Here, the singing of blackbirds is also used to express the decadent scenes of various flowers and rivers, which sets off the feelings of parting and is extremely painful and touching. Among them, it also implicitly entrusted the poet's sense of life experience and the pain of home and country. The feeling of dying wandering in the rivers and lakes and the sadness of different colors of mountains and rivers are all reflected in this sad and vast realm.
Hu Dehua was sent in Bagui and Hunan.
Jiangkui
Lotus fragrance falling powder, sparse tung blowing green, courtyard dark rain.
There is no reason to embrace the shadow, but also see that the walls of Shinohara are dark and the steps of moss are cut.
He bid farewell to Fujian and asked who played the water pipa.
Unfortunately, it's a mountain, and it always gives thrush.
The dragon hates each other and never pays, but now what's the matter, leaving the west wind again?
Cold and smoky, moving people far away, sailing like leaves.
Miss Wen Jun for a long time, leaning on bamboo and worrying about life.
After returning, Cui Zun took two sips, took off the bead curtain and looked at the moon delicately.
Appreciation of Jiang Kui's Ci
This poem is a farewell poem. According to Xia's textual research on the chronology of ci, this word was written (1 186) thirteen years ago when the poet visited Changsha. Hu Dehua, life is unknown. The whole word describes the sadness before parting, the reluctance when parting, and the prospect of friends going home to reunite with their loved ones after parting. Writing before writing, changing time and space many times, expressing parting feelings at different levels, is quite clever in composition and layout.
Shangque is divided into two layers. The first six sentences are on the first floor, with the lonely and depressed courtyard after the rain as the background, writing the sadness before leaving. The lotus flower has withered its pink petals, and the tung tree is blowing green leaves. This is the scene in the courtyard in early autumn. Fireflies glowing by the bamboo fence and crickets moaning under the moss steps are things in front of the court on autumn nights. Shinohara (xiāo) wall refers to bamboo wall. These four kinds of scenery include daytime scenery and night scenery; There are plants and animals; Plants have flowers and leaves, animals have light and sound, and they are evenly arranged. From vision to hearing, from vision to hearing, they create a desolate and melancholy artistic conception, in which infinite troubles are all in it. In the middle, "Dark Rain Sudden Rest" is about the weather, and "Get carried away" is about personnel. The word "goodbye" reveals a sense of helplessness.
Why? Because we are about to say goodbye to our friends. Jiang Yan's "Biefu" said: "The ecstasy is just parting!" This kind of parting is doubly intense because of the layers of worrying scenery. These six words make people enter the realm of Song Yu's nine debates.
After "seeing the guests off", it began to turn to parting, which is the second floor. The scene gradually moved from the courtyard to the farewell water. Go west and indicate the direction of passengers. Look again and you will know that it is not the first time to see you off here. "Ask who plays the pipa on the water" is a rhetorical question with the word "ask" instead of the poem "We once heard a sudden sound and a guitar crossed the water" in Bai Juyi's Pipa Trip, which is concise and has a long aftertaste.
Then "it's a pity that it's a piece of land, and it always makes thrushes", and then the sound is fierce and the realm is wide and far away. The crow thrush, also known as Zigui and Du Fu, is a kind of bird that cries at the vernal equinox and at the autumnal equinox (Guang Yun). In Qu Yuan's Lisao, there is a saying, "I am afraid that cicadas will sing first, which will make my husband's grass not fragrant." Here, the singing of blackbirds is also used to express the decadent scenes of various flowers and rivers, which sets off the feelings of parting and is extremely painful and touching. Among them, it also implicitly entrusted the poet's sense of life experience and the pain of home and country. The feeling of dying wandering in the rivers and lakes and the sadness of different colors of mountains and rivers are all reflected in this sad and vast realm. It is infinite emotion in the virtual place, the more meaning, the smaller the text.
Xiatan also has two meanings. The first six sentences are inherited, focusing on the feelings of farewell. The three sentences in Song of Eternal Sorrow are similar to those in Liu Yong's Lin Yuling. "Affectionate parting is more than the cold autumn festival". Liu Ci went a step further, using the word "Gengnakan", and this word went a step further, using the question "What's wrong now" to express the deep feelings of parting. Then replace the sentimental language with "Zhu Han" three sentences, similar to the artistic technique of "sailing alone, the blue sky is Wan Li, but the Yangtze River is floating in the sky" in Li Bai's poem "Don't be Meng Haoran on the way to Yangzhou", expressing farewell with the sight of a boat drifting away in the cold water, staring at that touching feeling of reluctance. This is similar to Zhou Bangyan's "The Warrior Lan Ling". "Worrying about an arrow is quick, half a wave is warm, and when you look back, you will count the posts and look at the northerners." Zhou Ci was written from the perspective of seeing off and looking back, while Jiang Ci was written from the perspective of seeing off. Although the angles are different, they are all wonderful.
Write the last six sentences and dispel the sadness and hatred of both sides with beautiful thoughts. It's Zhuo Wenjun, referring to Hu's wife. The phrase "leaning on bamboo" borrows the female images in Du Fu's "Forgetting the silk thin sleeves and leaning on a high bamboo pole to watch the sunset" and Li Bai's "The jade steps are cold and dew, and the silk bottom is wet and lingering for a long time", which shows the imaginary scene of Hu's wife waiting for her husband to return. The three sentences in Cui Zun also use the last two sentences in Li Bai's poem: "Why is she still waiting behind her closed window sash, watching the autumn moonlight through its crystal pane?" Describe the reunion of the Hu couple. It is one of the artistic features of Jiang Kui's poems to take the artistic images of predecessors' poems for one's own use, without trace and full of charm.
This poem writes deep sorrow with a clear pen and deep sorrow with a healthy pen, so the feelings are real and not superficial, which conforms to the characteristics of neutralization in Baishi's poems. Chen's Bai Yuzhai commented: "The sound and emotion are intense, the pen is thin and healthy, the meaning is still gentle, the sadness is not hurt, and the truth is sacred." The delicate and layered lyrical brushwork, coupled with the changing structural form, also helps to form that clean, healthy and ethereal artistic style.
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