No one can be seen in the silent valley, only the voice is heard.
Go deep into the forest and reflect light from the green moss to me. Enjoy Chai Lu (Zhai Village) and make friends with Abatis. Wood, fence. Chai Lu has a place in Wang Weichuan's other industries. This poem is one of the twenty poems in Wangchuan Collection. Generally speaking, writing landscapes is inseparable from specific scenery, or describing rugged rocks, or depicting towering ancient trees, or rendering waterfalls and suspended springs, with the focus on the strangeness of the scenery. This road begins with a strange phenomenon: "There seems to be no one on the empty mountain, but I think I hear a voice." The rocks are stacked on top of each other and look empty. But sometimes I suddenly hear loud laughter, but because of the repeated reflections of the echo, it is difficult to judge where the human voice comes from. People have had similar experiences, which is normal. But it is a kind of creation to express this method of observing things with complementary vision and hearing in the form of poetry. Judging from the performance of poetry, it is innovative and unconventional; From the receiver of the work, it is so novel and interesting, just like being there, causing positive emotional activities. The language written in these two poems is plain, slightly touched, and the realm comes out. The objective environment that causes the effect of inaudible people is different. So, what is the situation in the poem? The word "empty mountain" at the beginning of the poem not only shows that there is no one, but also shows that the poet's vision is relatively broad and can be seen in a glance; If you are in a virgin forest, you can't get the image of an "empty mountain". From these two sentences, we can also get a glimpse of the characteristics of the scenery situation in the mountains. The word "ring" in the antithesis echoes the word "empty mountain": only when there are not too many obstacles can the sound echo back and forth in the valley, and people can say "human voice". So the surrounding scenery must be sparse. The first two sentences are quiet because of sound and move because of sound; The last two sentences are written deeply, with the color of light. The scenery on the mountain will change from time to time because of dusk and wind and rain. This poem chooses the scenery in the evening as the description object. At this time, the sunset shone back into the depths of the forest, and some light fell on the moss. It's getting dark, and all kinds of scenery are many-hued, with sharp contrast between light and shade. Not far away, the gloomy shadow cast on the ground gradually elongated; Deep in the Woods, it's quiet because of the darkness. The best time for this kind of landscape is late summer and early autumn, and it must be sunny evening, so it can't rain all the time. The first perspective of this poem is deep in the forest. People's senses can't directly perceive the depths of the forest. This poem describes deep affection with "infinity" and "mystery" that are invisible or unimaginable. And that affection is deepest in the sunset in late summer and early autumn. Another perspective point is Moss. This scene is at the bottom of your eyes. You can observe its shape and distinguish its color. Moss lives in dark and humid places. Its growth is the result of dense trees blocking the sun, but now it is in the sunset. These two perspectives are combined and reflect each other, which makes poetic truth and reality coexist. Some of Wang Wei's landscape poems are quite forgetful and even reveal a sense of disillusionment. In Wang Chuan Ji, this kind of sentence can be seen everywhere. In addition to this article, it is another example: "Who is a newcomer? Let bygones be bygones" ("Dream City Pride"); "If you sneak into the mountain road, you don't know who the firewood is" (gold); "Looking back on the lake, green mountains and green waters, white clouds rolling" (Gui Hu), "No one in the stream, falling in succession" (Wu Xinyi). This is the negative side of Wang Wei's poetry creation.