looking at the west wind and brooding, when the red reed is white and heartbroken.
there is no trace of the old garden in the empty fence in autumn, and the thin moon is clear and the frost is clear.
I miss my heart and go home with the geese. I seldom sit and listen to the late anvil idiot.
who has pity on me for the yellow flower disease? I'll see you again in Chongyang.
-Heng Wujun (Baochai)
The Esperanto translation of this group of poems uses the same format. Each capital is eight lines of poetry. Each line is composed of seven sep-trokeo (-7) steps and fourteen syllables. Take the first behavior of this poem as an example, and its rhythm is illustrated as
p>- /-/ = / = / = /-/ =
[ p > [ stands for light syllable, = stands for grammatical stress,-stands for rhythmic stress ]
The rhyming modes of each poem are
A, A and B. After Baoyu and the ladies were full of wine and crabs, they were full of poetry. They wrote twelve poems about chrysanthemums on different topics, and Baochai wrote the first one. The rhyme used in poems about chrysanthemum is slightly different from that of poems about Bai Haitang, that is, there is no rhyme limit, and everyone can choose the rhyme freely. This one uses the rhyme of "four branches". Tan Chun commented on this poem: "In the end, it should be considered that the wandering monarch is calm,' there is no trace of autumn' and' there is knowledge in dreams', and a memory is baked and dyed." Indeed, these are the two most wonderful sentences. Poems about chrysanthemums personify chrysanthemums. Recalling chrysanthemums is actually remembering people. Baochai's poem indicates her sad mood of "brooding" and "heartbroken" when she lives alone in the future. In this way, the person she remembers is Baoyu who ran away from home. Because poetry only vaguely expresses an emotion, it is not good to hold every sentence firmly, and it is absolutely certain what it implies. That's what the ancients meant when they said, "Poetry can't reach the target."