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I planted beans at the foot of Nanshan, and the weeds in the field were covered with peas.
Get up early in the morning to get rid of weeds, and come back with hoes in the moonlight at night.
The narrow path covered with vegetation, the night dew wet my clothes.
It's not a pity to get wet, but I hope it won't be against my will.
The language of the whole poem is very plain and natural, and the natural and plain poems blend into the mellow artistic conception of the whole poem.
Every sentence is about the growth of beans and bean seedlings planted by the writer at the foot of Nanshan.
In the second sentence, the fictional writer goes out early and returns late, and works hard to outline the scene of the poet returning at night.
The third sentence, the road is narrow and the grass is long, and the morning dew is stained with clothes. Map the next sentence to pave the way for the following discussion.
The fourth sentence sighed, indicating seclusion. The desire not to follow the customs, point out the theme. "Wish" also means this.
And the water has brought you the touch of home, and the painting is 300 miles. How lovely the water in my hometown is. You've been sending me thousands of miles away. What a long relationship!
Personify the water and send it to the ship.
The pen of poetry, whether elegant or rich, free and easy or lingering, vigorous or gentle, general or meticulous, realistic or exaggerated, is both appropriate and expensive, but it is the most difficult and desirable to have both, which complement each other. These two poems of Wang Wei have become famous sentences precisely because they have reached the artistic realm of their integration.
The poem describes the flatness and vastness of the desert and the long river, thus depicting a magnificent scenery of nature beyond the Great Wall. The magic of its seiko lies in the high artistic generalization of the space in the vast area beyond the Great Wall: the words "desert" and "long river" are vigorous and vigorous, which are a lot of smears, summarizing these two natural images so truly, naturally, accurately and vividly; And succinctly and skillfully make them complement each other and complement each other. It is because of the "desert" that the "river" is long; It is precisely because of the length of the river that the desert is great. The words "big" and "long" are extraordinary in the ordinary, like hit the floor with iron pillars.
Then "Lonely Smoke Straight" and "Wild Goose" made a unique image description of "desert" and "long river" respectively. This is a general description, exaggerated and realistic. Why is the "desert" so big? Why is "Long River" so long? Because the desert is vast and boundless, the smoke in front of you makes people feel straight. But in fact, the poet did not write the beacon smoke for the sake of writing it, but set off the "big" desert through "solitary smoke"; Without "solitary smoke", "desert" is indescribable. As for the "falling yen" in "Long River", the effect is similar, but different. If the "long river" does not have a "falling yen", its function is only a cushion of the "desert", and it is impossible to form a vast and magnificent picture of the Great Wall with the desert. It is precisely because of the "falling yen" that the image of "long river" is so magnificent and complements the "desert".
There is no way to recover from heavy mountains and heavy waters, and there is another village. "This is a well-known saying. The beauty of it lies not only in its skillful description of difficult scenes and antitheses, but also in its "magnificent language with nothing to do", which is natural, philosophical and chewy. Bringing this kind of natural scenery into poetry has long been described by poets in the Tang Dynasty, such as Wang Wei's "Shimen Jingshe": "I love to show off in the distance, but my first suspicion is different; An Zhiqing turned around and suddenly got through to Qian Shan. "In the hands of poets in the Song Dynasty, there are also descriptions, such as On the River by Wang Anshi:" Castle Peak can't bypass the road, and suddenly Qian Fan looms ". There are also poets who are close to Lu You's age. His poems have the charm of the Tang Dynasty, and he once wrote the poem "There is no road at first sight in the distant mountains, and there is a village gradually in the winding path". But as far as the development of artistic conception is concerned, it can be said that these poems are far less than Lu You. Through the word "doubt", the above sentence depicts the lost feeling of Xuxingshan Village overlapping with the surrounding mountains and lingering water. The next sentence is a continuation of the beautiful spring scenery you can see when you walk. In this way, the image of feeling and visual image are organically combined to form a beautiful, moving and wonderful picture. The evaluation of these two sentences in Tang and Song poetry is: "Like a projectile, he is not only good at writing difficult scenes. "This evaluation is very insightful. This couplet is not only extremely natural, but also shallow and rich in meaning; It seems easy, but it is unexpected. So it has been widely loved by people for thousands of years, and now it has become a widely circulated idiom. When people recite these two poems, they not only appreciate the indescribable beautiful natural scenery of the mountain village, but also realize the enlightenment of its philosophical thought-as long as people face up to reality, face many difficulties and obstacles, do not flinch, do not fear, dare to explore and forge ahead, then the front will be a brand-new realm full of light and hope.