The theme and language of this poem are very close to those of Qi-Liang Palace poems such as Xiao Gang's Wuqi Qu, but their thoughts and feelings are quite different. Although the words are rich, they do not damage elegance. The writing of the poem is similar to that of Han Fu, trying to spread the truth to the object of description, with a slight meaning of "persuading everyone to satirize one person". The mirror of Tang poetry said, "There is no lack of elegance in the end, so it belongs to the king of Robin."
This poem can be divided into four parts.
The first part (from "Chang 'an Avenue with a narrow strip" to "Prostitute Panlong Golden Kneeling") lays out the life of rich people in Chang 'an who strive for novelty and pursue pleasure. In the first sentence, the plan of Chang 'an was grandly unfolded, and the avenues extending in all directions were intertwined with the alleys as dense as cobwebs. The second sentence enters the street view, which is a stream of cars and BMWs. In this way, the program always mentions it briefly, and then it is splashed with ink. Wang Yang described at will: jade stripes, endless streams of gold stripes, dragon-bit treasure covers, and phoenix-spit tassels ... really like the falling clouds in Wen Yi, very beautiful. These people who hold "gold bars", ride "jade bars", own luxury cars, and go in and out of the princess's first residence and the maharaja's mansion are certainly not idle people. "Vertical and horizontal" can be seen. In Chang 'an, not only people come and go, but also the scenery is rich and lively: writing "gossamer" means "hundred feet", writing "charming birds" means groups, and the word "struggle" means "* * *", all of which show the meaning of downtown. The scenery serves as a foil. The following is about the architecture of Chang 'an, but "Flower" only shows a few close-ups: the palace gate, the colorful balcony, the windowsill carved with acacia flowers, and the treasure top decorated with golden phoenix's double que ..., so that people can see the panoramic view of the magnificent palace through these glittering parts. When writing the first house of the rich family, the style of writing is more concise: "Liang Jia painted the pavilion (referring to the aristocrats of Chang' an by the poor man) soaring into the sky." A few people are dazzled and in high spirits. Therefore, on the plane of the winding path of thoroughfare avenue and small street, there are gorgeous buildings that fly over the eaves and walk over the walls, becoming a three-dimensional "stage" and a paradise for the upper class. This part of the urban landscape written with a lot of pen and ink also constitutes the background of the whole poem, and the following parts of all kinds of characters are still active in this background.
Chang' an is a sea of people, and there are so many people that "I don't know each other in front of the building." Here, "Hao Gui is arrogant and extravagant, narrow and evil, and has everything", which is enough to write. The author didn't write Hao Gui's life comprehensively, but he wrote a lot about the giant singers and dancers. Through their emotions and lives, he could see a spot in the giant's life. Someone here fell in love at first sight, and found that a beautiful woman like Nong Yu ("Playing the flute to Purple Smoke") was your dancer, which aroused his admiration. I would rather be a mandarin duck than a fairy. "The dancer also got the message:" Being a mandarin duck is really enviable, but I can't see you when you are away. I hate to embroider a lonely love on my forehead so that I can put a double face on the door curtain. "The four sentences" Excuse me "and" Bimu "echo each other in the language of inner monologue, a man's heart and a woman's heart." The repeated and decisive statements in Bimu, Yuanyang and Shuang Yan, such as "Why do you want to quit your job?" "Don't envy immortals?" "Really admire immortals?" "Easy to take?" and "Live to hate", show the enthusiasm and pain of love to the fullest. These poems dedicated to "men and women" are just like Wen Yiduo's admiration. Compared with "looking at the sky and looking at your mercy, who can be ashamed and refuse to move forward" (Jian Wendi's Wuqi Qu), "This really has the power to bring the dead back to life" (Palace Poetry Redemption). Through the description of the dancer's mind, it reflects the Chang 'an people's desire for love from the side. The following is based on Shuang Yan, written in the boudoir of your singer and dancer ("Luo Wei Cui was tuliped"), which smells good; I wrote about their costumes ("cicadas fly in the clouds, crows are yellow at the beginning of the month"), so enchanting, "charming posture, different feelings". I dressed up, put on a luxury BMW and went out with my noble master. This part ends with two sentences: "The demon boy BMW binds the money, and the prostitute panlong gold bends his knees (the dragon carving leaves the door, and the car is decorated." This marks the end of the description of the hot weather in Chang 'an. The next part is about Chang 'an Night, which no longer involves dignitaries, in order to let more kinds of people perform. At the same time, it is not difficult to infer the situation of the rich and powerful from the enjoyment life of these people. The simplicity of the pen can be seen.
The second part (from Night Crying in the Imperial Palace to Singing and Dancing for the King) mainly focuses on street prostitutes and writes about the nightlife of all kinds of people. It is said that there are thousands of crows inhabiting the cypress trees in the imperial palace in Chang 'an. After Zhai Gong ousted Ting Wei, the courtyard was empty. This part begins with two sentences: "Night crying" and "Zhucheng faint jade road" indicate that the time has entered dusk. "Birds want to live" implies that Marshal Shi Yu, Ting Wei and others are ignored and have no power. Chang 'an at night has become a paradise for "adventurers", where there are idle people armed with live ammunition and lawless teenagers who plot against officials. (In the Han Dynasty, Chang 'an teenagers had an organization that murdered officials for revenge. Before the action, they set up three kinds of projectiles, red, white and black, to assign tasks, so they called it "exploring pills and borrowing guests". These people, who live in different places during the day and taste the same, gather at prostitutes' homes at night. Not only because peaches and plums are colorful, but also because the idiom "peaches and plums don't have to say anything, but also the Tao will do" implies that this is a hot spot for people to come and go. People are obsessed with the songs and dances here and intoxicated with the atmosphere here. Outside the prostitute's door, it seems that Chang 'an people will not be left out in the cold. It is pointed out here that from "night" to "dynasty", from "dynasty" to "night" and the first part of "dragon", time is continuous, which shows that Chang 'an people enjoy day and night and the market is prosperous ("five dramas" are "social centers"). In addition to the above-mentioned carefree figures, there are a large number of court officials ("Jin Wu") who neglect their duties and come here to drink for fun. This is a big exhibition of all kinds of goods. "Funny Biography of Historians" wrote: "At sunset, the wine stopped, and men and women sat together and staggered. The cups and plates are messy and there are candles in class. " In other words, it literally implies the same scene. In ancient times, the songs and dances of Yan and Zhao were developed and there were many beautiful women, so they used "Yan Ge Zhao Dance" to write their music and entertainment. In this part, all kinds of characters in Chang 'an appear in scenes, "from' weak willow five plays and three articles' to' * * * staying in prostitution' peaches and plums'". Admittedly, this is not a beautiful excitement. but
The third part (from "don't be extravagant in calling princes" to "now only look at pine trees") writes that the upper class of Chang 'an not only pursues insatiable lust, but also desires for power, which drives the civil and military officials to fight with each other. These luxury figures, called princes, have the right to compromise with each other. Guan Fu was a general in the period of Emperor Wu of the Han Dynasty. Because of his relationship with Dou Ying, he made a toast. Xiao He, the prime minister of Emperor Gaozu, ranked first among the heroes of Emperor Gaozu, and all the military attaché s were unhappy (). The sentence "passion" generally refers to the mutual exclusion and confrontation between civil servants and military commanders. The proud one was arrogant for a while, but claimed to be rich for a thousand years. In this section, "Qingqiu (dragon, horse) Yanzi (horse's name) is sitting in the spring breeze", which is not free. "soliloquy" and "soliloquy" are self-sufficient. The following four sentences are not only for "luxury leaders", but also for going downhill: "Don't treat things and scenery with courtesy. In the past, the golden stage in Bai Yutang, that is, only pine trees were here (referring to the graveyard). " They all live in prostitutes' homes, claiming that they can keep their wealth forever. However, they are short-lived and stay in the graves of ruins. "() The four sentences are not only in contrast to the previous long descriptions in content, but also in form, and the language is simplified. Therefore, the depth of the text is also contrasted, highlighting the tragic effect of sweeping away everything. Wen Yiduo pointed out this new evolution, saying that there seems to be a suspicion of "persuading everyone to satirize one"
The fourth part, the last four sentences, is based on the vertical comparison between ancient and modern times, and then makes a horizontal comparison. The conclusion is drawn by comparing the situation of poor and anxious writers and luxury figures in Chang 'an. Here, the influence of Zuo Si's poem "Helping the Capital" is obvious. However, there are eight extravagant poems and eight extravagant poems in Zuo Shi. But this poem is written in 64 sentences, which is far from the left. Finally, write Yang Xiong in four sentences. The contrast here seems disproportionate and the effect is more remarkable. This is the lonely Zhong Nanshan. In front of it, we indulge our dependence on power. Here, we have no desire, and we don't want fame and fortune ("one book for every year"). Although the former has fallen into Sun Shan, the latter is immortal with its literary name ("Osmanthus fragrans in Nanshan is alone, flying around and attacking people"). Although four sentences are used to sixty-four sentences, it has its own "scale hammer"
This magnificent system appeared in the ancient seven dynasties, which was unprecedented in the early Tang Dynasty. Besides, it is better because it is full of emotion and strength. The main method is volt, but it is not uniform, and it has been spreading. Instead, it has a focused and detailed description, which is taken care of in a circle and the details are appropriate; In the end, it's quite figurative, forbearing people by chanting scriptures. Generally, four sentences are used to change scenes or meanings, which rhyme and change to form a lively rhythm. At the same time, it uses a continuous grid (such as "... easy to take the curtain post", "... the crow on the first moon is yellow ...". South Mochao rides like a cloud. Nanmo North Hall ... ","The source of passion is the irrigation and drainage of husband, and the authoritarian power can't tolerate Xiaoxiang. Autocratic spirit ... "), which changes the meaning and forms a lingering melody. In this way, the phenomenon of Sui Chen's pleasant voice and disharmony in rhythm was ended. Ups and downs, palace merchants are harmonious; Opening and closing transformation, salty and to the point ("Poetry" Volume III); Therefore, Hu Yinglin praised: "Seven words are long and wonderful!" (ditto) Although this poem is colorful and rich, it still has more than six dynasties, but it can generally meet the needs of new content; In the early Tang Dynasty, Lu "let go of his rich and mellow voice" and sang such a song, which overwhelmed the "delicate insects singing all around". This is indeed a gratifying new voice in the history of the development of the seven ancient times, and in terms of the artistic value of the poem itself, it is enough to make him known as "nothing"