Su Shi
The flowers faded and the red and green apricots were small. When swallows fly, green water people go around. There are few willows blowing on the branches, and there are plenty of fragrant grass in the end of the world. Swing in the wall and outside the wall. A layman in the wall, a beautiful woman in the wall laughs. Laughter fades into silence, but passion is mercilessly annoyed.
① Song Zhe was demoted to Huizhou in 196, or even earlier.
② willow cotton and catkin.
③ Be silent and disappear. Affectionate, refers to the wall layman. Ruthless, refers to the beauty in the wall.
This is a small poem that laments the passing of spring and the beauty is hard to see. The poet's frustrated feelings and broad-minded attitude towards life are also faintly revealed here.
The last film says that spring will be over, and the feeling of homesickness is implied in hurting spring. The first sentence, "Flowers fade, red and green apricots are small", not only points out the season at the turn of spring and summer, but also reveals the law of natural metabolism when spring flowers are exhausted and green apricots are born. Although it is a scenery description, it still contains thoughts. The word "Swallow" not only brings the place, but also depicts the environment of this family. The light swallows fly obliquely in the air and are surrounded by green water outside the house. How beautiful and peaceful! The word "other people" hints and paves the way for the appearance of the next film "Beauty in the Wall". The sentence "on the branch" first suppresses and then promotes, and conveys the poet's profound and broad-minded feelings in the delicate scenery description. Catkin is all over the sky, and the grass is boundless. It is the easiest to provoke people's worries. With the word "You", it is not a long time to live in exile here. On the surface, "there are plenty of fragrant grass in the end of the world" seems to mean that the end of the world is full of lush fragrant grass and boundless spring scenery, but in fact, it means that "Li Sao" means that as long as you are happy, where can you not settle down? "I always follow the fate when I am born, and there is no inconvenience in all directions" ("Send tea with Jiang Kui"). In the later period of relegation to Hainan, the author sang, "There are 3 litchi branches every day, and I don't hesitate to grow up as a Lingnan person" (the second part of "Two Litchi Branches"); "I don't hate dying in the south, so I'll travel wonderfully for the rest of my life" ("Crossing the sea on the night of June 2"), all of which contain a happy-go-lucky magnanimity in the sadness of homesickness.
The next film describes the annoyance and melancholy of a beautiful woman without hearing her voice. "Swing in the wall" three sentences, using the technique of line drawing, describe pedestrians (themselves) wandering around the path outside the "other people's" wall, only to see the swing frame above the wall, and the laughter of women swinging from the wall. At this point, the poet points out that he is a "pedestrian", which certainly means that he is a passer-by outside the wall of this "green water family", but it also has the meaning of "life is like a trip, I am also a pedestrian" ("Lin Jiangxian Send Qian Mufu"). If the "Tianya" in the last film implies that Huizhou is far away from the ends of the earth, isn't it just a stone's throw away from the beautiful woman? The last two sentences are a self-mockery of the departure of a beautiful woman. Pedestrians know that they can't see the figure and appearance of the beautiful woman inside the wall, but they just want to stop and listen for a while. Unexpectedly, the beautiful woman has left on the swing at this moment, and she still doesn't know that there is an affectionate pedestrian outside the wall. How can this not be annoying? These two sentences are extremely reasonable and interesting. The "ruthlessness" of Gai Jiaren is due to the fact that there are "sentimental" pedestrians outside the wall, and there is more than one thing in the world that is universal and inevitable. The poet was loyal all his life and saw doubt, but straight and slandered. At this moment, he ended up in Lingnan. Isn't it just that he was "affectionate but ruthlessly annoyed"? The author laughs at his own passion, that is, at the unfair fate imposed on him and at all tragedies!
The whole poem is ingenious and full of strange feelings. Writing scenery, taking notes, and reasoning are natural, integrating Zhuang in harmony, and the language goes back to circulation, with a fresh and beautiful style. Wang Shizhen, a Qing Dynasty scholar, said, "I am afraid that Liu Mian, who lives on a branch, may not be able to survive because of the love of Liu Yong" ("Flowers and plants are blooming"). This is the embodiment of the author's poetic style. "Ci Lin Chronicle" Volume 5 quotes the cloud of "Ci Tan under the Forest": "Zi Zhan is in Huizhou, sitting idly with (Shi Ji) facing the clouds. When the young girl first arrived, the wood was rustling, and it was sad and autumn. I was ordered to tell the big white in the clouds and sing' Flowers fade and residual red', and I will sing in the clouds with tears all over my skirt. Zi Zhan criticized the reason and replied,' Those who can't be sung by slaves are "there are few willows blowing on the branches, and there are plenty of fragrant grass in the end of the world!'" Zi Zhan burst into laughter and said,' It's my government that mourns autumn, and you hurt spring'. "Mourning towards the cloud, because she realized the mixed feelings of broadmindedness and sentimentality contained in it. This word is similar in purport to He Zhu's "Jade Case" (Ling Bo doesn't cross Hengtang Road), and both of them express their political frustration with the method of "vanilla beauty". However, there is optimism and broadmindedness in the bitterness and frustration, which is not found in the congratulatory message. This is also the charm of Su Shi's personality and works.