The first part describes autumn scenery: the blue sky is full of blue clouds; The vast land is covered with withered yellow leaves. Boundless autumn colors stretch and blend into the flowing river; The vast and sparkling river is covered with cold and sad smoke, and it is empty and green. The mountain peak reflects the afterglow of the sunset; Tianyu is connected with rivers and flowing water. Ruthless grass, endless, endless, until that even the afterglow of the sunset can not illuminate the distant distance.
This huge scene, with typical objects, grand realm and ethereal weather, is difficult to describe with a brush and extraordinary. What is even more amazing is the innate personality and the clever use hidden in it. "The scene is ruthless and there is no scene in love." Autumn scenery in front of him caused anxiety in his heart, so "everything moves my feelings"; At the same time, the anxiety in my heart turned autumn scenery into the present, so "everything is my color". With such internal and external sympathy, things can be in harmony with me. Autumn scenery's sadness and decline are completely in line with the sadness of troubles; The vastness of autumn scenery contrasts with the boundless melancholy of troubles; The endless autumn scenery is closely related to endless worries. Therefore, "When Dan becomes a beautiful sentence, nothing escapes" ("Song Shaoyong's Poetry and Painting"). Here, it is clearly written from the sky, the earth, the river and the mountains, and homesick in the bottom of my heart step by step, until "Ruthless Grass" is pushed to the extreme peak, forming an emotional focus. It is common for grass to cherish the future, but the word "don't have a taste" is because of the poet's inner "Dan Cheng" and "ruthlessness" to show affection and "turn scenery into emotion".
Autumn scenery, which is vast and beautiful but has no sentimental flavor, is rare in the writings of literati, and even less so in the words with the same tone, which grieve for autumn and hurt spring. The long homesickness is also revealed in the description of the human landscape, leaving no trace. This natural transition from scenery to emotion is also ingenious.
Through the film, you can directly point out the "hometown soul" and "travel thinking". "Hometown spirit" and "travel thinking" have similar meanings. Two sentences mean that a person's homesickness is gloomy and melancholy, and the melancholy of travel overlaps and continues. The communication between the upper and lower parts is emphasized, and the protagonist's long stay in a foreign land and deep homesickness make him a loner.
The next three or four sentences seem to have eliminated homesickness and travel worries, but they have always been in my heart. In this way, the words are strange, and the expression is deeper and more beautiful. The phrase "bright moon" means that I can't sleep at night because I'm worried about traveling. Although the moonlight is bright and the night view on the high building is beautiful, I can't watch it, because watching it alone on the railing will aggravate my disappointment.
Finally, I would like to say a few words, saying that because I can't sleep at night, I drown my sorrows in wine, but once the wine enters my heart, it turns into tears of acacia, and it hurts more to send acacia. These two sentences are lyrical and profound, and the words are novel and natural. Writing here, the depressed homesickness reached its climax, and the words came to an abrupt end.
This poem describes the scenery in the first half and expresses the emotion in the second half. This is a common way of combining structure and scene in poetry. Its particularity lies in the unity of beauty and tenderness, more precisely, the unity of broad and far-reaching scenery, beauty and affection. Poems about homesickness and sadness are often expressed by bleak autumn scenery, but the scenery described in this poem is far and wide. On the one hand, it shows the poet's broad mind and love for life and nature, which further highlights the sadness of parting love. On the other hand, it also makes the feelings expressed in the following films look soft and bony, deep but not decadent. On the whole, although the language and technique of this word are similar to ordinary words, its artistic conception and artistic conception are close to traditional poetry. This shows that it is ok to write small words to express sadness and not hate, and it is not limited to the boudoir courtyard.