The words that combine reality and fiction are: Yu Meiren by Li Yu and Wulingchun by Li Qingzhao.
Specific analysis: such as Wang Changling's "Parting with Xin Jian at Furong Inn"-
It's freezing and rainy, and it's night in Wu, and Chushan is quiet.
Relatives and friends in Luoyang asked each other that there was a piece of ice in the jade pot.
This poem was written after the 29th year of Emperor Xuanzong of the Tang Dynasty (74 1). Wang Changling was a journey in Jiangning (now Nanjing) and had just arrived in Jiangnan from Luoyang. It happened that Xin gradually returned to Luoyang, and he wrote this poem for his good friend Xin gradually.
The first two sentences are the first layer of the poem, indicating the time and place of farewell. It's like using a huge ink-and-wash landscape painting as the background, lined with the high hibiscus building and the running river, like a woven cold rain, connecting the sky with the river. Friends, tall buildings and the whole land of Wu are shrouded in a misty cold rain, which adds a bit of sadness to the upcoming departure. Chu Gushan is not only a realistic description, but also a portrayal of the poet's lonely mood. Originally, the poet was demoted to Lingnan, and Wang Changling, who was very conceited, was very dissatisfied with officialdom.
Another example: Li Qingzhao's "Wulingchun";
When the wind stops, the dust is fragrant and the flowers are exhausted, and the hair is tired at night.
It is said that Shuangxi Spring is still good, and I plan to go boating. I'm afraid double happiness can't carry much on my mind.
In her later years, Li Qingzhao wrote this word when she was ruined and exiled overseas. She focuses on shaping and describing with real words: the poetess is locked at home by ruthless wind and rain and is very depressed; Unfortunately, after the weather cleared up, the fallen flowers turned to dust. Because of the invasion of the nomads from the south, her husband Zhao Mingcheng died in chaos, and she lived alone in Jinhua, Zhejiang. She witnessed Chunguang and her husband's legacy, her posthumous work The Stone. She felt that things had changed and it was all over. She got up very late in the morning and didn't bother to comb her hair. Sometimes she even wants to talk, but the tears are already in her eyes.
Shang Juan only used the "language of desire" in the fourth sentence, which seems simple, but it has an extremely subtle meaning: showing an uncontrollable state of grief, full of sadness and excitement!
Going to the pool focuses on inner exploration: the poetess heard that Shuangxi in Jinhua suburb is full of beautiful spring scenery and tourists are weaving, and she is going to travel by boat. However, she is worried that the canoe is too small to carry many of her worries.
In the first three sentences, three groups of function words are used successively, namely "Wen Shuo", "Pei Yi" and "Afraid". As a turning point of meaning, with the expression of content words, it has a touching effect. The real "canoe" foreshadows the following "heavy sorrow", which makes the "sorrow" heavy and is also very deep in the feelings of female poets! It also makes the abstract "troubles" concrete and sensible, and becomes "incredible"! No wonder some people commented that Li Yu, the former owner, turned "sorrow" into water, Qin Guan turned "sorrow" into something that died with the water, Li Qingzhao further put "sorrow" on the boat, and Dong Jieyuan, who wrote "The West Chamber", unloaded "sorrow" from the boat and got on the horse. Like this, I don't blame the words in Li Qingzhao's Slow Whispering.