(2) Reed flower: reed catkin, dense white fluff on reed floral axis. Prosperity in Autumn: Feeling from Autumn.
(3) Changhuai: the broad Huaihe River.
(4) Low: high and low.
5] White Stone Pagoda: A tower made of white stones.
[6] zhào: Ship slurry. Huangmaoshan: refers to the mountain with yellow grass.
(7) softness: softness.
(8) Old friends: people who see me off. Vastness: vague and confused. The first sentence "I walk in the river and sea day and night" actually describes the journey from Bianjing to Hangzhou, but there is a kind of anxiety and depression between the lines, which is similar to the ancient poem "Walk and walk again", and the meaning contained in these poems is like "Away from the sun, wear the sun slowly, the clouds cover the sun, and the wanderers ignore it". Wang Wenzhong said: "This is a very painful statement that shallow people don't know." This understanding is good. Dongpo left Beijing this time because he disagreed with Wang Anshi's political views and was falsely accused by Xie, the party of Anshi. Dongpo disdained self-defense, but tried his best to release it. Its generals sentenced Hangzhou to political exclusion and framing. "Day and night to the river and sea" means "away from the sun", saying that he is getting farther and farther away from the border capital, implying a kind of attachment to the imperial court and an unbearable feeling of being released. The whole poem begins with this sentence. The following is just what I have heard and seen day and night, so I won't elaborate on this meaning, but the whole poem is shrouded in a feeling of disappointment. This is a very high art and should not be seen casually. The second period is just the right time. Dongpo left Beijing in July and arrived in Yingkou in October, during which he met Ziyou in Chen Zhou and Ouyang Xiu, who retired from Li Di in Yingzhou, which made him linger. It took a whole autumn to calculate the distance from the capital to Yingkou. "Maple leaves and reeds grow in autumn" vividly summarizes this trip.
The middle four sentences are the positive words of the topic, and the description center is the word "smooth and soft". This is the outstanding feeling of the poet here and now, and it is also the outstanding feature of the aesthetic object.
This sentence is a good warning: "I can't see the sky for a long time, but I can't see the sky for a long time." There are no uncommon words and flowery words, and there are no uncommon allusions. They just blurted out and expressed an unspeakable scene and endless feelings with simple lines, so vivid, so novel and so natural. The poet told people his cordial feelings effortlessly, which made people feel that all this was vividly presented in front of them. This kind of realm can never be achieved by those poets who are meticulous in their words and "like a family". When talking about art, Dongpo said that "seeking the beauty of things" seemed to be "catching the wind and catching the shadows". A poet knows what he is writing not only in his heart, but also in his mouth and hands. These two poems can be said to have captured the "beauty of things" here and now and achieved two models of "Ming". The Huaihe River is rich in water and was called "Guangyuan Palace" in the Tang Dynasty. The poet walked along Cai He and Shui Ying, and the water was narrow. What I saw along the way was nothing more than the rustling autumn of maple leaves and reeds, and the taste was monotonous. It's different when it comes out. Facing the vast Huaihe River, I feel refreshed and refreshed. The word "suddenly enlightened" expresses the new feeling of this fusion scene. The green hills on both sides of the strait are endless and vague, like endless waves, one after another. At this moment, the poet's boat is a leaf, drifting with the tide, singing high, and his heart has been integrated with the scenery of mountains and rivers. Whether the mountain is low, whether the water is low, and whether the ship is low, he can't tell; He only feels that everything is flowing slowly and running slowly; He is in a wave-like process, completely intoxicated with the embrace of nature. In seven words, the ship rises and falls with the water waves, and people can't feel it on board, but only feel the green hills on both sides of the strait rise and fall; Among them, the word "nine harmony" expresses the expression of "gentleness", and also implies the poet's uneasy and dull mood of serving the country. It seems that Dongpo himself is very proud of these two poems. He wrote in his later poem "Li Sixun Painting the Yangtze River Island": "The sand is flat and the wind is soft, and the lonely mountain is low." The fourth and seventh sentences of this poem are repeated, with only one word "sand" and one word "solitary" changed.
"Shouzhou has seen the White Stone Pagoda, but the short story has not turned to Huangmaoshan" is a straight book, which is spread in one breath with a thick brush, making people forget that there is an antithesis in the middle. The White Pagoda in Shouzhou is already in sight. To get there, we must bypass the Huangmao Mountain in the front area. Saying "I have seen it" and "I haven't turned around" once again highlights the characteristics of "smooth and soft". Huangmaoshan here is not a place name, but actually refers to a mountain covered with yellow thatch, which has been recognized by previous generations of note writers.
Seven or eight sentences take advantage of the situation and use the word "smooth and soft" to describe the middle four sentences; Use the word "I can't see" to lead to the lyrical ending of the eighth sentence. Don't say that you are eager to reach Shouzhou, just say that Shouzhou's old friends have treated each other for a long time, and it is even more tortuous to write from the opposite side. In the last twenty-three years, Dongpo tasted this poem by writing it himself, and wrote: "I went to Hangzhou for my birthday in the last thirty-six years and wrote this poem. Fifty-nine years old, moving thousands of miles south, misty and rainy, quite meteorological. " According to Dongpo's inscription, there should be light rain on the day of knowing Shouzhou. The word "misty" in this poem describes the "misty and rainy" weather. Besides, I don't know who the "old friend" in the poem refers to. Weng Fanggang's Zhou Shi Shi Hua says that "old friends are also green hills", which is difficult to understand. According to this episode, I suspect this "old friend" or Li Ding. There are three Li Ding contemporaries of Dongpo, and this Li Ding is the person who tasted the taste of "writing without irony" in the five poems. At this time, he is in Shouzhou, and Dongpo has a poem "Shouzhou Li Ding Shao Qing leaves the East Longtan" as evidence.
This poem is a perfect artistic whole, full of emotion and brilliance. Fang commented that "a strange smell" refers to its overall beauty and cannot be found word for word. Zhao Yi's evaluation of Dongpo's poems in Ou Bei Shi Hua: "Dongpo's atmosphere rotates, and it doesn't care about the novelty of syntax and writing, but reaches the end of the pen and is unique." There is another cloud: "Poe's poems really don't take exercise as a career, but their beauty lies in the emptiness of the soul and the outflow of nature, which seems completely indifferent and natural." "This is something that melody can't do." Reference to these comments is helpful to understand the artistic characteristics of this poem. From the metrical point of view, this is a rather awkward poem, which was also called "Wu Style" by predecessors. There are four clouds in Xu Yinfang's Detailed Interpretation of Poetry Spectrum: "The seven laws are clumsy, and the real name is Wu Ti. See Lao Du's poem "Regret for the Past". " According to Du Fu's poem "Regret for the Past", the title is self-explanatory: "Strong drama is Wu style." The name of Wu Ti was first seen here. The so-called Wu style is to deliberately destroy the metrical tone of general metrical poems, and apply the tone of folk songs or ancient poems to the metrical style to form a special musical beauty to meet the needs of specific content. Du Yi said to Lao Du's poem "Sorrow": "Sorrow comes from the heart, and there is really a period of depression, which is what the body does." Zhu Dege called Du Fu's poems "rebellion in his later years". Just that Du Fu's awkward and rhythmic poems have a "rebellious" style. Dongpo's poem applies the tone of ancient poetry to the seven laws to express his anger at wealth and injustice. Wang Shizhen's "Ju Louis" says that "the vast calendar falls in its own syllables", and Dongpo's poems are enough to be regarded as it. Wang Ming's Poem "Yi Yuan's Last Words": Eight sentences are all clumsy, and there are differences in Tang and Song Dynasties, so readers should be complacent.
Wang Qing Han Shi's Notes on Selected Poems of Su Shi: "Stubbornness is a clumsy poem, both ancient and interesting.
Qing Ji cloud "Comment on Su Shi: Wu style is the best, Wu style is good but not rough".
Wang Qing Wenzhong edited Su Wenzhong's public poems: This is a very painful statement that shallow people don't know.
Zhao Wei in Fang Qing Dynasty: It's so strange that short stories are extremely rare.