⑵ Rain: The heavy rain has passed and the clouds are not exhausted, as if another rain is brewing.
(3) Lake: refers to Hufeng Lake, which is located in the west of Huizhou, and Qichan Mountain is close to Hufeng Lake. Do: over.
(4): landing. This refers to the arrival of spring.
5] Still: Again, still. The "Qi Chan" mentioned in these two poems is a mountain in Huizhou. What the poet saw when he returned from the Zen Mountain at dusk.
The first sentence begins with the unique climate scene of Lingnan spring: it just rained for a while, and the sky is brighter; But then it was cloudy and desert, and another rain was brewing. This ever-changing, sometimes rainy, sometimes bright and sometimes dark sky, as well as the lingering sound of rain, can be truly and vividly expressed in just a short sentence. The word "zai" is a sentence, but it seems natural and muddy, without any intention.
The second sentence "Spring Back to the Earth" was written by Tian Rong to Yates. "Back" can refer to both going home and returning, and the latter means to convey joy. With the words "green everywhere", the joy is beyond words. The author of "Spring Return" said: "What is the east wind? Awkward. The sentence "where I arrived" means "Spring has come back everywhere". However, the poem "Spring Back" emphasizes the role of spring breeze, but this article generally says that spring has returned to the green age, suggesting that this intermittent spring rain has the function of nourishing everything.
In the third sentence, "the mountain is deep and the small temple is lost", the front point is Qichan Mountain. The "small temple" in the sentence is the Qichan Temple. When the title said "Return at dusk", the Seven Zen Temple was already there when it was visited during the day. It says "Lost Temple" here, which means that when I came back at dusk, the small temple I visited during the day disappeared because of the overlapping mountains and the twilight. The temple is small, so the word "lost" is used to express it. Here reveals the poet's nostalgia for the scenic spots he experienced during the day, and also vaguely reveals a trace of disappointment.
The last sentence "The lake is an isolated pavilion" is the opposite of the previous sentence. The first sentence is what you see when you look back, and the second sentence is what you encounter when you move forward. Lake refers to Hufeng Lake in Huizhou, in the west of the city, and Qichan Mountain is above Hufeng Lake. On his way home at dusk, the poet strolled to the end of Hu Feng Lake and suddenly found a lonely pavilion, which made him feel very happy. Three or four sentences, on the one hand, is a sudden loss, on the other hand, is a pleasant encounter, running through the poet's "twilight return" journey.
The second poem begins with the sentence "Spring is full of smoke in the lake", followed by the end of the first poem in the group of poems, and Hu Feng Lake is still written. Spring has come, and the lake is filled with a thick layer of wet haze, giving people a sticky feeling that they can't turn away. The word "tired" at the end of the sentence is of course deliberately refined, showing the misty rain in the humble and humid place in the south in spring, and the word "zhe" is also deliberately managed. Spring seems to attach its soul and life to the lake smoke, making it sticky.
The second sentence, "Sunny shakes wild water", describes the water flowing in fields or lakes, sparkling and swaying in bright spring. The word "shake" is not only full of movement, but also reveals a kind of pleasure of the poet. The poet's heart seems to tremble with the water.
"The grass is still raining", and the third sentence goes back to the changing weather. The grass is blue-green and it is spring, but the rain that stopped from time to time during the trip passed for a while. After being washed by rain, the grass looks greener.
In the evening, the fog condenses, the mountain looks blue, and the purple comes from the background light. Wang Bo's Preface to Wang Teng-ting has a sentence, which can be used as evidence. The return of the sunset after the rain adds charm and color to Luoxia Mountain. The word "Geng" corresponds to the word "Shang" in the previous sentence, highlighting the role of the sunset as a foil and increasing color changes.
These four poems, each capital like an independent picture scroll, together, are a complete picture scroll of the twilight scene of Zen. The poet skillfully combines the real lake, water, grass and mountains with seasons, weather and time, and the theme and background are arranged in harmony. When writing specific scenery, we should try our best to describe it through the combination of objective scenery and feeling. The smoke is wet and greasy, the water is bright, the grass is green as drops, and the sunset is purple. The scenery in the mountains is displayed together with the poet's interest when browsing, which arouses the reader's feelings and imagination.
All poems are used correctly, and the works are steady and natural. The first two sentences use the verbs "zhe" and "shake" to connect the scenery with festivals and weather, so that the heartless scenery has an active mood. The last two sentences are further described with adverbs "Huan" and "Geng" to make the image more vivid. The tempering of notional words is equally remarkable. The word "greasy" in the first sentence describes the smog under the sunshine after the rain in southern spring, giving people an indelible feeling of sticky and wet. The word "purple" in the last sentence is also carefully observed. In the evening, the smoke condenses, and the distant mountains are blue and purple under the setting sun. This image is similar to the "smoke condenses mountains and purple" in Wang Teng-ting's Preface by Tang Wangbo.
Color harmony is also a major feature of this poem. This poem not only uses the words "green" and "purple" in the last two sentences, but also implies color in the "lake smoke" and "wild water" in the first two sentences. In this way, there are both large pieces of color and small pieces of color, with distinct layers and alternating shades, which are in harmony with the three points of spring, sunny and dusk written in the poem, and skillfully draw the unique scenery of Shan Ye.
These two poems, the first one is written by the weather for mountains and lakes, and the second one is written by lakes for changing weather and green Zi Shan. Returning at dusk is the main line of writing scenery. The writing style of the two poems tends to be realistic and descriptive, which is different from the quatrains in the Tang Dynasty. Both poems are antithetical forms, one sentence and one scene. On the surface, they are independent and unrelated. In fact, the scenery written is not only spring, but also the characteristics of sunny and rainy changes in spring in Lingnan area and the specific time of "returning at dusk". So although there is no obvious transition and connection between each picture, these pictures give readers a unified overall feeling. Readers can not only see the beautiful spring scenery when Lingnan returns in spring, but also feel the joy of the poet. This kind of scenery writing technique, which focuses on describing the real situation, one sentence and one scene, seems to be divorced from reality, can be encountered in many quatrains of Du Fu after he entered Shu. "The cloud" Returning to Zen at dusk "says:" The grass is still raining, the mountains are purple and the sun is setting ",which means new." (After Hu Zai's "Tiaoxi Fishing and Conceiving Conghua", volume 34)
"Exercise on purpose and don't lose your temper." (Catalogue of Siku Quanshu)
"This is a quite innovative' modern poem', which used the freshest technique at that time to make a unique landscape map; But the scenery is a bit monotonous. " (Zheng Liu's On Song Poetry)
"It is worthy of recognition that this poem updated the landscape style of the Song Dynasty at that time. Some people say that Tang Geng's poems are very classic, so this one is very brilliant ...' The mountains are more purple' should be carefully tasted. " (Zhang Zhigong's landscape poems in Song Dynasty)