Joke Collection Website - Talk about mood - What does "How much deeper is the courtyard, the clouds in the window, the foggy pavilion, the spring is late, and who is haggard and loses the beauty for whom?" What does it mean?
What does "How much deeper is the courtyard, the clouds in the window, the foggy pavilion, the spring is late, and who is haggard and loses the beauty for whom?" What does it mean?
This word describes the resentment between friends in late spring, and is highly praised. The "courtyard" is deep, the "curtains" are heavy, and it is also "willow smoke", both thick and dense - living in this gloomy and secluded environment isolated from the inside and outside, the heroine is suppressed and imprisoned both physically and mentally. . The overlapping of three words "deep" indicates that she is blocked, which is like the suffering of being imprisoned. It not only implies that the heroine is alone, but also has a feeling of deep thoughts and resentment that cannot be expressed. Therefore, Li Qingzhao praised it so much that he once dubbed it "the courtyard is deep" for several courtyards. Obviously, the heroine's material life is well-off. But her extreme mental anguish is self-evident.
The following sentences of "Jade Carved Saddle" demonstrate in depth the ruthless ravages of reality on their hearts: lovers are unlucky and never return from their travels; spring is about to pass, and years are like water. At the end of the chapter, "Tearfully asking about the flowers" actually means asking myself with tears in my eyes. The flowers were silent, and they were not avoiding the answer. "The flowers flew across the swing", didn't it reveal the fate she was facing more clearly than words? In the glistening tears, flowers are like people, and people are like flowers. In the end, the flowers and people are indistinguishable. It is also difficult to avoid the fate of being abandoned and reduced. This style of writing, which completely uses the environment to hint and highlight the characters' thoughts, is profound, unforced, and tortuous, and truly expresses the unspeakable inner pain of the aristocratic young returnees living in a claustrophobic state.
Of course, tracing back to its origin, before that, Wen Tingyun had the sentence "A hundred tongues ask about the flowers but not a word" ("Xichun Ci"), and Yan Yun also had a sentence "The whole day asks about the flowers without a word" ("Luohua"). Ouyang Xiu's concluding sentence may be derived from this, but not only is the language more beautiful and the meaning deeper, the state of mind is more complete and the charm is longer than the original sentences of Wen and Yan.
p>It is said that there are several deep courtyards.
Yu Biyun's "Explanation of Selected Poems of the Tang, Five Dynasties and Two Song Dynasties": This poem contains lines such as "The curtain is deep and the building is far away" and "The reds are flying across the sky", which are full of sustenance and not just for spring.
also. Or see "Yangchun Collection". Li Yi settled on six words. Yi Anyun said:
"I love this word very much." It is composed of several lines of "The Courtyard is Deep", and its sound is the same as that of the old "Linjiang Immortal".
Mao Xianshu's "Ancient and Modern Ci Theory": Yongshu's Ci goes: "With tears in his eyes, he asked the flowers without saying a word, and the red flowers flew across the swing." This can be said to be deep and muddy. Why? Tears because of the flowers are a layer of meaning; asking about the flowers because of tears is a layer of meaning; the flowers were silent, this is a layer of meaning; not only did they not speak, but they also fell in disorder. , flying over the swing, this level of meaning. The sadder the person is, the more irritating the flowers are, the shallower the words are, the more profound the meaning is, and there is absolutely no trace of laborious description. How can we say that it is not deep but muddy?
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This poem uses vivid images and The clear and simple language expresses the complicated inner feelings of missing a woman in a boudoir in an implicit, euphemistic, and profound manner. It is a masterpiece of boudoir poetry that has been passed down through the ages.
The first sentence of this poem contains the words "deep and deep". The use of overlapping words makes the whole poem have a deep scene and a deep feeling, thus giving rise to a profound artistic conception. The poet first carefully described the heroine's residence. The two sentences "The willows pile up with smoke, and the curtains are countless" seem to be a set of movie panning shots, from far to near, gradually moving forward, and gradually deepening. As the camera pointed, I first saw clumps of willows moving past my eyes. "Willows piled with smoke" refers to the scene of layers of fog on the willow cages in the morning. With the word "pile", the willows are dense and the fog is thick, just like an ink painting. As the clumps of willows passed by, the poet panned the camera toward the courtyard and toward the curtain. This curtain is not one layer, but one layer after another. He didn't give any trivial explanation of how much it weighed, and simply said, "It weighs nothing." "No weight" means countless weights. The phrase "no more than one" makes people feel that this courtyard is extremely deep. At this point, the author used the sentence "Yule Carved Saddle Traveling to Ye", opened a stroke, and directed her eyes to her husband; then she turned around and wrote: "The building is high and Zhangtai Road cannot be seen."
It turns out that the woman in this poem is alone in a high-rise building. Her eyes are looking through the heavy curtains and piles of willow smoke towards the place where her husband often hangs out.
The first part of the poem focuses on the scenery, but "all scenery words are words of love" (Wang Guowei's "Human Words"). In the deep courtyard, it seems that one has seen a locked and beautiful heart. A mind isolated from the world. The second part of the poem focuses on the love story, with the rain blowing wildly and the wind blowing wildly, urging the end of spring and the heroine's youth. She wanted to retain the spring, but the wind and rain were ruthless and the spring could not be retained. So she felt helpless: "With tears in her eyes, she asked the flowers without saying a word, and the red flowers flew across the swing." She had no choice but to place her feelings on the flowers whose fate was the same as hers. These two sentences contain an infinite sense of sadness. Mao Xianshu, a native of the Qing Dynasty, commented: "'With tears in my eyes, I asked about the flowers without saying a word, and the red flowers flew across the swing.' This can be said to be deep and muddy." (Quoted from Wang Youhua's "Ancient and Modern Ci") He means that language is muddled and emotional. It is often difficult to have both layers of depth, but these two sentences of European words unify it. The emotional levels of these two sentences are as follows: The first level is about the heroine crying because of the flowers. Weeping at the sight of flowers and feeling sad for the moon are common feelings of ancient women. At this moment, the woman is remembering her husband in Zaoma Zhangtai (Zhangtai Street in Chang'an of the Han Dynasty, later generations used it to refer to the place where you wandered), but she can't see it. In her eyes, she can only see the flowers that were destroyed in the violent storm, which reminds her of this. I couldn't help but shed tears of sadness at my own fate. The second layer is about asking flowers because of tears. Tears are caused by sorrow, and you must find someone to vent to. This object has now transformed into a flower, or the flower has transformed into a human being. So the heroine asked the flowers infatuatedly. On the third level, Hua'er is silent and speechless. Then the poet wrote the fourth level: Not only did the flowers remain silent, but they flew away on the swing one after another as if they had deliberately abandoned her. People walked around the stage, flowers flew across the swings, both loving people and ruthless things responded with indifference to her, how could it not make people sad! This writing method of using the reaction of objective scenery to set off and contrast the subjective feelings of the characters is precisely to deepen the feelings.
The poet digs deep into the emotions layer by layer, not deliberately carving them out, but like bamboo shoots with buds and joints, they are naturally generated and unfolded step by step. In the natural, clear and easy-to-understand language, there are hidden meanings. With deep and sincere feelings.
This poem has a profound artistic conception. The words describe scenery and emotion, and the scenery and emotion are so integrated and natural, forming a complete artistic conception. The poet's artistic conception is also layered. In terms of environment, it goes from the exterior to the interior, using deep rooms to set off deep feelings, and using dark and miserable colors to exaggerate the lonely and sad mood. In terms of time, the first film is about a foggy morning, and the second film is about a windy and rainy dusk. From morning to night, the characters' hearts are opened one by one. After three sentences of the film, Yu Pingbo, a contemporary, commented: "'March twilight' points to the season, 'wind and rain' points to the climate, 'dusk' points to the time, and three layers of exaggeration are used to force the sentence 'Wuji'." ("Tang Dynasty") "Selected Interpretations of Song Ci") In late spring, at dusk and wind and rain, I sit behind closed doors and feel extremely sad. The artistic conception seems to be a poem, but poetry cannot describe its appearance; it is a painting, but painting cannot convey its spirit; only through this kind of graceful words can it be properly outlined. Especially in the concluding sentence, the contemporary Wang Guowei believed that this was a "state of self". The so-called "state of self" means "viewing things with me, and all old things have my color" ("Human Ci Hua"). That is to say, the flowers are sad and silent, reflecting the unspeakable pain of the woman in the poem; the red flowers flying across the swing highlight the woman's dejected and lost expression of being a companion who has never sympathized with her lover. The lingering emotions and profound artistic conception are particularly fascinating.
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