Walking side by side with Guan Xinxin on the river bank, it seemed that the goal was to move towards the sea.

Looking at the spring, river, flowers, moon, night, the poem "Spring River, Moon" suddenly popped up in Chen Zi'ang's heart.

As he walked, he whispered to Guan Xinxin to read this poem.

"The spring tides are connected to the sea level, and the bright moon on the sea is born with tides.

The waves are rippling for thousands of miles, and there is no moon in the spring river!

…”

This is a poem by Zhang Ruoxu, a poet of the Tang Dynasty.

The poem uses the old title of the Chen and Sui Yuefu, and uses a beautiful and beautiful pen with a rich atmosphere of life. It uses the moon as the main body and the river as the scene to depict a beautiful and distant, distant and confused spring moonlit night picture, expressing the sincere and moving separation of wandering children and their philosophical feelings of life, expressing a profound, vast and peaceful state.

The whole poem has thirty-six sentences, each four sentences change the rhyme. The whole poem integrates poetry, painting and philosophy. The artistic conception is clear and the imagination is unique, the language is natural and timeless, and the rhythm is melodious. It cleanses the thick fat and greasy powder of the Six Dynasties palace body. It has extremely high aesthetic value and is known as "the lonely chapter is full of Tang Dynasty".

In fact, Zhang Ruoxu and his masterpiece, like his name, was almost turned into nothingness by time.

Fortunately, it was just a false alarm in the end. He and his poetic soul of "Spring River Flower Moon Night" soared in the spiritual world of the Chinese people and will forever shine on the Chinese poetic space.

Previous life.

One night, the two Tang poems that people have never seen before, "The tide of spring rivers connects the sea to the level, and the bright moon on the sea is full of tides" jumped into the eyes of poet Hu Yinglin.

From then on, the five most beautiful images between spring, river, flowers, moon, and night, suddenly shone out from the old paper pile and rushed into the eyes of the world.

Hu Yinglin, a juren who was over 50 years old, was idle at home at that time and was working on a collection of poems from all generations, intending to collect historical poetry treasures.

Such an excellent poem was abandoned into the dark room of history. If Hu Yinglin had not seen it in the "Yuefu Poetry Collection" by Guo Maoqian, a native of the Song Dynasty, he would not have known how many years it would have been wronged.

It was from the "Source of Poetry" compiled by Hu Yinglin that this genius work was discovered and began to roll into a huge snowball until it was pushed to the peak of Tang poetry.

And it was almost a thousand years, or ten centuries, before the birth of this great Tang poem.

This great Tang poem was almost lost, so his author was almost buried.

However, the research scholars can only roughly tell the world: the poet's name is Zhang Ruoxu, who lived around the Kaiyuan period of the early Tang Dynasty. After the Kaiyuan period, the frustrated poet in the officialdom returned to his hometown Yangzhou. One spring night, he walked alone on the bank of the Yangtze River. At that time, flowers bloomed, the bright moon shining, and a river of spring water rolled eastward. The vast natural scene of nature touched the poet's thoughts and rushing poetic feelings.

It seems as if the five beautiful poetic images of the girl, like the help of the gods, spring, river, flowers, moon, and night, are like flowers, and erupting in the poet's pen.

The passionate and full atmosphere in the poem immediately made the world transparent and everything clear, and also made the poetry world in the early Tang Dynasty shine.

"Spring River Moon Night" shining brightly in the ocean of Tang poetry is more like an accident, an accident and an isolated peak on the Tang poetry show.

The content and expression of this long poem are almost unprecedented in the history of Chinese poetry, and it is difficult to find works similar to it from the Book of Songs to the new poems.

It stands alone on the long history of Chinese poetry, and is not like it before and after.

People cannot understand more about Zhang Ruoxu's life stories, and can only interpret the great poems he left behind.

Although every word in this poem is a gem, the essence of the whole poem is contained in these two sentences: "Who first sees the moon by the river? When is the moon in the river shining on others?"

Because it is these two sentences that give the rushing Tang poetry river another direction, allowing one poem to transcend poetry and reach another higher height of philosophy.

This is unique in the starry sky of Tang poetry, and it is precisely because of this that it has become a loneliness peak without companions in front and behind.

And it is also poetry, the philosophy of poetry, and the poetry of philosophy.

The first four sentences introduce the four of the five main images of spring, river, flowers, moon and night. It immediately creates a picture of the great river moving eastward, the bright moon hanging alone, the spring tide surging, the vastness and profoundness of the night field, which immediately determines the majestic and magnificent tone of the whole poem.

But the poet's focus is not on the scenery. His description of the magnificence of spring, river, flowers, moon, and night is to lead people to the question of "Who is the first to see the moon by the river? When did the moon in the river shine on people?"

This is a grand and ancient question, one of the fundamental issues of philosophy.

As for the second half of the poem, "Life has been endless for generations, and the rivers and moons are only similar every year. I don't know who the rivers and moons are waiting for, but I see the Yangtze River sending flowing water." I feel a little confused and helpless, so I am also sad.

This confusion, helplessness and sadness are caused by the eternity of nature and the short-term life, and is the trouble caused by the unsolved philosophical problem in the previous article.

Facing spring, river, flowers, moon, and night, such a wonderful and eternal nature, people with small individuals and short life will always feel lost, sad, and even despair.

"Spring River Moon Night" created an alternative theme and emotional style for Tang poetry. Its vibrant imagery and sentimental passion were like the early Tang Dynasty in youth. When people were quiet in the night, they had a love relationship with the nature where all things grew.

Although the result of this love made the early Tang Dynasty release the hormones of youth, it also made its gorgeous youth taste a sentimental taste.

Because the content of this poem expresses the relationship between man and nature, and explores short and eternal philosophical propositions, in its gorgeous youth shell, ultimate sentimentality is destined to hide. Although this sentimentality is not about the vibrant early Tang Dynasty, but about the fate of human beings, life that transcends time and space, and has never changed. This is also the unique value of Zhang Ruoxu, an alternative poet.

Zhang Ruoxu seemed to be paying attention to what the poets of his contemporaries were and unaware of what he wrote. He single-handedly went against the large army of the Tang Dynasty poets, and turned his eyes to the invisible time and the distant starry sky. He explored the existence of the universe from an angle that had never been seen by his predecessors, and used the eternal universe as a reference to reflect the fate of mankind.

From the eternity and infinity of nature, he associated the shortness and impermanence of life, and raised the relationship between man and nature to the height of philosophy, and issued an ultimate caring sigh like "life has been endless for generations, and rivers and moons are only similar every year". It not only carries helpless sadness and confusion, but also expresses the dream of youth and the splendor of life without any pain. Just like his name, his sorrow is an illusory sorrow, with a bit of "forced to say sorrow to write new words".

As a result, he showed readers the other side of the theme of Tang poetry, and thus established a unique symbol that belongs only to him.

After writing "Spring River Flower Moon Night", Zhang Ruoxu hurriedly extinguished the traces of life, but lit up the starry sky of Tang poetry.

It is a poem that explores time and space, and transcends time and space, and describes the common feelings of human beings when thinking about "Where do we come from and where do we go?"

This is the mystery of the lonely human beings innately lonely. Only in the early Tang Dynasty, an era when everything is booming, will there be people who have the ambition to pursue the truth of this lonely mystery and will there be people who have the courage to explore the answer to the mystery that transcends the scope of human cognition.

Zhang Ruoxu, carrying the courageous spiritual power of the early Tang Dynasty, represents the billions of confused hearts in the world. He opened his confused poetic eyes and stared at the sky, confused and curious, curious and searching, and seeking and feeling, which made human self-consciousness awaken for the first time in Tang poetry, and made the universe mystery outside of secular life bloom for the first time in Chinese poetry, making literature have anthropological significance at the same time.

After "Spring River Flower Moon Night" was born, its unique poetic posture shows that it has long surpassed the scope of poetry.

From then on, the moon in Yangzhou became the most famous moon in China.

For example, Jiang Kui's "Twenty-four bridges are still there, the waves are shaking, and the cold moon is silent."

For example, Du Mu's "On the bright moonlit night of the Twenty-Four Bridges, where can the jade man teaches to play the flute?"

From the perspective of poetry, Zhang Ruoxu has very important significance for the philosophical construction of the concept of "heaven-man" in China. So much so that Su Dongpo's popular poem "When will the bright moon come? Ask the blue sky with wine" obviously carries the genes inherited from "Spring River Flower Moon Night".

It is precisely because of this that the role of "Spring River Moon Night" in the history of the development of Chinese poetry is far less simple than a masterpiece.

Wang Kaiyun, a native of the Qing Dynasty, said in "Xiangqilou on Tang Poems": "Zhang Ruoxu's "Flower Moon Night in the Spring River" uses the style of "Xizhou", and his lonely poem is very unique, and he is the only one who is very popular."

Mr. Wen Yiduo also praised in "The Self-Redification of Palace Poetry": In the face of magical eternity, the author only has surprise, no fear, only longing, no sadness... Limited and infinite, affectionate and ruthless poets suddenly meet with eternity... The whole poem is like a mysterious and intimate meeting, some are strong cosmic consciousness, love sublimated by cosmic consciousness, and sympathy radiated from love.

This is the poem in the poem, the peak on the peak.

...

Guan Xinxin was originally walking side by side with Chen Zi'ang, and the distance was very close, but it was irrelevant to each other.

Later, probably because she felt that Chen Zi'ang's voice was too small to read, so she couldn't hear it clearly, so she approached.

Finally, she even took Chen Zi'ang's arm and walked forward together.

Chen Zi'angdun felt that women like Guan Xinxin and Guan Tongtong were extremely mentally deprived.

In other words, the pursuit of spiritual aspects is far beyond ordinary people.

Spiritually, they are hungry and have extremely high demands.

Or maybe they are too smart and see through material appearances, and they need spiritual filling in a lot.

If your words are not as good as your person, your poems cannot represent the author.

But the words should be beautiful, and always be beautiful.

People only see the beauty below the beauty, but not anything else.

But people are different. What you see on the surface is beautiful, but the bottom may be full of garbage.

"Can you transfer your business back to Lin'an this year?" After listening to Chen Zi'ang's poems, he blew the night wind, Guan Xinxin held Chen Zi'ang's arm with one hand and stroked her hair that was blown by the cool breeze on her forehead with the other.

"During the transfer, after finishing my movie, you can complete the transfer." Chen Zi'ang didn't want to go back to Youzhou anymore.

Because parents always live in Lin'an, their children are also in Lin'an.

Also, Guan Tongtong is about to leave Youzhou and go to Tianjin to work.

At that time, he will be even more lonely in Youzhou.

Guan Tongtong went to Tianjin to work and had to come back on weekends.

When she came back, most of her would go back to Lin'an to see the children.

According to Chen Zi'ang's estimate, Guan Tongtong will definitely spend three weekends a month and see her child, and the last one will be left for him.

"It's good to come back. If you don't go far, you can see your children every day." Guan Xinxin didn't know that Chen Zi'ang likes children so much before.

Most of the reason why he is in this state is because he cannot see the child.

Many parents miss their children very much if they don’t see them for a day.

Chen Zi'ang couldn't go back to Lin'an for more than half a year and could not see his child.

Even this year, he has not been able to see his children frequently.

Everyone has time on weekends or holidays, but Guan Tongtong basically did not miss going back to Lin'an on weekends and holidays.

Chen Zi'ang came back with him and the three of them met...

Not to mention Chen Zi'ang would feel awkward, even Guan Tongtong himself wouldn't want to.

In the end, my wife was not depressed before and after giving birth, but her husband became depressed.

Neither Chen’s father nor Chen’s mother knew. If he knew, he would probably make a big fuss.

Chen Zi'ang and Guan Xinxin walked to a hotel.

Chen Zi'ang stopped and looked at the hotel.

Guan Xinxin didn't look at it, just looked at Jiang.
To be continued...