In spring, silkworms will weave until they die, and the wax torch will turn to dust, and tears will flow down their faces. "Spring silkworms die, wax torches turn to ashes" comes from Li Shangyin's untitled time was long before I met her, but it was longer than we broke up in the late Tang Dynasty. The poem reads: "Time passed long before I met her, but since we separated, the time has become longer, and the east wind has started and a hundred flowers have blossomed. Silkworms in spring will weave until they die, and candles will drain the wick every night. In the morning, she saw her hair cloud changing in the mirror, but she bravely faced the cold of the moonlight with her evening song. There is no way to Pengshan. Oh, Bluebird, listen! -Give me what she said! "This is a poem written by Li Shangyin expressing love psychology. In the first two sentences of the poem, I wrote about the unfortunate experience of love and the mood of the lyric hero. Due to some force, it is difficult for a pair of lovers to meet, and the pain of separation is unbearable for her. The third and fourth sentences of the poem go on to write the feelings of "seeing each other late" and "it is difficult to leave" "And the silk quilt in spring will be woven until death" means that he misses each other, just like a silkworm spinning to death; "And every night the candle will cry the wick away" is a metaphor for his endless pain because he can't get together, as if the wax tears didn't run out until the candle burned to ashes, and he missed more than one, which shows his deep attachment. Poem 56 is translated into an extroverted psychological activity, "Cloudy temples change", which means that I can't sleep at night because of painful torture, so that my temples fall off and my face is gaunt; "You should feel cold in the moonlight" is to reflect psychological desolation through physical cold feeling. At the end of the poem, Pengshan is the symbol of the other party's residence, and Jade Bird appears as the messenger of the lyric hero, hoping that the messenger will appear. In the poem, "Spring silkworms die, and night candles burn out their wick" uses vivid metaphors to describe the love between men and women without regrets and till death.
(2) Falling red is not a heartless thing, but turning into spring mud will protect flowers. "Falling red is not a heartless thing, but turning into spring mud protects flowers more" comes from Gong Zizhen's Ji Hai Miscellaneous Poems in the late Qing Dynasty. The poem said: "The mighty sorrow leaves the sky, and the whip refers to the end of the world. I quit my job and go home, just like a flower falling from a branch, but it is not a heartless thing. It turns into the soil of spring and can also play a role in feeding the next generation. " This poem is the fifth in Ji Hai Miscellaneous Poems. It describes the poet's mood when he left Beijing, that is, although he was carrying "a mighty sadness", he said that he would still make a final effort for the country and the people. The first two lyrical narratives of the poem are "Leaving Sorrow" and "Pointing the Whip to the East"; It is sad to leave, but it is easy to leave. After all, I have escaped the shackles and can go back to the outside world to do other things. The last two sentences of the poem use fallen flowers as a metaphor to show one's mind. Falling in love originally refers to the flowers blooming on the branches, but it is not something without feelings. Even if it turns into spring mud, it is willing to cultivate beautiful spring flowers to grow. "Falling in red is not a heartless thing, but turning into spring mud will protect flowers more", which shows that although the poet is divorced from officialdom, he is still concerned about the destiny of the country, does not forget his ambition to serve the country, and does not hesitate to give everything to express his enthusiasm for caring for the country until his death, fully expressing the poet's strong feelings and becoming a famous sentence handed down from generation to generation.
(3) After the flowers are picked into honey, whoever works hard for them will be sweet. "Flowers gather honey, whoever works hard will be sweet" comes from Luo Yin's Bees in the Tang Dynasty. The poem says: "No matter the flat land or the top of the mountain, infinite scenery is occupied. After picking flowers into honey, who will work hard and who will be sweet? " This is a poem about bees. This poem praises the noble character of bee's hard work, and also implies the author's hatred and dissatisfaction with people who get something for nothing. The first two sentences of the poem, "No matter the flat land or the top of the mountain, it occupies infinite scenery", almost boasting that no matter the plain fields or the mountains, wherever flowers bloom, it is the site of bees. The last two sentences of this poem use rhetorical tone. "Picking a hundred flowers" means "hard work" and "becoming honey" means "sweet", but who is this for? This rhetorical question enables readers to gain something from this "animal story". "Flowers gather honey, and those who work hard for it are sweet." In fact, the poet refers to the noble character of bees working hard and expresses their hatred and dissatisfaction with people who get something for nothing.