Lao Tingyi appreciates the scenery written in the first two couplets of this poem, which is full of time and space changes. From the point of time node, it can be divided into two periods, the first is when the ship is sailing (daytime), and the second is after the ship is moored (dusk). From the perspective of framing space, every sentence and scene is full of changes. Lonely boat folk songs, clear water falling flowers and tree sails, full moon at the summit, far, near, high and low, cleverly arranged.
In the third part, the word "drought" is vivid in words: a few wisps of smoke and several families are particularly desolate and cold in the twilight; Thin field, narrow promotion like a knife, thin and barren. The word "barren" is a very common word, but it is very appropriate, natural and steady when used here, which can convey the poet's first feeling of facing barren land and has a strong appeal. From the emotional implication, the word "barren, thin" contains multiple meanings such as remoteness and thinness, which embodies the poet's pity and concern for the mountain people and the poet's disappointment in being demoted, enriching the emotional connotation of the whole poem.
The whole poem is lonely and sad, full of troubles and boredom in the journey. However, "the sail at the top of the tree falls at the beginning, and the peak turns to the full moon", but it outlines a strange picture of the Xiajiang River at night. The sail falls on the treetops, the summit is full of moons and the scenery is beautiful. "Several families gather in the wilderness, and the wasteland is a knife field", which vividly depicts the misery and poverty in mountainous rural areas and expresses Ouyang Xiu's anxiety about the depression of people's livelihood and people's poverty.
Poetry: the poet of the old pavilion: Ouyang Xiu's poetry classification in Song Dynasty: writing about scenery, caring for people and loneliness