Traveling on the Shasha·Spring Dusk
Song Dynasty: Kou Zhun
Spring is about to end, and the orioles The voice is getting older, and the beauty is gone. The painting hall is filled with quiet rain, and the lingering fragrance lingers in the half-covered mountains.
The secret agreement is deep, the separation is gone, and the honeysuckle dust is full of carelessness. Leaning on the building, I am speechless and want to sleep. The sky is dim and even the grass is dim.
Translation
Spring is coming to an end, the chirping of orioles and swallows are gradually disappearing, fallen flowers are piled up all over the ground, sparse green plums are hanging slantly on the branches, and we can see the end of spring and the beginning of summer. In the drizzle, a thin woman stood quietly and alone outside the painting pavilion. The screen in front of her half-covered the hall, and only wisps of agarwood could be seen curling up from behind the screen, adding a bit of deep thoughts.
I think back to the affectionate agreement we made when we parted ways. Now after years of separation, there is still no news. Do you know how much I miss you? The dowry has not been opened for a long time and the jewelry is dusty. Now I am too lazy to even look in the mirror. Just leaning on the railing lonely, even though there are thousands of words in my heart, who can I talk about it to? All I could do was choke and speechless, secretly sleeping. The sky is gray, holding the endless grass sadly, just like my thoughts.
Comments
Tasha (suō) line: the name of the word brand. Also known as "Liu Changchun", "Xi Chaotian", etc. Fifty-eight characters in double tone, oblique rhyme.
阑(lán): incomplete, exhausted, late.
Hongying: red flower. Li Yu's poem "Picking Mulberries" of the Southern Tang Dynasty: "The spring in front of the pavilion is chasing all the red maidens."
Pingshan: refers to the screen. Tang Wen Tingyun's "Nan Ge Zi" lyrics: "The pistils are filled with yellow seeds, the flowers are full of emerald servant girls, and the mandarin duck pillow reflects the mountain."
Secret appointment: refers to the mutual expression of affection between men and women, secretly making a good date. Shen Shen: deep. This refers to something important, a lifelong matter.
杳 (yǎo)杳: far-reaching and boundless.
Linghua: refers to the Linghua mirror, and also refers to the mirror in general. 无 (yōng) will take a look: too lazy to pick up a mirror to look at. Lazy: Lazy. Will: take.
*: Describes extreme sadness.
Creative background
In the second year of Chunhua (991), Emperor Taizong of the Song Dynasty, Kou Xu was demoted to the prefect of Qingzhou. When he took office, in order to express his bumpy official career and his views on politics and the The king's inseparable feelings and his own feelings of loss led him to write this poem.
Appreciation
This is a boudoir poem, which expresses the resentful feelings of a woman in her boudoir, leaning on a building in late spring, looking forward to the return of her departed person. The language of the whole poem is delicate, deep and sentimental. It has both a comprehensive description of the scene and a meticulous depiction of the scenery. It moves into the scene from the Sui Dynasty and blends the scenes, depicting an elegant and refined picture of a lady's lovesickness.
The first film focuses on describing the lonely state of mind of the heroine who suffers from self-pity.
It’s late spring, and the beautiful spring scenery will soon be gone. The oriole’s cry is getting older and older, and it is no longer as young, crisp, and sweet as “the oriole is still shy when it first learns to sing.” The red flowers, which were so beautiful and colorful before, have declined from the branches and drifted away. The plum tree with green leaves has quietly produced small green fruits. This is a very wonderful description of the scenery. "The sound of warblers", "red eagles" and "green plums" are just three things. Due to their extremely spring characteristics, they are enough to express the boundless spring scenery in detail. "Color" and "sound", "green" and "red", "old" and "small" are contrasting and vivid, and the wording is skillful and thought-provoking. "Jianlan", "Growing Old", "Falling Out" and "Small" are even more clear-cut and dynamic, and the decline and change of spring are enough to thrill people. The beauty is that although there are no words, the feelings are self-evident: spring is fleeting, and there is nothing you can do about it. Things are still like this, and how can people be embarrassed? "Only the scattered grass and trees are afraid of the beauty's twilight!" (Qu Yuan's "Li*") Once you have this feeling, you will naturally It should also be "the spring scenery makes me sleepless" (Wang Anshi's "Spring Night").
The outdoor scenery is so touching, and the gorgeous hall is completely calm, and there is no beauty to accompany you. Only the confusing and dense spring rain keeps falling, urging the spring to disappear faster. The exquisite screen painted with landscape patterns was half open and half closed, but no one had the heart to pay attention to it. The incense burner has been burning for a long time, and the lingering fragrance that is about to burn out gently floats, sways, and lingers in the cold and silent painting hall, like distant thoughts. "Half-hidden", "Misty", "Wrapped" and "Quiet", the wording is precise and the description is subtle, vividly showing a gorgeous and exquisite but cold and empty painting hall environment, cleverly reflecting the melancholy feelings of being alone in the boudoir and bored. The deep resentment perfectly constitutes the harmonious unity of environment and mood.
The second film focuses on expressing the heroine’s deep hatred of separation.
The more lonely I feel in my boudoir, the more I miss my beloved. Thinking back to those days, before the flowers and under the moon, we vowed to each other, parted reluctantly, secretly promised to return, and gave us all kinds of warnings and instructions. How deep our affection was. But who would have thought that now I can no longer see the message from my beloved, nor can I look forward to seeing her return. "Shen Chen" and "杳杳" are cleverly used overlapping words to highlight the darkness, depth and vastness of the farewell sentiment. In this case, who is still in the mood to dress up in front of the mirror, "full of diamonds and dust", with outstanding details. "From the east of Bo, his head is like a flying canopy. How can there be no anointing to bathe him?" ("The Book of Songs Wei Feng Bo Xi") So even though the water chestnut mirror is full of dust, it is too lazy and heartless to look at it. Went to brush it off.
I miss my sweetheart so much that I can't help it, so I might as well go to the top of the building to have a look, maybe I can hope for her unexpected return! But the facts are ruthless, and there is still only disappointment, frustration, and speechlessness. But seeing the sky thousands of miles away, it was gloomy, just like the state of mind in a boudoir; only the fragrant grass connected the sky and the earth, extending to the distance where the beautiful woman was. Borrowing scenery to express emotions, the language is natural; the fragrant grass has a distant view, and it is skillful to use allusions. "The spring grass is green every year, will the kings and grandsons return?" (Wang Wei's "Farewell") "Departure from hatred is just like the spring grass, the farther you go, the more you will live." (Li Yu's "Qingpingle·Farewell to Spring Half") "The only one who is sad* is the spring grass. "It's just farewell." (Jiang Yan's "Farewell") When the sadness of separation makes people extremely sad, it's like the soul has left the body. The sadness and sorrow are beyond words; the unexplainable meaning is beyond words.
In short, the whole poem starts from describing the scenery, and then conveys the emotion through the scenery. It expresses the lonely feelings of a missing woman in her boudoir in late spring who misses her long-lost lover in a euphemistic and touching way. The first film describes the scenery, the emotion is born from the scenery, and there is emotion in the scenery; the second film describes the emotion, the emotion is expressed in the scenery, and the scenery is the bond of emotion. The scenes blend together and the artistic conception is clear, so the feelings, scenery and weft are woven into a tapestry of heavenly secrets.