This poem is full of the poet's love and yearning for his hometown. The author was demoted to Fuzhou (now Fuzhou, Jiangxi Province) Sima by Zhongshu Sheren because he was implicated in the downfall of Wang Bo, the prime minister of the Gan-Ning period, and made it on his way to Fuzhou. Standing at the bow, he saw that everything on both sides of the strait was covered with a thin frost. The river is already busy farming. How can we not feel the sadness of being demoted and the autumn scenery of Xiao Su, here and now? The author will naturally think of the scene of rice ripening in his hometown. The scenery in front of him fascinated him with his hometown, and A Night in a Dream was a portrayal of his mood at that time. So, did the author return to his hometown in his dream and smell the fragrant rice, or did the autumn wind blow the fragrant rice from his hometown into the dream of a wanderer who was a stranger in a foreign land? This is insignificant, you can leave the world of free imagination to readers. What makes people angry is that there is no homesickness in the whole poem, and homesickness is self-evident. The phrase "Sweet in a Night's Dream" is vivid, novel, full of emotion and endless aftertaste, which makes Acacia thoroughly and beautifully written! It can be said that it is wordless and romantic. This is the result of rich poetry brewed by the author's skill. The twelfth song ("The Tree of Immortality") reveals the deep suffering brought by the war to the people from Jiang's war-weary talk, while the 43rd song ("The embers of the war") implicitly condemns the evil deeds of the warlords Zhu Wen and Yang Xingmi in the Yangtze River valley from the ice, implying the poet's war-weary mood. The themes of these two poems are similar, but their expressive arts are different. The twelfth is the poet's direct appearance, recording what he heard; The forty-third song is purely an objective description of the scene. The meaning of the twelfth conclusion sentence is relatively exposed, but it is not the direct expression of the poet; The conclusion of the 43rd poem is very subtle. Without the language of the first sentence "fire and fire", it is almost difficult for people to perceive the poet's condemnation of war. Because the poets in these two poems appear as objective lyric poets, people feel more calm and objective, thus enhancing the appeal of the poems. The sixty-eighth poem begins with "Worrying about the wind and rain, you can't climb the mountain", and the meaning of "Jiang Xing" is randomly embedded in the title, but it doesn't say it clearly. It just fades out from another angle and uses the "hidden" brushwork. "Branch" is eight inches. "Close at hand" means very close. "Kuanglu" refers to Lushan Mountain. Close at hand, it is easy to board the ship and say "no boarding". What is the reason? This was caused by rain on the river, but when the boat reached the foot of Lushan Mountain, it was blocked by wind and rain and could not climb the mountain. The word "can't climb up" describes the worrying trend of "wind and rain", while the word "worry" reveals the poet's regret that he can't enjoy the famous mountains and scenic spots. "Can't climb up" not only represents the bottom-up terrain, but also depicts the spatial relationship between Jiangzhou and the cliff. The poet used only ten words to tell the specific local scene at that time, and his writing style was very simple and skillful. Generally speaking, in poems describing mountains and flowing waters, the author often gallops with colored pens from the aspects of writing shapes or painting colors; However, this poem takes a different approach and opens up the artistic conception of the poem with fascinating imagination: "There were still monks in the Six Dynasties who only suspected the cloud cave." Lushan Mountain was a Buddhist resort in the Southern Dynasties. During this period, many monks and masters visited it. These past events have become the bond of the poets' association. Looking up at the mountains and misty clouds, this fantastic and unpredictable scene can not help but make the poet fantasize: in the depths of Kuanglu, there may be monks of the Six Dynasties living in stealth. This kind of romantic interest, which is almost illusory and difficult to distinguish between true and false, adds the magic color of Kuanglu. Lushan Mountain has many charming scenery, but the poet "only suspects" the monks in the Buddhist grottoes, showing lofty feelings and ethereal poetic thoughts. The word "doubt" in the third sentence is well used, which shows the feeling that the mountain is hidden or present because of sex and rain, thus reminding readers of the artistic conception of "high" Between "only doubt" and "there is", between opening and closing, it is more interesting to infiltrate seemingly true judgments into illusory imagination. The sixty-eighth poem reproduces the poet's lofty feelings in a way of suspected imagination. In terms of writing, it seems that the brushwork of "putting pen to paper" in traditional Chinese painting is used to render clouds and water with faint ink, which makes Lushan Mountain confusing, thus replacing the tangible pen and ink that writes mountains on the front. It can really be called a masterpiece with unique expression in landscape poetry.