At the beginning of the poem, the writer's love and praise for plum blossoms suddenly appeared in generate: "All fragrant flowers are swaying, occupying all the amorous feelings of the small garden". It blooms proudly against the cold wind in the winter when all the flowers wither, and the beautiful scenery occupies all the scenery in the small garden. An "independent" word and a "perfect" word fully show the unique living environment, extraordinary personality and charming charm of plum blossom. Although the author is Yongmei, it is actually a true portrayal of his ideological character of "pursuing fame and profit" and "pursuing broad horizons with great interest". Su Shi once said in "After Lin Bu's Poetry"; "Mr. Wang is a peerless man with a clear mind and is as cold as ice." His poems are the embodiment of the author's personality.
If the first couplet is the author's gratitude to the plum blossom, then this couplet is a description of the specific image of the plum blossom: "The thin shadow is shallow, and the thin fragrance floats at dusk." This couplet simply describes the temperament and charm of plum blossom, which is beautiful, noble and dignified, quiet and detached. In particular, the words "thin shadow" and "faint fragrance" are used very well, which not only describes the unique formation of plum blossom different from peony and peony; Also wrote its unique fragrance different from peaches and plums. It truly shows the poet's feelings about the delicate fragrance of plum blossoms in the hazy moonlight, not to mention walking by the clear water at dusk. Quiet artistic conception, sparse plum shadow and faint fragrance intoxicated him. Yongmei's two poems can be said to be the acme of art, so they have been praised by later generations. Chen said, "I read the poem by the West Lake, and I watched the quiet posture by the water every year. Clear the window and draw a horizontal oblique shadow, which is better than a thousand villages of night snow. " He believes that Lin Bu's Poems of Yongmei overshadowed the famous sentence "A thousand villages in Zita Law, a bloom last night" in the poem "Early Plum" by Tang Qi. In Niannujiao, Xin Qiji advised poets not to send plum blossoms hastily: "There is no need to send plum blossoms hastily, there are many poets. I have been in Chu Shi, West Lake Forest, and refused to leave the romantic. " It can be seen that Lin Bu's Yongmei poems have a great influence on later scholars.
Lin Bu's two poems are not fiction. He not only has a real sense of life, but also draws lessons from the poems of his predecessors. There is a remnant sentence in Nantanghe in the Five Dynasties: "Bamboo shadows are shallow, and Gui Xiang floats at dusk." These two sentences are all about bamboo and osmanthus. Not only did I not write the characteristics of bamboo shadow, but I also didn't talk about the fragrance of osmanthus. Because there is no title, no complete poem, no unified and harmonious theme and artistic conception, and no passion of the protagonist, it lacks touching power. Lin Bu just changed the word "bamboo" to "sparse" and "osmanthus" to "dark". This "finishing touch" pen vividly paints plum blossoms, which shows Lin Bu's talent in touching poetry.
After writing all the postures of plum blossom, the author turned his head and shed tears objectively: "The frost bird steals a look before it wants to go down, but the pink butterfly knows the soul." Frost birds, winter birds, cranes, Bai Niao. According to the taste of Lin Bu's "Mei Wife Crane", it is better to interpret it as "White Crane". The crane likes plums very much. It can't wait to peek at plums before flying down to enjoy them. How vivid the word "stealing a look first" is! How meticulous the author's observation of real things is! The latter sentence changes the technique and uses fictional words to write things in disguise, which has profound implications. The word "broken soul" is even more bitter and dignified, and it is fascinating because of its love for Mei, exaggerating the butterfly's love for Mei to the acme. Through the anthropomorphic technique of neck knot, the author's love for plum blossoms and his joy of seclusion are further set off. The words "frost" and "powder" in couplets are carefully chosen by the poet to show his noble sentiment and indifferent interest.
In the above trilogy, the author takes Mei as the main body, and embodies the poet's feelings through discussion, narration and personification. The plum blossom, the main body of couplets, is transformed into an object and becomes an appreciated object. The author, on the other hand, changed from the object to the subject, and his feelings changed from hidden to explicit, from borrowing things to expressing his chest: "Fortunately, there is a whisper, and there is no need for a golden statue." Singing poetry in a low voice while enjoying plum blossoms adds a bit of elegance to a quiet life. It is really unique to enjoy yourself in a quiet mountain forest, and you don't need music or banquets for entertainment. This brings out the poet's ideal, sentiment and interest, and makes the process of chanting things and expressing feelings harmonious and consistent.
The first two sentences of the second song say that plum blossoms are like cut silk fabrics, covered with pastry, with deep and shallow sides. How natural it is to paint without painting. Here, thin and light silk and crisp products are used to compare the moist and soft feeling of regret flowers, which is very vivid There are many such examples in the poetry works of the Song Dynasty. For example, in Su Shi's poem Mela, there is a sentence of "making plum blossoms with cakes". "Back-to-back" and "sparse and dense" describe the charm of plum blossoms under the bright sun during the day. Next, plum blossoms can enjoy the warmth of spring all day until sunset, but by nightfall, plum blossoms may be unbearable under the attack of severe frost. Plum blossom was originally praised by people because of its frost resistance. The worry about "first frost should be feared" seems unnecessary, but it is this unnecessary worry that can express the poet's incomparable affection for plum blossoms.
Praise plum blossom's aloof and unique character: bright plum blossom can only be cherished by the monk next door. Although it is cold, I don't want to be watched by the vulgar in the city. The reason why "neighboring monk" and "Shu Ren" are compared is that Buddhist disciples believe in the doctrine of purity and inaction, which is often in tune with the hermit's thoughts, which is not uncommon in history. Wang Wei, a famous poet in Tang Dynasty, called himself "Shi Fo" after being frustrated politically. "In his later years, he was just quiet and far away from everything." (Answer to Deputy Magistrate Zhang) He who saw through the world of mortals became a Buddha. So is Lin Bu, who hasn't been to town for 20 years. The last two sentences say: recalling the past, plum blossoms are in full bloom, colorful flags are flying on the Jiangnan road, the breeze is blowing, and plum blossoms are saddled, which makes people can't help but sing poetry. This is an interesting ending.
From the perspective of image construction, it is not easy for this group of poems to express Xiaomei in the mountain garden alone, but it is unique for the poet to make it the central image in a painting with objects as the lining and scenery as the support.
When describing plum blossoms in detail, the poet combines reality with contrast, which makes the whole poem ups and downs in rhythm, shades in color, dynamic environment and dreamlike scenery, fully embodying the beauty of "mountain garden", which is also ignored by many appreciators. It is through this point that the author vividly expresses the spiritual character of "being rich and thriving" and "being interesting and broad". This is also necessary.
The author's theme of Mei shows the consistent pursuit of China traditional literati, but it is also quite distinctive. As far as "thin shadow" is concerned, Ouyang Xiu said: "There were many people in Yongmei in the last life, and there was no such thing." Chen said, "I read the poem by the West Lake, and I watched the quiet posture by the water every year. Clear the window and draw a horizontal oblique shadow, which is better than a thousand villages of night snow. " He thinks that Lin Bu's Yongmei poems overshadow the famous sentence "A thousand villages in Zita Law, a bloom last night" in Tang Qi's poem "Early Plum". Wang gave him a higher evaluation and praised him as the eternal swan song: "The fragrance and kind words of Yue's family overshadowed the eternal swan song." In Niannujiao, Xin Qiji advised poets not to send plum blossoms hastily: "There is no need to send plum blossoms hastily, there are many poets. I have been in Chu Shi, West Lake Forest, and refused to leave the romantic. " Because this couplet is particularly famous, the words "thin shadow" and "faint fragrance" became key signature who wrote plum poems for later generations. For example, Jiang Kui's two Yongmei Ci poems, Fragrant Fragrance and Thin Shadow, have since become proper nouns of Yongmei. It can be seen that Lin Bu's Yongmei poems have a great influence on later scholars. This can only mean one thing. More importantly, Lin Bu's Mei is no longer full of Leng Xiang, but full of "plump beauty", full of spirit, strength, temperature and great prospects. Because of this, poetry has a strong sense of reality, which makes people feel very real. As the "wife of Mei", Lin Bu wrote this poem with an idealistic tendency, which is a powerful spiritual aesthetic. These three things are also unique.
It is not easy for the author to write such a wonderful sentence. There were many other poets in the early Song Dynasty, who focused on depicting fresh and small natural scenery in a narrow pattern by means of bitter songs, expressing the frustrated or relaxed interest of literati. This mainly inherited the poetic style of Jia Dao and Yao He in Tang Dynasty, and Lin Bu was one of these poets. In addition, the pattern of this group of poems is too small, and the lofty slogan behind it is really afraid of being unknown.