The title of the poem is fascinating. Spring, river, flowers, moon and night, these five things embody the most moving beauty of life, forming a wonderful artistic realm that is tempting to explore.
The poet started to ask the question, and the question came up at the beginning of the poem, outlining a magnificent picture of the moonlit night on the spring river: the tide of the river connects to the sea, and the tide of the moon rises. The "sea" here is a virtual reference. The Jiang Chao is vast, as if connected with the sea, and is magnificent. At this time, a bright moon rises with the tide, and the scene is spectacular. The word "生" gives lively life to the bright moon and the tide. The moonlight shines thousands of miles away, and there is no spring river that is not illuminated by the bright moon! The river winds around the spring wilderness full of flowers and plants, and the moonlight shines on the flower trees, as if sprinkled with a layer of white snow. The poet is really a master of painting. With a single stroke, he can paint the strange "flowers" in the moonlit night on the spring river. At the same time, the theme of "Spring River Flowers and Moonlight Night" was cleverly fulfilled. The poet's observation of the moonlight is extremely subtle: the moonlight has washed away the colorful colors of all things in the world, and dyed the world into a dreamy silver color. Therefore, "the flowing frost cannot be noticed" and "the white sand cannot be seen". Only the bright and clear moonlight exists. The delicate brushstrokes create a mythical and wonderful realm, making the moonlit night on the Spring River look particularly beautiful and tranquil. These eight sentences, from big to small, from far to near, the pen and ink gradually condense on a lonely moon.
The clear and clear sky, earth and universe seem to make people enter a pure world, which naturally arouses the poet's reverie and meditation: "Who by the river first sees the moon? When did the moon on the river shine on people for the first time?" The poet It is a spiritual leap, but it is closely connected with life, exploring the philosophy of life and the mysteries of the universe. This kind of exploration has also been explored by the ancients, such as Cao Zhi's "Song Yingshi": "There is no end in heaven and earth, human life is like morning frost", Ruan Ji's "Yong Huai": "Life is like dust and dew, the path of heaven is long and long", etc., but the poetry The theme is mostly about the eternity of the universe and the brevity of life. Zhang Ruoxu came up with something unique here. His thoughts did not fall into the stereotypes of his predecessors, but came up with new ideas: "Life is endless from generation to generation, and the river and the moon are only similar every year." Personal life is short and fleeting, and human life is fleeting. Existence lasts for a long time, so the life of "infinite generations" and the bright moon "only similar every year" can survive. This is the 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 due to the pursuit and love of life. The tone of the whole poem is "sad but not sad", which allows us to hear the echo of the sound of the early Tang Dynasty.
"I don't know who the river moon is waiting for, but I see the Yangtze River sending flowing water." This is closely followed from the previous sentence "only similar". Life goes on from generation to generation, and the moon and the river are like this year after year. A lonely moon lingers in the sky, as if waiting for someone, but it can never do so. Under the moonlight, there is only the rapids of the river, rushing away. As the river flows, the poem creates waves, pushing the poetry to a deeper realm. There is hatred in the river and the moon, while the flowing water is ruthless. The poet naturally changes his brushstrokes from the natural scenery in the first half of the poem to the images of life, which leads to the separation and sorrow of the lovesickness of men and women in the second half of the poem.
The four lines of "Baiyun" are always written in the spring river in the moonlight night, the longing for the wife and the wanderer in two places. "Baiyun" and "Qingfengpu" express feelings through objects. The white clouds are floating, symbolizing the uncertainty of "Bian Zhouzi". "Qingfengpu" is a place name, but "Maple" and "Pu" are often used in poems to express farewell to scenery and places. The two sentences "whose home" and "where" are intertwined. It is precisely because more than one family and one place has the sorrow of separation that the poet raised such a question. A kind of lovesickness brings out the sorrow of separation in two places, one after another. The poetry is full of twists and turns.
The following eight sentences of "poor" follow the sentence of "where", describing the missing woman's longing for the deceased. However, the poet does not directly talk about the sadness and tears of the missing woman, but uses the "moon" to highlight her nostalgia, and the tears of sadness come out spontaneously. The poem personifies the "moon", and the word "wandering" is extremely expressive: first, the floating clouds are moving, so the light and shadow are uncertain; second, the moonlight lingers upstairs with pity for the missing woman and cannot bear to go. It wants to keep company with the missing woman and relieve her worries, so it spreads its soft radiance on the dressing table, the jade curtain, and the clothes-making anvil. Unexpectedly, the thought of a woman makes her fall in love with her, and she misses her even more.
This change in pronunciation and charm is in line with the ups and downs of poetry. It can be said that the voice and emotion are inextricably linked, and are harmonious and beautiful.