The whole 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 Chang 'an rich family competing for novelty and pursuing pleasure. In the first sentence, the plan of Chang 'an is spread out in a magnificent way, with avenues extending in all directions intertwined with alleys as dense as cobwebs. The second sentence is street view, which is the endless stream of countless cars and BMWs. In this way, I always mentioned the program concisely, and then I painted it wantonly and Wang Yang: the jade hairpin, the golden whip, the dragon holding the treasure cover, and the phoenix spitting tassels? For example, Wen Yi's Sunset is a gorgeous book. These people who hold "golden whip", ride "jade chariot", own luxury cars, and go in and out of the Princess First House and the Prince's House are not idle people. "Vertical and horizontal" shows that there are many people, "flow" is endless, and the pace of life in pursuit of pleasure is as fast as a whirlwind. This scene has been rising from Asahi to Sunset without interruption. In Chang 'an, not only people come and go, but also the scenery is rich and lively: writing "gossamer" means "hundred feet", writing "charming bird" means crowds, and the words "struggle" and "* * *" both show the meaning of downtown. The scenery serves as a foil. The architecture of Chang 'an is described below. "Flowers" bring out bees and butterflies, and bees and butterflies travel to bring out forbidden scenery that ordinary people have no reason to see, which is flexible and changeable. The author did not fully describe the structure of the palace, but only showed several close-ups: the palace gate, the colorful balcony, the window lattice carved with exquisite acacia flowers, and the treasure top decorated with golden phoenix's double que. People can have a panoramic view of the magnificent palace through these brilliant parts that flash one after another. Writing about the first house of a rich and powerful family, the style is more concise: "Liang Jia painted the pavilion from the sky." Its potential is majestic, comparable to the bronze pillars of the Han Palace. This colorful pen and ink, endless scenes, dazzling. Therefore, on the thoroughfare avenue and the winding path leading to a secluded place, there are gorgeous buildings that climb over the eaves and become a three-dimensional "stage" and a paradise for the upper class. This part of the urban landscape, which took a lot of pen and ink to write, also constitutes the background of the whole poem, and the following parts of various 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, "luxury, arrogance, narrowness, evil and omnipotent" is enough to write. The author did not give a comprehensive description of Hao Gui's life, but wrote a long paragraph about the giant singers and dancers. Through their emotions and lives, he could see a point in the giant's life. Someone here fell in love at first sight and found that the beautiful woman Nong Yu ("Playing the flute to Purple Smoke") was your dancer, which aroused his admiration: "Why don't you give up your life after winning a game?" I would rather be a mandarin duck than a fairy. " The dancer also got the message: "I envy seeing Yuanyang, but I can't see you when I'm away." I hate to embroider loneliness on my forehead, so that I can get curtains and put on double colors. In the language of inner monologues, the four sentences of "excuse me" and "comparing eyes" echo each other, with the hearts of men and women. A series of things in pairs, such as Bimu, Yuanyang and Shuang Yan, are compared with the lonely Luan. The decisive and repeated statements, such as "Why to die", "I don't envy immortals", "I really admire them", "Easy to take" and "Born to hate them", show the enthusiasm and pain of love. As Wen Yiduo highly praised, these poems devoted to men and women are "morbid shamelessness" and "weak feelings" compared with "Admire Your Heart" (Jian Wendi's Wuqi Qu), "What courage is this now" and "Really have the power to bring back the dead" (redemption of palace poems). 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, writing about your girl dancer's boudoir ("Luo Wei Cui is a tulip"), which smells good; Writing about their clothes ("cicadas fly in the clouds, crows are yellow in the first month") is so enchanting, "charming posture and rich feelings." After getting dressed, I put on a BMW and went out with my noble master. There are two sentences at the end of this part: "The demon boy BMW tied the money, and the prostitute Panlong knelt on the ground (the leaves were carved with dragon patterns, and the car ornaments; "Bend your knees" and "bend over"). "The reply to the title" Green Cow, White Horse and Seven Fragrant Cars "marks the end of the description of the summer heat in Chang 'an during the day. The next part is about Chang 'an Night, which does not involve the dignitaries, in order to let more kinds of characters perform, and at the same time, we can infer their situation from their happy lives. It can be seen that the pen is complicated and simple.
The second part (from Night Crying in the Palace to Singing and Dancing for the King) mainly focuses on street prostitutes and writes about the nightlife of all kinds of characters. Biography of Zhu Hanbo said that there were thousands of crows perched on cypress trees in Chang 'an Palace, and Biography of Historical Records of Zheng Ji said that after Zhai Gong ousted Ting Wei, there were fewer people, so this part began with two sentences, that is, using allusions flexibly. Night Cry and Zhucheng Jade Road Faint, No Golden Dike describe the dusk scene, indicating that the time has entered dusk. "Birds want to live" implies that law enforcement officers such as Shi Yu and Ting Wei are ignored and have no power. In the evening, Chang 'an became a paradise for "adventurers". There are vagrants with bullets and eagles, lawless teenagers who conspire to frame officials (Chang 'an teenagers in the Han Dynasty organized the murder of officials to take revenge, and three kinds of projectiles were set before the action, so they were called "exploring pills to borrow guests"), and knights who traveled with swords? These people, standing on different sides during the day, taste the same, as if they were invited, and they all gather at the prostitute's house at night. Using "peaches and plums" to refer to prostitutes is not only because peaches and plums can be described in many colors, but also because the idiom "peaches and plums don't say anything, but go their own way" implies that it is also a hot spot for people to come and go. People are obsessed with the songs and dances here, intoxicated by the fragrance of the breath, and prostrate under the purple skirt. On the surface, youth can last forever. Outside the prostitute's door, "riding south like a cloud", on the surface, the door will not be left out. From "night" to "dynasty", from "dynasty" to "night" and the first part of "dragon", time is continuous with each other, which shows that Chang 'an people enjoy it day and night. Chang 'an Avenue is criss-crossed, the market is prosperous, and there are many prostitutes ("Lianbeili, a northern pond in the south of Mexico"), which is almost a "social center". 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 large-scale exhibition of various commodities. "Biography of Historical Records Funny" wrote: "At dusk, the wine stopped, and men and women sat together and staggered. The cups and plates are messy and the candles in class are extinguished. " Rollo's lapel is untied and I can smell the fragrance. "Here," Lolo's treasure belt is untied for you "means to hint at the same scene in one or two sentences. In ancient times, Yan and Zhao were well-developed in song and dance, and there were many beautiful women, so they wrote their music and entertainment with "Yan Song and Zhao Dance". In this part, all kinds of characters in Chang 'an appear scene by scene. Wen Yiduo once said, "Come to stay at the prostitute's house through the weak peach and plum path in three plays." Admittedly, this is not a beautiful excitement. But there is trembling in this madness and spirituality in depravity. "It is by no means comparable to that kind of anemia and tiredness of palace poems.
The third part (from "Don't expect too much" to "Only see pine now") writes that the upper class in Chang 'an not only pursues insatiable lust, but also craves for power, which drives the civil and military officials to fight with each other. These luxury figures, called generals, have the right to ask the emperor for help ("returning to heaven") and never give in to each other. Guan Fu was a general in the reign of Emperor Wu of the Han Dynasty, and Xiao was an important minister in the reign of Emperor Yuan of the Han Dynasty. Both of them were excluded and framed. The phrase "high spirits" refers to the mutual exclusion and conflict between civil servants and military commanders. Its proud people are arrogant for a while, but claim to be rich for thousands of years. In this section, the sentences of "sitting on a green hill" and "singing and dancing for thousands of years" echo the descriptions of the songs and dances of horses and chariots in the first two parts. So, although you wrote another content, the related hooks and locks are not free. "Speak for yourself" and "Call for yourself" are ironies. The following is a turning point, such as going downhill: "The festival is not waiting, and the mulberry field is waiting for change." In the past, Bai Yutang was a golden step, that is, now only Song Qing is here. "These four sentences are not just about" luxury ",but actually wipe out all the roles mentioned in the unprecedented two parts, as Shen Deqian said:" Chang 'an Street is luxurious, extravagant, narrow, evil and gorgeous. Since I have won the favor, I am a knight-errant, and Wu Jin and Quan Chen both live in a prostitute's house, claiming that I can keep my wealth forever. However, the vicissitudes of life are short-lived, and only the grave of the market exists. "The four sentences are not only in contrast to the previous long narrative in content, but also in form, and the language is simplified. Therefore, there is also a contrast between the shades of words, which highlights the tragic effect of sweeping away everything. Wen Yiduo pointed out that this new theory of evolution seems to be suspected of "persuading all to satirize one" here. However, satire in palace poems is a very unfamiliar and rarely used technique.
The fourth part, the last four sentences, makes a horizontal comparison on the basis of longitudinal comparison between ancient and modern times, and compares the author himself with Yang Xiong who is worried about writing a book, and with the extravagant figures in Chang 'an, which shows the influence of Zuo Si's poem "Helping the Capital". But in Zuo Si's poems, eight sentences are about luxury, and eight sentences are about Yang Xiong. However, if this poem is written in sixty-four sentences, its content is rich, the picture is magnificent and the details are vivid, which is far from being comparable to the left poem. Finally, write Yang Xiong in four sentences. The contrast here is asymmetric weight, and the effect is more remarkable. The front is Chang' an, vigorous and powerful; This is Zhong Nanshan, "lonely and lonely". In front of us, we are free to indulge ourselves and rely on power. Here, we are abstinent, unwilling to be lonely, and don't care about glory ("a book a year"). The former is not worthy of the name, but the latter is immortal with its literary name ("Nanshan alone osmanthus hair, flying around, attacking people"). Although four sentences are more than sixty-four, there is a feeling that the scale weighs a thousand pounds. This ending not only contains the criticism of extravagant and vulgar life with different tastes, but also contains the indignation and loneliness of people who are not in the times and the significance of self-forgiveness. This is the interest of this poem.
Such a magnificent system appeared in Daijoko, which was unprecedented in the early Tang Dynasty. And it is best to be full of emotion and strength. It mainly adopts the way of giving, but it doesn't always exert force and spread stories evenly; Instead, it has a focused and detailed description, which is taken care of in a circle and the details are appropriate; And the ending is quite meaningful and intriguing. Generally, four sentences are used to change the scene or meaning, and the rhyme changes to form a lively rhythm. At the same time, in the change of the scene, multi-purpose lianzhuge (such as "? Okay, get the curtains, put them on. Shuang Yan? " ,"? On the first moon, crows are yellow. Crow yellow? "), or a general multi-layer sentence (such as" If you succeed, why did you quit? You would rather be a mandarin duck than a fairy. Bimu Yuanyang? " North Hall is like a moon every night, and South Street rides like a cloud. Nanmo Beitang? " , "the origin of spiritual irrigation and drainage, authoritarian awarded to Xiao Xiang. Authoritarian spirit? " ), make meaning change words, and finally form a lingering melody. In this way, Sui Chen's phenomenon of "pleasant voice and disharmony in rhythm" ended. "The essence is clear and bright when it changes; 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; The first few parts lay out luxurious and beautiful sentences, and the vertical and horizontal contrast at the end makes the text clear and harmless. In the early Tang Dynasty, there was a fashion in the court. Lu "let go of his rich and mellow voice" and sang such a song, which overwhelmed the "delicate insects singing everywhere" and was a gratifying new voice in the history of the seven ancient development. As far as the artistic value of this poem itself is concerned, it can also be praised as "not wasting rivers and streams"