In "Gui Er Ji", Zhang thought that the warrior Lan Ling Liu was the lover of Zhou Bangyan and Li Shishi, so he offended and was taken out of Doumen. Li Shishi bought wine to see him off, and Zhou Bangyan wrote this word as a follow-up.
The name of the word is "Liu", but the content is not to chant Liu, but to mourn.
Liu, Liu, Liu, Liu, Liu, Liu, Liu, Liu, Liu, Liu, Liu. The inclusion of willow in the object of chanting can be traced back to the Book of Songs: "I was away yesterday, Liu Yiyi." As early as before the Song Dynasty, the ancients had the custom of folding willows to bid farewell, and literati often used willows to express their feelings of parting in their poems.
Sui anonymous "Farewell": "Willow green hangs on the ground and flowers fly all over the sky. The wicker flies and asks the pedestrian whether to return. " Song people not only inherited the tradition of chanting willow by predecessors, but also applied this kind of chanting willow to their own words. The willow described by the poet has developed into a symbolic and artistic information carrier of sadness and pain.
"The smoke tree Baqiao willow is rickety and the scenery is like electricity. After several climbs, the old willow languishes at the waist of the Chu Palace. " (Liu Yong's "Youth Tour"), Liu Yong's poem about Liu Yong inherited the metaphor tradition of Li Bai's "willow color every year, Baling hurts." The willows in his works, like the maids in the Chu Palace, lost weight because of competition for favor. Liu Yong is a straightforward word to compare a woman's waist with wicker.
The graceful and delicate wicker is similar to the gentleness, thoughtfulness and shyness of women, so in the Song Dynasty, wicker was used as a metaphor for women's waist. Zhang Xian said: "Look closely at all the good places, be humane and have a better waist." (Drunken weeping willows).
"What's the use of pedestrians when weeping willows help provoke the east wind?" (Yan Shu's Walking on the Sand), the willow in Yan Shu is full of rational speculation. Willows fluttering in the wind seem to "get rid of the east wind", but in fact they can't keep pedestrians in a hurry. This chant for willow leaves, rather than "helpless flowers, seems to have returned to Yan." Similarly, it was the poet who expressed his helplessness and emotion over the passage of time; "Small willow cotton is blown on the branches, and there are no fragrant grass in the world." Su Shi's "Butterfly Loves Flowers" seems to write that the willows are fluttering and the spring scenery is gone. In fact, the good times don't last long, and the fleeting time is sad.
Six of Zhou Bangyan's poems about objects are poems about willows. Although the Warrior Lan Ling-Liu did not jump out of the category of "exile of romantic lovesickness", it made a breakthrough in writing, used meticulous words and paid attention to tempering and carving.
At the beginning of the word, I wrote Liu Yin, wicker, catkin and wicker, and first rendered my separation from willow.
"Liu Yin is straight and green." Straight, can be understood as the sun hanging in the sky, and the shadow of the willow tree is spread straight on the ground without bias or inclination. It can also be understood that the green willows on the Sui Dyke become stars, and Liu Yin extends far away along the long dike, like a straight line. "Smoke is full of silk", and the new willow branches are slender and silky. Wicker seems to be spiritual, too, knowing that you are beautiful. In the hazy blue mist of spring, wicker is swaying, which has a hazy beauty.
"On the Sui Dyke, I have seen it several times. The water floated and the cotton fell." Poets used to see such scenes. Sui Dyke is a levee near Bianjing. Because the Bianhe River was built by Sui people, it is called Sui Dyke. The word "blowing water and floating cotton" is extremely subtle, vividly depicting the farewell form of willow trees. "Looking at the old country, who knows that Jinghua is tired?" Who can understand the melancholy and sadness of those poets who climbed the high embankment, looked at their hometown and were tired of living in Beijing? Obviously, the willow branches on the long embankment did not take into account the poet's mood, but as always brushed the water and floated cotton to bid farewell to pedestrians.
"Changting Road, when it comes to last year, it should be thousands of feet Cross." In ancient times, there were ten-mile long pavilions and five-mile short pavilions. "Where is the return trip? The pavilion is shorter. " The return journey from the long pavilion to the short pavilion is long and the hometown is far away. On Changting Road, year after year, the broken wicker may surpass thousands of feet. These words seem to cherish wicker on the surface, but the deep meaning is that Zhou Bangyan is lamenting the frequent parting in the world, which is meaningful and intriguing.
"Wandering around looking for old traces", Zhou Bangyan suddenly recalled a farewell scene. It was the night before the Cold Food Festival. At the farewell party, lights flashed and people and pedestrians drank with sad music. This scene is really unforgettable. In the Tang Dynasty, the riverside scene on Qingming Festival offered fire of elm willow to the near ministers. A word "urging" tells the helplessness of years and youth.
Just when the poet was thinking, the ship was "a quick arrow, a warm wave." Looking back, it is already "I will count the posts when I send them, hoping that people are in the north of the sky." It was a happy thing to travel smoothly, but there is an extra word "worry" in the word. He is "worried" because there are people here who make him want to stay. "Look at people from the north of the sky". Looking back, the man is far away from the north of the sky, leaving only a vague figure.
"Farewell to Pudong, Tianjin is silent and the sun sets." From Noon in Liu Yin to Ran Ran in the Sunset, we can see that the poet and Farewell are inseparable. The big water has a small pool by-pass, and the other pool is where the water branches, where the water waves swirl. "Jincheng" is a watchhouse near the ferry. Because it was already evening, there were few pedestrians on the ferry, and Jincheng was the only one standing there. In the sunset of Ran Ran, spring is shrouded in twilight, and the spacious background sets off the poet's inner loneliness and sadness. Zhou Bangyan can't help but think of the past of "the moon pavilions hand in hand, the bridge dew flute sound". Those unforgettable nights left him endless thoughts, accompanied by each other in the moonlight pavilion and on the bare bridge. Thinking about leaving, I don't know when to meet again.
"Meditation on the past is like a dream with dark tears." The past is like a dream, and the poet can't help crying. Those ecstatic people just left.
Tears are dark, because Zhou Bangyan's sadness is inhuman, and it is inhuman to outsiders, so he has to secretly cry.
Zhou Bangyan's Liu Ci not only enriches the image of Liu, deepens and develops the connotation of Liu, but also makes graceful ci glow with unprecedented vitality. Long-tune words and slow-tune words have played an important role in Liu Yong's ci. Zhou Bangyan was proficient in temperament, so he became a master of Liu Yong's ci.