Thoughts in the dead of night
li po
Moonlight before bed,
People suspect that there is frost on the ground.
Looking up at the moon,
Keep your head down and think about your hometown.
[Notes]
1. Silent night thinking: thinking caused by silent night.
2. Doubt: doubt and think.
3. Look up: Look up.
[Brief analysis]
This poem is about the feeling of missing my hometown on a silent moonlit night.
The first two sentences of this poem, "There is such bright light at the foot of my bed, is there frost already?" , is the poet in a foreign country under a specific environment for a moment illusion. A person who lives alone in a foreign country and is busy during the day can still dilute his sadness. However, in the dead of night, the waves of missing his hometown will inevitably surge in his heart. Not to mention on a moonlit night, not to mention on a frosty autumn night. "Could there have been frost?" The word "doubt" in the poem vividly expresses that the poet woke up from his sleep and mistook the Leng Yue in front of his bed for the thick frost on the ground. The word "frost" is better used, which not only describes the bright moonlight, but also expresses the cold of the season, and also sets off the loneliness and desolation of the poet wandering abroad.
The last two sentences of the poem, "Looking up, I found it was moonlight, then sinking, and I suddenly remembered my home", which deepened my homesickness through the description of the action mode. The word "hope" takes care of the word "doubt" in the previous sentence, which shows that the poet has changed from a daze to a sober one. He stared at the moon eagerly and couldn't help thinking that his hometown was under the bright moon at the moment. So naturally, I came to the conclusion that "I sank back and suddenly thought of home". The action of "bowing your head" depicts the poet completely lost in thought. And the word "miss" left a rich imagination space for readers: the old brothers, relatives and friends in that hometown, the mountains and rivers, the grass and trees in that hometown, the lost years, the past … are all in my thoughts. A word "Xiang" contains too much content.
This five-character quatrain vividly reveals the poet's inner activities from "doubt" to "hope" and then to "thinking", and vividly outlines a picture of homesickness on a moonlit night. The language of poetry is fresh, simple and clear; Express casually, in one go. But this idea is tortuous and profound. The content of poetry is easy to understand, but poetry is endless.
Hu Yinglin, a scholar in the Ming Dynasty, said, "Taibai's quatrains are just words, and the so-called people who have no intention of working have no job at all" (Poem Internal Compilation). This poem "Thinking about a Quiet Night" can be said to be an excellent interpretation of the artistic features of Li Bai's poems, such as "nature" and "no work and no heart".
About the author: Li Bai (70 1-762) was a great romantic poet in the Tang Dynasty. He wrote many poems praising the motherland, exposing the darkness of society and despising the powerful. His poems have a far-reaching influence on later generations.
Appreciation of Wang Jian's Fifteen Nights of Looking at the Moon
There are crows in Bai Shu and osmanthus in Coody Leng in the atrium.
I don't know who Qiu Si will meet tonight.
Make an appreciative comment
This is Philip Burkart's Mid-Autumn Festival. Its first impression is picturesque. In his book With Yue Ying Ji Ling, Yin Kun praised Wang Weishi's "painting on the wall", which, in Su Shi's words, means "painting in poetry". This comment can also be moved to comment on all the poetic poems in the Tang Dynasty. Because of this, painters of all ages like to paint poems and paintings of the Tang Dynasty. There are prints with this poem as the theme in Tang poetry paintings in the Ming Dynasty. Its background is a winding bank with distant mountains and bright moon in the sky. In the center of the picture is a scenic spot near the water. The winding column is surrounded by bamboo and Taihu stone. A tall deciduous sycamore tree is inhabited by crows, and there is a swaying autumn laurel beside the tree. There are five people under the tree, both of them are full moons, and Tan Xing is the strong one. An official wearing a hat and waving a fan and an old man with a square towel leaned against a child and were listening attentively to their conversation. The whole picture is far and near. It is well organized, dynamic and static, harmonious and unified, and quite vivid. However, this print is only the artistic conception conceived by the artist, and it does not coincide with Wang Jian's original work one by one, nor does it fully show Qiu Si, the crowning touch of the whole poem, which is really a fly in the ointment. At this point, the art of poetic language shows its irreplaceability.
In folk customs, the formation of Mid-Autumn Festival has a long history. According to "Zhou Li", people have been beating gongs and drums on the Mid-Autumn Festival night and playing music to welcome the cold. The festive atmosphere of future generations is getting stronger and stronger, and this night is often a night for family members or relatives to get together and enjoy the moon. So once you leave, you will always miss your loved ones every holiday. Du Fu's "The Night of August 15th" once expressed his Qiu Si like this: "Flying mirrors everywhere, returning to the heart to fold the broadsword. Transfer money and go far away, climb the laurels and ascend to heaven ... "Wang Jian is also sighing at the full moon, but his writing is completely different and very creative. More memorable. Some versions of Wang Shiyuan's title "Looking at the Moon at Fifteen Nights" also include Yusi, who was "sent to Du Langzhong". It seems that he was sent to his good friend Du. There is a cloud under the title of the poem: "I can play the piano when I was young", which shows that good friends get together in festivals instead of singing alone.
"Bai Shu Crow in the Atrium" clearly describes the environment of enjoying the moon, and secretly writes the modal of the characters, which is refined and implicit. Just like the first sentence of Ma Zhiyuan's (Tianjingsha) ("Qiu Si"), with the help of unique scenery, the bleak and desolate scene is pushed to the readers at once, giving people an unforgettable impression. This is a simple house. Late at night, the poet took the guests out of the hall and came to the yard. Looking down, I saw the moonlight on the ground like water. A piece of white. The shadow of the courtyard tree is sparse, like ink painting on paper. Moonwalker looked inside, and several crows stayed on the branches between the tree crowns. There is no mention of people in the whole sentence, but it reminds people of the moongazer at night everywhere.
The second sentence, "Coody Leng Silent Wet Osmanthus fragrans", closely follows the previous sentence, and further exaggerates the Mid-Autumn Festival night with the help of feelings. Among osmanthus fragrans, Gui Xiang is the most abundant in autumn. On the bright moon, the shadows of some circular volcanoes have been given a beautiful image by imaginative people, saying that it is a laurel tree in the moon palace. Some legends also say that osmanthus trees on the earth are generated by seeds falling from the sky. Song Wenzhi's "In the middle of the moon in Guangxi, the fragrance of heaven is floating outside the clouds" ("Lingyin Temple"), which makes people have infinite reverie. Wang Jian wrote this poem because Gui Xiang attacked people. The ancients thought that frost dew was like rain and snow falling from the sky, so the poet went to Guangxi to explore. It is strange that the cold dew made the branches so wet but didn't hear a sound. So I put pen to paper, not only wrote a tangible Mid-Autumn Festival party, but also showed the depth and silence of the night. The reader seems to be there, feeling that Gui Xiang and the cold are coming.
The third and fourth sentences, "I don't know who left Qiu Si tonight", adopt a suddenly enlightened brushwork, from the author's group of people to the full moon on earth, from the activities of enjoying the moon to the thinking of people's future, the artistic conception is open and implicit. Zhang's "Moonlit Night on the Spring River" wrote a month of acacia. Zhang Jiuling "The moon, now full of the sea, the end of the world * * *. Bringing a separated heart, I miss the moon in the long night ("Looking at the Moon and Thinking Far away"), which is hard to describe. There are thousands of people leaving Qian Qian in the world, and people's hearts are worried like autumn grass, and they are everywhere; The poet is thinking about who is certain, and so is everyone's thinking. It's not that he doesn't know who Qiu Si belongs to, but that he wrote Qiu Si's vast and vague, which seems to be true and false, and won the implicit beauty of poetry. Compared with his Fu style "Five Poems about the Moon Playing in Langzhong from August 11th to 15th" and other Mid-Autumn Festival poems in the Tang Dynasty, it can better show the characteristics that fewer poems are better than more.