The world outside the fairy Shu looks at Daiyu (6)

The proposition that there is infinite infinity was discussed by the ancients. Pen @ fun @ pavilion wWw. ｂｉｑUｇE。 info Zhuangzi's "Zhuangzi" says in the "Tianxia Chapter" of the inner chapter: "One foot of air, half of it is taken in a day, and it is inexhaustible." It is the proposition that matter can be divided into infinitesimal amounts. Many times people think that there is no limit to thought, that the space for thinking is infinite, and that there is no limit to the instantaneous feeling of thought. However, energy is conserved, manpower is sometimes and poor, and manpower is insufficient in the face of time, relying only on continuous reproduction and continuation, so that the hope of future optimism lies.

I say these ethereal things because I want to discuss the poems in "Dream of Red Mansions" here. As the old saying goes, "a cloth with water" means that the river and the sea cannot be blocked, and the heart can cross time and space, so recalling the old version of "Dream of Red Mansions" Chen Xiaoxu's version of Lin Daiyu is impressive, but the most repeated reproduction in my mind is Ouyang Fenqiang's "endless lovesick blood and tears throwing red beans" sung by Ouyang Fenqiang, so that I have a little understanding of the bosom friend, and thus I have a little understanding of the "hills and valleys in the chest" of the fat Yan Zhai. If a person has a chest cut, will he unconsciously get stuck after watching "Dream of Red Mansions" for eighty times? Maybe people are easy to go from simplicity to luxury, and it is difficult to return from luxury to simplicity. People's understanding of poetry is that ancient poetry tends to be infinitely nostalgic, and modern poetry tends to be endless. If the poems in the first 80 chapters of "Dream of Red Mansions" linger infinitely, then the poems in the 87th, 89th, and 94th chapters of Gao E's last 40 chapters are like straight cylinders or cannonballs, and the thinking is choked without spinning and reading. Cao Xueqin is open-minded, if the continuation of the book can't benefit others, then it's okay not to read it.

Popular poetry is not the same as fast food poetry, which is the difference between generational aftertaste and temporary pleasure. This is caused by the difference of the times, modern people are really bright lights, and ancient people are lonely lamps in the long night, so when the spiritual world of ancient people is put into concise ancient texts, it is very different from modern people in the sense of time and space. Modern society can give people too many things at the level of spiritual senses, that is, too many good-looking, fun, and delicious things, the proportion of ancient people who are rich in society is too small, and the rich literati have too many twists and turns. Modern people can use technology to present the grand cosmic wonders and the microscopic electronic world, and the lack of specific perception is obvious. When modern poetry is fully socialized, poetry becomes like passing things, and these straightforward descriptions may become as old as rock paintings after a thousand years.

The time and space of ancient poems and texts in white strokes may be infinitely enlarged and elongated, but also infinitely compressed and simplified. Whether it is bold or graceful, this phenomenon will exist. Tang Dynasty Wang Zhilian's "Climbing the Stork's Tower" "The Yellow River Flows into the Sea at the End of the Day" and Li Bai's "Yellow Crane Tower Sends Meng Haoran to the Guangling" "The Lonely Sail Shadow is Far Away and the Blue Sky is Exhausted, Only the Yangtze River Skyline Flow" expands people's eyes and thinking; Fan Zhongyan of the Northern Song Dynasty "The Pride of the Fisherman" "A glass of turbid wine...... The general's white-haired husband tears "his eyes from thousands of miles to the opposite side", "The Fisherman on the River" "Jun looks at a leaf boat, haunts the storm" and his eyes wander inside and outside the storm; Su Shi's "Jiangchengzi" "Ten Years of Life and Death" is a lonely lamp in one night, seventy words pouring out the long time, and endless lovesickness under the footprints of thousands of miles of micro courts. Come to think of it, if the thoughts of the ancients were pressed into the modern hard drive, it would probably explode.

The poems in "Dream of Red Mansions" are diverse in form, and the poems of different characters have their own characteristics, most of them are represented by Daiyu, and the grandiose ones are less grandiose than Xue Baochai's poems. The poem "Funeral Flower Yin" is the first poem of the Red Mansion, which originated from the Tang Dynasty poet Liu Xiyi's work "Generations of Sorrowful Pulsatilla", and Cao Xueqin's use of superimposed techniques to present the scene of Daiyu wandering in the long courtyard and crying is his pinnacle work; Xue Baochai's "Linjiang Immortal" in "Liu Fu Ci" is a masterpiece that can compete with Xiaoxiang concubines, and Daiyu's "Tang Duoling" continues its own style; Although Baoyu's "Red Bean Song" gushes with infinite emotions, it is like the tide of the Qiantang River coming slowly, and it is free to collect and release priceless feelings; Daiyu's "Autumn Window Wind and Rain" and "Peach Blossom Walk" are just like what Liu Zhengfeng said in Jin Yong's "Smiling Proud Jianghu": "Good poems and good words pay attention to music but not lewdness, sadness but not sadness, why not good songs?" But Daiyu was born like this, and perhaps fate tends to take this poem.

The 22nd lantern riddle has Jia Huan's beast head, Jia Zheng's inkstone, the 37th chapter has the elegant flower note of Tanchun, Jia Yun's obedient worship post, the 28th chapter has Jiang Yuhan's "Bai Meijiao", and Xue Pan's "Mosquito Hum".

2016.5.13