Spring is a gradual seasonal process.

According to the lunar calendar, spring is divided into early spring, middle spring and late spring.

Early spring, also known as Mengchun and early spring, is the first month of spring, that is, the first month of the lunar calendar.

It signifies the season for plants to sprout, animals to multiply, and farmers to plant seeds.

Zhongchun is the second month of the lunar calendar. Because it is in the spring, it is called Zhongchun.

Late spring refers to the last stage of spring, that is, in the third month of the lunar calendar, when there is more rain, flowers fall, and green leaves form shade.

Since the "Book of Songs", Wing Chun poems, which express people's joyful feelings, begin to appear whenever the new year brings spring, that is, when the spring spirit of the new year starts.

As Liu Xiyi said, "Flowers are similar every year, but people are different every year."

In Tang poetry and Song poetry, the same spring day has different scenery.

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  Generally speaking, spring in Tang poetry is mostly bright and cheerful, and the corresponding seasons are mainly in the early spring and mid-spring.

The Spring Scenery in Song Poetry takes the theme of sending and hurting spring in the late spring season, with more and more sentimental sentiments.

From Tang poetry to Song poetry, chanting the theme of spring is a continuous narrowing process from rich and diverse concentration to sadness and sadness.

  Yang Juyuan's "Early Spring in the East of the City" of the Tang Dynasty said: "The poet's clear scene is in the new year, and the green willows are only half yellow. The young shoots of yellow are difficult to detect and perceive. Only poets who capture such scenery can be regarded as professional.

It will be vulgar to write about spring when the flowers are blooming like brocade and the tourists are weaving.

Therefore, "knowing spring" has a sequence and a feeling of depth.

The poems describing early spring are the most fresh and cheerful.

He Zhizhang's "Song of the Willows":

  Jasper is made up to the height of a tree, and ten thousand green silk sashes hang down.

  I don't know who cut the fine leaves, but the spring breeze in February is like scissors.

  "Spring Breeze in February" points out that it is the scene of mid-spring.

In the mid-spring season, "the limit of the day of spring is still wide", and there is a good spring to come.

What people feel is the joy of having a long and beautiful future in Japan.

  Su Shi's "Hui Chongchun River Xiaojing" also wrote about such a season:

  There are three or two peach blossoms outside the bamboo, and the spring river plumbing duck prophet.

  The pots are full of reeds and short buds, just when the puffer fish is about to go up.

  The first peach blossoms are in early spring.

Peach blossom, teal, fenugreek, puffer fish, these active objects compete to convey the sense of surprise everywhere.

The popularity of these two poems has a lot to do with the freshness and surprise unique to the early spring season.

  In the early Tang Dynasty, with youthful arrogance and fresh and bright poetic style, it is suitable for reciting spring.

The spring scene in Tang poetry is bright and joyful like the spring breeze, and the joyful atmosphere is far greater than the expression of sadness and loneliness.

When it comes to the spring scene in Tang poetry, those dazzling verses are incomprehensible: Zhang Ruoxu's "Spring River, Flowers and Moon Night" is a quiet and beautiful spring night: "Yan Yan follows the waves for thousands of miles, where is the spring river without the moon? Ming"; Zhang Jiuling's "Small Peach Blossoms in the Mountain House" depicts the scene of peach blossoms blooming and business in the mountains: "A tree with many heroes is eye-catching, and when it blooms, it first shares the east wind"; Wang Wei's "Wangchuan Biye" uses The green grass and scallions set off the splendor of peach blossoms: "The grass is green in the rain, and the peach blossoms on the water are red." Wait.

  Some people have counted that in the poems of Tang Dynasty poets such as Wang Wei, Meng Haoran, Li Bai, Du Fu, Bai Juyi, Li Shangyin, Liu Yuxi, Han Yu, etc., the poems about the spring wind are warm, bright and healthy, and the works are full of high spirits. .

  The most beautiful spring scene in Tang poetry is Zhang Ruoxu's "Spring River, Flowers and Moon Night".

"Spring River, Flowers and Moonlight Night" is originally an old music of the Southern Dynasty, with the richness of folk songs and the splendid and calmness of palace poems.

This perfect spring night with moonlight and flowers is worthy of the arrogance and grandeur of the prosperous Tang people.

No other poem can use such gorgeous rhetoric and meticulous narration to write the magnificent beauty of the spring night:

  The tide of the Spring River is even with the sea level, and the bright moon on the sea is tidal.

Yan Yan follows the waves for thousands of miles, where there is no moon in the spring river.

The river flows around Fangdian, and the moonlit flowers and forests are like sleet.

Frost flies in the air, and the white sand on Ting Shang cannot be seen.

Jiang Tian is a single color without fine dust, a lonely moon wheel in the bright sky.

Who on the riverside first saw the moon, and when did Jiangyue look at people at the beginning of the year.

Life is endless from generation to generation, and Jiang Yue has similar expectations year after year.

I don't know who Jiangyue is waiting for, but I see that the Yangtze River is sending water.

...

  Above the surging river, there are blooming flowers and trees, radiating light and moonlight.

Shrouded in between Jiang Tian is the vast and boundless silence and clarity of the spring night.

The Qing people said that the style of this poem is "if the clouds open up the mountains, the realm will be new" (He Chang's "Poems of the Wine Garden").

The artistic conception in it, such as "Life is endless from generation to generation, Jiangyue looks like every year", there are not only heart-shattering sorrows arising from the shortness of life's loneliness, but also a release that merges with the vast flow of life. open and surpass.

Such magnificent and magnificent spring nights and scenery, this kind of life attitude of "not being arrogant or humble, merging and easy" (Wen Yiduo's "Self-redemption of Palace Poems"), is the representative of the atmosphere of the prosperous Tang Dynasty.

Liang Qichao praised, "This kind of words is really the most ethereal state of the poet. After reading the whole poem, it is refreshing; but the syllables are neither Aisi Haozhu, nor emergency management. It is indeed the true pulse of three hundred chapters." ("Liang Qichao Collection" volume thirty-seven) Wang Kaiyun said that this "Spring River, Flowers and Moonlight Night", "the solitary chapters are overwhelming, but they are for everyone."

  In Tang poetry, the scene of the flowers falling into red in late spring mostly appears as an aesthetic object.

Although there is Du Fu's family and country sustenance that "a piece of flying flowers reduces spring, and the wind blows ten thousand points to worry about people", but the mainstream is Li Bai's open-mindedness that "everything rises and falls is natural".

Such as Du Mu's "Sighing Flowers":

  Since Xunchun went to school late, there is no need to feel melancholy and resentment.

  The gust of wind blew deep red, and the green leaves were full of branches.

  In the spring and evening, the flowers fade, and it is the joy of green leaves and full branches. There is no need for melancholy and resentment.

The blooming and falling of flowers in Tang poetry is more about conveying some laws of change and philosophy of life to the world.

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  In terms of style, the spring in Tang people's ci is also different from that of Song people.

There are few poems in the Tang Dynasty that write about spring, and they are also cheerful and joyful: "The egrets fly in front of the Xisai Mountain, the mandarin fish is fat in the peach blossoms and flowing water" (Zhang Zhihe's "Fisher Song Zi"), "sunrise, the flowers are red and the river is better than the fire, and spring comes to the river. Green as blue" (Bai Juyi's "Remembering Jiangnan").

The spring day in Song people's poems echoes the sadness and sighs of cherishing the spring, hurting the spring, and sending the spring.

  As the prime minister of Taiping, Yan Shu has travelled rich and distinguished for fifty years.

In his peaceful and complacent life, what he sees in the spring scene is "spring flowers and autumn grass, just urging people to get old" ("Qing Ping Le").

The famous sentence in his "Huanxisha" - "The flowers have no choice but to fall, and the soul of Yan returning" is exactly the feeling of worry when feeling sad.

  Song ci's masterpiece of hurting spring, as well as Ouyang Xiu's "Butterfly Loves Flowers" "tear-eyed ask the flowers without a word, and the red flies over the swing"; Yan Jidao's "Linjiang Immortal" "The tower is locked behind the dream, and the curtain is low when you wake up. Last year, spring hatred came. Fallen flowers are independent, and swift and swallows fly" and so on.

With such deep spring sorrow and resentment, even if there is "a piece of spring sorrow waiting for the wine to be poured" (Jiang Jie's "A Plum Blossom"), I am afraid it will be as Zhang Xian said, "Wake up after noon drunk and not awake. When will you return to Spring?" ( "Tianxianzi") is mostly eliminated without any means.

  In the Southern Song Dynasty, hurting the spring and worrying about the country became an important theme of the poems.

The spring scene in the eyes of the poet is full of residual redness, falling flowers, spring sorrow, tearful eyes, sick wine, weight loss and other incomplete beauty; the mood in the heart is inseparable from sadness, bitterness, resentment, and sorrow, showing a strong feeling of loneliness.

Xin Qiji's "Zhu Yingtai Near Late Spring" asked, "It was he who brought the sorrow in the spring, and where did the spring return?

Spring brings sorrow, but leaves spring sorrow in the world.

Spring and sorrow have become the images of strong connection in Southern Song poetry, which is the most prominent feature of Wing Chun poetry.

  Xin Qiji's "Touching the Fish" is the representative of Wing Chun poetry in the Southern Song Dynasty:

  It can also dispel several storms, and the spring will return in a hurry.

Xichun Chang is afraid that the flowers will bloom early, not to mention the countless red leaves.

Spring and live, see said, the end of the world grass has no way of return.

The resentment spring is silent, and it is only attentive, painting the eaves and cobwebs, and making the most of Yogyakarta.

  This is the top of the word.

Xin Qiji is an unrestrained lyricist, but this lyric is full of resentment and melody.

Several times of wind and rain, flowers fall into mud, and there is nowhere for spring to return.

The future is what is in the heart.

He took advantage of the decline of spring events (Xichun, staying in spring, resentment of spring) to write about the enthusiasm of loyalty and patriotism, which was ruthlessly suppressed like flowers in spring.

Taking the incomplete spring scene as a metaphor for the disappointment of my life and achievements, Xian Nong euphemistically conveys the infinite sadness in her heart.

Another example is Li Qingzhao's "Wu Lingchun", "The wind lives in the dust and fragrance and flowers are exhausted, and I am tired of combing my hair in the evening. Things are wrong, and I want to talk and tears will flow first." Write about the sadness and frustration brought about by the fall of flowers in the remnant spring. ; Wu Wenying's "Wind into the Pine" "Listening to the wind and listening to the rain and passing the Qingming Festival, worrying about the grass and dying flowers" said that the wind and rain fall flowers are sad and so on.

  In the hands of the remnant poets in the late Song Dynasty and the early Yuan Dynasty, spring has changed from a happy and beautiful season to a sustenance for the sorrow of separation and the hatred of the subjugation of the country.

"Spring is always good, but I am sad for spring." (True Mountain People's "Sense of Spring") The grass and flying flowers, the spring breeze and the green willows have become the objects of sorrow and grief.

Liu Chenweng's "Send spring, but there is no way for spring to go to the world." ("Lanling King Bingzi Sends Spring") Sending spring is actually sending it to the Southern Song Dynasty.

The beauty of spring expresses the thoughts of home and country.

Not only the lingering spring and late spring make people sigh and sigh, but the remnants' awareness of spring hatred has been extended to the whole spring.

Although the theme of spring hatred is not unique to Song poetry, but the poetry is the exquisite one in the Chinese literary genre, and the thoughts of grievance and resentment cannot be achieved without this.

(Miao Yue's "On Ci") Spring in Song Ci is loved by readers because of the twists and turns that convey various complicated and indescribable thoughts.

  The spring scenery in Tang poetry and Song poetry has never been a simple description of the scenery.

They correspond to the atmosphere of the times and the political climate.

The Qing Dynasty Wu Qiao's "Poems Around the Furnace" put forward the theory of "there are people in poetry": "People's situation is poor, and the heart's sorrow and joy are born. The master's poems are not out of sorrow and joy. Poetry is If there is a situation and a feeling, then there are people in it.” It is precisely because of the participation of personal circumstances, human affairs, sorrows and joys that similar spring scenes can be written so vividly and differently.

Through the well-known, eloquent or subtle and profound verses in Tang poetry and Song poetry, we not only see the spring flowers and spring rain, the spring breeze on the moonlit night, but also capture the wise and thoughtful heart songs of the former philosophers and sages.

Nature is already wonderful enough, and the poets and poets have come up with their own ingenious ideas to nourish Ying Juhua to help the scene.

  (Author: Wang Xin, professor at the School of Literature, Renmin University of China)