Walking side by side with Guan Xinxin on the riverbank, it seems that the goal is to move in the direction of the sea.

Looking at the spring, the river, the flowers, the moon, and the night, Chen Ziang suddenly had the poem "Spring River Flower Moonlight Night" in his heart.

As he walked, he whispered the poem to Guan Xinxin.

"The tide of the spring river is even with the sea, and the bright moon on the sea is born together.

Thousands of miles with the waves, where there is no moon in the spring river!

……”

This is a poem by the Tang Dynasty poet Zhang Ruoxu.

The poem follows the old theme of Chen Sui Yuefu, uses the beautiful pen full of life, takes the moon as the main body, and takes the river as the scene, depicting a beautiful and distant and trance-like picture of the moonlit night of the Spring River, expressing the sincere and moving parting feelings of the wandering woman and the philosophical feelings of life, showing a unique cosmic consciousness, and creating a deep, narrow and quiet realm.

The whole poem has a total of 36 sentences, every four sentences change rhyme, the whole article integrates poetry, painting, philosophy as a whole, the artistic conception is empty, the imagination is peculiar, the language is natural and timeless, the rhythm is melodious, and it washes the thick fat and greasy powder of the palace body of the Six Dynasties, which has a very high aesthetic value, and is known as the reputation of "covering the whole Tang Dynasty alone".

In fact, Zhang Ruoxu and his masterpiece, just like his name, were almost turned into nothingness by time.

Fortunately, in the end, it was just a false alarm, and he and his poetic soul of "Spring River Flower Moon Night" soared in the spiritual world of the Chinese, and will always shine on the Chinese poetic sky.

Past.

Late one night, the two Tang poems that the world has never seen before, "The tide of the spring river is even with the sea, and the bright moon on the sea is born together", jumped into the eyes of the poet Hu Yinglin.

Since then, spring, river, flowers, moon, night - the five most beautiful images between heaven and earth suddenly shine from the pile of old papers and rush into the eyes of the world.

Hu Yinglin, who was over half a hundred years old, was at home at the time, and he had nothing to do to compile an anthology of poems from the past dynasties, "Poems", with the intention of collecting poetry treasures from all over time.

Such an excellent poem was abandoned into the dark room of history, if Hu Yinglin hadn't seen it in the Song Dynasty Guo Maoqian's "Yuefu Poetry Collection", I don't know how many years it would have been wronged.

It was from Hu Yinglin's compilation of "Poems" that this genius work was discovered, and it began to be rolled into a huge snowball, until it was pushed to the peak of Tang poetry.

At that time, almost a thousand years have passed since the birth of this great Tang poem, that is, ten centuries.

This great Tang poem was almost lost, and thus his author was almost buried.

However, the scholars can only roughly tell the world: the poet's name is Zhang Ruoxu, and he lived in the early Tang Dynasty and Kaiyuan period. After the prosperity of the Kaiyuan Dynasty, the poet who was frustrated by officialdom returned to his hometown Yangzhou. One spring night, he walked alone on the bank of the Yangtze River. At the time when the flowers are in full bloom, the bright moon is shining, and the spring water of a river is rolling eastward, and the magnificent scenery of nature has touched the poet's thousands of thoughts and galloping poetry.

It seems that the five poetic images of a beautiful girl, such as divine help, spring, river, flower, moon, and night, are pouring out of the sky in clusters and erupting wantonly under the poet's pen.

The warm and full atmosphere in the poem suddenly made the heavens and the earth transparent, and the Vientiane was clear, which also made the poetry of the early Tang Dynasty shine.

"Spring River Flower Moonlight Night", which shines in the sea of Tang poetry, is more like an accident, an accident on the Tang poetry show, an isolated peak.

The content and expression of this long poem are almost unprecedented in the history of Chinese poetry, and it is difficult to find a work similar to it from the Book of Poetry to the new poems.

It stands alone on the long river of Chinese poetry, and there is no one like it before and after.

People can't learn more about Zhang Ruoxu's life story, but can only interpret more of the great poems he left behind.

Although the words of this poem are exquisite, the essence of the whole poem is contained in the two sentences "Who first saw the moon on the riverside, and when did the river moon shine at the beginning of the year?".

Because it is these two sentences that give the galloping river of Tang poetry another direction, so that a poem transcends poetry and reaches another higher height - the height of philosophy.

This is unique in the starry Tang poetry starry sky, and it is precisely because of this that it has become a lonely peak with no companions before and after.

And it is also poetry, the philosophy of poetry, the poetry of philosophy.

In the first four sentences, four of the five main images of spring, river, flower, moon and night in the whole poem are launched together, and it immediately creates a picture of the vast and profound picture of the great river going east, the bright moon hanging alone, the spring tide surging, and the endless night field, which immediately determines the majestic and magnificent tone of the whole poem.

But the poet's focus is not on the landscape. He depicts the magnificence of spring, river, flowers, moon and night in order to arouse the question of "who first sees the moon on the riverside?" in the face of such magnificent nature.

This is a grand and age-old question, one of the fundamental questions of philosophy.

As for the second half of the poem, "Life has been infinite from generation to generation, and Jiang Yue is only similar every year." I don't know who Jiang Yue treats, but I see the Yangtze River sending water. "It's a little confused and helpless, so it's also sad.

This confusion, helplessness, and sadness are caused by the eternity of nature and the transience of life, and it is precisely the unsolvable philosophical questions that precede them that have caused them to trouble.

In the face of such a wonderful and eternal nature as spring, river, flower, moon and night, people who are small and have a short life will always feel lost, sad, and even hopeless.

"Spring River Flower Moonlight Night" has created an alternative theme and emotional style for Tang poetry, its vigorous imagery and sentimental passion, just like the early Tang Dynasty of youth, in the dead of night, and the nature of all things grow in love.

Although the result of this love made the early Tang Dynasty release the hormones of youth, it also made its gorgeous youth taste sentimental for the first time.

Because the content of this poem is to express the relationship between man and nature, and to explore the philosophical proposition of ephemerality and eternity, it is destined to hide the ultimate sentimentality in its gorgeous youthful shell. Although, this sentimentality is not about the vigorous early Tang Dynasty, but about the eternal fate of human beings and life that transcends time and space. This is also the unique value of Zhang Ruoxu, an alternative poet.

Zhang Ruoxu seems to be unaware of what the poets of his time are paying attention to and what they are writing, and he single-handedly runs counter to the large army of Tang Dynasty poets, casting his eyes on the shadowless and invisible time, and throwing himself into the unreachable starry sky. He explores the existence of the universe from a perspective that no one has ever seen before, and uses the eternal universe as a reference to reflect on the fate of mankind.

From the eternity and infinity of nature, he thought of the shortness and impermanence of life, raised the relationship between man and nature to a philosophical level, and issued the ultimate caring sigh of "life is infinite from generation to generation, and Jiang Yue is only similar every year", which not only carries helpless sadness and confusion, but also expresses the dream of youth and the splendor of life without sadness. Just like his name, his sorrow is an illusory sorrow, a bit of "sorrow for the sake of new words".

In this way, he shows the reader another side of the expressive theme of Tang poetry, and thus establishes a unique mark that belongs only to him.

After writing "Spring River Flower Moonlit Night", Zhang Ruoxu hurriedly extinguished the traces of life, but lit up the starry sky of Tang poetry.

It is a poem that explores and transcends time and space, and writes about the common feelings of human beings when they think about "where did we come from and where are we going?"

Only in the early Tang Dynasty, an era when everything was booming, would anyone have the ambition to pursue the truth of this lonely mystery, and someone would have the courage to explore the mystery beyond the scope of human cognition.

Zhang Ruoxu carried the spiritual power of the early Tang Dynasty to strive for progress, representing hundreds of millions of confused hearts in the world, opening the blurred poetic eyes, gazing at the sky, confused and curious, curious and seeking, seeking and feeling, so that the self-consciousness of human beings awakened for the first time in Tang poetry, and made the mysteries of the universe outside of secular life bloom in Chinese poetry for the first time, making literature have anthropological significance at the same time.

After the release of "Spring River Flower Moonlight Night", its maverick poetic gesture shows that it has long gone beyond the scope of poetry.

Since then, the moon in Yangzhou has become the most famous moon in China.

For example, Jiang Kui's "Twenty-four Bridges are still there, the heart is swinging, and the cold moon is silent".

For example, Du Mu's "Twenty-four Bridges on a Bright Moon Night, Where Does the Jade Teach".

Zhang Ruoxu's philosophical construction of the Chinese concept of "heaven and man" from the perspective of poetry is of great significance. So much so that Su Dongpo's popular song "When is the bright moon, ask the wine to the sky" obviously carries the genes inherited from "Spring River Flower Moonlight Night".

It is precisely because of this that the role played by "Spring River Flower Moonlight Night" in the history of Chinese poetry development is far from being as simple as a masterpiece.

Qing dynasty Wang Minyun's "Xiangqilou on Tang Poems" cloud: "Zhang Ruoxu's "Spring River Flower Moonlight Night", with the style of "Xizhou", is lonely, but it is for everyone. ”

Mr. Wen Yiduo also praised in "The Self-Redemption of Palace Poems": In the face of magical eternity, the author only has astonishment, no fear, only longing, and no sadness...... The finite and the infinite, the affectionate and the unforgiving—the poet and the eternal suddenly meet...... The whole poem is like a mysterious and intimate conversation, some of which are strong cosmic consciousness, love sublimated by cosmic consciousness, and sympathy radiated by love.

This is the poem within the poem, the pinnacle of the pinnacle.

……

Guan Xinxin and Chen Ziang originally walked side by side, the distance was very close, but they were unrelated to each other.

Later, probably because she felt that Chen Ziang's voice was too small to hear clearly, she leaned closer.

In the end, she grabbed Chen Ziang's arm and walked forward together.

Chen Ziangton felt that women like Guan Xinxin and Guan Tongtong were extremely lacking in spirit.

In other words, it is the pursuit of spirituality, far beyond ordinary people.

Spiritually, they are hungry and demanding.

Or maybe they are too clever to see through material appearances, and they desperately need to fill in the spiritual way.

Words are inferior to others, and poems do not represent the author.

But words, which should be beautiful, will always be beautiful.

People only see the beauty underneath the beauty and nothing else.

People are different, what they see on the surface is very beautiful, but the bottom may be full of garbage.

"Can you transfer the business back to Lin'an this year?" After listening to Chen Ziang's poem, blowing the night breeze, Guan Xinxin held Chen Ziang's arm with one hand, and stroked the hair that was blown by the cool breeze in front of her forehead with the other.

"In the transfer, finish my film and the transfer can be completed. Chen Ziang didn't want to go back to Youzhou.

Because the parents often live in Lin'an, the children are also in Lin'an.

What's more, Guan Tongtong is about to leave Youzhou and go to work in Jinmen.

When the time comes, he will be even more lonely in Youzhou.

Guan Tongtong went to work in Jinmen and could only come back on weekends.

And when she comes back, most of her is also back to Lin'an to see her children.

According to Chen Ziang's estimate, four weekends a month, Guan Tongtong will definitely take three weekends to see the children, and the last one will be left for him.

"It's good to come back, you don't go far away, you can see the children every day. Guan Xinxin didn't know that Chen Ziang liked children so much.

Most of the reason for his current state is that he can't see his children.

Many parents miss their children when they don't see them for a day.

Chen Ziang couldn't return to Lin'an for more than half a year, and he couldn't see the children.

Even this year, he didn't get to see his children as often.

Everyone has time on weekends or holidays, and Guan Tongtong basically didn't miss returning to Lin'an on weekends and holidays.

Chen Ziang followed back, and the three of them met......

Let's not mention that Chen Ziang will feel awkward, even Guan Tongtong himself is unwilling.

In the end, the wife was not depressed before and after childbirth, but her husband became depressed.

Chen's father and Chen's mother don't know yet, if they do, it is estimated that a few families will be able to quarrel.

Chen Ziang and Guan Xinxin walked and walked to a hotel.

Chen Ziang stopped and looked at the hotel.

Guan Xinxin didn't look at it, just looked at the river.

However, when Chen Ziang walked towards the door of the hotel, Guan Xinxin also took his arm and followed.

It's easy to deceive.

By the time Chen Ziang and Guan Xinxin returned home, the children had already fallen asleep.

Before, Nan Nan insisted on not sleeping, sitting on the sofa and nodding frequently, almost falling asleep.

Guan Tongtong wanted to carry her back to the house, and she cried.

Said to wait for Baba to come home.

After crying a few times, he completely collapsed.

Chen Ziang came back late.

In the past, the little ones went to bed before 9 p.m.

When he came back tonight, it was already past ten o'clock in the evening.

As soon as Guan Xinxin got home, she went into her room, looked in the mirror, and could see that the flush on her face had not faded.

Guan Tongtong came down from the second floor and talked to Guan Xinxin in the living room on the first floor.

After talking about the door for a long time, Guan Tongtong couldn't help but want to open the door to go in, but found that the door was locked.

That's not how it used to be.

Fortunately, Chen Ziang went upstairs, otherwise Guan Tongtong would have thought that Chen Ziang was inside.

"Go to bed early, I'm too tired to take the little ones out the door today. Guan Xinxin didn't open the door and announced that she was going to bed early.

Guan Tongtong didn't continue to pester, and turned to go upstairs.

The children and aunties are asleep. After going up to the second floor, Guan Tongtong said to Guan Dandan, who was still watching TV in the living room on the second floor.

There was no TV in the living room on the third floor, and Guan Dandan didn't go to bed so early, so he could only go to the living room on the second floor to watch TV.

As for the first floor, she didn't want to go.

The first floor is my sister-in-law's territory.

"Husband, aren't you taking a bath?" Guan Tongtong continued to go up to the third floor, and when he entered the bedroom, he saw that Chen Ziang was not ready to take a bath, and hurriedly urged him.

Chen Ziang felt a little bitter in his heart, and this signal was released......

Gotta wash for a long time.

It is not an ox beaten of iron, ploughing two fields, and needs a break in between.