Then, follow the scenery of Xiaoxiang mentioned above: the sun is bleak, the sky is dark, orangutans are crying in the misty rain, and ghosts are calling the shots. But then, with a sentence, "What should I make up for it?" It makes people feel that they are not just writing about scenery. Clouds cover the sun, just like saying that the emperor is in a daze and the political situation is dark "Orangutans cry smoke, ghosts call rain", just like a mob dancing before a big storm. For all this, a poet who doesn't even have a job, even if he says it, will not help the world, and no one will listen. Since "the sun is miserable" and "the clouds can't be seen", then the court can't tell loyalty from treachery. So the poet went on to write: "I don't think God can look after my loyalty. On the contrary, the thunder was loud and dense, as if he were angry with me. " . This thunder refers to the intimidation of some powerful people in the imperial court, but it echoes the words "the sun is dark and the orangutans cry and the ghosts are raining", and it is like writing the scene before the storm in Xiaoxiang Dongting, which makes people feel that it really refers to reality.
"Yao and Shun also Zen jade, but you lose your minister, the dragon is a fish, the power belongs to the minister, and the mouse becomes a tiger." This argument is very argumentative, much like the separation of roots: evil spirits are in power and the national luck is worrying. If a monarch uses his ministers improperly and loses power, he will become a poor fish like a dragon, while an aspirant who steals power will become a rat-eating tiger. At this time, Yao also had Zen and Shun, and Shun also had Zen and Yu. The poet said: don't think that my words are alarmist, and they are blasphemies against the sacred ancient three generations in people's minds. There is indeed a saying that Yao was secretly imprisoned and Shunye died in the wild. According to Records of the Five Emperors and Annals of Bamboo Books, Yao was imprisoned by Shun because of his advanced age and moral corruption. "Mandarin Lu Yu": "Shunqin died among the people." Because he is concerned about the country and the people, the poet naturally has a different vision when observing history: Yao's theory of being imprisoned and Shun Ye's death are probably related to losing power? "The nine suspects are all similar, but what is the grave?" Shunmu has two pupils, Zhong Hua. Legend has it that he died in Jiuyi Mountain in southern Hunan, but Jiu Feng is similar. Where is Zhong Hua's burial place? What is even more bleak is to call Shun's tomb an "orphan grave", lamenting that even the graveyard cannot be known to future generations after death. Not an ambiguous death, not like this. E Huang and Nv Ying, two Di Zi, are crying in the bamboo forest like Lv Yun. The cry went away with the wind and waves, but they didn't respond. The word "deep" is used to remind people of the confusion of the mountains. Even if the Second Princess looks far away, she doesn't know where it is, which takes the tragedy a step further. "Cangwu landslide, tears on bamboo can be extinguished." The tears on the bamboo were spilled by the second princess. Cangwu mountain does not collapse, and Hunan water does not dry up. The tears of the second princess naturally have no end. This tragedy is really profound.
The poem is about the difference between two concubines, but the sentence "What can I make up for it?" Clearly show the poet's feelings about real politics. The so-called "losing the monarch" and "returning the power to the minister" are the prominent signs of the political crisis in Tianbao's later period and the most worrying ending of Li Bai at that time. In Yuan Dynasty, Xiao believed that Xuanzong was greedy for pleasure in his later years, abandoned the state affairs, handed over the state affairs to Li Heyang, and handed over the frontier defense to An Lushan and Geshuhan. "Taibai is familiar with current affairs, and he is afraid of disaster for himself, and he has to become a poem, so he talks about his ambition of loving you and worrying about the country. The so-called British empire is a matter of special reference. " This statement is credible. The reason why Li Bai talks about Yao and Shun dangerously is probably to emphasize that if a gentleman loses power, it is difficult for a saint to protect his wife. Later, in the Mawei incident, Xuanzong and Yang Guifei staged a parting tragedy, which can be said that Li Baiyan played it just right.
Poetry is very dreamy, but there is no lack of pen and ink to pick a gap in the maze. "What should I use to make up for it? The vault guards are afraid of disloyalty, and the thunder leans on anger. " These words are very similar to what he said in Fu Liangyin, "I want to climb the dragon to see the Lord, and Lei Gong plays drums. ? If you don't follow my heart during the day, the country has nothing to worry about. " However, Fu Liangyin is straightforward, and these sentences in Farewell are looming in the fog, which on the one hand plays a role in reminding readers, and on the other hand, the reasons for such a long separation are naturally brought out. The poem still begins with the description of the pain of the separation of the two concubines and ends with the grief of the two concubines, so that the tragic story covers the whole article and maintains the artistic integrity.
The poet obviously has a lot to say. But he knew that even if he broke his throat, he would never wake up Tang Xuanzong. It is really "what can I do?" Besides, the poet himself is very upset, and he doesn't want to say it, but he can't bear to say it. Therefore, when writing poetry, it is inevitable to be intermittent, just like hesitating. Fan _ said: "This article is the most inspiring. Those who emphasize the words of Chu are broken and chaotic, and those who repeatedly walk in them are not broken and chaotic; It is sighing, but there is a legacy. " (According to Qu Tuiyuan and Zhu Jincheng's Notes on Li Bai, this is a very accurate opinion. The poet expresses his feelings in the style of Chu songs, which closely combines dating and continuation, swallowing and exhaling, concealment and manifestation, ecstasy-like sadness and prophetic sobriety, forming a profound artistic conception and strong artistic charm.