There are inherent constraints among "frontier fortress", "bright moon" and "Guan", which form an inseparable organism. Therefore, the creation of frontier fortress poems is often inseparable from the shaping of the linguistic images of "bright moon" and "Guan". The moon embellishes the environment into a broad and tragic frontier fortress style, and also transforms the frontier fortress, a unique geographical and physical space, into an artistic psychological space. The bright moon can exist in isolation across time and space. The moon is a kind of sustenance and fantasy for recruiters who guard the frontier and treat women in boudoir. They are willing to follow the lonely moon and shine on their loved ones. The poet freely created the space beauty of the moon and frontier fortress by using this complex. Zhang's "Moonlit Night on the Spring River" is "willing to take photos with the lonely moon."
Second, the time image of the moon.
The moon rises and sets, and the moon is full and short. Moonlight is passing away, and the passing of moonlight unfolds in the time of life, so moonlight is still life and time. The ancients often used the image of the moon to lament the passage of life and years. Li Yu said, "When are the spring flowers and the autumn moon? How much do you know about the past? The small building was easterly again last night, and the old country was unbearable to look back on the bright moon "("Yu Meiren ")
Third, the melancholy image of the moon.
In ancient poetry, the moon is still emotional. In nature, the moon is full moon and cloudy day, and full moon and lack of moon are heterogeneous and isomorphic with perfection and lack of moon. Therefore, the moon described by poets is often associated with emotions of emotions. Although Ren Wei's Cao Pi wrote a poem "The bright moon shines on my bed, and the stars and rivers flow westward until the night is still young" in the Northern and Southern Dynasties, and Xie Lingyun also wrote a sad poem "The bright moon shines on the snow, and the north wind is strong and sad", there is still great anti-war in the Tang Dynasty. In the Tang poetry, besides the famous "On a cold night, Jiang Feng sleeps with fishing fire", there is also the sadness and loneliness of "A leaf on both sides of the strait, I sail alone on the moon" (Meng Haoran's "From Tonglu to Yangzhou"). The profound meaning of Wang Jian's "I don't know who will fall in Qiu Si tonight"; Bai Juyi's "* * * Looking at the bright moon and crying, for the heart, five places, all sick and one wish" Among the poets in the Tang Dynasty, the moon, as a melancholy image, is cleverly conceived. Rich in imagination, ethereal brushwork, lyrical and indirect, full of interest, it has gained immortal artistic life and vague artistic atmosphere.
Fourth, the love image of the moon. The moon is emotional, with the entanglement of willow branches on the moon, the sadness in the moonlight and the loneliness of tall buildings under the moon. When love reaches the depths, the moon is naturally associated with love. Although "nothing in life is more than affection" and "nothing is more than affection", the moon is still the best place to express affection and love: Xie Zhuang's Moon is a Thousand Miles away (Yuefu); Meng Jiao's "Thinking Only after Parting, and heaven remains our neighbourhood" ("The past is not resentful"), Zhang Jiuling's "The moon is now full of the sea, and the end of the world is * * *" ("Looking at the moon and thinking about a distance").
Fifth, the symbolic image of the moon.
1, the moon symbolizes beauty and love.
The bright moon symbolizes the yearning for hometown, relatives and friends.
The bright moon symbolizes the noble quality of people.
4. The image of bright moon symbolizes the enlightenment of philosophy.