Winter has passed, and the cold is still strong. A touch of green mark was once the only decoration of the earth. Han Yu wrote in "Showing Eighteen Members of Zhang Shui Department in Early Spring": "The sky street is drizzly and crisp, and the grass is far and near. The most important benefit is the spring of the year, which is better than the willow. " However, when the prosperous peaches and plums are scattered in the wind and rain, the grass color is silently dyed all over the earth, showing tenacious vitality. Ceng Gong's poem "South of the City" said: "The rain overflows the horizontal pond, the dike is full, and the mountain is chaotic and the road is high. After a while, peaches and plums bloom and the green grass is dyed. "
Poets and poets have a unique vision. From the autumn, yellow, withered and glory of the spring grass, they also realized that they are not tired of fame and fortune, embellishing the spring scenery and have nothing else to ask for.
However, in the face of lush greenery, poets in Tang and Song Dynasties often have endless worries and endless complaints. Although the rise and fall of grass is enviable, it also makes people feel that grass is similar year after year and people are different year after year; Grass bathed in the bustling Asahi near Zhuque Bridge, and also experienced the cold sunset at the entrance of Wuyi Lane, which became the witness and symbol of the rise and fall of personnel. In particular, its tired autumn colors are more likely to lead to the decline of national luck and the decline of rivers, which makes people feel depressed and sad. When you put it into poetry, the lush grass will have a bleak and desolate feeling.
More often, the grass image in Tang and Song poets' works is a symbol of personal life choice.
When the literati's heart of using the world is seriously dampened, they tend to devote themselves to the countryside, enjoy the scenery, feel the truest thing in their nature in nature and seek a kind of comfort and relief. Although most hermits have not really got rid of the psychological burden and can't dilute the pain in life into a penetrating smile, after all, the landscape and pastoral areas provide them with an opportunity to make their lives easier, even a good medicine.
Bixing has become a tradition in poetics since The Book of Songs. Why do poets like to choose the image of grass? Does Cao Fang have any special connotation?
Caochun life
Ma Yifu once said that the arrival of spring is like a dream, a wake-up call, the rise of a servant and a sick Sue. Winter has passed, and the cold is still strong. Taibai's "Long Songs" says: the east wind moves everything, and the vegetation expresses its will.
Han Yu's "Out of the Eighteen-member Water Department in Early Spring": The rain in the sky is crisp and the grass is far and near. This is the most beautiful season of the year, far better than the late spring of the green willow.
In the early spring of grass, the poet's joy is self-evident. "Spring" is closely connected with "grass" from the beginning of word-making, and grass and the sun also have "chariots", which shows that fragrant grass is a symbol of spring from the beginning. The metaphor of "spring comes first" is based on the joy of the arrival of spring.
South of the city by Ceng Gong;
The spring rain is swift, the pond is full, and the mountains are high and low, east and west, and the mountain roads are rugged. The hot and lively peach blossoms and plum blossoms have been blooming for a while, but now it has passed, only the grass in spring grows bigger and greener.
The aesthetic significance of spring-short (temporary),
As spring is short, visitors can imagine that "wildfires never completely engulf them, and they are tall again in the spring breeze" and look forward to the coming year. The loser sighs, and the beautiful sentence has been won by Cui Shangshu. Poets in Tang and Song Dynasties can't help sighing that "grass is similar year after year, people are different year after year", and the beautiful things seem to be gone forever.
The peach blossom that Cui Shangshu faced finally realized the truth that "no one will wait for you in the same place", and the poet also expressed such feelings when facing the grass. Time is always inevitable, so there is such a poem of spring grass:
Hate is more like spring grass, and you are still alive as you go further and further.
The floating world is like a cloud, and it will be updated after thousands of times. Add grass graves, and there will be more white-headed people.
At the end of the year, the guests are old, and the snow is sunny and the mountains are spring. Travel with horses, not the dust of Luoyang. (Tang? Yu Wuling's Luoyang Road)
Just because it is short and pithy, it is rare to see the poet's optimistic sentences in the symbolic meaning of "grass".
A famous scholar said: "Xing" is a poetic concept with the most cultural soul, and its most important cultural connotation is the connection between life and life. This theory is similar to Wang Guowei's poetic interpretation of "seeing things from me, things also have my feelings"
When the poet chooses "green grass" as the image, the poet's life has been assimilated with green grass, their hearts are interlinked, and the lush grass has become the embodiment of the poet. At this moment, the poet is enjoying himself with his doppelganger, whether it is poetic dwelling or infinite melancholy. If the poet reaches the peak, he will be called "the beauty of your grass, fresh by the rain, next to your window, is the music of your pine tree". I put what I saw and heard into my existence, soothing my senses, making my heart quiet ("Remembering the Hermit on the Western Hills"), and the ups and downs of the grass color naturally swayed my heart; If Cao Ye is "shallow at the grassroots level", he will naturally do nothing. With a low heart, I dare not complain about the east wind "("Courtyard Grass "). Chun Lv is yellow in autumn, lazy and comfortable, not tired of fame and fortune, embellished with spring scenery without asking for anything, chic and elegant, and superior and refined. What's the use of a poet if the above-mentioned poet who shows compassion for others is in Wuling, and his bald head is infinitely sad on the grass? Just "Qinghai-Tibet" and "Whitehead" are enough to make people sad and sigh.
I found such a poem very interesting when I turned over the whole Tang poetry:
The north wind buckled the tree, and first frost withered grass. May I ask whether the man on the moon is old? (Xue Yao's Midnight Song)
Although poetry is straightforward, it is also straightforward, and the theme is directly related to life. The same problem is also concerned by many people-longevity, life is never limited to individuals, and the spirit of life is eternal. Cao Fang became the life endorsement of poets in Tang and Song Dynasties. How lucky!
The poet not only uses grass as an image to express his sigh about the short life that people have, but also summarizes and expands its meaning, so there is such a sentence:
A hundred flowers blossom in spring, and autumn begins to wither. If you leave me, you won't be old. Luo Luoyu is not dark, and now it is out of place (Zhang Ji's "White Head Singing"). Rabbit silk is firm and ruthless, and reverses with the wind. Who told that girl Luo Zhi to come and hug her? The two grasses are still one, and people's hearts are not as good as grass. (Li Bai's "White-headed Songs")
Here is not to say how long the life of grass is, on the contrary, it is to use one kind of shortness to set off another kind of shortness. The grass in Chun Lv is autumn and yellow, and life is short. You can't even reach this short, let alone stand the test of time. This kind of criticism is a whip in the depths of the soul, euphemistically expressing dissatisfaction with each other's ingratitude and lamenting that a kind of "life" can't "start well and finish well".
Snakes have been turtles for two thousand years, and Wudi has green grass everywhere every year. In the face of a fragile and short life, what kind of living state is the poet? How do they choose their own life and make it meaningful? The image of fragrant grass written by poets in Tang and Song Dynasties is often regarded as a symbol of personal life choice.
Therefore, lush grass has become a symbol of hermit life, and it has also become a symbol of their good virtue and noble sentiment in the dirty reality.
Self-deprecation After "Wang Sun wanders away, spring grass grows and warblers fly", Meng Haoran has "been slow to give up, I waited day after day, until now I have to go". How sweet the flowers on the roadside may be, if they don't mean to see each other again, they will be old friends "(Meng Haoran's Leave Wang Wei), Wang Weiyou's" Spring Breeze Moves a Hundred Herbs, Huilan gives birth to my hedge "(Wang Wei's" Gift to Brother Pei ")," A Hundred Herbs of Gentleman, the famous flowers will last forever "(Wang Wei's" Welcome to the Spring "), and Guan embroidery has" A beauty, be young and beautiful. Embroidering pipa to the Scholar's Academy, such as day lily, makes me forget "(Guan Xiu" Charity ") and so on.
It is precisely because of the extraordinary and holy luster of fragrant grass that it inherits the tradition of Qu Yuan's vanilla beauty that poets and poets use it to express lofty aspirations and perfect personality, such as Gao Shi's "Sunset hurts my heart, caresses my sword and mourns the autumn grass" and Lu You's "Breaking the fragrance and supporting my pillow, leaving fragrant grass to regret" and so on.
To sum up, as a symbol of spring, Cao Fang entrusted too many poets' praises for beautiful spring, and also included the poet's feelings and sighs for life. "It's a long way" is just a joke of God. After seeing all the scenery, we still have to go back to the starting point. This is the meaning of the grass "growing taller in the spring breeze". Mr. Chamubins once said: "When studying cultural life and historical life, we should pay attention to its long-term constant change and constant renovation. We should constantly change in eternity, and know its eternal and continuous spirit in constant change. This is the highest meaning and value of life culture. "
The style of poetry has been changing since ancient times, but what remains unchanged is that people's "life consciousness" is full of poetry.
Two grasses-ups and downs of personnel, homesickness
The process of the poet's inner search for himself keeps moving forward in his thinking about life. They can relate the rise and fall of grass to the survival of life, or "from the inside out", go out of their own hearts, out of the poet's individual life, into another world, contact with the times, society and history, and experience its eternal significance in the big life.
Weeds are blooming beside Suzaku Bridge, and the sunset at the entrance of Wuyi Lane is oblique; Swallows under the eaves of Wang Dao and Xie An have now flown into the homes of ordinary people. (Tang? Liu Yuxi's Wuyi Lane)
The grass grows and flowers bloom, indicating that spring has arrived. The word "wild" is placed in front of "grass flower", which adds a lonely atmosphere to the scenery and creates a boundary for nostalgia. In addition, these weeds and wild flowers all grow on the busy Suzaku Bridge, which makes us have a deeper association. "Thousands of families become weeds because of a backyard flower". In his poem "Taicheng", the poet used "weeds" to symbolize the immediate decline-weeds are overgrown and devastated, which is in sharp contrast with the bustling scene of "thousands of families" in that year. A word "success" gives people a fleeting feeling. Hundreds of years ago, it seemed that the magnificent scenery suddenly turned into weeds, and the profound meaning can be savored. In this poem, weeds as the background set off the atmosphere and perfectly set off the poet's nostalgia for the past. "Only grass grows in the mine field, and the sea becomes a mulberry field" (Wang Ji's Crossing the Old City of Han Dynasty). How fast life changes!
The second princess complained about the heavy clouds, and the second princess cried in Hunan. Businessmen drop wine on the grass in front of the temple, and the rustling wind gives birth to bamboo forests. (Chen Yu's "ChristianRandPhillips's Complaints")
Everywhere in Sandy, I don't know if I can forget my troubles. The flowing water invaded from the museum and crossed other continents with the sunset.
In Jingu Garden, the moon reflects the drought, and under the stone city, it is already autumn. Pedestrians look down on Wang Sun and buy out twelve women in Jinling.
(Yu Zizhi's "Singing Grass")
The images of these two poems are independent, and they witnessed everything that happened in history as bystanders. "Autumn grass grows in the palace, and the king is grateful. Good smell of the wind, golden outside "(Wang Wei's" Three Poems by Ban Jieyu "II)" The bright moon reflects Zengcheng, and it is lonely and clear. Kings love to rest in spring, and their pillows are cool. I can't sleep because of my sore throat. I hesitate to take a step forward. Empty steps of the Millennium, vegetation insects "(Wu's" resentment "), vegetation has become a witness to court life. ...
Liu Han, facing the "bustling" Jinling, felt the silence and sadness after the decline of the Six Dynasties from the night sky, moonlight and wild grass (Liu Han's "Shicheng": "From grass to Wu Palace, green to Taicheng East Old Garden. One night, the river smoke is cold, and the stone bright geese ring ");
Lin Hejing reveals the helplessness and melancholy of vicissitudes, prosperity and wealth from the withered spring scenery of Jingu Garden (Lin Bu's "Dianjiang Lip": "Who is the owner of the spring scenery in Jingu every year?" Flowers fall, misty rain everywhere ");
Wang Anshi's view of Linjiang Range Rover, with his lofty view of the past, saw that Chengjiang seemed to have practiced, with green peaks clustered, set sail, and the wine flag tilted, but he thought of the Six Dynasties, and one after another was destroyed by famine and joy. Sorrow, resentment, honor and disgrace leave people to mourn, and the past can't be traced, only looking at autumn grass (Wang Anshi's Gui Zhixiang): "I miss the past, I am bustling and competing, sighing outside the door, and it is a shame to look up to it through the ages. The past of the Six Dynasties flowed with the water, and the cold smoke faded the grass. Today, strong women in business still sing from time to time, and Backyard is a posthumous work.
If the thought of the rise and fall of the poets in the Tang and Five Dynasties and the Northern Song Dynasty is still abstract, after the change of Jingkang, the poets felt that the center of gravity of the grass was tilted towards the broken sorrow of the Central Plains and the expression of the desire for reunification. Liu Kezhuang's "West Zhejiang is quiet, Huaibei is less smoky". Smoke less when cooking. Xuanhe Palace, cold smoke decays grass "(Liu Kezhuang's Memory of Qin E) is a good example.
To sum up, when the poet takes herbs as a starting point and endows herbs with their own experience and historical significance, herbs have corresponding connotations. Naturally, herbs are the beauty of the pure sensory world, herbs endowed with life meaning are the beauty of philosophical thinking, and herbs full of humanistic feelings are the most talked about by scholars and the beauty produced by the integration of the human world. This seems to be talking about what nature is. Many people think that "the way to fame is not the way of nature", but they don't know the first peak, so without words, the second peak is just a little bit. What's the harm of not talking when you get what you want? Any man-made thing is nature that people can touch. In this case, there is another situation!
Three grasses-nature-return
Starting from The Book of Songs and Songs of the South, there is a long-standing poetic motif "Cao Fang" in China's poems, and the most prominent literary motif is "homesickness". Cao Fang is a very natural image. As a symbol of seclusion, it means breaking free from bondage and pursuing a true and frank life, which is also a very natural spiritual demand of human beings. In this process of communication, the "return" of spirit is the soul. When the meaning of "return" is expanded and generalized, all the hometown, homeland, emotional "return" and even the "return" of the old country are dyed by green grass.
China has had the plot of "settling down" since ancient times. Land is our soul and our root. In China's Poetic Spirit, Professor Hu Xiaoming divided China's homesickness into eight categories. To sum up briefly, it can be divided into two categories: one is official tourists; Second, those who are far away from their hometown, even those who have lost their hometown forever because of war and disaster.
The mother used the needle and thread in her hand to make clothes for her long-distance son. Before leaving, I had a stitch for fear that my son would come back late and his clothes would be damaged. However, an inch of long grass is a little sentimental, and it is rewarded with three spring rays (Tang? Meng Jiao's Wandering Son),
Wei "rain forbids fire and cold, and Jiang Ying sits alone and listens. Seeing wine and thinking about brothers, eating cold food and eating grass "(Wei's" Cold Food for Brothers ") focuses on the thoughts of family members;
Cui Hao's "Hanyang every tree into water, parrot island a nest of herbs; But I looked home, the twilight was getting thicker, and there was a sad mist on the river waves "(Tang? Yellow Crane Tower in Cui Hao),
Wang Anshi's Spring Breeze is Green in Jiang Nanan, When Will the Moon Shine on Me (Wang Anshi's Boating in Guazhou) is the concern of wanderers who are suffering from the world and tired of their hometown.
Although Fangcao is insignificant, it is an inch of grass, but it can be reported as "three wisps of spring"; Although it is "prosperous", it embodies the homesickness of the poet, and disappears in the homesickness with the vastness of the smoke; Although "Jiang Nanan" is "green" and full of vitality and hope, it makes the poet sadder. Spring is coming again, do you have a few more white hairs? When is the time to go home? It's really a total injury.
When the poets failed to "return", the grass piled up into countless parting sorrows, which made people sad.
Du Mu's "An Zhou Yun Si Lou Ti" says that "hate is like spring grass, and things go with loneliness".
Li Yu's "Qing Ping Le" said that "hate is like spring grass, you can go further and live better".
He Zhu's Jade Case has "How much leisure?" Yichuan tobacco, city wind, plum yellow rain ",
Zhou Zizhi's "Treading on the Sand" said: "Wild geese cross the setting sun, and the grass is misty. Nowadays, there are countless troubles, and reading hurts the body.
Taibai's "accumulated eternal hatred, spring grass will not revive" (Li Bai's "Stay in the Field"), spring grass dried up and lost its vitality. In this way, the poet still can't express his deep homesickness and homeland complex.
Using "fragrant grass" as a symbol of parting sadness is because "fragrant grass" itself has the traditional spirit of Qu Yuan's "fragrant grass and beautiful women" and brings a graceful atmosphere. When its position changes, the meaning of grace changes accordingly.
"The grass is barren in April, and the north wind is as strong as cutting" (Longxi by Sun Qiang and Zuo Fu),
"The trees are closed and the leaves are cool, and the grass is blocked and the flowers are cold" (Autumn in the Border Town by Li Yifu) reveals the desolation, indifference and lifelessness of the frontier fortress;
"When autumn ends on the gray sand beach, the grass withers, and a few surviving observers are by the lonely wall at sunset. Serve the just cause and despise life and enemies. However, despite what they have done, Elm Street is still unsafe. Still in the front line, the real clothes are thin, and it's time for Bai Weiling to look after his departure. In this southern city, the hearts of young wives are broken. The soldiers in northern Xinjiang hope to return to the air (Ge Yanxing by Gao Shi) depicts the sad scene of "looking back at the air" and "the young woman wants to break her heart";
"Dark clouds piled up on the hillside, and the raspberry grass on the seashore died" (wang hong's Join the Army), even the vibrant grass died. What about recruiting people? How many people fought in ancient times?
China has been an agricultural society since ancient times, which determines the personality characteristics of China people's "heavy migration", which explains the poet's "return" emotion from the "body" (Hu Xiaoming's "The Spirit of China Poetics"); Correspondingly, some people explain the spirit of "returning" from the sense of "being both functional and functional". Mr. Qian Mu made a comparison between Chinese and western religions in the article "Where to Go in Life" in Ten Treatises on Life: compared with western religions of gods, Chinese religions are religions of human hearts and conscience. Therefore, there must be churches in the west as places for people to contact God. In China, this place is home, while in China, people regard their family as a place to cultivate their conscience. In China, people's conscience is kindness to their fathers, filial piety to their sons, brotherly friends and respected brothers. In this sense, the poet's emotion of "returning" is not only a necessary process of "cultivating self-cultivation", but also an inevitable choice after the ideal of "ruling the country and leveling the world with the same family" is frustrated (this kind of return generally includes three aspects, one of which can be called "Qu Yuan style", that is, "the poet's death" and choosing to die with the same mountain (Liu Xiaofeng's Salvation and Freedom); The other can be called "Wang Wei type", living poetically on the earth and close to nature; The last category is hard to name. In short, it is a person who cares about the ups and downs of the official sea, which is quite different from the realm of "people don't know but do nothing".
To sum up, the traditional "return" spirit of China connected by Cao Fang is the poet's yearning for his family and his hometown, and then he throws this value at the whole social level to miss the country. This kind of yearning is profound, lasting and lingering, and it is passed down in the poet's blood from beginning to end.
Plato believes that poetry is an imitation of the shadow of goodness in the essential field; Confucius believes that poetry can be aroused, observed, grouped and resented; Gadamer believes that poetry is a kind of guarantee and a kind of promise, which makes people who are uneasy about the world but refuse to abandon it meet like a song in all the imperfect, unlucky, one-sided and disastrous seasons in the world of life. Philosophers have long made such a judgment. The poet's choice of herbs has its contingency and inevitability. Chance is that many other images like grass are also loved by poets. Its inevitability lies in that the image of fragrant grass contains rich meanings. Only by choosing fragrant grass that can be seen everywhere and has rich connotations can poets express their complex inner feelings. Cao Fang can express the essence of "goodness" and prosperity, such as Wang Wei's "friend's prince, spring has passed, what does it matter if you are here?" ; You can complain, you can express bad luck and disaster. For example, Chang Jian's "Four Poems of Xia Sai" "Because of the resentment of marriage, the moth eyebrow is buried in Hu Tian forever. The Han family has traveled three thousand miles here, and there are often no plants in the Qing tombs. " The meaning of the image of grass has long been closely linked with poetry, so the poet chose the image of grass by accident. Who can tell whether this is intentional or natural?
In it, Cao Fang can express his thoughts on life and philosophy; Besides, Cao Fang can also feel the history, rise and fall, home and country. Even, starting from the noumenon, Cao Fang can go back to the heart of everyone in China and look for the source of "root". This is why the poet chose "Fangcao" as the common image.
The image of "fragrant grass" in ancient poems
□ stone grass
In ancient poetry, there are many lyrical expressions, all of which are based on scenery or mixed with feelings. Poets and poets combine emotional emotions, attitudes and images into a representation, forming a specific image.
The application of the image of "fragrant grass" can be traced back to the Warring States Period, and one of the most striking images in Qu Yuan's Lisao is vanilla. "Hu Jiang leaves Bi, and Qiu Lan admires him." Qu Yuan used vanilla as a metaphor to express his noble feelings, which contained his endless pursuit of beautiful things.
The Tang and Song Dynasties were a period of high poetry prosperity, and the connotation of the image of "fragrant grass" was also most vividly reflected in this period. In the poems of Tang and Song Dynasties, the boundless parting from the grass entrusted many literati with feelings of parting and nostalgia.
If you can't see it, when will the "green poplar and Cao Fang" stop? Tears and sorrow have been broken first (Qian's Magnolia) contains a lot of nostalgia and sadness;
When Cui Hao, standing on the top of the Yellow Crane Tower, looked at "every tree in Hanyang is clear, and Nautilus Island is a nest of herbs", he didn't know where the incense was kept. This is full of sadness, to whom?
"If you live in spring, you will understand that there is no way to go back to the end of the world (Xin Qiji's Fishing)." If you can't keep spring, the grass can't help it. More than ten years have passed, and the country is still incomplete. Xin Qiji, who was anxious, was full of patriotism, but only ended up with nowhere to talk.
Wu Wenying, infatuated with love, revisited his old haunt. But "when an old friend goes upstairs, who refers to whom, the grass leaves the sun ("Night Flowers ")", a sense of desolation when people go to the empty building, is expressed incisively and vividly by a "grass".
Expressing feelings of parting and homesickness in poetry occupies a large proportion in Tang and Song poetry. Sadness seems to be best expressed by the image of "grass". Don't the endless sky and green grass correspond to the infinite sadness in the poet's heart?
Walking out of Gu Men's ancient poems, we can see that the grass has been separated from each other for thousands of years.
parkview green
In the depths of Shushan, there are solitary hills, lacking grass and grass.
My wife who lives in Jiangnan is ill and has been away from home for half a year without news.
Chang' an city gate goes west, and the mist sets and the grass sets.
Before the statue was Song Weicheng, horseshoe Wan Li Jiaohe garrison.
Life is a mistake of looking for a seal. The grass grows and leaves for Qiu Lai in spring.
I just want to go east to the sea, and the road is poor and careless.
Farewell was written by Li Shutong in 19 14.
Outside the pavilion, beside the ancient road, the grass is green, the evening wind blows the flute, and the sunset is outside the mountain. The horizon, the horizon, intimate friends are half scattered. The welcome of turbid wine will make me happy, and I will bid farewell to Meng Han tonight.
Yan Shu
On the grassy old road, he seemed that the couple left me easily and set off. The bell on the first floor struck the fifth watch, and the sadness in my heart was like being sprinkled in the spring rain in March.
Ruthless people understand the sufferings of affectionate people, and the melancholy of one inch of acacia has become thousands of strands. Ultima Thule is still far from the end, only the mind is infinitely long, and there is no time.
Fan Zhongyan (Song)
Blue sky, yellow leaves, autumn colors, cold smoke, green waves.
The mountain reflects the setting sun and the sky meets the water, and the grass is ruthless, even outside the setting sun.
Dark homesickness, chasing travel, every night unless, good dreams make people sleep.
The bright moon tower is lonely, and the wine turns into sorrow and tears.
2 gloomy: describe a melancholy mood. Nostalgia: In Jiang Yan's Biefu, the word "ecstasy" was used. 3 Chasing: Following can be extended to entanglement. Travel thinking: thinking about travel.
judge
This word expresses homesickness and travel worries, and makes a fascinating language with a heart of stone, which is particularly profound. "Blue sky, yellow leaves" two sentences, one high and one low, one leaning and one leaning, show the vast autumn scenery in the world, which was written by Wang Shifu in The West Chamber and Farewell to the Pavilion in the Yuan Dynasty. The phrase "autumn is full of waves" refers to the rich autumn colors and soft autumn waves between high heaven and thick earth: autumn colors and autumn waves are connected to the horizon, and autumn smoke is empty and slightly cold next to autumn waves. Here, blue clouds, yellow leaves, green waves and green smoke form a colorful picture. The phrase "the mountain reflects the sunset" brings the castle peak into the picture, which makes the sky, the earth, the mountain and the water blend together and complement each other. At the same time, the "sunset" also points out that it is the autumn scenery when it ends. The phrase "the grass is ruthless" has changed from a real scene in the eyes to a virtual scene in the heart, and parting is hidden in it. "Cao Fang" has always been one of the images that originated from the theme of parting, such as Cai Yong's "Drinking Horses in the Great Wall Cave": "The grass on the Philip Burkart Road is green"; Li Yu's "Qing Ping Le": "hate is like grass, and it is born farther away". Complaining about the ruthlessness of Cao Fang shows that the author is affectionate and righteous. The next sentence "the soul of homesickness" directly shows the author's lingering homesickness and yearning for travel. The phrase "every night unless" means that homesickness can only be temporarily forgotten in a beautiful dream. "Unless" means that there is no other possibility. But there are plenty of fish in the sea, "good dreams" are rare, and homesickness will be temporarily exhausted. The sentence "the moon is high and the clouds are light" inherits the above: I am disturbed by homesickness at night, and my dream is difficult to realize. I want to go upstairs and overlook it to dispel my troubles; However, round after round of bright moons made him feel lonely and disappointed, so he issued a sigh of "rest by yourself". After a break, the writer tried to relieve the block in his chest by drinking alcohol, but this effort to dispel anxiety also failed: "When wine enters sorrow, it turns into lovesickness tears." The whole word is deep and euphemistic, but it does not lose its heavy and clear spirit. It is a work full of true feelings and great vibration.