preface

"Song of Long Hatred" is a popular long narrative poem created by Bai Juyi, a great poet of the Tang Dynasty in China. For thousands of years, it has been widely praised and praised. This poem was written in the first year of Emperor Xianzong of the Tang Dynasty (806 AD), when the author was thirty-five years old and served as the county lieutenant of Zhouzhi. In October of the same year, I went to Xianyou Temple with my friends. inadvertently talked about the tragic story of the love between Emperor Tang Ming and Yang Guifei, and everyone sighed. They feel that it is a pity that such a strange and moving story is not recorded for fear of disappearing with time and not being heard of in the world. Respecting friends, Bai Juyi borrowed historical figures and legends, after artistic processing and polishing, created the famous work "Song of Long Hatred", the whole poem vividly narrates the love tragedy of Tang Xuanzong and Yang Guifei, and through the artistic image created, reproduces the truth of real life, the story is lingering and sad, poignant and moving, and deeply infects readers. The theme of the poem is "long-term hatred", what to hate? Why hate? Let's go into the story, to explore the roots, to find the answer.

prolegomenon

Traditional Chinese poetry has set three forms of artistic expression since the beginning of the Book of Songs, and it has been said in the "Preface to Poems": poetry has six meanings: one is the wind, the second is the fu, the third is the comparison, the fourth is the xing, the fifth is the elegance, and the sixth is the song. Among them, the three "Song of Wind and Elegance" are actually the content and themes expressed in the poem, the wind is the folk style and the ballad is the folk song and music of various places, the elegant music is the court and the music is used to talk about political affairs, and the song is the sacrificial blessing to use the temple, so I will not repeat it here. The three artistic expressions "Fu Bi Xing" handed down in the Book of Songs have formed a unique artistic framework of Chinese poetry, and the poetry of later generations can not be stripped of the artistic expression set by the three techniques of "Fu Bi Xing" in the creation of classical poetry, no matter what period it is. And the same is true for Bai Juyi.

Analogy is analogy (the meaning of Fu Bi Xingzhong is analogy, which is different from the metaphor circulating on the Internet, in which the detailed difference between analogy and metaphor can be queried separately, and will not be repeated here) is one of the most basic techniques and is the most commonly used. Generally speaking, the things used for comparison are always more vivid and concrete, distinct and shallow than the ontological things that are compared, and are known to people, which is convenient for people to associate and imagine. The image is vivid and clearly highlights the characteristics of things (things). The use of comparison in the Book of Songs is very extensive and easy to understand. Among them, the whole poem uses skeuomorphism to express feelings, such as "Wei Fengshuo Mouse" and "Xiaoya Crane Song", which is unique: and the technique of comparison is even more abundant in part of the poem. "Wei Feng Shuoren", depicting the beauty of Zhuang Jiang, uses a series of comparisons "hands like soft wattles, skin like clotted fat, collars like grubs, teeth like rhinoceros, mantis head and moth eyebrows, clever smiles, beautiful eyes".

Xing, preface other things to cause the words to be sung. In terms of characteristics, there are two kinds of situations: direct rise and rise, and in terms of use, there are two forms: the beginning of the article and the rise of the knot. It stimulates the reader's association, enhances the meaning, and produces a vivid and poetic artistic effect. For example, "The peacock flies southeast, wandering for five miles" in "Peacock Flying Southeast". This use is not related to the content of the text, but in this implication can better stimulate the association and contrast of the following text; "The Book of Poetry Guan Ju" in the article "Guan Guan Ju, in the river island" two sentences are just the combination of the sentence "Guan Guan" called the dove is not only an intention, but also a metaphor for the gentleman courting the woman in the later text, the bird is courting to sing it, and the people are courting to make friends with the piano.

And Fu is to lay out the direct narrative, that is, people express their thoughts and feelings and related things in a straightforward manner. In longer poems, the arrangement and arrangement are often used in combination. The paving system composes a series of closely related landscape objects, state of affairs, characters and character behaviors into a group of sentences with basically the same structure and tone in a certain order. It can not only be vividly and delicately laid out, but also can concentrate and enhance the tone in one go, and can also render a certain environment, atmosphere and mood. Fu is the most basic expression technique, Fu in the Xing, or after the Xing and then use Fu. In the fu body, especially in the rich and gorgeous Han Fu, the fu method is widely used. Han Yuefu and some five-character poems of the Han Dynasty also influenced each other with the Han Fu, and combined the layout with the arrangement to complement each other. For example, "July" describes the life of a farmer in the twelve months of the year, which is to use the endowment.

In "Wenxin Carving Dragon", it is said that "poetry" has six meanings, the second of which is "Fu". Those who are "endowed" are also shopped, shopped and collected, and the body is also written. That is to say, in the "Six Meanings" of the Book of Songs, the second item is "Fu". The so-called "fu" is the meaning of laying out, and the purpose of laying out the literary style is to depict things and express feelings.

So to sum up, the two are actually the techniques and methods used to describe certain things in the poem, and the fu is actually the means to support the logical structure of the article system, such as Li Bai wrote in "The Pavilion of the Expedition at Night" that "the mountain flowers are like embroidered cheeks, and the river fire is like a firefly." It is two metaphors, comparing the mountain flowers to the faces of beauties, and comparing the river lanterns and fishing fires to flying fireflies, but to describe and support these two images is the means of "Fu" to pave the text, the body and the object to write the chronicles, and the constructed image is Xing, the contemporary scholar Mr. Ye Jiaying said: the comparison is from the heart and the object, and the Xing is from the thing and the heart; so to sum up, the three are inseparable from each other, but the comparison technique is not going to implement the whole poem, such as Bai Juyi's "Song of Long Hatred" that we will appreciate next He uses a large number of descriptions and narratives as the majority of the content of the poem, and the metaphorical technique of "being a winged bird in heaven", "Huang Ai is scattered and the wind is sluggish, and the clouds are lingering in the Sword Pavilion." This kind of similar uplifting technique of using the scene to hurt the situation is actually the finishing touch in the text.

"Song of Long Hatred" is divided into four parts, which are described separately, and the first part is that Yang Guifei entered the palace and was favored by Emperor Tang Ming, to show the singing and dancing of the Tang Dynasty. The second part is the tragedy caused by the outbreak of the Anshi Rebellion, the tragedy caused by the Hu people's An Lushan to the love between Tang Minghuang and Yang Guifei, and the tragedy caused to the country; The fourth floor is from the end of "Linqiong Taoist Hongduke". Write about the process of the Xuanzong sect sending the priest to find the soul of Yang Guifei and the Taoist priest of Yang Guifei's transformation into a fairy to return the token and secret oath to the emperor, expressing her endless lovesickness and sad memories of her past love life. transcends the constraints of reality and rises to the height of spiritual romance, so that the love story of the two can be sublimated.

Then I will properly analyze and appreciate the content of these four parts of the artistic technique.

Part I

Chinese literature pays attention to a crested head, pork belly, leopard tail The so-called crested head is to have a very high style of beginning, to undertake the temperament to be highlighted in this article, and the sentence "Han Emperor Heavy Color Thinking of the Country" will cover the focus of the poem, "Han Emperor" was originally Emperor Wu of the Han Dynasty Liu Che, during the period of Emperor Wu of the Han Dynasty, China's national strength was unprecedentedly strong, the Han Dynasty is also known as the most powerful country in human history, and the spirit of the Han people should also be more and more high-pitched for the existence of the strong Han, so as to borrow the Tang Dynasty Tang Xuanzong's "Kaiyuan Prosperous Era."

It can be said that it is very appropriate and enhances the momentum of this article, with the Han Dynasty and Tang Dynasty poets used many techniques, and then the Han and Tang dynasties also became synonymous with Chinese greatness, but in such a prosperous era, the emperor wanted to overthrow the country with heavy colors, and how sad is the turn of prosperity and decline? 'Can't beg for 'but also for the later text to find Yang Guifei's difficulty, and Yang Guifei's favor has made a certain amount of foreshadowing; It is difficult to give up the natural beauty, and once chose the king's side. Bai Juyi used just two couplets to "arrange" Yang Guifei to Li Longji's side, you must know that she was first the princess of Tang Xuanzong's son Shouwang Li Mao, and after being ordered to become a monk, she was canonized as a concubine by Tang Xuanzong Li Longji, which naturally has a lot of stories, but it has little to do with the center of this article, so Bai Juyi omitted it, and it can be seen that the author's thinking is clear.

Another characteristic of Fu is to pave the text, write the body and things, and we look at "looking back and smiling, and the six palaces have no color." The spring cold bathes in Huaqing Pool, and the hot spring water is slippery and creamy. The waiter helped up the delicate and weak, and it was the time of the new inheritance. The cloud sideburns are swaying, and the warmth of the hibiscus tent is **. ** The bitter short day rises, and the king does not come to court early. A few sentences of "Liugong Fandai has no color" wrote the height of Yang Guifei's beauty, and also explained why Emperor Tang Ming favored her alone, and "the hot spring water is slippery and creamy." "The dynamic image portrayed by a beautiful woman bathing in the dust is vividly written, Bai Juyi does not write about the body and the hot spring flows through the skin, the skin of the condensed fat is very beautiful, and the figure and face are not written, and the blank can give people endless imagination; However, the king should also have a degree of favoring his concubines, and if he exceeds this degree, it will cause harm to the country, and the words "from now on the king will not reign early" are broken, and Xuanzong therefore wastes government affairs, and "sisters and brothers are all in the land, and the poor glory is born." Here is also written Tang Xuanzong's nepotism, so that Yang Guifei's brother, the treacherous minister Yang Guozhong, began the country's decline. "The high place of the Li Palace is in the clouds, and the fairy music wind is heard everywhere. Slow singing and dancing and condensing silk bamboo, the king does not see enough. "Continuing the above, the high place of the Li Palace into the green clouds, the fairy music wind drifting everywhere, the slow song and slow dance of the silk bamboo, describing the beautiful feeling of the indulgent song and dance of the world of the two, a sentence, the king of the day is not enough, the preciousness of this kind of love Shaojing and the sorrow of the loss, the Shaojing that has not been seen has passed away in a hurry, since then the mountains and rivers have been broken, and the yin and yang are separated and then they want to cherish it and live up to their existence. The more I don't see enough, the more I want to see it, the more I want to see it, the more I can't see it, even the sorrow that the king can't keep...

Part II

Wei Zheng once said: "Yidi has a human face and a beast's heart, not my race, the strong will be a thief, and the weak will be humble, regardless of kindness and righteousness, and its nature is also." In the interior of the dwelling, and now the number of people to 100,000, a few years later, the nourishment is too doubled, living in my elbows, Fu Wangji, the disease of the henchmen, will be a future trouble" (Anshi Rebellion, as it said, after this battle, the Han people turned to passive defense, and no longer took the initiative to attack. An Lushan was the general of the Hu people in the Tang Dynasty, deeply favored by the Han people, and made a festival envoy, but saw that the country was gradually declining under the governance of Yang Guozhong and other traitorous ministers and increasingly mediocre, and did not think of being loyal to his duties to repay the grace of heaven, but instead gathered all the Hu people from all walks of life to rebel against China, turning a prosperous country upside down, the destruction was full of devastation, the people were upside down, the innocent people were involved in the disaster, and the people were silent, and some scholars believe that China in the classical sense has since declined。 Throughout history, this rebellion in An Lushan is not so much a rebellion as it is more like a sudden massacre and aggression against China by a group of blond-haired and blue-eyed invaders. So we can see Li Bai's poem written in the Anshi Rebellion: Bloodshed weeds, jackals are crowned. Du Fu's: Fat men have mothers, and thin men are alone. The white water flows eastward, and the green mountains are still crying. At dusk, Hu rode all over the city, wanting to go to the south of the city to forget the north and south. There was no sound of battle in the wilderness, and 40,000 rebels died on the same day. The group of Hu returned to wash the arrows in blood.

At the same time, you can also see the spirit of countless Chinese sons and daughters to protect their families and defend the country, Zhang Suiyang broke his teeth, Yan Changshan never had his father and son trapped....

On the temple, in the fourteenth year of Tianbao (755 AD), Fanyang, Pinglu and Hedong three towns made An Lushan rebel in the name of Qingjun side and anti-Yang Guozhong, and the soldiers pointed directly at Chang'an. The following year, Tang Xuanzong took Yang Guifei and Yang Guozhong to flee to Shuzhong (now Chengdu, Sichuan), passing through Ma Weiyi (now west of Xingping City, Shaanxi), Chen Xuanli led the entourage of the forbidden army sergeants, unanimously demanded the execution of Yang Guozhong and Yang Guifei, and then mutinied, killed Yang Guozhong Tang Xuanzong Yan Guozhong Chaochao should be punished, but the concubine was not guilty, and wanted to be pardoned, but the soldiers of the forbidden army thought that the concubine was a disaster for the country, and the Anshi Rebellion was caused by the concubine, and it was difficult to comfort the army's heart, it was difficult to boost morale, and continued to surround the emperor. Tang Xuanzong accepted Gao Lishi's advice, and in order to protect himself, he had no choice but to kill Yang Guifei. In the end, Yang Guifei was given a white silk and hanged under the pear tree in the Buddhist hall at the age of Chinese New Year's Eve, which is the allusion in Bai Juyi's "Song of Long Hatred" that "the six armies are helpless, like a moth eyebrows and a horse to die". And "Huadian is entrusted to no one to collect it, and Cuiqiao Plantagenet scratches her head" also wrote the misery of Yang Guifei after her death, "The king hides his face and can't save it, looking back at the blood and tears and flowing in harmony." also wrote Li Longji's sadness and helplessness.

Bai Juyi's short few sentences in the way of white description, the Anshi Rebellion broke out to the death of Yang Guifei, written clearly, behind the gorgeous rhetoric, there is endless sorrow This kind of praise and disparagement without a word seems to be cold-eyed, but it makes everyone who understands it sad and emotional, this usage is also reflected in the "Golden Bottle Plum" that writes society with cold eyes, so I won't repeat it first.

Part III

The main body of the third part is to tell Tang Xuanzong's thoughts about Yang Guifei after the Anshi Rebellion, which triggered the fourth part of "Linqiong Taoist Hongduke" to go to heaven and earth to find Yang Guifei, paving the way for the later **, and describing Tang Xuanzong's sincere feelings. Of course, it is also written in the form of "Fu", and the description of the bleak and beautiful scenery also highlights the sad and longing mood of Tang Xuanzong at that time. It writes about the loneliness and depression of Tang Xuanzong who took refuge in Shuzhong, and the feeling of depression and frustration, and writes the sorrow of the country after the catastrophe with this gloomy scene, and also reflects the tragedy of Li Yang's love.

When the national disaster passed, I returned to the Chang'an court and saw the scene: the returned pond and garden were still the same, and the liquid hibiscus was not Yangliu. But what about the same scenery? I still miss Yang Guifei, hibiscus like her smiling face, willow leaves like her thrush, thinking of all kinds of past, how can I not weep?

That's true, at this time, Li Longji, as the emperor, is no longer a king, but an ordinary person who misses his wife and love! There are many autumn grasses in the south of the West Palace, and the fallen leaves are full of red and do not sweep. These scenery are still the same, but what does it mean to sweep him away from the vanishing prosperity? Isn't this scene just the same every year, and the people are different every year. Last year, in this door, the peach blossoms on the human face are red, and the human face does not know where to go, and the peach blossoms are still smiling at the same emotion? When I saw that the "Liyuan Disciples" and "Ah Jian Qing'e" had gray hair and fading faces, it aroused even more thoughts of the joy of the past, and I was sad. From Huang Ai to the green of Shu Mountain, from the rain in the palace to the return of Song Kai, from day to night, from spring to autumn, he touches things and hurts everywhere, always sees things and thinks about people, and repeatedly renders the painstaking pursuit and search of the protagonist in the poem from all aspects. If you can't find it in real life, you will find it in your dreams, and if you can't find it in your dreams, you will find it in fairyland. Such ups and downs, layer by layer rendering, make the characters' feelings rise and rise, reaching the **. It is through this kind of rendering, repeated lyricism, and repetition that the poet makes the characters' thoughts and feelings more profound and rich, making the poems "delicate in texture" and more artistically appealing.

The bells and drums are long at night, and the stars and rivers are about to dawn. The mandarin duck tile is cold and frosty, and who is with the jade and the cold? There is no dream at night, lovesickness at night, sleepless sleep night and night again, how much I miss, but "Song of Long Hatred" is a narrative, and the ancients have a dream, so it is used to undertake it, and the soul has never come to dream. I miss each other so much and only hope to see each other in my dreams.

Part IV

Good love is not wishful thinking, but also should be happy with each other, Li Longji wrote above about the deceased Yang Yuhuan, and Yang Guifei has died, so how to tell the heart, and how to make up for the shortcomings of this love, the complete story, so the poet made it up, Tang Xuanzong was sincere, and finally met Yang Guifei again. Emptying and controlling the air is like electricity, ascending to heaven and earth. The upper and lower yellow springs are poor, and the two places are gone. wrote that the world is magnificent and majestic, and the blue and yellow springs are hard to find but can't, but at the end of the road, Yang Yuhuan after becoming an immortal was found in the fairy mountain on the sea. Let's look at Yang Yuhuan's expression when he heard the envoy of the Han family in his sleep: Taizhen heard that the king's envoy had arrived, and woke up from the tent. Put on your clothes and push away the pillow and out of the sleeping tent. Open the screen one by one and lower the beaded curtains. Half-combed cloud temples just woke up, and before he had time to comb, he walked down the altar, and he was crooked with a flower crown. That kind of excitement and longing is not a word of lovesickness, but it is also full of lovesickness, jumping on the paper. These are all the skills of Bai Juyi! Yurong is lonely and tears are dry, and pear blossoms bring rain in spring. Gazing at the king with affection, he said goodbye to the two dim. The Zhaoyang Palace is full of love, and the sun and moon are long in the Penglai Palace. Looking back at the world, I didn't see Chang'an and saw the dust and fog. The so-called two lovesickness is this, I miss not only Tang Xuanzong in the world, but also Yang Yuhuan who I am far away in Pengshan, but Bai Juyi's description is always so appropriate, and in the cold viewing, it shows the reader infinite warmth. Yang Yuhuan has always been the Yang Yuhuan who "has uneven snow skin and flowers", a delicate and gentle lady, not the willful sprinkling of Pan Jinlian who shouts every night, but her endless lovesickness and shame in her beautiful cultivation is just "only the old things are affectionate, and the alloy hairpin will be sent." The helplessness and bitterness in it stop talking, and the meaning is long. It also reflects the delicacy and cultivation of traditional Chinese love.

But the heart of the religion is like Jin Tianjian, and the heavens and the earth will meet. Although the two of them have not seen each other here, they will not forget this love in the future, and the two will always meet, draw a settlement for this lovesickness, and finally say the sustenance and will of this love: July 7 in the Palace of Eternal Life, when no one whispers in the middle of the night. In heaven I wish to be a winged bird, and on earth I wish to be a branch. The days are long and sometimes endless, and this hatred is endless.....

summary

"Song of Long Hatred" tells the love story of Emperor Tang Ming and Yang Guifei in the way of a whole narrative (with fu). The whole poem vividly narrates the love tragedy between Tang Xuanzong and Yang Guifei. The poet borrowed historical figures and legends to create a moving story that swirled and turned, and through the artistic image created, he reproduced the reality of real life, infecting readers for thousands of years, and the theme of the poem is "long hatred". The poem has had a profound influence on many later literary works.

This poem is one of Bai Juyi's most outstanding works, and it is also one of the examples of the close combination of lyric poetry and narrative poetry in the classical poetry of the motherland. At the beginning of the poem, there is some condemnation of the hero and heroine, but as it develops, the poet enriches the story with his own feelings and imagination, giving this love tragedy a more universal meaning, so that the author himself and the majority of readers have a high degree of sympathy for it. To a certain extent, it has departed from the original historical appearance and has become a "amorous" poem full of sentimental sentiment based on the love of Li and Yang. In his early years, Xuanzong made great efforts to govern the world, so he had Kaiyuan to rule the world, and in his later years, he was desolate and immoral, so there was a chaotic era of heavenly treasures. In the face of this concrete reality, the poet has formed contradictory and complex feelings for this natural elder, sometimes praising nostalgia, sometimes criticizing and reprimanding, and "Song of Long Hatred" has both. This is determined by the poet's perception of historical events and social life. In the process of writing, the author broke the rules of "the truth of the matter" and "not for the sake of writing" that he insisted on in writing satirical poems, and repeatedly used imagination and fiction techniques in the narrative process, the perfect combination of emotion, scenery and reason, and the strong lyricism throughout the whole process of the narrative. The tragic fate of man and the transcendence of this fate based on Zhuang Chan thought, the pursuit of spiritual freedom and spiritual pleasure The vivid characters, the beautiful language and tone, the lyrical scene and the narrative are also the artistic characteristics of "Song of Long Hatred".

Among them, the strict and natural narrative mode, the mode of starting and turning is extremely high skill and artistic achievement, in the description of the layout inherited the gorgeous and gorgeous rhetorical style since the Northern and Southern Dynasties, with typical palace meaning characteristics, because of the vivid image of the depiction, the impression of the gorgeous is a very high artistic achievement; however, the "Song of Long Hatred" itself is too gorgeous, although it contains rich feelings as the connotation, so as a monument in the history of literature, but its style of writing is glamorous, and there is no "Song of Long Hatred" in the poems written by the late Tang Dynasty in later generations The general sincere emotions and values of the times have gradually degenerated into rhetoric that pursues flashy words and empty contents, but it has also transformed the style of poetry into a more delicate and delicate one. But as far as Bai Juyi himself is concerned, his poetry skills are absolutely first-class.

References: Baidu Encyclopedia, Poetry Preface, Book of Poetry, Long Hate Song, Wenxin Carving Dragon