Yang Shen (1488- 1559) is a native of Xindu, Sichuan. He was the first scholar in the sixth year of Ming Dynasty and was awarded the title of Hanlin. Jiajing was an official at the banquet. Because of his frankness and outspoken criticism, he was stationed in Yongchang, Yunnan Province by Zhang Ting, the Emperor Shizong of the Ming Dynasty, and died in the relegated mansion. Yang is knowledgeable, has a strong memory, and his writings are extremely rich. There is no one like you in the next generation. Influenced by the Six Dynasties, his poems are different from the first seven poets, not very tall, but fresh and beautiful. Shen Deqian said that he "formed his own team in the shape of Li He's philosophers, formed with the topic, and relied on it" ("On Poetry"). Liu is his masterpiece. "weeping willows and weeping willows bloom in the year, and flying groups fly to the sky." The first couplet uses personification to show the inner world of willow branches and catkins through external images. Weeping willows weeping willows are weeping willows on the ground, and they are bearing fruit, that is, bearing fruit is a fragrant year, which blocks the light flow. Before Yang, poets wrote willow branches mostly for farewell, such as The Book of Songs. Picking the EU ","I have been there, Yangliuyiyi "; In the Tang Dynasty, Li Jiayou's From Tai Su to Wang Tingyi, I feel disappointed and have something to do, and seeing the guests off in the distance; Liu Yuxi's Liu Zhi Ci "Chang 'an is on an infinite tree, and only weeping willows can walk"; Li Shangyin's "Giving Willow" "The dike is far away, and the meaning follows". All this is from the perspective of farewell. Yang was probably inspired by Fu Xuan's "Long Rope Tie a Japanese Car" in Jin Dynasty and Zhang's "Singing Willow" in Tang Dynasty, "If you want to leave thin leaves in spring, you must tie long willow", so he imagined long willow, which seemed to tie the fragrant years. The room year is extremely abstract, a word "ten thousand". With modality and image, we can be touched and bound. Flying catkins and flying flowers is about catkins flying all over the sky. "Mei" means please, and "Mei" means dancing to please and win Tian Yuan's favor. In the era before Yang, poets wrote catkins, or despised catkins for being frivolous and heartless, such as Han Yu's Late Spring, Yu pod without talent, just flying all over the sky, etc. Or it is a pity that it is not important to others. For example, Su Shi's "Shui Long Yin" "Like a flower, it is still like a flower, and no one regrets it." Contrary to the stereotype in the past, Yang believes that catkin is not a heartless thing, and it also knows how to please the distant sky with gentle dancing. These two sentences turned reality into nothingness, sketched out a beautiful spring day with a simple pen, and endowed willow branches and catkins with emotional feelings. "I see things by myself, so everything is my subjective color" (Wang Guowei's "Words on Earth"). A "million" and a "plum" express the inner feelings of willow branches and catkins, and the poet's love for spring is self-evident.
"After the golden distance cockfighting cold food, jade moths turn over the snow before the warm wind". Zhuan Xu comes from Li Shangyin's poem "Willow", "Golden light, Bai Yuhua is still in full bloom", and points out. Golden distance cockfighting refers to equipping chicken feet with metal plates, just like a warrior in armor, who can attack the enemy when advancing and protect himself when retreating. The custom of cockfighting has a long history. "Zuo Zhuan" records: "Ji's chicken fights, Ji leads his feathers, and Lang is the golden distance." Here, the golden distance cockfighting is used to compare the winding ups and downs of willow branches. When the food is cold, the golden willow branches keep swinging up and down, just like the claws stretched out when a chicken fights. Jade moth is a white butterfly. Emperor Liang Yuan has a saying that catkins float. Yang gave it a more vivid image, which means that under the warm wind, white willow cotton flutters all over the sky, just like a white butterfly flapping its wings. Use "golden cockfighting" to describe willow branches, implement the word "ten thousand", use "jade moth turning snow" to describe catkins, implement the word "plum", with appropriate metaphor, novel words, bright colors and vivid images. The couplet is divided into the first couplet, which shows the external form of willow, that is, the dynamics of willow branches and the dancing of catkins.
"don't leave the river, throw the bridge and the side of the road." The "parting" sentence here is to write willow branches in one or three sentences, and the "throwing" sentence is to write catkins in two or four sentences. On the river, the river is the place where willow leaves are broken, and the bridge and roadside are the places where catkins fall. There was a custom of "folding willows" in the Han Dynasty, which was used to bid farewell. The ancients traveled far away from home, often by water because of the inconvenience of land, and relatives and friends often went to the river or the river to bid farewell. This is the case with the so-called "Nanpu sent the monarch, why hurt" in Jiangyan Biefu in the Southern Dynasties. When leaving, the farewell party will fold the willows into gifts, take the meaning of peace and send blessings. Both sides seem to have spiritual sustenance. These two sentences mean that whether on the river or by the river, the willow branches have been broken from the roots, crying for others and hurting others; After the wild dance, catkins either floated on the bridge or fell on the roadside, and no one cared. Neck couplets are translated into lingering branches and the loss of flocks. And the branches are separated from the roots, just like people leave their homes; Flocculent drifting without support is as empty as human support. From the composition point of view, it is a connecting link between the preceding and the following, closely linked. And pun intended, writing willow is also writing people, things and I are in harmony, and reality and reality are born together. It also euphemistically expresses the author's depressed mood of living in a distant place and homesickness. At this point, the style of poetry is also full of sadness. "The wandering soul gradually disappears and the moon is full, and the beauty is heartbroken." Saying "the soul is gone" and saying "the heart is broken" all bid farewell to deep thoughts and sadness. Wandering wanderers face the lonely moon hanging high, and are provoked by the green willow color with infinite homesickness; The beauty who lives alone in a boudoir is deeply moved by the confused willow smoke. The first six sentences contain feelings in the scenery and are written quietly. The last two sentences use the scenery to express feelings and push them to the highest point. From the point of view of composition, the first six sentences are interspersed with willow branches and catkins, and at the end they merge into a river, which makes the whole poem muddle along.
When reading this poem for the first time, it is easy to think of it as a simple poem about objects. In fact, it contains the author's life experience and feelings. The author writes about willows everywhere, but in fact he writes about people. That is to say, the author expresses his will by supporting things, and the so-called words are here, meaning there. Writing willow is a foil, and borrowing willow to express emotion is Yang's ambition. Look at the first couplet, the "Happy Year" of weeping willows and weeping willows, which expresses the author's own thoughts. Time and tide wait for no man, including the author's self-injury and the boss's failure. However, the word "Mei" can not be simply regarded as the author's pursuit of magnificent literary talent under the influence of the Six Dynasties, but it is actually a monologue of the author's lonely soul. The author lives in Yunnan, and seeing the sky in the capital is naturally far away and unattainable. The sky here, on the surface, refers to the "sky" in nature, but actually refers to Ming Shizong, the master of Yang's own destiny. It means that although he was moved and his head was broken, he remained loyal to the emperor and did not change his original intention. But the sky is high and the emperor is far away, and the tears of a lonely minister are sent every day. The author's inner disappointment can be imagined. When people are sad and desperate, they often use the happiness of the past to dilute the pain of the present as the spiritual pillar of survival. In this sense, couplets are both metaphor and realism. We might as well regard it as the author's review of his life in Beijing. Cockfighting and light dancing not only reflect the vulgar side of the author's life, but also reflect his success and spring breeze when he was young. But the author is different from the general feudal scholar-officials. Yang didn't want to go with the world, so he made a face and remonstrated. As a result, he set himself on fire and fled to Yunnan. This tie reproduces the scene of the author's separation from his family. Wandering helplessly on the bridge and roadside is an artistic representation of Yang's own fate. Tail couplet further writes about lovesickness between the two places. Sheng 'an is a peerless genius, and his wife is a beautiful woman with both talents and looks. Husband and wife can be described as a perfect match, like a duck to water. Now that Lao Yan is going to fly separately, our miss is self-evident. Beijing and Yunnan are separated by Wan Li. The author condensed the space of Wan Li at hand with a neat antithesis, writing from the front and closing the beam from the back, which is quite obvious. In China's classical poems, it is a traditional way to write how they miss themselves instead of how you miss each other. Mr. Qian Zhongshu called it "fiction according to facts, combining imagination with memory to create poetic and picturesque feelings", and Jin Shengtan called it "a way to leave a beautiful soul". "This text is from the Book of Songs? After the book began, there were many followers. It expresses a more lasting and profound feeling of missing. Obviously, Yang borrowed this writing, but he didn't seem satisfied. He not only wrote about his desire for a full moon, but also wrote about his wife's harm to Liu. Among them, the wanderer and the beauty, the green plug and the brothel, crossed time and space and skillfully closed together, forming a vague and touching picture. It has a strong appeal.
The language of this poem is fresh and beautiful, and the style is clear and lively. Hu Yinglin put it well: "The wind is full of books, words are naturally like hibiscus, and flowers are fresh for Moby" ("Poetry"); Shen Deqian called it "the wind of the Six Dynasties, all eight sentences were right, and the wind changed" (Poems of the Ming Dynasty). The author sings willows everywhere and writes people everywhere. Syntax is extremely changeable and complicated. It can be said that every word is complete and every sentence is improper, which shows the author's superb skill in layout and diction. Poetry in the Ming Dynasty was dominated by the former seven scholars. Judging from the so-called "everyone is strong and mysterious, and everyone is in the east of the Yangtze River" (Wu Qiao's "Talking about Poetry around the Furnace"), this poem is unique and unique, just like a lovely girl, graceful and pleasing to the eye. In the poem of chanting willow, it is allowed to push the swan song.