Once I tasted the vast sea, I felt that the water in other places was pale; Once you have experienced the clouds in Wushan, you feel that the clouds elsewhere are eclipsed.
Take the second time to look back from laziness and make up for it.
This is a work in memory of his dead wife Wei Cong. The poet praised the love between husband and wife and expressed his loyalty and nostalgia for Wei Cong with the metaphor of "seeking things with expressions" and warning words.
The first two sentences, "Once the sea was difficult for water, it was always amber", were changed from the article "Seeing the sea is difficult for water, swimming in the gate of saints, it is difficult to describe" in Mencius. The comparison between the two places is similar, but Mencius is a simile, and the metaphor of "watching the sea" is obvious. And these two sentences are metaphors, and metaphors are not obvious. The vast sea dwarfs the water in other places. Wushan faces Yunfeng, facing the Yangtze River, and the clouds are steaming. According to Song Yu's "High Order", its cloud is transformed by the goddess, which belongs to the sky and goes down to Yuyuan. It is as lush as a pine tree and as beautiful as a charming girl. So in contrast, the clouds in other places are eclipsed. "Sea" and "Wushan" are the most beautiful images in the world. Poets use them as metaphors. Literally, they say that they have experienced the "sea" and "Wushan", and it is difficult to see the water and clouds elsewhere. In fact, they are used to comparing the feelings between husband and wife like the water in the sea and the clouds in Wushan. Their depth and beauty are unparalleled in the world, so no woman can make herself emotional except her wife.
"Difficult for water" and "not a cloud". Of course, this is Yuan Zhen's preference for his wife, but the feelings of husband and wife like them are really rare. Yuan Zhen has a vivid description in the poem "Regret for the Past". So the third sentence says that he walked through the "flowers" and was too lazy to look, which shows that he has no attachment to women.
The fourth sentence is the reason for "lazy review". Since you are so attached to your dead wife, why do you say "half-life is half-life" here? Throughout his life, Yuan Zhen respected Buddhism and Taoism by "emphasizing carefree articles and Buddhist scriptures" (Bai Juyi praised Yuan Zhen's language in Ten Questions and Answers). In addition, the "cultivation" here can also be understood as paying attention to the cultivation of moral knowledge. However, for Yuan Zhen, respecting Buddhism and Taoism, cultivating self-cultivation and pursuing scholarship are nothing more than an emotional sustenance of his lovelorn grief. The anxiety expressed by "Banyuan Monastery" and "Banyuan Jun" is the same, and it is more meaningful to say that "Banyuan Monastery" is the expression of fickle feelings in the Quhan Poetry of the Qin Dynasty in the Qing Dynasty, and it is too ignorant of the poet's difficulties.
Yuan Zhen's quatrains are not only figurative and lyrical, but also wonderful in writing. The first two sentences use extreme metaphors to write nostalgic mourning feelings, such as "sea" and "Wushan", which imply magnificence, the spread of elegy and the trend of rivers flowing. Later, Lazy Review and Half-assed Gentleman suddenly eased the language situation and became a profound lyric. Relax and change to form a ups and downs melody. As far as the artistic conception of the whole poem is concerned, it is romantic but not vulgar, magnificent but not flashy, tragic and not deep, which creates the realm of absolute victory in the quatrains of mourning in the Tang Dynasty. The sentence "I have been across the sea" is especially recited by people.
Du Mu
Getting together seems to be painting, but it is ruthless; I just feel that the wine has to smile and keep silent.
The candle on the table lit the heart, and it also saw the parting; You see, it shed tears for us and flowed to the morning.
This poem expresses the poet's nostalgia for the young singer.
Jiang Yan between Qi and Liang once summed up the feelings of parting as "forgetting me". But the expression of this kind of emotion varies from thing to thing and from person to person. This kind of emotion itself cannot be obtained by the words "sadness" and "sadness". Du Mu's poems did not use such words as "sadness" and "sorrow", but were written frankly and sincerely, telling the truth when leaving.
The poet is reluctant to part with what he loves, but he has to give up, and his feelings are complicated. "Affectionate but always ruthless", clearly affectionate, determined to write "ruthless", wrote a word "total", but also strengthened the tone, with a strong emotional color. The poet loves him so much that he feels that no matter how he uses it, it is not enough to show his inner love. Don't feast, sad relatives, as if they were heartless. The more affectionate and heartless, the most sincere feelings when lovers leave, the poet wrote it. "Don't laugh before you die." To write the sadness of parting, he started with the word "smile". The word "micro" shows how much the poet wants to face his lover, hold a bottle of farewell, force a smile and make his lover happy! But because of the sad parting, I couldn't squeeze out a smile. I want to laugh because I am "affectionate" and "I can't laugh" because I am too affectionate to leave. This seemingly contradictory description of modality euphemistically and emotionally expresses the poet's true feelings.
Named "Farewell", of course, is to show people's farewell. The poet, on the other hand, put himself aside and wrote "The Burning Candle at the Farewell Banquet" to express his feelings by borrowing things. The poet looks at the world around him with extreme sadness, so everything in his eyes is sentimental. This is what Liu Xie said: "Although it is attached to the sound, it is also lingering at will" ("Wen Xin Diao Long Search"). "Candle" has a wick, so it is said that "candle has a heart"; However, in the eyes of the poet, the wick became a "farewell" heart, symbolizing the candle. In the poet's eyes, the tears he overflowed all night were sad for the departure of the host and hostess. The words "shed tears for others until dawn" and "help others" make the meaning more profound. "Until Dawn" points out the length of the farewell banquet, which is also a manifestation of the poet's reluctance to go.
The poet expressed his lingering feelings with refined and fluent, fresh and elegant language, full of charm, profound artistic conception and endless aftertaste. As far as poetry is concerned, the feelings expressed are deep and sincere. Du Mu is upright and outspoken, and dares to talk about great things, but he is also informal, good at singing and dancing, and has quite a style, which can also be seen in this poem.
Li yi
Water lines are precious and thoughtful, and the ceremony of a thousand miles is a night off.
From then on, there is no good night, let him go down to the west wing in the bright moon.
This four-line poem, entitled "Writing Love", plays the whole poem very carefully, much like writing about a lover's painful mood after he stood me up.
This poem was written on the night my girlfriend stood me up. The poet lay on a delicate and precious bamboo mat, sleepless and full of thoughts. The long-awaited wedding date fell through. The other party changed its mind, and it became so fast and suddenly that people were not even mentally prepared. As far as "ceremony" is concerned, "a thousand miles" shows that it is a long-awaited and rare opportunity. As far as "Hugh" is concerned, "overnight" can be regarded as blowing fast, blowing thoroughly and blowing unexpectedly. All this has just happened, which is the most painful moment for the poet and the "most difficult death". In the dead of night, how can I remember not to lose sleep? One or two sentences are inverted in causality, the first sentence is the result, and the second sentence is the reason.
This painful night, it happened, is a beautiful night with clear wind and bright moon. For a disheartened poet, the beauty of the night is only in name only, so what else is there to see? Not only tonight, but from now on, he will not be interested in a beautiful night, whether he goes to the East Building or the West Building of the Moon. The moon is the moon, and I am me. Since then, the two have nothing to do. For the lovelorn, Leng Yue's clear light only adds a long sadness and evokes painful memories.
The artistic feature of this poem is to set off sadness with beautiful scenery. In general, dissolved moonlight and bright starlight can arouse people's aesthetic feeling more. But a soul immersed in pain, beauty has no effect on him, and sometimes it is more sad and uneasy. This poem writes sorrow with joy, and multiplies it with sorrow. Using Good Night and Bright Moon to contrast and render melancholy, loneliness and disappointment are more prominent, more subtle and more profound.
Another artistic feature of this poem is the use of virtual techniques to strengthen the tone and highlight the characters, thus deepening the theme. The disharmony between mood and place expressed in three or four sentences is not only a portrayal of the present situation, but also a preset future scene. The words "the night of unintentional love from now on" and "unintentional from now on" show great determination, which is reflected in the depth of its pain and will never be forgotten. The beauty of the word "let it go" lies in that it not only shows the poet's despair, but also depicts the protagonist's willful and angry personality, which is vivid and vivid. This kind of virtual scene, without any written sketch, directly represents the virtual realm, which is unique compared with the general virtual techniques.