Images such as harp, lonely lamp, Chujiao, "waning moon" and "Zhangtai" were selected.
The first couplet borrows harp and harp to express feelings. Twenty-five strings of Lingling, each sound , Just like the wind and rain, the wind and the wind are coming. The poet sitting in a room during the long night, listening to such desolate music, how can he not feel sad? The harp is an ancient plucked instrument, and its sound is sad. According to legend, "The Emperor Tai asked the plain girl to play the harp with fifty strings, which was very sad, so the emperor broke the harp into a twenty-five-stringed harp" ("Book of Han Dynasty"). It is related to the sadness of separation. For example, in Qian Qi's "Guiyan", "Twenty-five strings are played on the night moon, but the grievances fly away." It means that the musical charm of the zither makes the geese fly away without grievances. In poems about boudoir and frontier fortress, the two images of "se" and "wild goose" often appear together. Among the se music, there is "Gui Yan Cao", which was born out of the myth of Xiangling Guse, that is, the goddess of the Xiangjiang River expresses her love for death. Mr. Zhu Guangqian said that "when describing scenery, one must show it, and when one writes about feelings, it must be hidden." These two sentences express sadness in the song, which is hidden; and the poet also uses "resentment". The word "sorrow" is emphasized and highlighted, making it set the tone for the whole article.
The chin couplet is laid out in complex strokes, layered with common images such as "lone lamp", "chujiao", "waning moon" and "zhangtai" The previous sentence is about the poet being trapped in his apartment, sitting alone with a lamp, and hearing the desolate and sad sound of "Chu Jiao". You can imagine how sad the garrison must be in his heart! The homesickness song can easily arouse the homesickness of wanderers. In Tang poetry, the two images of "horn" and "goose" often appear together. For example, Li She's poem "Late Mooring in Runzhou" says, "The sand in the sky is startled." "Go up to the wild geese, Haimen is diagonally tilted two or three lines away." Even the wild geese on the river can't bear to hear the sound of this horn and fly away, which shows how sad the sound is! Similarly, this couplet tries not to mention how the listener feels, but just goes straight to the point. Using the real scene as a backdrop - "The waning moon hangs on the willow tree" - the quiet, dim light casts shadows on the ground. The poet looks at the moon and cherishes his loved ones, how he longs to be reunited with his old relatives before the waning moon. The circle is more desolate. This couplet is well-crafted and the wording is simple and lingering. "Zhangtai" is a common image in Tang poetry. It was originally the name of a street in Chang'an, the capital of the Han Dynasty. There were many willow trees on the street. It was called "Zhangtai" in the Tang Dynasty. "Willow", later Zhangtai became the synonym for "willow tree". For example, Li Shangyin's "Gift to Willow": "Zhangtai is hidden, and the Ying Road is even more uneven. " Shen Boshi's "Yuefu Zhimi" said, "It is most important to refine the sentence and the following words. For example, when talking about peaches, you cannot directly talk about broken peaches. You must use the words "Hongyu" and "Liu Lang". For example, if you chant willows, you cannot directly say broken willows, but you must use the words "Zhangtai", "Ba'an" and other words." This statement is a bit extreme, but it also shows that metaphor is a distinctive feature of the language of Tang poetry.