Among the poems written by graceful poets to express their feelings of parting, this is a masterpiece with deep feelings, tenderness and moving.
The first film describes what people who are far away from home see and feel on the journey.
The beautiful mid-spring scenery not only makes people appreciate and linger, but also easily touches their sadness. Because of the scenery in front of each other, I can't help but think of my youth and youth in my boudoir, and I also think that I can't travel alone and enjoy the spring scenery with each other. But things like plum blossoms, willow branches, grass smoke and warm wind are all related to parting implicitly or explicitly, so three or four sentences have changed from beautiful scenery to parting description: "The sadness is getting farther and farther away, and the distance is like spring water." Because the other person is the one you love deeply, this sadness of parting will accumulate with the time and distance, just like a spring water bringing you in front of you, and the journey is endless. As mentioned above, "Xiqiao" means that there is a clear stream along the road. The beauty of this metaphor of "the distance is like spring water" is that it is an impromptu metaphor, touching things and feeling, and it is more prosperous than itself. It is a leisurely god that you see in your eyes and feel in your heart. From this point of view, it is more natural than Li Yu's "how much sorrow can there be, just like a river flowing eastward"
The next film is about the young women in the boudoir's deep yearning for strangers.
"Inch tenderness, Ying Ying powder tears." After two sentences, the stranger turned to writing about women. Using "softhearted" instead of "inch by inch" and "pink tears" instead of "Ying Ying" shows the deep and lingering feelings of women. From Far-off Spring Water to Inch by Inch and Tears, there is a natural connection between them.
The following sentence, "A tall building is not near a dangerous fence", is a pedestrian's deep thought and exhortation to his tearful boudoir. If you look at it from that distance, what can you see? This naturally leads to the conclusion.
"Spring Mountain is everywhere, and pedestrians are more outside" makes up for the truth that there is no one to lean on, and it is also a scene where pedestrians imagine that people in their boudoir are looking far away and can't see what they are thinking: in front of the building, there is a overgrown vilen, and at the end of vilen, there is a faint spring mountain. The missed pedestrians are farther away from Spring Mountain and can't find it. These two sentences not only describe the scene of the woman on the roof gazing into the distance and being fascinated by the sky, but also reveal her infatuation. She is crossing the barrier of Spring Mountain and flying to the end of the world with the wandering recruiter. The walker not only imagines that the residents are climbing and cherishing the distance, but also goes deep into each other's hearts to track themselves. This is a wonderful man who deeply understands the woman he loves and paints a picture with considerate care.
The word goes from wandering the streets to thinking about women on the first floor, from real life to imagination, layer by layer, expressing sadness and parting with a divergent structure. This technique of writing through a layer from the opposite side has brought a strong aesthetic effect.