Liu Yong, formerly known as Liu Sanchang, the word Qiqing, is also known as Liu Qi because he ranks seventh in the family.
During the Song Renzong period, he was admitted to the Jinshi and served as a member of the Tuntian Wailang, so later generations called it Liutuntian.
However, his career was not smooth, and his life was quite difficult. After all kinds of setbacks, he lost interest in fame and fortune, and even got tired of the deceit of officialdom. On the contrary, he chooses to seek solace in the bustling urban life, looking for sustenance in "leaning on the red and green" and "singing in a low voice".
As the first lyricist dedicated to the creation of words in the Northern Song Dynasty, Liu Yong boldly expanded and tried the subject matter and content of words. He also created a large number of slow words and developed a narrative technique to make them more understandable and close to the spoken language. These achievements have left a profound impact on the history of words.
Today, let's take a look at one of Liu Yong's classic masterpieces - "Fengqiwu".
Feng Qiwu. Liu yong.
Leaning on the dangerous building, the wind is fine. Looking forward to the extreme spring sorrow, gloomy sky. In the afterglow of the grass-colored smoke, there is no one who will rely on his will.
I plan to get drunk with a crazy picture. When it comes to wine, strong music is still tasteless. The belt gradually widened and did not regret it, and it made people haggard for Yi.
Roughly what it means: I stand by the railing of a tall building, letting the breeze blow on my cheeks. Looking into the distance, I feel an indescribable spring sorrow, which is quietly growing and spreading in the distant sky.
The verdant grass and the thin smoke intertwine with each other, together enveloping the afterglow of the setting sun, and also casting my figure in this tranquil picture. I stood there silently, the emotions welling up in my heart that no one could understand.
I wanted to drink to my heart's content in this restaurant and indulge myself until I got drunk. However, raising a glass to invite Mingyue and forming a trio of shadows, I gradually discovered that forcing a smile on my face does not bring true happiness.
As the days passed, my body became thinner and thinner. Still, I have no remorse. Because, for the sake of the one in my heart, even if I am haggard, I feel that all the efforts are worth it.
Among the ancient poets, Liu Yong can be called the most affectionate representative, and his works always depict the emotions of the wind and snow to the fullest, which is intoxicating.
Yoo Yong's sensitivity, talent, and sincere emotions have run through his entire creative career, and he has written a large number of touching poems in pursuit of the beauty in his heart.
Among them, the work "Feng Qiwu" is particularly fascinating, which expresses the unforgettable feelings of longing to the peak.
Poets in other places are most afraid of climbing high and looking far alone, but after all, they can't resist the longing for their hometown. So, he leaned quietly against the railing and stared into the distance.
The setting sun slowly sets and reflects on the smoky grass, making it look even more vibrant. The poet is silent, which makes the lovesickness in his heart more and more intense.
He tried to numb his nerves with alcohol and forget the pain of parting, but found that the cure for sorrow was not good wine.
If you are in love, let love bloom in your heart!
Even if he is emaciated and haggard for Yi, he will never regret it.
This is also what loving someone really looks like.
In this poem, my favorite part is "In the afterglow of grass-colored smoke, who will rely on the column without words". The phrase depicts a picturesque natural landscape, colorful and unpredictable, but it also conveys a feeling of loneliness, as if there is no one around, and it is difficult to find a confidant.
This kind of lovesickness hidden in the bright spring light reminds people of the emotion of "spring Mo Gonghua flowers, an inch of acacia and an inch of gray". And the last sentence of the word, "I will not regret the gradual widening of the belt, and I will make people haggard for Yiyi", which improves the quality and depth of this poem.
As the old saying goes: "I am often sick with wine before I spend every day, and I don't want to be thin in the mirror." These two sentences depict the endless longing of people who are deeply in love for the Yiren, willing to become thinner and haggard, and unable to sleep and eat.
This word and sentence profoundly shows the deep feelings of the lyricist, like a bone appendage, lingering. In particular, the three words "no regrets" demonstrate Liu Yong's unswerving loyalty and focus on love, and his emotions are sincere and fiery.
At dusk, Liu Yong met the beautiful her in the depths of the fireworks in Bianjing City.
In the eyes of this scholar, she was smiling, like a fairy descending to earth.
Many years later, it was another dusk, the grass-colored mountain light reflected the railing of the tall building, and the distant sky was rendered into an ink painting by the twilight, full of melancholy atmosphere.
The past of those young ** uninhibited and night sheng songs gradually dissipated with the moonlight, and finally turned into a drop of tears in the wine glass.
Over the years, Liu Yong has wandered outside, and loneliness has always accompanied him.
Only the warm window in the boudoir in the distance has become his inseparable concern and destiny throughout his life.
For the sake of the beautiful woman he longed for, his belt became looser and looser, and his face became thinner and haggard.
The deep sadness in a man's heart is often subtle and profound, like the scars washed out by the wind and waves on the reef by the sea.
The years are surging, and when you inadvertently touch those wounds, you will be shocked to realize that they have spread all over your body, making people feel a cone pain.
The bumpy career made Liu Yong "indulge" in the pink Zhulou and Qing'e painting boats, but he found the true meaning of self-worth and life, obtained some freedom in life, and persevered in his emotional world.
These two sentences have been specifically mentioned by Wang Guowei in "Words in the World" and are regarded as one of the three realms of life. Although they originally depicted the emotions between lovers, they are considered to have a deep philosophical meaning and can be described as unique.
However, it also shows that these two wonderful words have great generalization power for the human state of mind.
Of course, the charm of this poem is not only in the last two sentences, the first film shows a wide time and space, so as to accommodate the lyricist's anguish, and the first three sentences of the next film express the tortuousness of this depression, and each piece gives people aesthetic surprises - Liu Yong's fame is by no means a fluke.