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In these three poems, Mu Shaoyao (Peony) and Fei Yang co-wrote that flowers are people and people are flowers, which makes people's faces smooth and harmonious and benefits Tang Xuanzong.
From the perspective of text structure, the first one was written from space and introduced Yuan Long on the Moon to readers. The second song was written at that time, introducing the balcony of the King of Chu and the court of Emperor Hancheng to readers. The third song returns to the present reality, pointing out that the Tang Palace is north of Chenxiang Temple. Poetry and pen are not only easy to write, but also interlinked. The spring breeze in "The First" echoes the spring breeze in "The Third".
The first song, with seven words added: "Clouds need clothes, flowers need capacity", makes Yang Fei's clothes look like clothes and feathers, surrounded by her plump jade capacity. The word "Xiang" has both positive and negative understandings. It can be said that when you see clouds, you think of clothes, and when you see flowers, you think of looks. It can also be said that you think of clothes as clouds and looks as flowers, so the interaction is uneven, and the seven words give people a feeling of flowers.
Next, "the spring breeze blows the sill to show the flowers", and the beauty of peony flowers is more colorful in the crystal dew, which makes the above sentence more full. At the same time, the wind dew symbolizes the grace of the king and makes the painted face more spiritual. Below, the poet's imagination suddenly rose to the Yushan and Yaotai groups where the Queen Mother of the West lived in heaven.
"If it weren't for" and "meeting", the poet pretended to choose, but he was convinced that such a beautiful face could only be seen in fairyland. Yushan, Yaotai and moonlight, with simple words, set off a beautiful face, naturally reminiscent of a white jade-like person, a warm white peony flower. At the same time, the poet did not show any trace, and compared Yang Fei to a fairy, which was really exquisite.
The second song begins with the sentence "a piece of red dew condenses fragrance", which writes both color and fragrance; Not only the natural beauty, but also the dew beauty, which is a step further than the previous Revlon. Use the story of the king of Chu to humanize the flowers in the previous sentence, and point out that the king of Chu is heartbroken as a goddess. In fact, the goddess in the dream is not as good as the beauty now.
After that, Zhao, the queen of Emperor Han Chengdi, was a peerless beauty, but Zhao still had to rely on new makeup. Those who looked like beauties in front of her eyes did not need makeup, which was naturally amazing. This song also respects the topic by depressing the goddess and the flying swallow and raising Yang Fei.
According to legend, Zhao is light and can dance in the crystal plate held by imperial secretary, while he is relatively fat, with the inherent saying that "the ring is fat and thin" (Yang Guifei's real name is Yuhuan). On this basis, it was later said that Yang Fei liked these three poems very much and often recited them. Gao Lishi thought it was a great insult, because Li Bai had ordered him to take off his boots, so he summoned Yang Fei, saying that Li Bai mocked Yang Fei's fatness with the thinness of the swallow, and mocked Yang Fei's palace chaos with the adultery of the swallow.
However, this view has been opposed by many scholars. These scholars believe that if there is such an intention in Li Bai's poems, first of all, he can't escape Xuanzong, who has knowledge and culture, and Yang Fei is not a man without cultural accomplishment. According to the original poem, it has obvious meaning of restraining the ancient and respecting the present.
The third song, from the fairyland ancients back to reality. The first two sentences, "Famous flowers pour over the country and care for each other, which makes the king smile." The beauty in "Pour Out the Country" refers to Yang Fei, of course. The poem only points out here that the peony and "dumping the country" and "dumping the country" are combined into one, and the words "smiling and looking" are unified, so that the peony, Yang Fei and Xuanzong are integrated.
Because the word "laugh" in the second sentence aroused the third sentence "show infinite hatred for the spring breeze", and the word "spring breeze" is synonymous with the king. This sentence made the beauty of peony interesting, and the king smiled, of course, without hatred, and all his troubles were relieved. At the end of last year, the place where Yang Fei enjoyed flowers was "Chenxiang Temple North". The flowers outside the diaphragm are very elegant and romantic when people lean on them.
These three poems are rich in language and words, and the most prominent thing is to write flowers and people together, such as "the cloud wants clothes and flowers to look good", as if writing flowers and faces. "A red dew condenses fragrance" is also a blend of people and things, referring to this and that. After reading these three poems, if you feel that the spring breeze is full of paper, the flowers are full of eyes and the face is blurred, you don't need to portray it. Naturally, people think that this is a peony, a beautiful jade, and nothing else. No wonder these three poems were deeply appreciated by Xuanzong of Tang Dynasty at that time.
Extended data:
1, author profile
Li Bai (70 1 ~ 762), whose name is Taibai, is a violet layman. He is the most unique and greatest romantic poet after Qu Yuan. He has the reputation of "poetic immortal" and is also called "Du Li" with Du Fu. His poems are mainly lyrical, showing the arrogant spirit of contempt for powerful people, expressing sympathy for people's sufferings, being good at depicting natural scenery and expressing his love for the mountains and rivers of the motherland.
The poetic style is magnificent and bold, the imagination is rich, the language flows naturally, the melody is harmonious and changeable, and it is good at absorbing nutrients and materials from folk literature and myths and legends, which constitutes its unique magnificent and gorgeous color and reaches the peak of poetic art in the prosperous Tang Dynasty. There are more than 1000 poems, including 30 volumes of Li Taibai's Collection. ?
Detailed explanation of Selected Poems of Tang Dynasty Mei Yu Jinyun: Xiao (Shi Zan) said that the goddess of the Ming Dynasty should be called to gather the emperor and laugh at the noblewoman for being cheap. She was as drunk as a fiddler. Unexpectedly, the demon dream in Wushan and the disaster in Zhaoyang are subtle and subtle.
2. Creative background
According to the records of the late Tang Dynasty and the Five Dynasties, these three poems were written by Li Bai when he offered sacrifices to the Hanlin in Chang 'an. One day in the spring of the second year of Tianbao (743) or the third year of Tianbao (744), Tang Xuanzong and Yang Fei were watching peony flowers in the palace Chenxiang Temple, and musicians were preparing to perform songs and dances to entertain them. However, Emperor Xuanzong of Tang Dynasty said, "You can't use old music words as concubines when enjoying famous flowers." Li Bai entered the palace to write a new movement because he urgently called Hanlin and other imperial edicts. Li Bai wrote these three poems on the golden flower stationery when his letter entered the palace.
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