The blue clouds, the yellow leaves, the autumn colors are waves, and the waves are cold and smoky. The mountains reflect the slanting sun and the sky receives water, and the grass is ruthless, and it is outside the slanting sun.
The soul of the dark country, chasing travel thoughts, night and night, good dreams leave people to sleep. The bright moon building is high and rests alone. The wine entered the bowels and turned into lovesick tears.
Fan Zhongyan's lyrics about lovesickness in detention and travel, the subject matter basically does not deviate from the scope of traditional sorrow and hatred, but the artistic conception of the lyrics is extremely broad, which is rare for this kind of words.
The lyrics are written on the autumn scenery with high sky and wide clouds, and at the same time they are attached to the scene, revealing a trace of lovesickness. "Blue clouds, yellow leaves" from the big place, with a strong and colorful technique to write the autumn sky blue, the earth clear yellow of the vast and lofty realm, praised by the world. Wang Shifu used Ouyang Xiu's "Blue Cloud Sky, Yellow Leaf Land" in the fold of "Farewell to the Long Pavilion" in "The Legend of the West Chamber", and changed it to "Blue Cloud Sky, Yellow Flower Land", which is also very colorful and beautiful.
The "autumn color" in the text inherits the above "blue clouds and yellow leaves", the clear blue sky and golden earth have been extended to the distance, connecting the misty river shrouded in cold smoke at the end of the world. The haze was originally white, because the blue sky was connected to the green waves, and the haze and the blue sky were the same color from a distance, so there was a poem "autumn water is the same color as the sky", so it is said that "cold smoke and green". The word "cold" highlights the coolness of autumn brought by the emerald haze. The artistic conception of the two sentences is far-reaching, and the lofty realm of the first two sentences is combined to form a colorful autumn color map.
The mountains reflect the slanting sun and the sky receives water, and the grass is ruthless, and it is outside the slanting sun. "The evening sunset reflects the mountains in the distance, and the blue sky connects the autumn water on the horizon, rippling blue waves and fragrant grass, extending to the junction of heaven and water, hidden in the sky where the slanting sun does not shine. These three sentences skillfully connect the sky, the ground, the distant mountains, and the clear water through the slanting sun and the grass, from the scenery as far as the eye can see to the distant end of the world in the imagination. The herbs here may not have a clear figurative meaning, but the imagery can evoke rich associations.
Since "Chu Ci Zhao Hermit" wrote "Wang Sun wanders and does not return, and the spring grass grows green", Fangcao is often associated with homesickness in classical poetry. The herb in the word is also a catalyst for homesickness. It is far away from the end of the world, far away from the hometown, and even beyond the slanting sun, so that the wanderer who looks at the hometown is unforgettable, but it does not care about people's emotions, so it is said that "the grass is ruthless", and only here can it lead to the poet's homesickness.
The entire upper part of the poem depicts a far-reaching and beautiful autumn scene without any signs of decay, which is extremely rare in the pen of literati, and even rarer in the lyrics that often focus on sad spring and sad autumn. The poet's long-lasting homesickness is also secretly revealed from the scenery of the grass world, and there is no trace of writing, and this kind of natural excess from the scenery and feelings is really ingenious.
Gloomy hometown soul, chasing travel thoughts, "after the film closely follows the grass world, directly says "hometown soul" and "thinking of travel". "Hometown soul" is homesickness, which is similar to the meaning of "travel thought". The two sentences are to say that his feelings of homesickness are gloomy and sad, and the sorrow of the detention trip overlaps and continues. The upper and lower uses the technique of intertextuality and antithesis, with obvious emphasis, to express the depth of the protagonist's homesickness in a foreign land.
Unless night and night, good dreams leave people to sleep. Nine words as a sentence, with "unless" to show that there is only this, there is nothing else to do, the implication is that there are too few good dreams, and the long night is long and you can't sleep. This naturally leads to the next sentence "Mingyue Tower is high and rests alone". The bright moon hangs in the sky, and you can just lean on the building to look at the moon, but leaning on the high-rise building under the bright moon alone makes people feel sad, so they sigh "rest alone". From the "slanting sun" to the "bright moon", it shows the shift of time, and the place where the protagonist is still the high-rise building, which shows the weight of homesickness. "Building height" and "leaning alone" wake up the above, implying that what is written above is something that can be seen by leaning on the building. Such a clever technique not only avoids the flatness of structure and writing, but also makes the scene of the previous film and the lyricism of the next film naturally merge together.
Wine into the intestines, turned into lovesick tears", because the night can not sleep, so the wine to pour sorrow, but the wine into the intestines turned into lovesick tears, this really wants to dispel the feelings of homesickness but multiply the feelings of lovesickness. The last two sentences are lyrical and sincere, and the language is new. Another poem by the lyricist, "Royal Street Travel", goes one step further and says: "The sorrow has been broken and there is no reason to get drunk, and the wine has not arrived, so I shed tears first" seems to be more strange and alarming, but it is not as natural as these two sentences. At this point, the lyricist's long-standing homesickness and sorrow developed to a climax under the trigger of foreign objects, and the lyrics ended gloomily in this difficult emotion.
Throughout the lyrics, the upper film is written with scenes, and the next film is lyrical, which is the most common way to combine structure and scenery in lyrics. Its particularity lies in the unity of scenery and tenderness, more precisely, the unity of far-reaching realm, beautiful scenery and sincere feelings. Words that write about homesickness often use bleak autumn scenery to express emotions, but the scenery depicted in this poem is vast and beautiful. On the one hand, it shows the lyricist's broad mind and love for the nature of life, which in turn sets off the sadness of detachment, and on the other hand, it makes the lyricism of the next film appear soft and bonely, sincere and not decadent.