Poems that combine virtuality and reality include: Du Fu's "Moon Night", Wang Wei's "Remembering Shandong Brothers on September 9th", Chen Tao's "Longxi Journey", Wang Changling's "Farewell to Xin Jian at Furong Tower", etc. .
Words that combine virtuality and reality include: Li Yu's "Poppy Beauty", Li Qingzhao's "Wulingchun", etc.
Specific analysis: For example, Wang Changling's "Farewell to Xin Jian at the Furong Tower"——
The cold rain came to Wu at night, and the guest was sent off to Chu Shangu in the morning.
When relatives and friends in Luoyang ask each other, their hearts are filled with ice in a jade pot.
This poem was written approximately after the 29th year of Kaiyuan (741) by Emperor Xuanzong of the Tang Dynasty. Wang Changling was the Prime Minister of Jiangning (now Nanjing) at that time. He had just arrived from Luoyang to Jiangnan. It happened that Xin Jian was about to return to Luoyang, so he wrote this poem to send to his friend Xin Jian.
The first two sentences are the first layer of the poem, pointing out the time and place of farewell. It is like using a huge ink landscape painting as the background, with the tall Furong Tower and the rushing river as the background. The cold rain is flowing across the sky and the river, and friends, high-rise buildings, and the entire Wu area are shrouded in the cold rain, adding a bit of sadness to the upcoming farewell. "Chu Mountain Solitary" is not only a realistic scene, but also a portrayal of the poet's lonely mood. How could the always heroic Wang Changling be so lonely after a farewell and a cold rain? It turned out that the poet was demoted to Lingnan, and Wang Changling, who was very conceited, was very unhappy in officialdom.
Another example: Li Qingzhao's "Wuling Spring":
The wind abides in the dust and the fragrant flowers are gone, and I am tired of combing my hair day and night. Things are different and people are not the same. Everything stops. If you want to speak, you will shed tears first.
I heard that the spring in Shuangxi is still good, so I plan to take a boat trip. I'm afraid that the boat in Shuangxi cannot carry many sorrows.
In his later years, Li Qingzhao wrote this poem when his country was ruined and his family was destroyed, and he was living in a foreign land. The upper part mostly uses real characters and focuses on the actual description of the appearance: the female poet was locked in the home by the ruthless wind and rain, and was very depressed; after the sky cleared, the fallen flowers had turned into dust, which was regrettable. Due to the invasion of the Jin Dynasty from the south, her husband Zhao Mingcheng died in the chaos. He lived alone in Jinhua, Zhejiang Province. Seeing the spring scene and her husband's belongings and the "Jinshilu" left by him, he felt that things had changed and people were sad. He stopped everything and slept until three o'clock in the morning before getting up. I am too lazy to comb my hair, and sometimes I even want to speak, but tears have already burst into my eyes.
Shangqian only uses the empty word "desire to speak" in the fourth sentence. The words seem simple, but the intention is extremely subtle: to express the uncontrollable state of grief and full of sorrow, it is gripping!
The next chapter focuses on inner exploration: The female poet heard that Shuangxi on the outskirts of Jinhua was bright and sunny in spring and full of tourists. She was also interested in traveling and prepared to go boating there. But I am worried that the "light boat" is too small and cannot carry my many sorrows.
The first three sentences use three sets of virtual words "hear said", "ye imitate" and "only fear" in succession, as a turning point in the meaning of the word, combined with the expression of real words, it is very touching. deep effect. The content word "Qingzhou" foreshadows and sets off the "sorrow" below, making "sorrow" heavy, which is also the incomparable depth of the female poet's feelings! It also makes the abstract "sorrow" concrete and tangible, with "strange energy"! No wonder some people commented: Li Yu, the later master, turned "sorrow" into water, Qin Guan turned "sorrow" into something that flowed with the water, Li Qingzhao further moved "sorrow" onto the ship, and the author who wrote "The Romance of the West Chamber" Dong Jieyuan unloaded "Chou" from the boat and got on the horse again.
Like this, it is no wonder that at the end of the poem "Slow Voice", Li Qingzhao wails in despair, moans helplessly, and writes "sorrow" again in a heartbreaking and tear-jerking way - "This time, how can the word "sorrow" be so special!