The words that combine reality and fiction are: Yu Meiren by Li Yu, Wuling Chun by Li Qingzhao, etc.
specific analysis: for example, Wang Changling's "at hibiscus inn parting with xin jian"-
It is cold and rainy to enter Wu at night, and it is plain and clear to see off the guests in Chu Mountain.
if relatives and friends in Luoyang ask each other, a piece of ice is in the jade pot.
This poem was written after the 29th year of the reign of Emperor Xuanzong of the Tang Dynasty (741). Wang Changling was then Cheng of Jiangning (now Nanjing) and had just arrived in the south of the Yangtze River from Luoyang. It happened that Hsin-chien was about to return to Luoyang, so he wrote this poem for his friend Hsin-chien.
The first two sentences are the first layer of the poem, pointing out the time and place of farewell. It is like using a huge ink and wash landscape painting as the background, lined with a high hibiscus building, a rushing river, and a woven cold rain. The next day, the river is connected, and friends, tall buildings and the whole Wu land are shrouded in drizzly cold rain, adding a bit of sadness to the upcoming departure. "Chu Shan Gu" is not only a description of real life, but also a portrayal of the poet's lonely mood. How can Wang Changling, which has always been heroic, be so lonely after a farewell and a cold rain? Originally, the poet was demoted to Lingnan, and Wang Changling, who was very conceited, was very dissatisfied in officialdom.
Another example is "Wulingchun" by Li Qingzhao:
The fragrant flowers have been exhausted, and I am tired of combing my hair at night. Things are people, not everything, tears flow first.
It is said that Shuangxi Spring is still good, and it is also planned to go canoeing. I'm afraid the boat can't carry many worries.
in her later years, Li Qingzhao wrote this word when she was in a state of ruin and lost her family. Shangcheng used real words to focus on the real shape: the poetess was locked in her home by ruthless wind and rain, and she was very depressed; It's a pity that the fallen flowers have turned to dust after it cleared up. Zhao Mingcheng, her husband, died in the chaos because of the nomads from the south, and she lived alone in Jinhua, Zhejiang Province. She witnessed the spring scenery and her husband's relics and the posthumous book The Record of the Stone, and felt that things were changed, and everything was over. She didn't get up until late in the morning and was too lazy to comb her hair. Sometimes she even wanted to speak, but tears were already in her eyes.
Shang Juan only uses empty word's "desire language" in the fourth sentence, which seems simple and has an extremely subtle meaning: it is exciting to show the uncontrollable state of grief and full of sorrow!
Xiatan focuses on inner exploration: The poetess heard that Shuangxi, a suburb of Jinhua, is enjoying beautiful spring scenery and full of tourists, and she is also in the mood of traveling, ready to go boating. But I'm worried that the "canoe" is too small to carry my many worries.
In the first three sentences, three groups of empty word, namely "Wen Shuo", "Ye Shu" and "Only Fear", are used in succession, as a turning point of word meaning, and with the expression of real words, the effect is touching. The notional word "canoe" paves the way and sets off the following "sorrow", which makes "sorrow" heavy and is also the incomparable deep feelings of female poets! It also makes the abstract "worry" concrete and sensible, and "fantastic"! No wonder some people commented that Li Yu, the late master, turned "sorrow" into water, Qin Guan turned "sorrow" into something that flowed away with the water, and Li Qingzhao further put "sorrow" on the boat, while Dong Jieyuan, who wrote "The West Chamber", unloaded "sorrow" from the boat and camel it on horseback. Like this, I don't blame Li Qingzhao for lamenting in despair and moaning helplessly at the end of the word "Sound Slow", which made people cry and wrote "worry" again-"What a sad word this time!