Yesterday was a thousand times, and it was a peak.
Sincerely, Lingwan Gui, strong festival covers cold pine.
Suddenly, the value is surging, sitting on the waves.
There is no need to destroy the empty space and hate it.
The Bohai Sea is 3,000 miles long, with tens of thousands of sediments.
Floating like a boat, floating like a stem.
Xianke is hard to believe in the end, and a good job is easy to meet.
I'm only pregnant with a universal car. Who will introduce me first?
Distinguish and appreciate
This is an allegorical work. The connection between preface and poem clearly shows that Luo borrowed from parallel prose in terms of words, structure and theme, which made his poems have a strong sense of eloquence and prose narrative.
The preface was originally used to describe the background of history or biography, so as to fully understand the events described in the poem. Wang Bo's Poem of Tengwangge uses this classical form: the preface describes the process of banquets, scenes and events, while the poem shows the reaction to this situation, and the difference between the poem and the preface of parallel prose is obvious. However, in this Fu Cha, the poem only briefly restates what has been described in detail in the preface. The main change is that the preface shows the hope of using floats and enabling vagrants, but this hope is dashed in the poem. Except for the ending, this poem closely follows the intention of the preface, and is similar in discussion scope and wording.
The third paragraph of the preface corresponds to the first two sentences of the poem: "the posture of negative lingyun is almost like the sun" to describe the height of driftwood, which is simplified to "seeking quality in the past" The fourth paragraph of the preface describes that this tree is safe and prosperous in remote places, and it is regarded as loneliness and endurance of pine trees and osmanthus trees in the poem. Because of puns: true heart/trunk, strong heart knot/tree knot, the description of poetry has a closer moral connection. The preface compares something to a mysterious model with an elegant and beautiful traditional exaggeration metaphor: "Compared with the length of building wood, this will be a great success." The poem abandons this elegant statement and adopts concise phrases "Ling" and "Gai" to express "transcendence". The legendary trees written in the preface were also replaced by symbolic pine trees and osmanthus trees.
In the third part of the poem, for the sake of simplification, the sequential descriptive sentences are simplified to weak repetition again, and the "upper part is destroyed by high winds and the lower part is excited by turbulent waves" is changed to "the wind bends suddenly and sits as waves". This submissive relationship between poetry and parallel prose shows that the attempt to make poetry close to parallel prose is very problematic: the style of poetry has evolved, acting on exquisite five-character poems, and the decoration of parallel prose requires long sentences and loose structure, so when parallel prose is translated into poetry, it becomes barren and boring.
The seventh to twelfth sentences of the poem, instead of corresponding paragraphs in order, feel the opportunity and fate, but describe in detail the dangerous and helpless situation of the floating frog. Once the poem breaks through the argument of preface freely, it can comment on preface in turn, denying Fu Cha's hope of meeting a good job. At this point, this poem complements the preface. But this difference is partly due to the requirement of poetic style, and expressing sadness at the end is a natural way of poetic tradition.