This poem expresses the poet's grief and indignation at being relegated and his dissatisfaction with the social reality at that time by mourning and lamenting the unfortunate experience of Jia Yi, a writer in the Han Dynasty. The artistic conception of the whole poem is sad, sincere and touching, which can be called the masterpiece of the seven laws of Tang Dynasty.
"Can I find your footprints on the autumn grass, or just through the setting sun of the desolate forest?" Put Liu Changqing's wandering and sighing mood into the landscape, the autumn grass walks alone, and the cold forest sets the sun. The sad scenery reveals the poet's sadness.
Passing by Jia Yi's former residence in Changsha.
Don Liu Changqing
Jia Yi lived here in exile for three years, which is a tragedy of tens of millions of generations.
I look for traces of human existence in autumn grass and watch the sunset slowly tilt in the cold forest.
If even a good Wendi has a heart of stone, can you still expect the slow Hexiang to understand you?
These desolate waters, these silent mountains, when you come, like me, so far away? !
Requirements for the creation of seven-rhythm poems:
The metrical rules of the Seven-Rhyme Poem are very strict, and the number of words in the poem is required to be uniform, which consists of eight sentences with seven words each. Every two sentences are a couplet, and * * * is a quadruple, which is divided into first couplet, parallel couplet, neck couplet and tail couplet. The two couplets in the middle demand antithesis. Seven-Rhythm Poems originated in the Southern Dynasties, shaped in the early Tang Dynasty and matured in the hands of Du Fu.
The first sentence of the seven laws is positive. This feature of seven rhymes is just the opposite of five rhymes, that is, the first sentence is a positive case that does not rhyme. Structural crossing does not refer to the crossing of the upper and lower sentences in a pair of couplets, but refers to the fact that the syntactic structure (grammatical components) between two adjacent pairs of metrical poems are exactly the same, especially the couplets with parallel couplets and neck couplets.
The combination of structure is the most easily overlooked in creation. Beginners, in particular, often do not pay attention to the intersection of structures. After the creation, some people say that it will be very troublesome and difficult to modify if the structure is folded.