For example, among the 300 Tang poems, the one describing the scenery is the most artistic: the spring tide comes late with rain, and there is no boat to cross the wild. Look at the whole poem:
Alone, grass grows by the stream, and orioles sing on the trees.
The spring tide brought the rain late and urgent, and there was no boat on the wild crossing.
"Spring tides bring rain in a hurry, and there is no boat crossing in the wild." Everything in spring is full of vitality, the spring tide is constant and the rain is continuous. Seven words outline the spring scenery of mountains and streams. Going deep into the mountain stream, I saw the ferry in the wilderness. No one punted, only one boat was crossing the water leisurely.
We believe that this interpretation may be reasonable, but it is inevitably far-fetched. Today, when we study this poem, we might as well appreciate it from the perspective of scenery description. After all, "spring tides bring rain late and rush, and no one will cross the boat in the wild" is really artistic. In the whole classical poetry of China, the wonderful degree of these two poems is second to none.