The whole poem is as follows:
One: Seeing the guest's worries, the rogue will come to Jiangting in spring. I sent flowers for further study, and then I taught Yingying to speak too Ding Ning.
Second: hand-planted peaches and plums are not ownerless, and wild old walls are like home. Just like the spring breeze deceives each other, blowing off a few flowers at night.
Third: I am familiar with the fact that Maozhai is extremely low and small, and swallows come frequently on the river. Dirty piano books with mud, even catching flying insects and hitting people.
Fourth: February begins to break in March, and it can age several times every spring. Don't think about infinite things outside, try your best to have a limited drink before you die.
Fifth, the heartbroken Jiang Chun wants to end, and the walking stick stands in Zhou Fang. On crutches, on crutches, standing on the Zhou Fang, I only watched catkins flying wildly in the wind like crazy, chasing the flowing peach blossoms lightly.
Sixth, lazy and unable to leave the village, Hu Er hides in Chai Men every day. The moss in the forest is turbid and the wine is quiet, and the clear water in the wild is faint in the spring breeze.
Seventh: 30-mile path is carpeted with glistening flowers, and the lotus leaves in the stream are stacked with green money. No one has seen bamboo shoots, and the chicks on the beach sleep next to their mothers.
Eighth: the soft mulberry leaves in Shexi can be picked, and the fine wheat on the riverside is fibrillated. Geometry of life Spring is summer, and no fragrant mash is as sweet as honey.
Nine: The willows next door are soft and curled up, just like the waist of the fifteenth daughter. Who said the DPRK didn't take it seriously? The wind broke the longest one.
The literal meaning of the whole poem:
First, seeing me living in other places, I'm worried that you, a rogue, will come to Jiangting. It was reckless of you to let the flowers bloom, and you let the oriole talk to me endlessly.
Secondly, this is my own peach and plum. It's not without a master. Although the wall of my house is low, it is also a home. Spring breeze seems to bully me on purpose. Last night, it climbed over the wall to blow off some flowers.
Third, knowing that my thatched cottage is very low and small, the swallows on the river fly in and out frequently on purpose. The spring mud in my mouth fell and stained my piano and books, and I often ran into my wife catching flying insects.
Fourth: In the past March, February came. How many times can people who are getting old meet in spring? Don't think about those endless physical affairs, just drink a few limited bars in your life first.
Fifth, standing on the river bank that is about to run out in spring, my heart seems to be broken and I am wandering on a grassy continent with crutches. Like catkins dancing wildly in the wind, thin and self-respecting peach blossoms, drift with the tide.
Sixth, they don't want to leave the village without scenery to enjoy, and ask their children to close Chai Men every day. Drink turbid wine in a quiet forest covered with moss, and let it be tossed by clear water and spring breeze in the wild.
Seventh, Yang Shuhua, who fell on the road, was covered with a layer of white felt, and the lotus leaf attached to the stream was like folded green money. The pheasant in bamboo shoots is hard to find, and the pheasant on the beach by the stream sleeps beside his mother.
Eighth: The mulberry leaves in Shexi are tender and can be picked, and the wheat seedlings along the river have grown slender. Life can have geometric years. Spring has entered summer, but we can't put liqueur aside.
Nine: The wicker outside the door wall is thin and curly, just like the soft waist of a 15-year-old daughter. I don't know if I was careless in the morning, but the longest branch was blown off by the strong wind.
Appreciation of the whole poem:
This group of poems is about the feelings of village residence. The whole poem takes "Hakka worry" as the key link, and describes the natural scenery from spring to summer in Caotang area and the author's mood and feelings.
The first poem was written because the house was boring. The first two sentences are about the beauty of willow, and the last two sentences are about why willow doesn't show its posture because its branches are blown off by strong wind to express the poet's own frustration. Although the poet is not in the imperial court, he always cares about the national economy and people's livelihood. I am like a willow tree that can't stretch out its posture, because I was hit by the reality of society and couldn't save the people. You can't be reused as an official, and your ambition is hard to pay. The whole poem focuses on "guest worries" and describes the poet's feeling of being annoyed by spring. "I can't wake up when I see the guest's worries" generally means that the poet is immersed in the guest's worries and can't extricate himself. The word "not waking up" describes this kind of intoxicated and confused psychological state. However, spring scenery is inhuman and rushes into the poet's eyes. Spring was originally pleasant. "No one opens the peach blossom. Lovely scarlet loves light red? " However, in the minds of poets who are entangled in guest worries, how disturbing it is that the spring scenery suddenly falls on Jiangting! It hastily bloomed before the poet's eyes, making Yingying cry frequently, as if deliberately playing tricks on a wanderer in a different place in the melancholy of the old country. Here and now, with such a mood and such flowers, the goddess Sichun is really "studying", and her hospitality is too rash.
The second poem comes from the first one, complaining that spring breeze deceives flowers. The first two sentences say that peaches and plums are taken from home. The words "Fei" and "Huan" emphasize tone and emotion. The last two sentences are "second study" to urge flowers to spring, and the spring breeze came to bully them again, blowing off a few flowers overnight! The poet's emotion is in the scene, creating an atmosphere of opposition between emotion and scene. In the poet's view, the spring breeze is intended to deceive God. In the poet's pen, the spring breeze and peaches and plums are personified. Obviously, the poet was annoyed by spring, but he wrote spring breeze to deceive people.
The third poem describes the disturbing scene that swallows frequently fly into the study of the thatched cottage. The first sentence said that Mao Zhai was extremely low and narrow, and he was "familiar", but it was just the words of swallows. Even the swallows on the river are familiar with the height of this thatched cottage, which is probably a more suitable place to nest. So the second sentence goes on to say, "The reasons are frequent." Swallows often come, which naturally causes their owners' troubles. Three or four sentences describe in detail the activities of swallows in the layer: not counting the nest stained with mud, flying insects are chased and even people are touched. The poet made a delicate and vivid description with clear spoken language, giving people a cordial and realistic feeling; And through real feelings, it reminds people of this low and small Mao Zhai. Because Jiang Yan often intrudes, it is difficult for the host to take shelter. In this way, the plight of the thatched cottage is written, and the poet's mood is much more disturbing. Du Yi of Wang Siyuan in the Ming Dynasty wrote a poem about this: "People who live far away live alone and meet each other later, and there are many unhappy people." This unpleasantness is caused by the guests' worries, and it is also a lie to attract birds by Yan. Wang Fuzhi said in "Jiang Zhai Shi Hua": "The name of the scene is two, which is inseparable. God is infinite to poets. Skilled people have feelings in the middle and feelings in the scene. " Du Fu's poems are also examples of being good at expressing feelings in scenery. The whole poem was written by Mao Zhai and Jiang Yan, and three or four sentences were scenic words describing the movements of swallows. It is in this fine description of "soiling the piano book" and "beating people" that many guests living alone in the distance are troubled and restless, and their physical and material feelings are wonderful. Although there is not a word in the poem, the "unhappy" mood is expressed in the description of the scenery. The whole poem is full of charm and chewy.
The fourth poem can't be written in spring, so we have to eat, drink and be merry. In fact, this is a helpless and generous sentence.
The fifth poem is about the beautiful scenery around the thatched cottage, where his life is relatively stable. However, poets who have suffered from chaos have not forgotten that the national disaster has not been removed, so it is difficult to return to their homeland; Despite the flowers in front of me, the worries of home and country still haunt me from time to time. Its original intention is to write scenery and express feelings, and it does not mean to criticize women's style, but because the images of "willow" and "peach blossom" used in two of them are also used to describe women. The so-called broken flowers and defeated willows have a face like peach blossom. Moreover, the poem is extremely frivolous, so it is often used by later generations to imply the frivolous and bohemian style of women.
The sixth poem is about drinking behind closed doors, regardless of the outside world. It is well written.
The seventh poem is about the scenery in early summer. The first two sentences describe the scenery, and the last two sentences describe the objects in the scenery. The scenery blends with each other and has its own wonders. The poem shows a beautiful early summer landscape: flying poplars are scattered on the path, as if covered with a layer of white felt; And the green lotus leaves in the stream are dyed, like round green money piled on the water. The poet turned his eyes and suddenly found a young pheasant hiding beside the roots of bamboo shoots, which was really hard to see. On the beach, the chicks snuggled up to their mothers and fell asleep peacefully. "Tan Jing" in the first sentence describes the flowers scattered on the road, with refined words and full images. The words "dot" and "fold" in the second sentence vividly describe the state of lotus leaves in the stream, which makes the whole sentence come alive. In the last two sentences, Pu Yin Long said when reading Du Xinjie that it "has a slight pity for Xiao Ji". Judging from the whole poem, there may be some, but it is a pity that the feeling is too deep. These four poems, one sentence and one scene, literally seem to be independent, one poem and one painting; Together, they form the natural landscape of the countryside in early summer. Careful observation and description reveal the author's lingering appreciation of the wonderful natural scenery in early summer when he strolls through the forest stream, and he feels lonely when he is quiet. These four sentences, such as couplets in the seven laws, are correct and can be carefully stitched back and forth and taken care of. The first two sentences describe Huayang and He Qing clearly, which implies the meaning of streams in the forest. The last two sentences describe pheasants and chickens, but they are all in the sand of the forest. Take care of the front and back, set off each other, and blend in the sloppy. This poem is exquisite and lifelike, its language is popular and vivid, its artistic conception is fresh and meaningful, and it is full of profound and simple life interest.
The eighth poem means that since the summer scenery has greatly recovered, you should drink to your heart's content and end your life.
The ninth poem ends with emotion. The program of this group of poems is that the poet's troubles and hatred for spring are nothing more than "guest worries"; At that time, hating and cherishing spring was nothing more than spring coming and spring coming. So in the end, the spring is fleeting, giving a sigh of life geometry.
From the point of view of composition, although these nine poems are independent, they are inherited from chapter to chapter, and they are coordinated, orderly and have internal context from beginning to end. Technically, the whole poem uses anthropomorphic techniques to write spring as a living and emotional thing; The fresh and vivid metaphor makes the scenery present a smart and lively posture.