"When is the spring flower and autumn moon?" That sentence is abrupt and rock-breaking: in the life experience of ordinary people, spring flowers and autumn moons are all beautiful things, and we dare not pursue them, just as people often say: flowers are full, full. Otherwise, there will be no "cherishing flowers is often afraid of opening early", and there will be no relatives who are still praying for "a thousand miles * * *" when they are not allowed to reunite. The author's sudden appearance of such a "strange" and contrary language must have its "abnormal" psychological mechanism. Sure enough, "How much do you know about the past?" It turns out that the spring flowers and autumn moon in front of me evoke the author's memories of the past. Naturally, we don't need to say that the author is Li Yu here, because in the view of structuralism, the work becomes a closed, independent and self-sufficient life after completion. He has nothing to do with the author, and roland barthes even claimed that the author was dead. So we don't need to use Li Yu's life experience as the key to interpretation here. Let's talk about the above. Obviously, the connotation of the past should be "spring flowers and autumn moon" or even the romantic moon. So since the past is so beautiful, why should the author complain or even curse about it? There can only be one answer: the embarrassment of the real situation. Refusing to have the past is because the beauty of reality has been lost, and this psychological trauma can't even withstand a trace of memory. Therefore, the author deeply feels the painful psychological experience brought by the perception of the past under the realistic background while the flowers and the moon are flowing in front of him, forming such a binary opposition structure: the perception of spring flowers and autumn moons/the past.
The first sentence of the second group "The east wind came from the small building last night", and the east wind is the spring breeze, such as "And the east wind rises and a hundred flowers bloom". According to common sense, the spring breeze is warm and genial. People often use the word "like a spring breeze" to express their satisfaction with this comfort and enjoyment, and "the spring breeze is proud" to express the pleasure brought by ambition. Here, the author's impatient word "you" conveys a seemingly unusual message-similar to the first sentence, "The old country can't bear to look back." The spring breeze is mighty, the bright moon is in the sky, and the detained author unconsciously roams back to his beautiful hometown in a romantic way, but his hometown is "I want to talk about it" and the so-called "moonlight at home in how bright!" Why is the author "unbearable" for his old country at this time? The reason is "I have a different taste in my heart": unfortunately, my old country has become the eternity I dream of. Needless to say, from this group of poems, we can also see such a pattern: the east wind in a small building/looking back at the old country.
Look at the first sentence of the word, that is, the third group of sentences of the whole word: The carved fence made of jade should still exist, but Zhu Yan changed it. This group is different from the first two groups of sentences in Shangque. First, the first two groups of sentences lead to the scenery of the old country from the perspective of the eyes and directly cut into the scenery of the old country; Secondly, the first two groups of sentences refuse to recall the past and look back at the old country. This sentence is an active nostalgia for the jade carving. We don't have to gild the lily. This sentence of the author is also reminiscent of the "jade fence" of the old country, because it is not only mechanical, but also goes against the fact that the author can't help but recall the old country at this time: the first two sentences of the author are painful because of his painful refusal to review, but this sentence shows that the author can't resist the yearning for the old country!
Writing here, we have to insert such an analysis: as mentioned above, structuralism excludes the direct use of the author to interpret the text, but this does not prevent us from reading the information about the narrator from the whole word-from the first set of sentences, we can regard it as an ordinary person, from the second set of sentences, we may regard it as a minister, from the third set, we can freeze it as a monarch, and naturally it may not be Li Yu. In this way, readers can get richer aesthetic feelings than directly indicating the author's name and identity, and even if they regard it as a monarch, it is more universal than just analyzing Li Yu's position.
Looking back, we continue to interpret the past-and this irresistible yearning has brought him greater pain: rivers and mountains have changed hands, and things have changed. In the binary opposition space composed of these sentences, the narrator feels the pain of flesh and blood!
If the first sentence of the word is amazing, then the emotional expression of the last group of sentences is beyond imagination: "How much sorrow can there be, just like a river flowing eastward", and the word "ask Jun" makes the characters in the word change wonderfully. Some people think that this should be the inversion of "Wen Jun", but it is not. Although the word is "romantic", we might as well borrow narratology theory to interpret it here: the narrators of the first three groups of sentences are all in the first person, and the readers exist as bystanders. At this time, a Wen Jun changed the position of the audience, and the reader became the party in the discourse. From the perspective of reception aesthetics, the transformation of this role enables readers to personally experience the feelings of the narrator, but this role transformation is not limited to the setting of skills, but also stems from the development of emotional thoughts of ci: everyone will encounter all kinds of pains similar to or different from thinking in life, and suffering is inevitable. In that case, why are we stuck here? Let's waste all these pains, frustrations and sorrows. Just like the previous interpretation of "Welcome to Huan", we think that Ci is to understand the surly and impermanent sadness of human life from the short and troubled life of natural scenery. Wang Guowei said in "Words on Earth": "When Ci arrives, the vision begins to broaden and the feelings become deep." "Nietzsche' refers to all literature, and I love to write with blood'. The words of the late Lord are really so-called people written in blood. ..... and Daojun is just the sorrow of his own life. The late Lord has the meaning that Sakyamuni and Christ bear the sins of mankind. " Here we still expel Li Yu, the object of the "late master", and only take the signifier meaning of such words evaluated by Wang Guowei-others write their own sorrows with blood, and the "late master" writes human sorrows with blood! If the narrator plays the role of a tragic hero in "People grow up in the East and hate the water grows in the East", then in "How much sadness can you have, like a river flowing east", the narrator is full of the color of a philosopher who understands life after learning from painful experiences.
All these are contained in an antagonistic pattern of a river full of spring water and melancholy, which is the last group of antagonistic structures. However, the "one river and spring water" in this structure is deliberately invented by the narrator.
At this point, the external experience of the narrator in the physical image/inner experience is the general mode of opposition, or time, or space, or imagination, or virtual, that is, from the real and virtual levels, the past, the motherland, the unforgettable jade and endless sorrow that have been entangled in the memory platform have all been dissolved into this imaginary spring that has flowed through the ages, and existence has been dissolved into history, and * * * has turned into a diachronic one.