赏析
被闻一多先生誉为“诗中的诗，顶峰上的顶峰”（《宫体诗的自赎》）的《春江花月夜》，一千多年来使无数读者为之倾倒。一生仅留下两首诗的张若虚，也因这一首诗，“孤篇横绝，竟为大家”。
此诗沿用陈隋乐府旧题，运用富有生活气息的清丽之笔，以月为主体，以江为场景，描绘了一幅幽美邈远、惝恍迷离的春江月夜图，抒写了游子思妇真挚动人的离情别绪以及富有哲理意味的人生感慨，表现了一种迥绝的宇宙意识，创造了一个深沉、寥廓、宁静的境界。全诗共三十六句，每四句一换韵，通篇融诗情、画意、哲理为一体，意境空明，想象奇特，语言自然隽永，韵律宛转悠扬，洗净了六朝宫体的浓脂腻粉，具有极高的审美价值，素有“孤篇盖全唐”之誉。
诗人入手擒题，一开篇便就题生发，勾勒出一幅春江月夜的壮丽画面：江潮连海，月共潮生。这里的“海”是虚指。江潮浩瀚无垠，仿佛和大海连在一起，气势宏伟。这时一轮明月随潮涌生，景象壮观。一个“生”字，就赋予了明月与潮水以活泼泼的生命。月光闪耀千万里之遥，哪一处春江不在明月朗照之中！江水曲曲弯弯地绕过花草遍生的春之原野，月色泻在花树上，像撒上了一层洁白的雪。诗人真可谓是丹青妙手，轻轻挥洒一笔，便点染出春江月夜中的奇异之“花”。同时，又巧妙地缴足了“春江花月夜”的题面。诗人对月光的观察极其精微：月光荡涤了世间万物的五光十色，将大千世界浸染成梦幻一样的银辉色。因而“流霜不觉飞”，“白沙看不见”，浑然只有皎洁明亮的月光存在。细腻的笔触，创造了一个神话般美妙的境界，使春江花月夜显得格外幽美恬静。这八句，由大到小，由远及近，笔墨逐渐凝聚在一轮孤月上了。
清明澄彻的天地宇宙，仿佛使人进入了一个纯净的世界，这就自然地引起了诗人的遐思冥想：“江畔何人初见月？江月何年初照人？”诗人神思飞跃，但又紧紧联系着人生，探索着人生的哲理与宇宙的奥秘。这种探索，古人也已有之，如曹植《送应氏》：“天地无终极，人命若朝霜”，阮籍《咏怀》：“人生若尘露，天道邈悠悠”等等，但诗的主题多半是感慨宇宙永恒，人生短暂。张若虚在此处却别开生面，他的思想没有陷入前人窠臼，而是翻出了新意：“人生代代无穷已，江月年年只相似。”个人的生命是短暂即逝的，而人类的存在则是绵延久长的，因之“代代无穷已”的人生就和“年年只相似”的明月得以共存。这是诗人从大自然的美景中感受到的一种欣慰。诗人虽有对人生短暂的感伤，但并不是颓废与绝望，而是缘于对人生的追求与热爱。全诗的基调是“哀而不伤”，使我们得以聆听到初盛唐时代之音的回响。
“不知江月待何人，但见长江送流水”，这是紧承上一句的“只相似”而来的。人生代代相继，江月年年如此。一轮孤月徘徊中天，像是等待着什么人似的，却又永远不能如愿。月光下，只有大江急流，奔腾远去。随着江水的流动，诗篇遂生波澜，将诗情推向更深远的境界。江月有恨，流水无情，诗人自然地把笔触由上半篇的大自然景色转到了人生图象，引出下半篇男女相思的离愁别恨。
“白云”四句总写在春江花月夜中思妇与游子的两地思念之情。“白云”、“青枫浦”托物寓情。白云飘忽，象征“扁舟子”的行踪不定。“青枫浦”为地名，但“枫”“浦”在诗中又常用为感别的景物、处所。“谁家”“何处”二句互文见义，正因不止一家、一处有离愁别恨，诗人才提出这样的设问，一种相思，牵出两地离愁，一往一复，诗情荡漾，曲折有致。
以下“可怜”八句承“何处”句，写思妇对离人的怀念。然而诗人不直说思妇的悲和泪，而是用“月”来烘托她的怀念之情，悲泪自出。诗篇把“月”拟人化，“徘徊”二字极其传神：一是浮云游动，故光影明灭不定；二是月光怀着对思妇的怜悯之情，在楼上徘徊不忍去。它要和思妇作伴，为她解愁，因而把柔和的清辉洒在妆镜台上、玉户帘上、捣衣砧上。岂料思妇触景生情，反而思念尤甚。她想赶走这恼人的月色，可是月色“卷不去”，“拂还来”，真诚地依恋着她。这里“卷”和“拂”两个痴情的动作，生动地表现出思妇内心的愁怅和迷惘。月光引起的情思在深深地搅扰着她，此时此刻，月色不也照着远方的爱人吗？共望月光而无法相知，只好依托明月遥寄相思之情。望长空：鸿雁远飞，飞不出月的光影，飞也徒劳；看江面，鱼儿在深水里跃动，只是激起阵阵波纹，跃也无用。“尺素在鱼肠，寸心凭雁足”。向以传信为任的鱼雁，如今也无法传递音讯──该又凭添几重愁苦！
最后八句写游子，诗人用落花、流水、残月来烘托他的思归之情。“扁舟子”连做梦也念念归家──花落幽潭，春光将老，人还远隔天涯，情何以堪！江水流春，流去的不仅是自然的春天，也是游子的青春、幸福和憧憬。江潭落月，更衬托出他凄苦的寞寞之情。沉沉的海雾隐遮了落月；碣石、潇湘，天各一方，道路是多么遥远。“沉沉”二字加重地渲染了他的孤寂；“无限路”也就无限地加深了他的乡思。他思忖：在这美好的春江花月之夜，不知有几人能乘月归回自己的家乡！他那无着无落的离情，伴着残月之光，洒满在江边的树林之上……
“落月摇情满江树”，这结句的“摇情”──不绝如缕的思念之情，将月光之情，游子之情，诗人之情交织成一片，洒落在江树上，也洒落在读者心上，情韵袅袅，摇曳生姿，令人心醉神迷。
《春江花月夜》在思想与艺术上都超越了以前那些单纯模山范水的景物诗，“羡宇宙之无穷，哀吾生之须臾”的哲理诗，抒儿女别情离绪的爱情诗。诗人将这些屡见不鲜的传统题材，注入了新的含义，融诗情、画意、哲理为一体，凭借对春江花月夜的描绘，尽情赞叹大自然的奇丽景色，讴歌人间纯洁的爱情，把对游子思妇的同情心扩大开来，与对人生哲理的追求、对宇宙奥秘的探索结合起来，从而汇成一种情、景、理水乳交溶的幽美而邈远的意境。诗人将深邃美丽的艺术世界特意隐藏在惝恍迷离的艺术氛围之中，整首诗篇仿佛笼罩在一片空灵而迷茫的月色里，吸引着读者去探寻其中美的真谛。
全诗紧扣春、江、花、月、夜的背景来写，而又以月为主体。“月”是诗中情景兼融之物，它跳动着诗人的脉搏，在全诗中犹如一条生命纽带，通贯上下，触处生神，诗情随着月轮的生落而起伏曲折。月在一夜之间经历了升起──高悬──西斜──落下的过程。在月的照耀下，江水、沙滩、天空、原野、枫树、花林、飞霜、白沙、扁舟、高楼、镜台、砧石、长飞的鸿雁、潜跃的鱼龙，不眠的思妇以及漂泊的游子，组成了完整的诗歌形象，展现出一幅充满人生哲理与生活情趣的画卷。这幅画卷在色调上是以淡寓浓，虽用水墨勾勒点染，但“墨分五彩”，从黑白相辅、虚实相生中显出绚烂多彩的艺术效果，宛如一幅淡雅的中国水墨画，体现出春江花月夜清幽的意境美。
诗的韵律节奏也饶有特色。诗人灌注在诗中的感情旋律极其悲慨激荡，但那旋律既不是哀丝豪竹，也不是急管繁弦，而是像小提琴奏出的小夜曲或梦幻曲，含蕴，隽永。诗的内在感情是那样热烈、深沉，看来却是自然的、平和的，犹如脉搏跳动那样有规律，有节奏，而诗的韵律也相应地扬抑回旋。全诗共三十六句，四句一换韵，共换九韵。又平声庚韵起首，中间为仄声霰韵、平声真韵、仄声纸韵、平声尤韵、灰韵、文韵、麻韵，最后以仄声遇韵结束。诗人把阳辙韵与阴辙韵交互杂沓，高低音相间，依次为洪亮（庚、霰、真）──细微级（纸）──柔和级（尤、灰）──洪亮级（文、麻）──细微级（遇）。全诗随着韵脚的转换变化，平仄的交错运用，一唱三叹，前呼后应，既回环反复，又层出不穷，音乐节奏感强烈而优美。这种语音与韵味的变化，又是切合着诗情的起伏，可谓声情与文情丝丝入扣，宛转谐美。▲
Appreciation
The Night of Flowers and Moonlight on the Spring River, praised by Mr. Wen Yiduo as “the poem in poetry, the peak on the peak” (“The Self redemption of Palace Style Poetry”), has fascinated countless readers for more than a thousand years. Zhang Ruoxu, who has left only two poems in his life, also because of this poem, “he is so isolated that he can be everyone”.
This poem follows the old theme of the Chen Sui Yuefu, uses the elegant pen full of life flavor, takes the moon as the main body and the river as the scene, depicts a beautiful, faraway, and confused picture of the moon night on the spring river, describes the sincere and moving parting feelings of the wanderer thinking about his wife and the life feelings full of philosophical meaning, expresses a kind of absolute universe consciousness, and creates a deep, remote, and quiet realm. The whole poem consists of 36 sentences. Every four sentences have a different rhyme. The whole poem is a combination of poetry, painting and philosophy. The artistic conception is empty, the imagination is strange, the language is natural and meaningful, the rhythm is melodious, and the thick fat powder in the palace of the Six Dynasties has been washed away. It has a high aesthetic value. It is known as “The whole Tang Dynasty is covered by a single article”.
The poet started to solve the problem, and at the beginning of the article, he started to write the topic, sketching a magnificent picture of the moon night on the spring river: the river tide connects the sea, and the moon rises together. The “sea” here refers to nothing. The river tides are vast and boundless, as if connected with the sea. At this time, a bright moon came into being with the tide, and the scene was spectacular. The word “life” gives the bright moon and the tide a lively life. The moon shines thousands of miles away, and where is the spring river not in the bright moon! The river meanders around the spring field where flowers and plants are everywhere. The moonlight pours on the flowers and trees, like a layer of white snow. The poet is really a masterful hand. With a gentle stroke, he can spot the strange “flowers” in the moonlight of the Spring River. At the same time, he skillfully paid full attention to the topic of “Spring River Flower Moonlight”. The poet’s observation of the moonlight is extremely subtle: the moonlight has washed away the colorful things in the world and dyed the world into a dreamlike silver. Therefore, “the flowing frost can’t feel the flying”, “the white sand can’t see”, and there is only bright moonlight. The exquisite brushwork creates a mythical and wonderful realm, making the night of flowers and moons on the Spring River seem particularly beautiful and peaceful. These eight sentences, from big to small, from far to near, gradually condensed into a solitary moon.
The clear and clear universe of heaven and earth seems to make people enter a pure world, which naturally causes the poet’s reverie and meditation: “Who was the first person to see the moon by the river? When did the river moon shine on people?” The poet’s mind leaps, but it is closely linked with life, exploring the philosophy of life and the mysteries of the universe. The ancients also had this kind of exploration, such as Cao Zhi’s “Send Ying Shi Away”: “There is no end in heaven and earth, and human life is like frost in the morning”; Ruan Ji’s “Yonghuai”: “Life is like dust and dew, and the way of heaven is long”, etc., but most of the themes of the poems are lamenting that the universe is eternal and life is short. Zhang Ruoxu is different here. Instead of falling into the stereotype of his predecessors, he has come up with a new idea: “Life is endless from generation to generation, and the river and moon are only similar from year to year.” Personal life is short and fleeting, while human existence is long and lasting, because the life of “endless from generation to generation” coexists with the bright moon of “only similar from year to year”. This is a relief that the poet feels from the beauty of nature. Although the poet is sentimental about the short life, it is not decadence and despair, but the pursuit and love of life. The tone of the whole poem is “sad but not sad”, so that we can hear the echo of the voice of the early and high Tang Dynasty.
“I don’t know who Jiangyue is going to be, but I see the Yangtze River sending flowing water”, which is closely related to the previous sentence “only similar”. Life goes on from generation to generation, and Jiangyue goes on like this every year. A solitary moon hovers in the sky, as if waiting for someone, but it can never be achieved. Under the moonlight, there is only the torrent of the river rushing away. With the flow of the river, the poem has become turbulent, pushing the poetry to a more profound realm. Jiang and Yue hate each other. The poet naturally changed his brushwork from the natural scenery in the first half of the article to the image of life, leading to the sadness of separation and parting of lovesickness in the second half.
The four lines of “white clouds” are always written in the yearning for women and wanderers on the moonlit night of the Spring River. “White Cloud” and “Green Maple Pool” hold things to express feelings. The white clouds are drifting, symbolizing the uncertain whereabouts of the “boat son”. “Qingfeng Pu” is a place name, but “Feng” and “Pu” are often used to feel other scenery and places in poetry. The two intertextualities of “Who’s home?” and “Where?” make sense. It is precisely because there are more than one family and one place where there is sorrow for parting. The poet put forward such a question. A kind of acacia leads to sorrow for parting in two places. One goes back and forth, and the poem is full of twists and turns.
The following eight “pitiful” sentences inherit the “where” sentence to write the memory of Miss Fu for leaving. However, the poet did not talk directly about the sadness and tears of Miss Fu, but used the “moon” to set off her yearning, and the tears came out. The poem personifies the “moon”, and the word “wandering” is very vivid: first, the floating clouds are moving, so the light and shadow are uncertain; Second, the moonlight lingered upstairs with pity for her. It wants to accompany Miss Fu to relieve her worries, so it sprinkles the soft light on the makeup mirror table, the jade door curtain, and the stamping clothes anvil. How could I have expected that Miss Fu was touched by the scenery, but missed her even more. She wanted to drive away the annoying moonlight, but the moonlight was “unable to roll away” and “still coming”, and sincerely attached to her. Here, the two spoony movements of “roll” and “brush” vividly show the sadness and confusion in the heart of the missing woman. The love caused by the moonlight was deeply disturbing her. At this moment, the moonlight was shining on her lover far away? Looking at the moonlight and unable to know each other, we had to rely on the bright moon to send our love for each other. Looking at the sky: The wild geese fly far away. The light and shadow that can’t fly out of the moon are futile; Look at the river. The fish are jumping in the deep water. They just stir up ripples. It’s useless to jump. “The ruler is in the intestines of fish, and the heart of an inch depends on the feet of a wild goose.”. To the fish and geese who are responsible for delivering messages, they can’t deliver any news now – it’s time to add some sorrow!
The last eight sentences are about a wanderer. The poet used falling flowers, flowing water and the waning moon to set off his homesickness. “Xiao Zhouzi” even dreams about going home – flowers fall in the secluded pool, spring is getting old, and people are still far away from the world. How can I feel! The river flows with spring, which is not only the natural spring, but also the youth, happiness and longing of the wanderers. The falling moon in the river and pool set off his lonely feeling. The heavy sea fog obscured the setting moon; Jieshi and Xiaoxiang are far away from each other. The word “heavy” aggravates his loneliness; The “Infinite Road” also deepened his homesickness infinitely. He thought: How many people can return to their hometown on this beautiful night of Spring River! His unfailing love, accompanied by the light of the waning moon, spread over the trees by the river
“The falling moon sways all over the river trees”, the “swaying feeling” of this sentence – endless yearning, which interweaves the moonlight feeling, the wanderer feeling and the poet’s feeling. It falls on the river trees and also on the readers’ hearts. The sentiment is curly, swaying and fascinating.
In terms of ideology and art, Night of Flowers and Moonlight on the Spring River surpasses those simple scenery poems before, philosophical poems that “envy the infinite universe and mourn my life for a moment”, and love poems that express children’s parting feelings. The poet infused these common traditional themes with new meanings, integrating poetry, painting and philosophy. By virtue of the description of spring river flowers and moonlit nights, he admired the wonderful scenery of nature, eulogized the pure love of the world, expanded his sympathy for wandering people and women, combined it with the pursuit of life philosophy and the exploration of the mysteries of the universe, so as to form a kind of feeling, scenery The beautiful and remote artistic conception of the water emulsion. The poet hides the profound and beautiful art world in a confused artistic atmosphere. The whole poem seems to be shrouded in an ethereal and confused moonlight, attracting readers to explore the true meaning of its beauty.
The whole poem is written against the background of spring, river, flowers, moon and night, and the moon is the main body. The “moon” is a combination of scenes in the poem. It beats the poet’s pulse. It is like a link of life in the whole poem, running from top to bottom, touching God. The poetic feeling rises and falls with the birth and fall of the moon wheel. The moon went through the process of rising – hanging – leaning to the west – falling overnight. In the light of the moon, river water, beach, sky, field, maple, flower forest, frost, white sand, boat, tall building, mirror platform, anvil stone, flying wild goose, diving fish dragon, sleepless thinking woman and wandering wanderer form a complete poetic image, showing a picture full of life philosophy and life interest. The color of the painting is light and thick. Although the ink is used to outline the spot dyeing, the “ink is divided into five colors”, which shows the colorful artistic effect from the combination of black and white and the combination of reality and emptiness, just like an elegant Chinese ink painting, reflecting the beautiful artistic conception of spring river flowers and moonlight.
The rhythm of the poem is also distinctive. The emotional melody that the poet poured into the poem is extremely sad and stirring, but the melody is neither lamentable nor urgent, but like a nocturne or a dream song played by a violin, it is meaningful and meaningful. The inner feelings of the poem are so warm and deep, but it seems natural and peaceful, just like the pulse beating, it is regular and rhythmic, and the rhythm of the poem also rises and falls accordingly. There are thirty-six sentences in the whole poem, four sentences change rhymes, and nine rhymes. It starts with the flat Geng rhyme, and ends with the oblique encountering rhyme. The poet alternated Yang Ru rhyme with Yin Ru rhyme, with high and low tones, and the order is Hongliang (Geng, Shoal, Zhen) – Fine (paper) – Soft (especially, gray) – Hongliang (literature, hemp) – Fine (encounter). The whole poem changes with the change of rhyme, and the interlaced use of flat and oblique tones, singing three sighs and echoing the front and back, which is not only repeated, but also emerging in endlessly. The music has a strong and beautiful rhythm. This change in pronunciation and charm is also in line with the ups and downs of poetic sentiment. It can be said that the sound and sentiment are closely linked with the literary sentiment, and it is almost harmonious. ▲
