“胡马依北风,越鸟巢南枝。”谁不思念自己的故乡?中国人的乡土情结特别浓厚。上下几千年,从屈原的“鸟飞返故乡,狐死必首丘”到余光中的悠悠“乡愁”,思乡始终是中国诗歌的一大主题。到了南朝隋唐时代,诗歌形式日臻完善,思乡诗更层出不穷。其中,南朝江总的微山亭赋韵,唐代王维的杂诗和岑参的逢入京使特别有代表性。
"Hu Ma follows the north wind and crosses the South Branch of the bird's nest." Who doesn't miss his hometown? The Chinese people have a strong local complex. For thousands of years, from Qu Yuan's "birds fly back home, foxes die in the first hill" to Yu Guangzhong's "nostalgia", homesickness has always been a major theme of Chinese poetry. In the southern Sui and Tang Dynasties, the form of poetry became more and more perfect, and homesickness poetry emerged in an endless stream. Among them, the general Weishan Pavilion rhymes in the Southern Dynasty, Wang Wei's Miscellaneous Poems in the Tang Dynasty and Cen Shen's envoy to Beijing are particularly representative.
微山亭赋韵中写道:“心逐南云逝,形随北雁来。故乡篱下菊,今日几花开?”
In the rhyme of weishanting's Fu, it said: "the heart follows the South clouds and the shape follows the North geese. How many flowers are blooming today? "
这首诗的特色是“大中融小”而又“以小见大”。作者首先展开一片宏大的秋日清朗的天空来:但见南天一抹白云经不住带着丝丝凉意的北风的撩拨,悄然北逝;而一群北雁却为避寒秋而翩然南来。睹物生情,作者联想到自己。自己的故乡在辽远的北方,却为躲避战乱,寄居南朝,正如这南飞之雁;然游子思乡之情却因此而愈笃,如同北逝之云,可谓“身在南朝心在北”矣。一个“逐”字,说明思乡之切,欲逐南云而飞去,是主观上强烈的愿望,与下句“随”字相对照:“随”有被动无奈之意,写出他避乱南方的无可奈何。作者写的是秋景,南云飞逝,北雁南飞,都暗示北风已起,是“不写之写”,更写不尽凄凉。接着,笔锋一转,由大入小,写故乡篱下之菊,暗寓“采菊东篱下,悠然见南山”之意,写出对故乡闲适生活的眷恋。民间又有“重阳把酒就菊花”之俗,而今诗人却只能寄身天涯,两相对照,好不凄凉。“今日几花开?”一问将思恋情结发挥至极,将意象浓缩到极小,着意于花,实是于极小中见极大。一问之中饱含不尽情思,使小诗戛然而止,但余韵无穷。
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