How lush the long grass is. It is thick in autumn and winter every year.
Ruthless wildfires can only burn dry leaves. When the spring breeze blows, the earth is green.
Weeds and wild flowers spread and flooded the ancient road, and the end of the grass under the bright sun is your journey.
I once again sent away my bosom friend, and the thick grass represented my deep affection.
Original text:
Grass/Fude Guyuan Grass Farewell
Tang Dynasty: Bai Juyi
The long grass is so lush that the withered grass will thicken the color of the grass every autumn and winter.
Wildfire can't burn it out, but the spring breeze can revive it.
Weeds and wild flowers are all over the ancient road, and the end of the grass in the sun is your journey.
I once again sent my bosom friend, and the thick grass represented my deep affection.
Appreciate:
The first sentence is the word "ancient grass". How lush ("detached") the original grass is, grasping the vitality of "spring grass", which can be said to be detached from "spring grass grows and grows" without trace, which opens up a good idea for the following. As far as "Ancient Grass" is concerned, why not start with "Qiu Lai Deep Path" (the original "Autumn Grass" was written by an ancient monk), and the whole story will be another kind of atmosphere.
Weeds are annual plants, which flourish in spring and wither in autumn. "Come and go with each season" seems to be nothing more than that. However, writing "withered-glorious" is very different from writing "glorious-withered". If the latter is autumn grass, you can't make three or four good sentences. The word "one" overlaps together, forming a sigh, showing an endless feeling first, and three or four sentences will follow.
"Wildfire never completely devoured them, and they grew taller in the spring breeze." This is the development of the word "withered glory", which changed from a concept to an image. The ancient grass is characterized by tenacious vitality. You can't cut or hoe. As long as a few roots are left, the next year will be greener and longer, and will soon spread to Yuanye. Grasping this feature, the author does not say "endless chopping and hoeing", but writes "wildfire never consumes them completely", creating a heroic artistic conception. Wildfires start a prairie fire, and the flames are terrible. In an instant, a large area of hay was burned to the ground.
Emphasizing the power of destruction and the pain of destruction means emphasizing the power of regeneration and the joy of regeneration. Fire can "burn out" all weeds, even stems and leaves, but the author says it is "inexhaustible" and is of great significance. Because no matter how fierce the fire is, there is no way to help the roots buried deep underground. Once the spring breeze melts into rain, the life of weeds will revive and cover the earth again with rapid growth in response to the abuse of fire. Look at that "vast sea of grass", isn't it a green flag of victory? The language of "they have grown taller in the spring breeze" is concise and powerful, and the word "rebirth" has three points and ten meanings. Song Dynasty and Notes on Remnant Gaizhai said that these two sentences were "not as concise as Liu Changqing's poem Burning Green in Spring", but they were not really seen.
These two sentences not only describe the character of "grass on the original", but also describe an ideal model of regeneration from fire. One sentence is dry, the other is glory, and how "Endless Burning" and "Blowing Again" sing and sigh, the confrontation is also natural, so it is outstanding through the ages. Although Liu's sentences are similar in meaning, they lack charm and are far less than white sentences.
The author didn't write about Guyuan for the sake of "Guyuan", but at the same time arranged a typical farewell environment: Guyuan's scenery in "The Sand" was so charming, and the farewell happened in this background was so melancholy and poetic. The word "Wang Sun" is borrowed from Chu Ci to make a sentence, which generally refers to the traveler. "The prince and grandson swam away, and the spring grass grew." Refers to people who have not come back when they see the lush grass.
However, here, it is used in different ways. It is about the sadness of seeing the lush grass send away. It seems that every blade of grass is full of special feelings. Really: "Hate like spring grass, and live further" (Li Yu's "Qingpingle"). What a meaningful ending this is! At this point in the poem, "Farewell" has been made clear, the meaning of the question has been set, and the whole article is closed. "Guyuan", "Grass" and "Farewell" are integrated into one, and the artistic conception is extremely muddy.
About the author:
Bai Juyi (772-846), a native of Xinzheng, Henan Province, was born in Taiyuan, Lotte, Xiangshan, and drunk. He was a great realistic poet in the Tang Dynasty and one of the three great poets in the Tang Dynasty. Bai Juyi and Yuan Zhen * * * advocated the new Yuefu movement, and together with Liu Yuxi, they called the world "Bai Yuan" and "Bai Liu".
Bai Juyi's poems have a wide range of themes, diverse forms and simple and popular language, and are known as "the poet's magic" and "the king of poets". Official to Hanlin bachelor, Zuo Zanshan doctor. In 846 AD, Bai Juyi died in Luoyang and was buried in Xiangshan. Up to now, there are Bai's "Changqing Collection", and the representative works include Song of Eternal Sorrow, Charcoal Man, Pipa Travel and so on.