"Coody Leng Silent Wet Osmanthus fragrans"
This poem reminds me of cold air and osmanthus. Because it was late at night, the autumn dew wet the osmanthus in the court. If we ponder further, we will think that this osmanthus may refer to the osmanthus tree in the middle of the month. This is the dark poet looking at the moon, which is the next writing of the whole article. In the dead of night, the poet looked up at the bright moon, lost in thought and felt a chill. He came quietly, but he couldn't help thinking. In Guanghan Palace, the cold dew must have wet the osmanthus tree. In this way, the artistic conception of "Coody Leng Silent Wet Osmanthus fragrans" is even longer and more thought-provoking. You see, he chose the word "silent", which showed Coody Leng's lightness and absence in detail, and rendered the infiltration of osmanthus for a long time. And it's just osmanthus? What about the white rabbit under the tree? What about WU GANG wielding an axe? What about Chang 'e "in the heart of a blue sky and clear night"? How rich associations beautiful poems bring to us.
Moonlight shines in the yard, and the ground seems to be covered with frost and snow. Under the shade of Komori tree, the noise of crows and magpies gradually stopped, and they finally adapted to the dazzling disturbance of the bright moon and entered the sleeping village one after another. The poet only uses the word "ground white" to write the moonlight in the atrium, but it gives people the feeling of being empty like water, quiet, pure and cold, which reminds people of Li Bai's famous sentence, "My bed foot is so bright, how can there be frost?" Immersed in the beautiful artistic conception. "Arboreal crows" should mainly listen to the moon for fifteen nights, not look at it. Because even in the bright moon night, people are unlikely to see crows and magpies inhabiting; The crow and magpie in the moonlight shade can be completely felt by hearing from the beginning of panic and noise (there is a saying in Zhou Bangyan's "Butterfly Lovers", which is to write this artistic conception) to the final stable sleep. The words "arboreal crow" are concise, concise and concise, which not only describes the life of crows and magpies in trees, but also sets off the silence of the moonlit night. These two poems mean that the ground in the yard seems to be covered with frost and snow, and crows live in trees (crows were as popular as magpies today in the Tang Dynasty). ), osmanthus in the courtyard was also wet with autumn dew. A bright moonlight broke through the night sky and shone in the yard. Crows nesting in trees gradually stopped singing during the day and settled down to sleep. Looking at the moon, the poet thinks further: Chang 'e, who is far away in the moon palace, is still lonely in remembering Hou Yi. Is the osmanthus in Guanghan Palace wet with Chang 'e's tears? Is the white rabbit still playing medicine under the tree? The autumn sorrow of parting made the poet burst into tears: dear!
"Coody Leng Silent Wet Osmanthus fragrans"
This poem reminds me of cold air and osmanthus. Because it was late at night, the autumn dew wet the osmanthus in the court. If we ponder further, we will think that this osmanthus may refer to the osmanthus tree in the middle of the month. This is the dark poet looking at the moon, which is the next writing of the whole article. In the dead of night, the poet looked up at the bright moon, lost in thought and felt a chill. He came quietly, but he couldn't help thinking. In Guanghan Palace, the cold dew must have wet the osmanthus tree. In this way, the artistic conception of "Coody Leng Silent Wet Osmanthus fragrans" is even longer and more thought-provoking. You see, he chose the word "silence", once again showing the tranquility of the night. The details show the lightness of Coody Leng and the long-term infiltration of osmanthus. And it's just osmanthus? What about the white rabbit under the tree? What about WU GANG wielding an axe? What about Chang 'e "in the heart of a blue sky and clear night"? How rich associations beautiful poems bring to us. "Tonight, the moon is bright. I wonder who Qiu Si will fall into? " The whole world is a person looking at the moon, and how many people are not looking at the moon and thinking about their loved ones, and people in their hometown miss their loved ones far away; People who have left their homes look at their relatives far away. The poet no longer expresses his homesickness directly, but tells in a questioning and euphemistic tone whose home the lingering sadness will fall on. This sentence points out "looking at the moon" and extends it to others, expanding the scope of people watching the moon. "I don't know who will fall in Qiu Si." The bright moon is in the sky. Is the poet alone there? The world is big, who is not in the low back to enjoy the moon, but in the distance? As a result, it was natural to say, "I don't know who will fall in Qiu Si tonight.". The first two sentences describe the scenery without a word "moon"; The third sentence, clearly, is to look at the moon and pass it on to others, expanding the range of people who look at the moon. However, people look at the moon, feel the meaning of autumn and cherish people's feelings, which is different. The poet was disappointed with the separation of his family, so the sadness of the moon palace led to profound acacia. His Qiu Si must be the most sincere. But when expressing, the poet did not take a positive lyric way, but directly poured out his thoughts; Instead, I used a euphemistic interrogative tone: I don't know whose side the vast Qiu Si will fall on ("whose home" means "who", and "home" is a suffix auxiliary word with no practical meaning). Obviously, he was pregnant with someone, but he just said, "Where did Qiu Si fall?" This shows the poet's deep feelings for Yue Huaiyuan. It seems that Qiu Si is unique to poets. Although others are watching the moon, there is no Qiu Si. This is really unreasonable, but the more infatuated the poet is, the more ingenious his technique is. The last two sentences do not directly express their unforgettable lovesickness, but are expressed in euphemistic questions, suggesting that "among many people who look forward to the moon, I am afraid I am the only one who is deepest in Qiu Si!" In the refined words, the word "Luo" is novel, appropriate and extraordinary. It gives people a touching image, as if Qiu Si had fallen into the world with the silver moon. The artistic conception of this poem is beautiful. With vivid language and rich imagination, the poet rendered the specific environment atmosphere of enjoying the moon in the Mid-Autumn Festival, bringing readers into a thoughtful mood far away from the moon. Coupled with a sigh and endless ending, the feeling of parting is very euphemistic and moving.
Watching the Moon on Mid-Autumn Night: Seven Wonders of Philip Burkart
Its first impression is picturesque. In his book With Yue Ying Ji Ling, Yin Kun praised Wang Weishi's "painting on the wall", which, in Su Shi's words, means "painting in poetry". This comment can also be moved to comment on all the poetic poems in the Tang Dynasty. Because of this, painters of all ages like to paint poems and paintings of the Tang Dynasty. There are prints with this poem as the theme in Tang poetry paintings in the Ming Dynasty. Its background is a winding bank with distant mountains and bright moon in the sky. In the center of the picture is a scenic spot near the water. The winding column is surrounded by bamboo and Taihu stone. A tall deciduous sycamore tree is inhabited by crows, and there is a swaying autumn laurel beside the tree. There are five people under the tree, both of them are full moons, and Tan Xing is the strong one. An official wearing a hat and waving a fan and an old man with a square towel leaned against a child and were listening attentively to their conversation. The whole picture is far and near. It is well organized, dynamic and static, harmonious and unified, and quite vivid. But this print is only the artistic conception conceived by the artist, and it does not fully express the crowning touch of the whole poem-Qiu Si, which is really a fly in the ointment. At this point, the art of poetic language shows its irreplaceability.