But this poem is different: it does not write about other times and situations, but focuses on the scenery where friends go, which is considered unique. The first sentence of this poem, that is, straight to the point, points out that "Shunk is going south". Because the person who was sent is a "guest" and the word "Shu" is on the "guest", the place where friends go is self-evident. Through this sentence, the relationship between pedestrians and residents is also explained clearly. The word "sacrifice to the blue chicken" is an allusion. Opening sentences with allusions may be a feature of Zhang Ji's poems. For example, in Qiu Si, the allusions of Zhang Hans are used, and here the allusions of Wang Bao are used. However, "Qiu Si" is hidden, even if you are not familiar with allusions, it will not hinder your understanding of poetry. This poem was written in the Ming Dynasty, and it is difficult to understand its content without a clear explanation. Allusions often have deeper and broader meanings than ordinary words. Through this allusion, we assume that this man was sent to Shu by imperial edict, or he may be a gifted scholar, at least the author praised him as a scholar. Because allusions have a special emotional appeal in Sichuan, they have enveloped the whole poem with a romantic color from the beginning.
The second sentence "Jiangxi kapok blooms" is about the scenery of Sichuan in reality. Kapok blooms in spring, and the land is in Jinjiang, so it is beautiful. According to this writing, the mood in the poem should be happy, but this is not the case. The poet gently points the word "west" at the end of the sentence and leads the poem to distant western Sichuan. If the first two sentences are from virtual to real, then the last two sentences focus on a smaller picture, and the tone changes from bright to sad. At sunset and dusk, there are few pedestrians on the mountain bridge, which vaguely reveals the loneliness of tourists and the bleak of Sichuan. Coupled with the phrase "when I see an orangutan crying in a tree", this lonely and cold atmosphere is even more set off. "Orangutan crow" comes from "few pedestrians". Because "there are few pedestrians", orangutans dare to come out for activities. This scene is not only sad, but even a little scary. Orangutans and apes crow, which increases travel thinking most. Li Xun's "A Cloud in Wushan" says: "Why do you cry when an ape is near a lonely boat, and travelers worry about themselves?" His "Nanxiangzi" says: "The traveler waits for the tide and the sky dies. Send Chunpu and listen to the orangutans cry. " Li Xun wrote about Sichuan and Lingnan, while Zhang Ji wrote about Central Sichuan. The scenery is very similar, and the effect of foil travel troubles is the same. Why do poets exaggerate their own sadness instead of comforting words when giving people away? It seems incomprehensible. In fact, this is a habit of the Tang people. Aren't Wang Wei's "Sending Yuan to Twenty Shores Xi" and Li Bai's "Sending Friends" all true? This poem describes the scenery in central Sichuan, but judging from the poet's life, he has never been there. Although I haven't been there, the description of the scenery and the description of the situation are very true. Therefore, the Song Dynasty's "Selected Poems of Tang Poetry" commented: "Telling the southern customs makes people feel at home. Directly from the book, well arranged, with its own scene, really good! All works that go to the ground must be written clearly. " The poet didn't go to his place in person, but his writing made people feel at home. What is the reason? First, it captures the typical and distinctive scenery in Sichuan, such as kapok, Jinjiang, orangutan, and even allusions are unique in Sichuan. Only in this way can we have a multiplier effect. The second is to use imagination. Without imagination, there would be no poetry and no literary creation. At this moment, when the poet was saying goodbye, his imagination followed the pedestrians to Shu, as if he were there and saw everything there. As the poet Sun Guangxian later wrote, "I look at Zheng Hongfei, and my thoughts go with the running water, and Hong Lan Bibo remembers Xiaoxiang." (Huanxisha) Of course, we are not singing Xiaoxiang, but singing Shu, but as far as galloping imagination is concerned, aren't there some similarities? This may be an unchangeable law in literary and artistic creation.