At the beginning of the poem, it is what the author saw, heard and wrote on the road in the early and early generations. These two sentences mean that as early as on the road, the poet heard the cock crow and saw that the east had just broken dawn, and felt that the weather was still a little cold; March is the end of spring, and there are hundreds of prostitutes, which can be heard from time to time in this Kyoto. The first sentence is written as "cock crow" and "dawn", which shows the time of early morning travel. The topic is ingenious and natural. In the concept of time, it is also more accurate than the general explanation of the first sentence of Jia Zhiyuan's poem "Silver candle in the sky". The second sentence is written as "Ying Sheng Yan Yu" and "Spring is suddenly released", which depicts the early morning scenery in late spring in Beijing, echoing the second sentence of Jia Zhiyuan's poem "Spring in the Forbidden City is pale". Compared with the two, Jia's spring scenery is vague, the image is not clear, and the artistic appeal is not very strong. The reason is that it is still dark at dawn, and it is difficult to describe the scenery at this time only by visual impression. Cen Can knew the mystery well, so when he wrote the scenery in his first poem, he wrote not only the "dawn" and "spring scenery" he saw, but also the "cock crow" and "warbler crow" he smelled, and even the "cold" he felt physically and mentally. He accurately grasped the scenery and climate characteristics in the early morning of late spring, and described them from different angles such as vision, hearing and feeling.
"There are countless doors in the Golden Gate, and thousands of officials float on the jade steps." Like the couplets of Wang Weihe's poems, the couplets of Cen's poems are also the scene of the early dynasty: with the bell coming from the Golden Temple, the palace doors are opened in turn; In the Han Dynasty, royal ceremonies were arranged on both sides of the jade steps, and hundreds of civil and military officials went to see the emperor step by step. The rhetoric of "Golden Que" and "Jade Step" is gorgeous, which just shows the splendor of palaces and jade carvings. With "gold" to "jade", "ten thousand" and "thousand", the confrontation is elegant and exquisite, which complements the solemn cleaning ceremony of the early generation. Therefore, if the weather is broad, Cen's poems are not as good as Wang's, and if the rhetoric is rich and the antithesis is exquisite, Cen's poems are above Wang's.
The necklaces in Cen's poems are quite favored by later theorists. Yang Wanli, a famous poet in the Southern Song Dynasty, said in "Poetry in Chengzhai": "The poet Cen's" Flowers come out, Liu Fu flags are exposed "is the best." With Du Fu and Wang Weijun participating in the chorus, it is not easy for Censhi to get such a high evaluation. The beauty of this couplet is that it not only describes the scene of the early generation, but also captures its characteristics. It not only echoes Jia Zhi's original work, but also embodies the linguistic features of Cen's poems: flowers greet the sword officer, and wicker blows the flag of ceremony and music. At this time, the stars fell and the dew was still wet. As an early dynasty poem, we should handle the relationship between "early" and "dynasty", that is, write the audience's scene in space and reflect the word "early" in time. The chorus poems of Jia, Du and Gong all use the first couplet to write the time of the first generation and the second couplet to write the scene of the first generation. Only this poem by Cen can integrate the scene of "Liu Jiahua meets the sword flag" with the time of "falling stars" and "wet dew", and show what others need two couplets to make clear. As a harmonious poem, the scenery description of Cen's poems echoes the poems, further enriching the description of spring scenery. However, in Jia Zhiyuan's works, the combination of writing scenery and meeting the audience is not close, resulting in the pattern of writing scenery in the first two links, meeting the audience in the neck link and advocating peace in the end link. For a poem of the first generation, its center is not prominent, which seems to put the cart before the horse. Therefore, when Wang Wei was in harmony with poetry, he wrote the scene of the audience with Chinese and English couplets, highlighting the key points. However, Wang's poems also have some shortcomings, that is, they ignore the description of spring scenery in Jia Zhi's original works and do not closely echo it. Looking at Wang's poems, I didn't say a word in the spring, but I used a lot of pen and ink to write the clothes of the monarch and his subjects over and over again. The first couplet wrote the word "Cui", the neck couplet wrote the word "Zhou Long", and the couplet first wrote the word "clothes" and then wrote the word "crown", which was quite repetitive in meaning and did not occupy the space of pen and ink. Predecessors have ridiculed this, "clothes are crowned, words are seen" (Volume 5 of Detailed Notes on Qiu Du's Poems). Although it is very high, these shortcomings are not hidden after all, but in contrast, it is not as close as Cen's poems, and it can avoid the defect that its center is not prominent. Finally, the language of this couplet can also reflect the characteristics of Cen's poems. Throughout the necklaces in the poems of Jia, Du and Wang, there are words such as imperial furnace smoke, which shows that it has become a common practice to write cigarettes in early poems. Obviously, Cen Can was not satisfied with such platitudes, so there was not a word about smoking in the furnace in the whole poem. Compared with the other three works, he wrote some novel landscape words such as "sword", "flag", "star" and "dew". The difference between the so-called frontier poets and court poets can probably be seen here.
"Unique guests in Fengchi are also singing beautiful spring scenery." At the end of the poem, in response to Jia Zhi's proposal, if you only live in Jiashe, China Province in Fengchi, it is really difficult for you to reconcile this elegant spring with snow. This is not only a compliment to Jia Zhi, but also a sign of humility. The word "difficulty" really reveals Cen Can's inner feelings. Wang Wei and Du Fu, who wrote poems together, are both great poets with a long reputation. It is really not easy to write poems together. Wang Weijiu was appointed as a court official, and it was almost common to write court chorus poems. Du fu worked hard on poetry, and his words were not surprising, especially metrical poetry. Poet friends are enemies of poetry in a sense, and the harmony with a poem is short-lived. Without superb means, it is impossible to win the first place in this high-level competition. When evaluating this group of chorus poems, Cen Can's poems are the best, and the winning formula is nothing more than the following three points:
One is called "rhyme adventure". The ancient people wrote court poems with the rhyme of wealth, such as Jia's Royal Fragrance, Wang Feng, Du Fu's Drunken Xiantao, Feng Yu, Worship the Crown and Dragon Surrender. Cen Can does not reject rich rhetoric, but prefers exotic rhetoric, which is reflected in the rhyme of this poem, that is, unexpected rhetoric rhymes with strangeness, such as "cold in the morning", "blue in the spring", "difficult in the peace" and "wet in the morning". In court poems, rhymes such as "cold", "blue", "dry" and "difficult" are rarely noticed, let alone used as rhymes of early poems. These words are usually used to express decadent scenery. Writing them into early poems without losing their luster requires superb writing skills. A little carelessness will lead to failure. In the eyes of predecessors, this is simply walking on a wooden bridge, so these rhymes are called dangerous rhymes. It is in this place where others usually dare not try, Cen Can successfully tried and received the peculiar artistic effect recognized by later generations. Specifically, "cold" usually makes people cringe, but "cock crow, purple road is cold in dawn" in Cen's poems gives people a completely different feeling. When the rooster sings the world white, the darkness will soon give way to the light, the crow is exciting, the dawn is desirable, and the slight cold in the late spring morning is pleasant. The wonderful artistic effect is achieved through the poet's proper collocation with "cold" as the rhyme, which is also reflected in the rhymes of "blue", "dry" and "difficult". "Lan" was originally used to write a few scenes, but the poet matched it with "spring scenery" and "warbler sound", and the effect was completely opposite. The spring diaphragm is different from the autumn diaphragm. Although the flowers are sparse, the leaves are more luxuriant, the red is sparse, but the green is more and more lively. Other rhymes, such as "dry" and "difficult", all have their own wonderful uses. In the field of aesthetics, there are also dialectical methods everywhere. Although these rhymes in Cen's poems are dangerous and beautiful, they are beautiful and strange, which can quite reflect the characteristics of Cen's poems.
The second is "Seiko against the opponent". As far as metrical poems are concerned, two couplets are enough, while Cen's poems often use one couplet, which is intended to be in harmony with the courtiers of the early generation and express the contents of the poems in a neat form, that is, the neatness of the scenes of the early generation. In addition, predecessors have pointed out that the first couplet of this poem uses the word "purple" to "emperor", which is beautiful, and Cen Can's antithesis in this poem can also be seen. Among these four poems, Du Fu's is the only one that can rival Cen Can's.
The second is "flowery rhetoric." Although Cen Can is still beautiful, it does not exclude gorgeous language. There are many beautiful words in Cen Can's poems, such as "Mozi", "Huangzhou", "Goldfinch" and "Yujie", which are no less than the other three poems. After all, the poems of the first generation are about the palace weather. If we blindly pursue adventure, it may destroy the harmony of the pictures in the poem. Although Cen's poems did not go too far with the dangerous rhyme, they also used some magnificent words to express the palace atmosphere and achieved a just balance. Although his poems are strange, they are not out of line, reaching the realm of strangeness, strangeness and handy.