The words that combine reality and fiction are: Yu Meiren by Li Yu and Wulingchun by Li Qingzhao.
Specific analysis: such as Wang Changling's "Parting with Xin Jian at Furong Inn"-
Misty rain enveloped Wu's day overnight; Send you in the morning, lonely and sad in Chushan!
Friends, if my friends in Luoyang invite me; Just say I'm still Bing Xin Okho, and stick to my faith!
This poem was written after the 29th year of Emperor Xuanzong of the Tang Dynasty (74 1). Wang Changling was a native of Jiangning (now Nanjing) and had just arrived in Jiangnan from Luoyang. I just worked hard to return to Luoyang, so I worked hard to write this poem for my friends.
The first two sentences are the first layer of the poem, indicating the time and place of farewell. It's like using a huge ink-and-wash landscape painting as the background, lined with the high hibiscus building and the running river, like a woven cold rain, connecting the sky with the river. Friends, tall buildings and the whole land of Wu are shrouded in a misty cold rain, which adds a bit of sadness to the upcoming departure. Chu Gushan is not only a description of real life, but also a portrayal of the poet's lonely mood. Wang Can Changling, which has always been heroic, how can it be so lonely after a parting and a cold rain? Originally, the poet was demoted to Lingnan, and Wang Changling, who was very conceited, was very dissatisfied with officialdom.
Another example: Li Qingzhao's "Wulingchun";
The wind has stopped the dust, the fragrant flowers have blossomed, and I am tired of combing my hair at night. Things are people, not everything, and tears flow first.
It is said that Shuangxi Spring is still good, and it is also planned to make canoes. I'm afraid the ship can't carry much worry.
In her later years, Li Qingzhao wrote this word when she was ruined and exiled overseas. Uptown used more real words to focus on the real shape: the poetess was locked in her home by ruthless wind and rain and was very depressed; It's a pity that the fallen flowers have turned to dust after it clears up. Her husband Zhao Mingcheng died in the chaos because of the nomads from the south. She lives alone in Jinhua, Zhejiang. She witnessed Chunguang and her husband's relics and the suicide note "Stone", and felt that things had been changed and everything was over. She got up very late in the morning and didn't bother to comb her hair. Sometimes she even wants to talk, but the tears are already in her eyes.
Shang Juan only used the "language of desire" in the fourth sentence, which seems simple, but it has an extremely subtle meaning: showing an uncontrollable state of grief, full of sadness and excitement!
Going to the pool focuses on inner exploration: the poetess heard that Shuangxi in Jinhua suburb is beautiful in spring, and tourists are weaving, and they also come to travel and prepare to go boating. But I'm afraid the canoe is too small to carry many of my worries.
In the first three sentences, three groups of function words, namely "Wen Shuo", "Yi Shu" and "for fear", are used successively as the turning point of meaning, and the effect is touching with the expression of real words. The real word "canoe" paves the way, sets off the "sorrow" behind, makes the "sorrow" heavy, and is also the unparalleled affection of the female poet! It also makes the abstract "troubles" concrete and sensible, and becomes "incredible"! No wonder some people commented that Li Yu, the former owner, turned "sorrow" into water, Qin Guan turned "sorrow" into something that died with the water, Li Qingzhao further put "sorrow" on the boat, and Dong Jieyuan, who wrote "The West Chamber", unloaded "sorrow" from the boat and put the camel on horseback. Like this, I don't blame Li Qingzhao for lamenting in despair at the end of the word "slow voice", moaning helplessly, making people cry, and writing down "sorrow"-"What a sad word this time!"