A berth at the foot of Gubei Mountain.
Tangwangwan
Under the blue mountain, my boat and I meandered along the green water.
Until the river bank widens at low tide, and no wind blows my lonely sail.
... night gives way to the ocean of the sun, and the old year melts in freshness.
Finally, I can send my messenger, Wild Goose, back to Luoyang.
Until the bank at low tide widens and there is no wind to stir my lonely sail: first draw a magnificent picture of sailing on the river; Second, to undertake the ingenious transition of the first link and trigger the second link. These two sentences describe the riverside scene in a simple way, with exquisite composition and broad artistic conception, similar to the land scenery of "the desert is lonely and the long river sets the yen"
... night gives way to the ocean of the sun, and the old year melts in freshness. The beauty of the two words "alive" and "entering" lies in the poet's connection between them: "... the night now gives way to the ocean of the sun, and the old year melts in the clear spring" and "a river of spring water flows eastward", expressing the life sentiment that the years are like water and the years are quietly changing. The beauty of the words "live" and "enter" lies in the poet's secret integration of homesickness into this "sea, sun and Jiang Chun". When the old and the new are connected day and night, people will naturally feel homesick. The beauty of the words "life" and "entry" also lies in the poet's expression of ambition by borrowing things: "Sea and Sun" can break through the darkness before dawn, "Jiang Chun" can cross the natural barrier and strive to go north, and people should also make a difference in the beautiful spring scenery that is unified with the weather. Only in this way can the initiation and dedication of homesickness be the most valuable. This sentence is lyrical and picturesque, full of philosophy, and has always been recited.