From the beginning, this poem shows the poet's memory and attachment to the past with a particularly symbolic scene that emerges from his heart. Bathed in oblique mountains, shaded old oak trees, gardens that people can enjoy, changing pictures, and rippling Pinghu, which represents the bright moon, are still vivid; The solemn bells that travelers stop to listen to still ring in my ears ... but now, the mountains and rivers are still there, and the jade is gone; It is a cruel reality that the scenery remains the same and there is no trace to be found/that people have changed. Why not break his heart? Just because of its great pain, he was indifferent to its beautiful scenery. Looking around all day, the Iraqi people are like a yellow crane, gone. He couldn't help feeling dejected and desperate. Since happiness has gone away with Iraqis forever, he naturally ignores jade carvings, Gui Dian Lan Palace, rafters and rope bed pottery, whether it is a rich prince, a spoon of grain and a hundred-knot quail clothes. Since the sun only belongs to the living, and can't give the dead any warmth, then, whether it is the setting sun, the rising sun, or cloudy Wan Li, he is naturally indifferent, because the Iraqis have disappeared, and the whole world is just empty and desolate in his eyes. He wants nothing, nothing the universe, because he only dreams of Iraqis.
The poet's persistent pursuit turned from the real world to the fantasy world. He experienced from the abyss of pain that he was just an exile in this world, and the promised land with his own real sun to illuminate another sky was his home. Only there can he see the Iraqis again, get hope and love again, and get happiness again. This vision became his spiritual pillar, and he finally pinned his sincere wishes on the whistling north wind.