At the end of February in the west of Jiangling city, flowers can't see peaches but see plums.
The wind rubs the rain to practice the revenge and shame ratio, and the waves turn over the air.
Do you know what the flowers here look like?
White flowers bloom in Zhu Tian at night, and flocks of chickens alarm officials.
When the sun first came to the bottom of the sea, Zhu Hui dispersed the green clouds.
Your invisible ecstasy shines on thousands of trees.
I miss the boy swimming around in the swallow, but I didn't drink to the flowers.
Since I have been living in a pile of worries, I want to think about it before I leave.
Today is only 40 years old, who will be older the day after tomorrow?
A person carrying a statue will get drunk, but he is reluctant to throw it at the yellowish dust.
Distinguish and appreciate
In the spring of 806 AD (the first year of Yuanhe in Tang Xianzong), Han Yu joined the army for Facao in Jiangling Prefecture, and often joined the army with Gongcao to return poetry and wine. One night at the end of February, Han Yu went to Hua in the west of Jiangling City. Zhang can't go with him because of illness. Han Yu wrote this poem as a gift.
This poem is exquisitely written, with exquisite objects and secrets that others have never obtained. The first paragraph of the poem focuses on Li Hua's situation and describes the changes that Li Hua looks for from night to morning. It is colorful and fascinating. In the latter part, I borrowed flowers to express my confession. In the whole poem, emotion contains things, and seeing things because of emotion can be called a work of praise.
The word "Jiangling" is puzzled by many predecessors. For example, Chen Yan, a poetry critic in the late Qing Dynasty, said: "Peach blossoms wither after the rain, and it is better to look at a forest than plum blossoms." I really didn't understand the profound meaning of the author. "The end of February" has pointed out that it is a moonless night. "Flowers can't see peaches" is not that there are no peaches, but that the reflection of the heart is weak and unclear in the dark; "Only Li See", Li Hua is white, reflecting strongly, especially in the dark background. Peach blossoms are used as a foil here, which highlights the purity and luxury of plum blossoms. Wang Anshi's poem "To the Women of Cai Family" says: "Accumulate Li Xi for the night and enjoy peaches for the day." I also noticed the relationship between color and light, and accurately expressed the different feelings of peach blossom and plum blossom between day and night. Yang Wanli, a poet in the Southern Song Dynasty, can best understand the beauty of Han Yu's poem. In his "Thoughts on Hwashi Lee", he said: "Swallow branches can't be seen at dusk, and the snow is strange at night. Flowers don't see peaches, I only see Li See, a poem that I don't know how to retreat all my life. " And there is a small preface: "peaches and plums bloom at the same time, and the sentence' flowers can't see peaches but see plums' is extremely incomprehensible. Looking at peaches and plums across the river is wonderful, because they are all black, only Li. Cover the' dazzling night' cloud. "
The five sentences in "Wind Wipe" describe Li Hua's "sleepless night" scene. The poet sighed in a low voice: the plum blossom in the west of the city is caressed by the warm spring breeze and washed by the faint spring rain. Li Hua is as white as snowflake. The dense forest of flowers looks like endless waves surging in the air. The ancient flower-chanting works tend to be delicate and charming, while Han Yu writes magnificent scenery with a pen like a rafter, with novel images and broad boundaries, which is quite characteristic of "thinking about heroes" and "vigor" in Korean poetry. The poet went on to write: Friend, do you know what the plum blossoms here are like-those hundreds of millions of white flowers that illuminate the night sky. The chickens mistakenly thought it was dawn, and they all cried in surprise, so the officials got up. This kind of description is full of color, which is the "malicious" pen used by Han Yushan. The language of "cock crow" is strange in imagination, and Li Hua's Night is rendered to the extreme. Han Yu is a great writer of articles. He pays great attention to the layout of the article, rigorous statutes and twists and turns of fate. Every article has clues to find. Every paragraph and sentence should be arranged properly to make the article rich in changes. The phrase "chicken flock" seems to be true and false, which is exactly where the tenon meets the tenon, as if Li Hua really lit up the sky, while the following sentence followed by "the sun is flying under the sea", which changed from virtual writing to real writing, from night writing to morning writing, quite natural, and the rhyme foot changed from rhyme to flat rhyme, with consistent sound and emotion and smooth syllables. Let's look at how the poet describes the scene of the morning sun shining on the flower forest: the sun, the legendary sun, has just come from the bottom of the sea, and the red light in half the sky is scattered, and the blue clouds are blooming, which makes people dazzled and unable to stare-ah, the sun is shining on thousands of trees, dense and dense! The poet described the beautiful scenery of sunshine, clouds and flower trees with heavy strokes and strong colors. This unique image in the poem shows the artistic characteristics of "unrestrained and changeable" in Korean poetry. The following sentence is the second paragraph. From flowers to people, feeling the joy of things, comparing the past with the present, hurts your life experience. The poet recalls his childhood. He likes to enjoy a feast and drink in front of the beautiful "spring flowers". I have mixed feelings since I was trapped. When I want to see flowers, I want to go home before I arrive. At this time, I moved from Yangshan to Jiangling, and when I recalled my exile, I couldn't help feeling sad. The last four sentences are more profound. I wrote that I am enjoying wine and flowers at the moment, in order to live up to the spring and let the beautiful flowers fall alone in the loess.
This passage expresses personal feelings, using pure prose style, but still has a strong poetic flavor. The use of function words is particularly appropriate, such as "today is only forty years old, who will be older the day after tomorrow?" . As Fang said: "It seems to be casual with the help of gossip, but in fact they are all sophisticated." ("Zhao Wei Zhan Yan") The first half of this poem has a strange meaning and is full of weather. The poet painted beautiful scenery with vigorous and powerful pen, and excavated the beauty of nature that ordinary people have never experienced. The whimsy, romantic sentiment, broad artistic conception and elusive artistic image in the poem all show the poet's extremely rich spiritual world. Describe Li as a roaring wave, and write that glistening flowers reflect the morning and chickens crow endlessly. , are all inhuman words created abruptly. But as Li Peiping pointed out when reading Du Han's notes, these poems "can be said to be similar in shape, but the beauty of poetry is not here." When a poet writes about Li Hua, he is also writing about himself. The first half describes the whiteness and luxuriance of plum blossoms, and readers can also think of the poet's amazing talent. In the prime of life, the poet was in a useless place with the heart of saving the world. He only lamented the throwing of time and the failure of the gentleman's career, so he borrowed flowers to send affection in his poems. In the second half, cherishing Li Hua is also self-pity, and the poetic language is simple, which is in sharp contrast with the elegant landscape language above. But if there are words in the poem, the words will be smoother and the feelings will be more sincere. Commenting on Han Changli's poem, Jiang Baoxuan said: "The beauty of this poem lies in the fact that people are written by flowers, but it has never been said clearly, which is extremely caused by swords and shadows." If the sword is in a box, the lights are flashing, but the firm but gentle is looming, giving the viewer endless imagination. This is the beauty of this poem.