the cracked pipe is twisted with strings, and the fragrant bottle and fine waves pour into the spring. Explanation: In the Garden, singers and dancers are singing and dancing at the top of their lungs. Prince Sun is drinking and laughing while pushing a cup for a change.

the cracked pipe is twisted with strings, and the fragrant bottle and fine waves pour into the spring. Explanation: In the Garden, singers and dancers are singing and dancing at the top of their lungs. Prince Sun is drinking and laughing while pushing a cup for a change. Name of the poem: Ballad of the Night Banquet. Real name: Wen Tingyun. Nicknames: Wen Qi, Wen Tingyun, Wen Tingyun, Wen Octagon and Wen Bayin. Font size: the word Feiqing. Time: Tang Dynasty. Ethnic group: Han nationality. Birthplace: Qi, Taiyuan (now Qixian, Shanxi). Birth time: about 812 (or 824) years. Time of death: about 866 (or 882) years. Main works: Passing Chen Lin's Tomb, Returning to China Ballad, River blasphemy, Returning to China Ballad, Fannv Complain, etc. Main achievements: poetry creation.

We will provide you with a detailed introduction of "The Melody with a Cracked Tube and a Striking String * * *" from the following aspects:

First, click here for the full text of "The Ballad of the Night Banquet" to see the details of

The long hairpin throws a pair of dragonflies, and the blue mountain opens the screen obliquely.

Mr. Qiu Xu waits for five guests, and drinking for a thousand minutes is like building a garden.

Luan Yan _ sings round without knots, and the eyebrows gather up the sleeves of Hunan smoke and return to the snow.

There are four kindnesses in a clear night, so don't make the ditch water different from the east.

The graceful wax tears are lingering in xiang zhu, and there is a faint breeze and a cold curtain.

gone with the wind _ halberd has a series of phases, and there are twenty-four dragon painting poles.

the cracked pipe is twisted with strings, and the fragrant bottle and fine waves pour into the spring.

There are many apricot blossoms scattered in high-rise buildings, and the pulse is new.

Second, Wen Tingyun's other poems

Morning Trip to Shangshan, Luoyang, Lotus, More Leaky, and Sending People to the East. Third, appreciation

The title of this poem is "The Ballad of the Night Banquet", and it is conceivable that it is about the nightlife of "drunken singing and dancing" in the Tang Dynasty. Mr. Wang Guoan said in the preface of Wen Feiqing's Poems:

"Generally speaking, Wen Tingyun's poems are rich in rhetoric, lacking in profound ideological content and having a strong formalist tendency. This tendency is most obvious in his Yuefu poems. "

This passage was also said in Huang Ziyun's "Yehong's Poems":

"Fei Qing's ancient poems are close to Yishan, and the title is meaningless and the poem is absurd; If you just take a gesture regardless of righteousness, you can do it. "

such an argument has long been an orthodox knowledge. Many critics mostly regard Wen Tingyun as an aestheticist formalist, and think that the ideological content of his works is unhealthy, and some even say that it is obscene and decadent. Mr. Wang Anguo went on to say:

"Originally, in the middle Tang Dynasty, due to Bai Juyi's advocacy, poets started to create a new Yuefu, criticizing the current disadvantages and reflecting the reality. This good atmosphere did not disappear among writers in the late Tang Dynasty. However, Wen Tingyun's Yuefu poems reflect less social reality, but deliberately pursue the beauty of form, describing the extravagant life of drunken singing and dancing, full of jewels and powder. This is also the case in some of his five-seven laws. This flamboyant and frivolous poetic style is inseparable from his long-term dissolute life in and out of the dance halls. "

Obviously, in Mr. Wang Guoan's view, the late Tang Dynasty was not as good as the middle Tang Dynasty, and Wen Tingyun was the most incompetent in the late Tang Dynasty.

actually, I'm afraid this is a misunderstanding or a prejudice. Artistic complexity is a sign of maturity; We can't make progress by being straightforward and extensive, but degenerate by being gorgeous and colorful. The original chrysanthemum with a single petal, when the simple yellow star is scattered all over the mountains, may be pleasant in autumn. However, in the "flower", how much beauty is missing. If this mountain full of yellow flowers are replaced by hundreds of famous chrysanthemums cultivated by later generations with painstaking efforts and wisdom on the basis of the original chrysanthemums, such as "Commander Red Flag", "Xi Shi Shampoo", "Autumn Moon in the Yellow Sea", "Clear Water and Long Sky", "Green Peony" and "jade hairpin", etc. (this name alone is enough to be enchanted), then the whole nature will be enchanted. Poetry, like all arts, should be the same. As far as Bai Juyi's famous new Yuefu, praised by Mr. Wang, is concerned, "his face is covered with dust and fireworks, and his temples are gray and his fingers are black", the image of depicting an old man burning charcoal is of course vivid, and the poet's feelings of "bitter palace city" are also clear. However, the exposure of the ruling class, realistically speaking, is absolutely like a news report, after all, it is not durable to read. The reason lies in the lack of charm and depth. This is no wonder, because, as he himself said, "On this day, I am in the Hanlin, and I am an admonition officer. I ask for an admonition paper in my hand. Besides playing, there are people who can relieve people's illness and make up for the lack of time, but it is difficult to point out what to say, so I want to sing it and smell it a little bit." On the wide Chen Cong, deputy worry about diligence; The second time is to reward the reward, and to blame; Under the ambition of my life ". He was originally written for the emperor, so he can only do this. Of course, as a way of writing, the original is understandable. However, if we hold it too high and think that this is the only good poem, it will be a bit biased and I don't know what "a hundred flowers blossom" is. After summing up the laws of poetry in Tang and Song Dynasties, Mao Zedong pointed out: "Poetry should be thought in images, not as straightforward as prose." According to Mao Zedong's opinion, it can be seen that poets who think in images cannot be said to be lower than poets with prose culture. The clever saying is: they are all flowers of the times, and each has its own characteristics endowed by its own times.

The characteristic of Wen Tingyun as an artist, that is, his misfortune, lies in his poems, which rarely use prose language and express his mind directly. He is only used to speaking with images. His poetic skill is superb, so to speak, as early as more than 1 years ago, he understood the montage that was only mastered by movie master in film aesthetics today. He only highlights the image as a weft on the "warp" of logical thinking, so that the colorful patterns woven cover up the warp, so that these seemingly leaping and even irrelevant scenes can show the meaning of the work through their cutting and combination. Even in movies, this technique used to make people make a fuss, not to mention it appeared in poems more than 1 years ago. Therefore, it is understandable that he is formalistic, although it is not in line with the facts. Take the song "Ballad of the Night Banquet" written by Mr. Wang as an example. Reading it makes people feel that in this ugly reality, there is a great heart that can see tears in the laughter of others, and it is trembling because of the pain of others. Of course, this is for the reader to experience, not what he tells the reader directly. It can be seen that criticism is based on weighing people, but in fact it is also weighing itself. We can't distinguish between goodness and ugliness, greatness and lewdness from gorgeous exterior decorations, but we all think that gorgeous is debauchery. This hasty assertion that others are formalism just proves that this criticism itself is really formalism.

The Ballad of the Banquet is not only gorgeous in form, but also profound in ideological content. It's just that it's not like "The Charcoal Man", where the ideas to be expressed are clearly put out, but people need to explore carefully from behind his form. This is probably the reason why the courage of the declining feudal ruling class, which can accommodate the shortage of time, gradually declined in the late Tang Dynasty. It is this that produced such gorgeous and obscure works as Wen Li. Scholars divide the middle Tang Dynasty and the late Tang Dynasty politically and economically, but demand that the writers of these two different eras have the same style, which in itself violates the historical logic. In fact, the poems of the late Tang Dynasty also have a unique flavor.

At the beginning of this poem: "Long hairpin drops double dragonflies, and Bijin Mountain opens the painting screen obliquely." It is really not as easy to understand as "selling charcoal Weng, cutting firewood and burning charcoal in the middle of the mountain" Since the title is "banquet", of course, the "long hairpin" written here refers to the maid, geisha and dancer. When the house is full of "five guests of the son of Qiu Xu", especially when it is pointed out that this is the private banquet of the son of heaven, there will definitely be more than one of these singing and dancing prostitutes. Therefore, this sentence can be understood as teams of stunning women with long hair and falling hair, dressed very coquettishly. It goes without saying that there are so many superb and stunning enchantresses in the palace, and its wealth is self-evident. So Hu Zai said that he was good at writing "wealth and good fortune". This is not a subjective idea of a contemporary poet, but an inevitable connection of internal logic. Therefore, the poet only stops here; This is the economy of his pen and ink. If these scenes are connected in series according to the poet's special delineation, it is like focus plane, who first shook from a group of cabarets and prostitutes, and then the camera shook to Bishan, only to see the strange peaks and the waterfalls rushing. From the delicate powder, it was pushed to the majestic mountains. Readers may wonder: where did this beautiful mountain valley come from? Bishan Mountain is exhausted, and it turned out to be a huge painting screen here. The picture screen was moved away, and this was the scene of booze. At this point, readers can't help but be surprised by the novelty of the author's artistic techniques. At the beginning of this couplet, there was a lot of suspense, twists and turns, and it was written far away, which was very fascinating. Without novelty, it is not art. Besides, his novelty here was not to rock the boat for curiosity. It was originally a typical environment here, but there were some twists and turns in the introduction, which made it look unique.

the second couplet: "Mr. Qiu Xu waits for five guests, and drinking for a thousand minutes is like building a bottle." The poet adopted the writing method of avoiding reality and making it virtual, combining reality with reality. The guests who come to the dinner party should be clear, so "Mr. Qiu must wait for five guests" is unambiguous. Because you don't know the nobility of their identity until you point it out. In fact, this palace banquet is only intended to point out that this is the epitome of the upper class. But he used the word "guest" and dodged away. Qiu must be a love; Childe, is your origin; And the five marquis, is borrowed from the allusions of the Eastern Han Dynasty, refers to the authoritarian eunuch. In the late Tang dynasty, the eunuch's disaster reached an extremely serious level. The Preface to the Book of the Old Tang Dynasty Eunuch said: "Since Zhenyuan, the authority has been on the rise, and the orchid _ generals are all sons and animals; Fanfang Rongshuai must be bribed; The opportunity to seize the opportunity, the nine-fold waste is set by yourself. " Therefore, Wen Tingyun's writing in this way will never be meaningless. But he pushed it away with the word "guest", not showing the traces of the monarch and the minister, so as not to stimulate. But using the subject and object to write about the monarch and his subjects is actually the biggest stimulus. It's true that "the antelope hangs on the horn and there is no trace to be found". As for the number of guests, how sumptuous the banquet is, and how the host and guest are in a wild state, this is not easy to write in the poem, so he adopted the method of physical deformation and only used the phrase "drinking a thousand minutes is like building a banquet" to the best of his ability. A clock is a round pot with a big belly. "Drink a thousand minutes at a time", just like "three thousand feet of white hair", although it is still empty. Because it can mean that they are high-spirited and long-lasting, and they drink a lot of wine, and they can swallow thousands of minutes of wine at one go. But it can also mean that the guests are gathered together, and when everyone lifts their cups, it takes thousands of minutes to fill them. The imaginary here has more capacity than the real one. Since you drink it for a thousand minutes, the trend of pouring wine will be like rain pouring down from a high roof. This is just like the subjective lens in modern movies. He turned the wine poured down for thousands of minutes into a waterfall flowing down very vividly. Then this appearance is empty, but it is very real. In the poem, luxury is profoundly written to a very amazing extent. What it reveals will be much richer than any narrative language.

It seems that "the five waiting guests of the son Qiu Xu" are not the master of the poet's intention, so they just waved a gun, and then wrote down the beauty of the singer and maiko with very delicate brushstrokes: "Luan Yan _ sings round without knots, and the eyebrows gather up the sleeves of Hunan smoke and return to snow." Husband and wife and singing were used to describe the beauty of voice in ancient times. _, is a beauty. The eyebrows in the Tang Dynasty were decorated with a smoky eyebrow. The word "Xiang" reminds people of Qu Yuan's expression of "tying the cassia twig and delaying it, and the Qiang is more worried about people". Beauty is associated with pharynx, and beauty is associated with sorrow, which makes beauty sad, just as people hold their hearts when they see Xizi, which is a very touching heartstring. This couplet has a very strong artistic effect. Of course, if you dance with Bai Juyi's new Yuefu "Hu Xuannv" with a double sleeve, it will float back to the snow and turn to the tent. Left-handed and right-handed, I don't know how tired I am, and there is no time for thousands of turns and weeks. Compared with that, Wen Octagon, which is famous for its beauty, is really not as smooth as the romantic life of Xiangshan laymen. When she "thanked the Emperor at the end of the song, and the Emperor spoke a little", the dancers here and the appreciation dancers were very harmonious emotionally. Although Bai Juyi intends to "sing this song several times to understand the Lord", the poet only appreciates the poor dancer who spins like "nothing in the world is comparable, and the wheel is slow and the whirlwind is late", but there is no pity or sympathy at all. His eyes are looking up. His "criticism of the times" is just like what Mr. Lu Xun said, intended to tell his master not to burn his robe. It seems that Wen Tingyun's poems reflect less reality. He is not a news report, so what he saw was not the dancers' "fighting for energy" or "farewell at the end of the song", but the singer ran out of tune because of choking, and the dancers frowned slightly when spinning. Wen Tingyun is proficient in temperament, just like "Zhou Lang cares about the wrong song", and their subtle mistakes are hard to escape from his keen nerves. However, this has nothing to do with the understanding of music. He is feeling with his conscience, and he is out of great sympathy. This can be seen by others as "narrow sleeves of fragrant shirts" and "thin red shirts with golden silk". Even when Mr. Fan Wenlan said that they were "pretending to be coquetry, especially lewd", what Wen Tingyun saw was painful sadness and sadness.

thoughtfulness also has a basis in life. He doesn't know their pain well on weekdays, or he has similar experience himself. It is impossible for him to feel this sad fog in the joyful Hualin. Wen Tingyun just wrote that the maids had lost their personal dignity and lived a life of spiritual humiliation, instead of directly criticizing the society and this extravagant life. As Bai Juyi did, he clearly said, "Lu Shan Hu Xuan is fascinated by your eyes, and the soldiers crossing the Yellow River are suspicious; The imperial concubine Hu Xuan confused your heart and abandoned Ma Wei to read deeper. " -In fact, Bai Juyi equates maiko with An Lushan and Yang Guifei here. No matter whether it is intended to be neither fish nor fowl, it is just the old saying that women are a disaster, just to excuse Tang Minghuang. And Wen Tingyun here, although only sketched these two details in the banquet of the giants, the writer's progressive tendency lies in this detail. He just wants to poke a hole in such a wonderful life, not make up for it and whitewash it. In his works, bling is nothing more than a shackle on their new soul, and it is just a sign of humiliation for dignified personality. He wrote about another reality. His eyes are down. What he saw was not the face of the supreme emperor, but the pain of prostitutes oppressed at the bottom. In today's words, he wrote not only the class opposition, but also the root of oppression. It is written that the joy of the emperor, the king and the nobles is based on their pain. Although it was impossible for him to understand the theory of class struggle in those days, it can be said for sure that if he had not opposed the progressive thought of declining rule in the late Tang Dynasty, he would never have been so emotionally opposed to these "five-waiting guests". Only this, he is far superior to many ancient people, and far exceeds the level of Bai Juyi's Yuefu. Such a poem with a clear stand cannot be called a masterpiece of realism, but it is a great injustice to insist that it is "decadent in content" and "nothing more than the deformation of the palace body" Although he attended the banquet, his feelings were different, and he could have such a heart, which was far from "debauchery". He not only saw the pain of these female slaves, but also had courage.