"Autumn leaves can bloom in February. Crossing the river and thousands of feet waves, the bamboo is inclined. " This poem was written by Li Qiao in the Tang Dynasty. Li Qiao has three poems on "Wind", and this is one of them.
wind, as an image of nature, is invisible and intangible, and can only be felt by the individual's heart or known by the change of external objects. Therefore, there is no word "wind" in the whole poem, nor does it directly describe the external form and explicit characteristics of the wind, but it shows the tenderness and toughness of the wind through the change of the original or original state of foreign objects under the action of the wind. It can be seen that the poet is familiar with and clear about the common sense of matter. Under the support of this common sense of life, the poet skillfully shows the characteristics of the wind through the deformation of foreign objects, and indirectly describes the various modes of the wind, which makes people really feel the tenderness and charm of the wind.
"Xing, Bi and Fu" are the basic means of expression in classical poetry. The so-called "xing" means "xing fa" and "feeling xing", which is caused by the effect of external things. "Three autumn leaves can bloom in February", "Leaves fall" and "flowers bloom" are the qualitative changes that naturally occur when things develop to extreme states, and the role of external forces can only be to accelerate or slow down the speed of their changes. Here, the poet attributed the falling leaves and blooming flowers to the action of the wind, showing the subtlety of the author's observation and inner delicacy, closely linking the changes of all things in nature with the action of the wind-external force, and implicitly showing the vitality of the wind and its warm care for foreign objects.
the words "solution" and "solution" are well used. As the saying goes, "the autumn wind sweeps away the leaves", and the arrogance of the autumn wind can be seen. You don't have to "sweep" or "blow" or "scrape" or "peel", just use a solution. "Solution", is careful, is attentively, is to resolve, no hurry, no rush, no madness, so that Ye Er left the mother and found a good home. The tenderness of the wind is touching. "Being able to open" and "opening" are awakening, giving birth, and calling. Flowers sleeping in the cold winter, under the gentle touch of the wind, open their sleepy eyes and stretch, and will usher in a beautiful, beautiful and wonderful spring. The warmth of the wind makes people comfortable. "Unleashing" and "opening" show the tenderness of the wind to the fullest, and also deeply touch the readers' indifferent mood that may have been a little early, and reawaken people's feelings for a better life.
"Fu" means "direct Fu" and "Fu Chen", which means that the object is the heart, facing Chen said directly and expressing directly.
"When crossing the river in thousands of feet, the bamboo pole is inclined", and the wind "crossing the river" rolls up the "thousands of feet Wave". The wind is swift and high, and it goes straight to the clouds and nights. How powerful the wind is; The wind, "into the bamboo" attracts "ten thousand poles are inclined", and the wind is crazy and bamboo-prone, so helpless, how natural and unrestrained the external force of the wind is. Here, the strength of the wind, the strength of the wind and the strength of the wind are in sharp contrast with the warmth, tenderness and infatuation of the previous wind. Any kind of life has its "emotions", and "wind" is no exception. The vagaries of the wind are a good example.
Pay attention to antithesis or antithesis, so does the poem "Wind". For example, "falling off" is neat and orderly to "blooming" and "three autumn leaves" is neat and orderly to "February flowers". If the first two lines of the poem are better in terms of prosperity, the last two lines are more distinctive in terms of antithesis, such as crossing the river and thousands of feet waves, entering the bamboo pole obliquely, crossing, entering, rising, falling and staying.
Looking at this poem, the poet indirectly expresses the various shapes of the wind by grasping the changeability of four natural images, namely, leaves, flowers, waves and bamboos, and makes people truly feel the charm and power of the wind. The above "appreciation" is inevitably suspected of "commenting on poetry on poetry". If we can combine Li Qiao's other two poems about "wind" and then contact the poet's life experience, life background and creative situation, we may have a more wonderful and profound interpretation.