism. The lyricist is actually writing about plum blossoms as a person, writing about a beautiful and beautiful woman with an ice and snow temperament.
Near the end of the shooting, the lyricist focused on making the end of "Shadow" echo the beginning of "Dark Incense", obviously in order to form a kind of whirlwind. This momentum makes these two sister poems of Yongmei complete in structure and contrast with each other in image, just like the two plum blossoms that bloom proudly in the snow, shining in the winter snow.
The "small window banner" in the last sentence of "Shadow" should echo the opening sentence of "Dark Incense" "Old Moonlight", then the "small window banner" should not be interpreted as a picture but as a plum shadow. This means that the plum blossom cannot always belong to the person who cares for it, it will eventually drift away with the water, and I can only play a song "Plum Blossom Fall" to express the grievances in my heart.
At that time, look for the shadow of the plum blossom, the plum blossom has fallen, but the bamboo shadow of the moon reflected on the paper window is simply a natural picture, and people's memories are still preserved. This is a long-term stroke of the pen, and it makes the whole word echo with a timeless and profound meaning.
Jiang Kui's "Dark Fragrance" and "Shadow" are indeed "self-reliant and new", where is the new? It lies in the fact that he completely broke the traditional writing method of his predecessors, no longer a single-line, flat depiction, but created a multi-line, multi-layered, three-dimensional artistic realm and a sexually spiritual and personified artistic image.
Why is Jiang Fu particularly fond of plum blossoms? I am afraid that this is the reason why his people and his affairs are close to Mei. In his life, Jiang Fu cloth cloth has never stepped into the career path half a step, his temperament is lonely, and his arms are diluted. The purity of his character makes him take more elegant things in the choice of words and imagery, and the plum blossom perfectly symbolizes the character of the lyricist, so he has a special love for plum blossoms.
When shaping the form, radiance and character of plum blossoms, Jiang Kui mobilized many materials, used a large number of allusions, there were real and virtual, metaphors and symbols, and crossed descriptions; supported the vast scope of time and space, so that the past and present, here and the other place can be flexibly and jumped through; with the chant as the clue, with lyricism as the core, the scene, narrative, and reasoning are intertwined, and the color, sound, and dynamic rendering are used as renderings.
It can be said that Jiang Kui's Yongmei sister articles "Dark Incense" and "Shuying" are his dedication, his ingenuity, and the most wonderful portrayal of plum blossoms.
I am a small word of poetry, good words to appreciate, good works to read together, may we meet in the beautiful mood of ancient poetry, and jointly appreciate the style of ancient poetry.