spring rain
Tang dynasty? Li shangyin
When spring comes, I wear a coat with a white lining, but I only think about the white gate city where I can't go.
There are two red mansions facing the cold, covered by rain, and a pearl curtain lamp shakes my lonely heart and goes home.
The long road ahead will be full of new hardships, and the residual clouds are still vaguely like dreams.
Oh, I'm sending you this message, these jade earrings! I saw a lonely goose in a cloud three thousand miles away.
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"Two red mansions are facing the cold, covered by rain, and a lantern on the bead curtain shakes my lonely heart to return home" means: I stare at your red mansion in the rain and feel cold and lonely; Beaded raindrops beat my lantern, and I finally came back alone. "The red chamber is separated from the rain", and there is cold rain between you and me; "Facing the Cold", from a distance, the rain is so cold; "Pearl foil floating lanterns", lanterns are also very lonely, only rain floats around like pearls, which is unintentional companionship. She has feelings for me and I am interested in her, but I can't get close to her and can only look at her helplessly from a distance. Hard-to-get acacia always torments me. The scenes described in these two sentences are extremely lonely and can't help but make people move. The "red chamber" in the poem should be the place where poets usually meet their sweetheart, but now things have changed. The small building was the same as the one where she lived, but the author didn't have the courage to go in and even dared not go near it again. He just stared at it quietly from a distance through the rain curtain. Gradually, it began to rain heavily. I don't know how long it took, and I don't know how long I stood. At the beginning of night markets all over China, the rain drifted through candlelight windows like a curtain of pearls. In the flashing of the bead curtain, the poet felt like a knife, carrying a lantern wet by rain, and walking back along a long and lonely rain lane in a daze, feeling very lost.
"Two red mansions are facing the cold, covered by rain, and a pearl screen lamp shakes my lonely heart to go home." The previous sentence is red, but it feels cold, so compare it with each other. The pearl foil was originally bright, but it came from the illusion of rain curtain in front of the lamp shadow, which wrote the protagonist's lonely and confused psychological state in a very subtle way. In this poem, Li Shangyin endowed love with an extremely beautiful and moving image, and injected the author's confused mood with the help of the falling rain on a spring night. His thoughts about her are deep, real and integrated.
Extended reading: Li Shangyin's literary achievements
There are about 600 poems handed down by Li Shangyin, among which the themes of current politics are directly touched, accounting for a considerable proportion. Li Shangyin's epic has made great achievements. They are by no means sick moans of "thinking about the past", and they are also different from those poems written by predecessors that send feelings to the past. They take history as a mirror, Chen's politics as a mirror, and the criticism of the times as a supplement, making history-chanting a special form of political poetry. Untitled poetry is Li Shangyin's unique creation. Most of them take the lovesickness of men and women as the theme, with faint artistic conception, full of twists and turns of feelings, beautiful words, pleasant tone, which can be dense and dense, and makes people sad to read. Due to his childhood environment and education, Li Shangyin's world outlook basically belongs to the Confucian system, and he has a positive attitude towards life and is eager to make a difference. At the same time, he can think independently, and he has long dismissed the preaching that "learning Tao must seek the ancients and learning literature must learn", and even put forward such a bold idea that "Confucius is nothing more than virtue, benevolence and righteousness". In poetry creation, he was initially fascinated by Li's lofty style and the poetic style of the Southern Dynasties, and wrote many poems praising love, such as Yantai, Heyang and Hanoi. After his repeated humiliation and destruction showed him the rugged road of life, his poems began to show resentment and some criticism to society. In the end, the change of manna opened his eyes with bloody reality and made him take a big step forward in thought and creation. At this time, his poems such as "Two Feelings" and "Re-feeling" have been quite profound and powerful in criticizing decadent politics.
Extended reading: the characteristics of Li Shangyin's poems
Li Shangyin's poetry is unique in the late Tang Dynasty, because he is sentimental and devoted to it. He uses many works to express the feelings of late Tang scholars and their persistence in love, thus creating a new style and a new realm of poetry. His poems are novel in conception and beautiful in style, especially some love poems and untitled poems, which are lingering and memorable. In addition, Li Shangyin used subtle and hazy expression techniques to the extreme, but some poems were too obscure and puzzling to be solved. There was a saying that "poets always loved Quincy, but only hated that no one wrote Jian Zheng".
Li Shangyin's poems are the fruits of modern poetry, especially seven-character poems. He is the second milestone in the development of the Seven Laws in the Tang Dynasty after Du Fu.
Li Shangyin inherited the characteristics of Du Fu's Seven Laws, such as prudence, depression and frustration, and combined the rich colors of Qi Liang's poems with the fantasy symbolism of Li He's poems, forming a unique style of affection, aestheticism and delicacy. For example, "Re-crossing the Notre Dame Temple" meets love, and the symbol of Bixing is integrated into the landscape to convey the feeling of being trapped and frustrated; "Spring Rain" moves the exotic beauty of Li He's ancient poems into the regular poems, with beautiful language, neat antithesis, beautiful melody and beautiful images. However, because he likes to use unorthodox classics in his poems, the overall meaning of his poems is often vague. Secondly, Li Shangyin developed the expression of life lament to a deeper and more subtle aspect, and was good at expressing melancholy and lonely feelings with gorgeous and exquisite art forms. His poems are full of confused and sad experiences. His works are profound and delicate, with profound charm, "near but not floating, far and endless", full of symbolic meaning and hazy beauty. For example, there are always different explanations about Jinse's poems, such as mourning, sustenance, love, listening to songs, self-preface, self-injury, etc., which are subtle and far-reaching and have hazy beauty. Thirdly, in a sense, his poetry is a symbol of his soul and a purely subjective expression of life experience. Li Shangyin's seven poems, such as Love at the Rockfall Pavilion in Cuizhou, Cui Yong, Sending Friends to the North on a Rainy Night and Sunset Tower, express the feelings of life experience more, with delicate feelings and beautiful artistic conception. Poetry is permeated with life experience and the sadness of the times, with a sad and sad artistic conception and sad beauty. In art, they are more delicate, sad and beautiful, and in exquisite and rich rhetoric.