In Chinese classical poetry, the image of "swing" often appears, such as "the sound of pavilions is sparse, and the night in the swing yard is heavy", "Flower shadow lies on the swing, and the longer people stay, the worse people get" and "I miss that man so much that he refuses to get on the swing with his hands hanging down". Behind every swing, there is a beautiful and affectionate past. Deep courtyard, lonely swing, amazing time, gentle years.
What I want to share with you today is one of Li Qingzhao's early masterpieces, "Touching Red Lips and Kicking the Swing".
Swing on the swing, too lazy to rub delicate hands. Beside her, the thin Germany hung with crystal dew, and the sweat on her chest permeated with the thin silk robe.
When the guests came, socks and golden retrievers slipped away. And ashamed to go. Looking back at the door, Wen Qingmei.
When writing this word, Li Qingzhao was still an unmarried girl, sensitive and affectionate, with both talent and appearance, just right. In the lyrics, the poet vividly described a lovely girl image for us. The first part describes the girl's mental state after swinging; The next movie is about a girl's modality when she first meets a visitor.
Goethe, a German poet, once said, "Which man doesn't love and which girl doesn't love spring?" The boudoir courtyard, next to the swing frame, is a beautiful girl in "Seeds of Love" in late spring and early summer, with thick dew and sparse flowers. In the last film, the poet did not write about the joy of swinging, but cut out the moment after "swinging". From it, we can imagine a girl on a swing, dressed lightly and flying lightly in the air like a swallow.