The poem portrays a respectable and amiable image of a virtuous mother in Chaohu Lake. She doesn't have the awe-inspiring majesty that male immortals often have, but she has a graceful posture and a calm manner. She can strategize, direct operations, protect the environment and protect the people, and become an ideal hero in the poet's mind. It also indirectly expresses the poet's satire and lashing on those men who are high officials and rich, who only know how to get drunk, regardless of the country's worries and people's difficulties. Traditional myths often record that the famous mountains and rivers in China are dominated by goddesses. Such as the Queen Mother of the West in Kunlun Mountain, Yao Ji in Wushan Mountain and Fu Fei in Luoshui, these various mountain gods are probably the heritage of matriarchal society. Chaohu Xianren Laodang is one of the statues of mountain gods.
The first paragraph of the poem is the poet's fantasy of the magical realm when he came from the natural scenery on Chaohu Lake, which seems confusing. It is written in three layers: first, the lake is windy, the green waves are thousands of hectares, and the clouds in front of the mountain are rolling. Seen from the clouds, it seems that countless flags can be vaguely seen, which fully renders the momentum of Xianmu's trip, magnificent and colorful. In particular, the phrase "colorful flags * * *" is even more wonderful: on the one hand, colorful clouds are rolling, and on the other hand, colorful flags are dancing wildly. How sharp the contrast is and how magnificent the scene is! Syntactically, it is quite similar to "Sunset and Lonely Qi Fei" in Wang Bo's "Tengwangge Fu", but each has its own merits. This is the first floor. Then I wrote that there is a dragon in front of the fairy wood, and then there are all the girls. Even the golden yoke of the dragon and the jade crown of the girl are shining. As for the image of Xianmu herself, although the poet didn't say a word, from the luxurious service, she has made people want to see her manners and manners. This is the way the clouds shine on the moon, and the beauty lies in writing from the imaginary place. These are of course out of the poet's imagination, but they also have certain realistic basis. The original word has a self-note under the sentence "Jade is the crown": "There are thirteen people sitting like ladies in the temple." This is the second floor. Finally, the mood suddenly turned into a calm night, and the lake was as flat as a mirror. Occasionally, there was a ringing jingle outside the painting, as if it were the sound of fairy wood returning from the wind. In the word "Thin Shadow", the poet once wrote Wang Zhaojun: "Do you want to wear a ring and come back on a moonlit night?" In both places, Du Fu's poems "Five Poems on Huaibei" and "Returning to the Soul on a Moonlight Night" are used. These three sentences are beautiful and ethereal, which are in sharp contrast with the colorful scenes described above. It is the beauty of Baishi's ci that he is good at jumping out of the previous realm and exploring new ones, full of twists and turns. No one on this cloud lake is quiet, except Wen, whose realm is hazy and enlightening. This is the third floor. Through these three layers of description, the image of Chaohu Xianmu is almost on the paper.
The following film further describes the magic of Xianmu from the aspects of strength, merit and so on.
First, raise the film in two sentences and shake the realm of the latter film. Then, she used a real pen to describe the magical ability of Xianmu conductor Ruoding. She not only laid the foundation of Huai You and safeguarded the south of the Yangtze River, but also sent Lei Gong, Dian Mu and Liu Ding to Yu Nv (the case "Yun Qi Qi _" said: "Ding Liuren is called Yu Nv." ), to guard ruxu mouth and its nearby Dongguan. This exaggerates Xianmu's magical ability to the extreme, just like a commander in chief in charge of border checkpoints intimidating the enemy. Then the poet recalled the story of the confrontation between Cao Cao and Sun Quan in such a mouth in history, and sent out deep feelings: "However, there is no good soldier who laughs at heroes, and a river has gone to Cao Yu!" Why are there no real masters among heroes, only to be driven away by Cao Cao from the north? Of course, this Cao Biao does not refer to Cao Cao in history, nor does the hero refer to Sun Quan himself in history. On the one hand, out of imagination, the poet moved the historical story to the virtuous mother to praise the magic of her talent, just as the preface said at the end: "He who gives meaning to spring water must have a teacher, so he owes the old Mu Yun." On the other hand, he also expressed his indignation at the reality with historical deeds, because nearly 30 years have passed since the Longxing Peace Conference in Jin Song, and the Southern Song Dynasty, which was leaning to the south of the Yangtze River, relied on the water of Jianghuai to stop the nomads from going south. These two sentences satirize the present with the ancient, which are deeply interesting, but they are muddy and comfortable, showing no traces, and feeling infinitely, all in vain.
The conclusion is implicit and euphemistic. There are no heroes in life who can really help. It is the fairy grandmother in "Little Red Room, Between the Shadows" who can really force the enemy not to commit crimes in the south with a small spring. Bring the divine power of fairy wood to the world instead of asking for credit and stabbing those shameless men who are good at asking for credit and reward. The quiet atmosphere of Little Red Mansion, Between Shadows and Shadows is quite different from the magnificent scene of the last movie "Banners * * *, Clouds and Clouds" and the magnificent weather of the next movie "Drinking Huai Youwei and Blocking Jiangnan". But it is precisely because of a "small red chamber, between the shadows" that she can command to drive away the strong enemy, which further shows her magical talent. This sudden change in style can especially deepen the reader's impression, strengthen the theme of the work, and make the writing look swaying and full of twists and turns. Jiang Kui once summed up his creative experience in On Poetry and said, "It's wonderful that the end of the article is unexpected or contrary to the meaning of the previous article." The conclusion of this word is an unexpected example that is obviously contrary to the meaning of the last article, so it can give people endless aftertaste.