I live in the south of the Yangtze River, and it’s the Qingming Festival and cold food. In the flower path, there is a lot of wind and rain, and a lot of mess. The red and pink darkness drifts away with the flowing water, and the garden gradually feels clear and dense. Counting the years, all the eryngium flowers will fall away, and it will be cold and powerless.
The courtyard is quiet and empty. There is nowhere to talk, it is extremely idle. Afraid of wandering orioles and sucklings, I learned the news. Where is Chisu now? There is still no trace of the colorful clouds. If you are embarrassed to teach people, you will go up to the upper floor to be flat and flat.
Appreciation
Jia Xuan's poems are known for their boldness, but there are also some chapters that are subtle and graceful. Great writers don't just have one pen and ink. They can fill in words based on the content and the needs of expression, and change them, just like the so-called "six methods" of painting things. According to the lyrics score, "Manjianghong" uses oblique rhyme and is often interspersed with three-character short sentences. Therefore, its tone is complex and ups and downs, suitable for expressing impassioned emotions, and bold poets are also willing to use it. Yue Wumu's "Angry and Crowning" poem can serve as a model specimen. However, He Fanghui had already used this tune to fill in the lyrics titled "Shangchunqu" to express the deep and graceful feelings of the song. However, it was Xin Jiaxuan who inherited the tradition.
This word expresses the "idle sorrow" of missing spring and regretting other things. It is the most common content in Song poetry: the upper column focuses on describing the scene, and the lower column focuses on lyricism. It is also the most commonly used composition of long tunes. Although it is common and commonly used, it is easy to fall into stereotypes, but if you understand the word carefully, it is neither clichéd nor clichéd, but also has new characteristics. It is euphemistic but not soft; delicate but not flat. To achieve this step, it all depends on the strength of the bones. Specifically speaking, every sentence has its "bone". The bones are words with profound meaning and heavy weight that are eye-catching. The "power" generated from the bones is enough to support each sentence and vibrate the whole sentence. Chapter, "I live in the south of the Yangtze River, and there is cold food during the Qingming Festival." In this sentence, the word "Jiangnan" is the bone. These two words are connected with the title, and they can trigger rich associations in the readers: In the early spring of the south of the Yangtze River, the scenery is beautiful, orioles are singing thousands of miles away, red and green contrast, water villages and mountains, wine flags are flying in the wind, and in late spring in March, flowers are blooming, trees are growing, and grass is growing. The long oriole flies. In addition to causing reproduction, another function of "bone" is to show its "power", which can be seen from "in the flower path, there is a lot of wind and rain, and there is a mess". The word "Langcha" in this sentence is its bone. From these two words, the reader seems to feel a violent and violent force. In comparison, Meng Haoran's saying "The sound of wind and rain at night, you know how many flowers have fallen" seems plain, and Li Qingzhao's saying "You know it, know it, it should be green, fat, red and thin" is just euphemistic, and the word "messy" here is full of meaning. The strength of the bones can be clearly seen: "The red and pink darkness goes away with the running water, and the garden plants gradually feel the clear and dense darkness." In these two places, "bone" shows its strength and toughness, and is actually used as "tendon". The author developed the scene of "green, fat, red and thin" into a fourteen-character couplet, eliminating statements and establishing new ideas. Therefore, he deliberately focused on the turning points and connections to surpass the predecessors. "Secretly following" means not realizing it; "gradually becoming aware" means already. It can be said that it is unique and ingenious to express the passage of time and seasons through people's cognitive process. "Counting the years"
The following few words are taken out of Erythrina and one flower as a supplement, turning the general theory into a practical statement. The three characters "Han Weili" are quite new and eye-catching, and they naturally represent the "bone". Cold means flowers are thin and weak. Therefore, there is no way to attach the branches, so they have to drift down with the wind. Instead of the clear green leaves, they can shine brightly on the branches. The comparison between cold flowers and dense leaves can also make people think that if it can be combined with the author's situation and mood to say that it implies the failure of a gentleman and the gain of power by a villain, it seems not unreasonable. As far as composition is concerned, the metaphor implicit here is the transition from the description of scenery in the upper column to the lyrical expression in the lower column. It is only implicit but can be hidden, so it is particularly thought-provoking.
Xia Qi, pretending not to be able to meet the beauty he misses, to express his inner sorrow. "The courtyard is quiet, empty memories. Nothing to say, extremely idle and sorrowful" four short sentences, just to point out the word "Xianchou", Xianchou is the most common word in Song Dynasty poetry, and its meaning is also the most uncertain , is a "fuzzy concept". Poets often refer to extremely deep feelings and indescribable melancholy as leisurely sorrow. If readers want to explore its specific meaning and make its "ambiguity" clear, they must investigate it in conjunction with the historical background, the author's life, and other relevant information, and they can almost make reasonable inferences. The so-called idle sorrow in this poem of the author should be due to the political frustration caused by the fact that he was not reused by the Southern Song Dynasty court, could not fulfill his ambition of rejuvenating the country, and was hated and excluded by the capitulationists. It can be deduced from this that "I am afraid that the wandering orioles and swallows will learn the news", and I hate the gossip and the intention of adding insult to injury. The couplet "Jinsu" and "Green Cloud", symbolized by beauty, express the desire and pursuit of ideals. However, the information does not come, there are no traces, there is only a glimmer of hope, and the heart is still full of sorrow, and the ending of "詩人, ashamed to go up the stairs, flat Wubi" is logical. The word "詩" is an adverb of modality, The meaning is very flexible. Here it is close to the word "hun", which means "simple" and "true". "Pingwu Bi" can be compared with Ouyang Xiu's phrase "Pingwu is full of spring mountains, and travelers are outside the spring mountains." It means that even if you go up to a high building and look far away, you will probably see a river full of green grass. There is a sentence in Jiaxuan's "Moyu'er" that "there is no way back in the grass at the end of the world", which means that the way back has been blocked by Pingwu, and ultimately you will not be able to meet the one you love.
Bixing sustenance is a tradition of coquettishness. Song people often inherited this tradition when writing lyrics. This is the case with this poem. However, the poet's writing style always conveys his meaning in a vague and vague way, which results in the work being characterized by "vagueness".
This kind of ambiguity not only does not damage the artistry of poetry, but sometimes becomes a factor that constitutes the artistic charm of poetry. The more vague and uncertain it is, the more intriguing it is. This seemingly strange phenomenon is a major feature of the art of poetry. As far as readers' pursuit is concerned, if they can get a rough idea, they should stop at the right amount; if they think too deeply, seek too realistically, and refuse to let go of every word and sentence, they will conclude that there are hidden things everywhere, and they will inevitably have to catch the wind and catch the shadow. Far-fetched.