Works: Looking at the sea
Annotation of works
Precautions:
Walking out of Xiamen, also known as Longxi West, belongs to Xiangruge tonal tune of ancient Yuefu. "Xiamen" was originally the city gate at the western end of Luoyang city. The Han Dynasty was called Xiamen, and the Wei and Jin Dynasties was called Great Xiamen. There are only two ancient words: "People in the city are easy, and the tomb of a thousand years old is flat" (see Shan Li's note in Selected Works). The Yuefu Poetry Collection also records an ancient poem, Evil Path Goes Over the Empty Lodge, which describes the matter of achieving the Tao as a fairy. This article by Cao Cao, Records of Le Shu in the Song Dynasty, is listed as a Daqu with the title Jieshi Stepping out of Xiamen. Judging from the content of the poem, it has nothing to do with the meaning of the topic, so it can be seen that it is just writing current affairs through ancient inscriptions. The poem begins with the word "Yan" (overture) and is divided into four chapters (chapters): watching the sea, winter in October, strange land and longevity of turtles.
For example, in the twelfth year of Jian 'an (207), Wu Huan won the Northern Expedition and returned to Li. In the last years of Han Le, the crowds competed for the Central Plains, and Wuhuan, who lived in western Liaoning, became strong. They attacked the city and plundered the land in the south, which became a serious border problem in Hebei. In the tenth year of Jian 'an (205), Cao Cao destroyed Yuan Shao's ruling foundation in Hebei, and Yuan Shao vomited blood and died. His sons, Yuan Tan and Yuan Shang, fled to Wuhuan and colluded with Wuhuan nobles many times. At that time, Cao Cao was in a disadvantageous position between the north and the south: Liu Biao and Liu Bei occupied Jingxiang in the south, and yuan brothers and Wuhuan in the north. In order to get rid of the passive situation, Cao Cao adopted the advice of Guo Jia, a counselor, and led his army northward in the summer of the twelfth year of Jian 'an, ending in May and July. In autumn, there was a flood, and the road by the sea was impassable. Later, he accepted Tian Chou's suggestion and changed his course flatly. After Xu Wushan, he went to the Cylon, pointing to Liucheng, and won the first world war. In September, he returned to Li smoothly, passing through Jieshi and other places, and wrote this group of famous poems by borrowing the old title of Yuefu's "Walking out of Xiamen". This poem describes the scenery around Heshuo, expresses personal ambition and embodies the heroic spirit of the poet. Regarding the Jieshi from Cao Cao, it used to be thought that it was a matter of northern expedition to Wuhuan. In fact, this view is inconsistent with historical facts.
Inconsistent, unbelievable. We looked up the records in the History of the Three Kingdoms, the Ji of Emperor Wudi and the Biography of Tian Chou. Cao Cao climbed Jieshi on his way home from the Northern Expedition to Wuhuan. Because he is in a flood, the road near the sea is impassable, so he has to take the path from Xuwushan to western Liaoning. "In September, Gong quoted from Liucheng, and ... Eleven Xiao. He should "visit Jieshi" and "see the sea" in September this year (2007) or at the beginning of 10. As for where Jieshi Mountain is today, there is still controversy in academic circles, either it sank into the sea in Laoting County, Hebei Province, or it was Jieshi Mountain in the north of Changli County, Hebei Province. In any case, when Cao Cao ascends the mountain, it should be a high stone mountain near the sea.
"Jieshi is in the east, looking at the sea. The first two paragraphs point out the position of "watching the sea": the poet climbed to the top of Jieshi Mountain, high in the sea, with a wide view and a panoramic view of the sea. The following ten descriptions are almost all derived from this. " The water is full of water, and the mountains and islands are all scenery "is the general impression of seeing the sea at first, which is a bit like a thick line in the painting." ""Lian Lian "describes the vastness of the sea; "How, how, today's word" how "is a beautiful sigh. If you add beauty to the beauty, you can imagine the vastness of the sea. In this "water wave"-like sea, the first thing you see is the towering mountain islands, dotted with flat widths.
On the sea, it makes the sea look magical and spectacular. These two sentences roughly outline the prospect of the sea, which will be described in depth at different levels below.
"There are many trees and plenty of herbs. The autumn wind is bleak, and Hongbo surges. " The first two sentences specifically describe this mountainous island: although the autumn wind is bleak and the vegetation is withered, the island is lush with trees and rich in herbs, giving people a sense of business. The last two sentences are a further description of the sentence "What is water like?". Look carefully, the sea in the bleak autumn wind is actually a huge wave, surging and undulating. Here, although it is a typical autumn environment, it is not as bleak and desolate as autumn. In the history of China literature, due to the writer's world outlook, situation and other reasons, since Song Yu's "Nine Arguments" opened the first sound of sad autumn literature, how many poets and writers shed tears in the autumn wind, watching the fallen leaves, feeling hurt! In that way
Cao, on the other hand, faced the bleak autumn wind and wrote about the vastness of the sea: in the bleak autumn wind, the sea was surging and mighty; The mountain island is tall and straight, with lush vegetation and no fading and sentimental artistic conception. This new realm and new style just reflect his "martyr" mind.
"The trip to the sun and the moon, if unexpected; Xinghan is brilliant, if it is unexpected. " The previous description is observed from the sea. These four sentences are related to the vast universe, presenting the momentum and strength of the sea to readers: the vast sea is connected with the sky and the air is turbid; In front of this magnificent sea, the sun, the moon, the stars and the Han (the Milky Way) are all small, and their operation seems to be freely absorbed by the sea. The sea described by the poet here is not only the real scene in front of him, but also his own imagination and exaggeration, which shows the magnificent atmosphere of the universe and is full of the momentum of "the five mountains start from the square". This kind of "cage cover breathing atmosphere" is the artistic realm of the poet's "eyes" and "chest". (See Zhong Xing's Review of Ancient Poems, Volume 7) From the heart, a poet would never have written such a magnificent poetic scene without great political ambition, ambition to make contributions and optimism about the future. In the past, some people said that Cao Cao's poems were "domineering" (in Shen Deqian), referring to works such as Looking at the Sea. Of course, "domineering" is a kind of ridicule, but if "domineering" is understood as the ambition to unify China, then this kind of artistic appreciation is still desirable.
"Fortunately, Lian, the song is to be sung." This is a group of words in the chorus, which has nothing to do with the content of the poem and needs no elaboration.
Literally, the sea, mountain islands, vegetation, autumn wind, and even the sun, moon and stars are all immediate scenery. This poem describing natural scenery seems to have never been written by Cao Cao in the history of China literature. It not only describes the whole landscape, but also has its own style. It is the earliest masterpiece of landscape poetry in China, especially loved by literary historians. It is worth pointing out that the objective natural scenery reflected in the poet's mind must be subjectively filtered by the poet-understanding, blending, selecting and emphasizing, and then form an artistic product. This product is not only the reflection of the objective world, but also the condensation of the poet's subjective spirit. This poem, written on the autumn sea, can wash away the sentimental sentiment of sad autumn and is vigorous and magnificent, which is closely related to Cao Cao's tolerance, personality and even aesthetic taste. So, even pure landscape works. Because a work, even a pure landscape work, cannot be a purely objective photographic work. In addition, Cao Cao's existing more than 20 poems, although they are all old poems from Yuefu, are all brand-new. Shen Deqian pointed out: "Writing current events in ancient Yuefu began with Cao Gong." This is also a bold breakthrough in the history of China literature. This new style, which attaches importance to reflecting real life and is not bound by old songs and old sayings, has greatly promoted the development of China's literary realism. This achievement of Cao Cao is also worthy of recognition and praise.
translate
From a distance, crows at dusk are looking for old vines to inhabit. A closer look shows that there are people living near the small bridge and flowing water. In front of them, there is only a thin horse carrying a wandering wanderer, walking slowly on the ancient autumn wind road. Looking at the afterglow of the sunset, the broken-hearted people wandering outside are wandering around the world.
Make an appreciative comment
This is Ma Zhiyuan's famous song, and 28 calligraphy and paintings show a lonely place. This song is heartbroken. The author's lyrical motivation can be seen from the title.
In the first two sentences, the old vines make people faint, and the small bridges flow, creating a cold and bleak atmosphere and showing a fresh and quiet realm. The old vines here give people a bleak feeling, and it is already evening. Small bridges and flowing water make people feel relaxed and happy. 12 calligraphy and painting create a quiet pastoral scenery in late autumn. The ancient road became thinner with the west wind, and the poet described a bleak and desolate artistic conception of autumn wind, adding another layer of desolation to the quiet rural map. The setting sun adds a bit of bleak light to this bleak picture and deepens the sad atmosphere. The poet skillfully connects ten plain and objective scenes in series, and naturally puts the poet's infinite worries in the picture through words such as withered, old, light, ancient, western and thin. In the last sentence, heartbroken people are the crowning touch in the horizon. At this time, a wanderer appeared on the picture of the country in late autumn. On the desolate ancient road when the sun sets, he leads a thin horse and walks in the biting autumn wind. It hurts, but he doesn't know where his home is. This poem reveals the poet's sadness and expresses the theme appropriately.
short review
This poem has only five sentences and 28 words, and the language is extremely concise but huge. With a few strokes, I drew a homesick picture of a wandering wanderer, which vividly conveyed the voice of a wandering wanderer.
This picture consists of two parts:
First, carefully selected groups of scenery that can represent Xiao Qiu form a twilight autumn wild map;
Second, describe a wanderer walking alone in the cold autumn, with endless pain in his heart.
The first painting is *** 18 with nine nouns, without empty word, which is natural and fluent, with rich connotations. With his skillful artistic skills, the author bathed nine different landscapes in the afterglow of the sunset, presented them to us in a "montage" brushwork like a focal plane, and brought the readers into the late autumn season at once: several dead vines were wrapped around several bald trees with yellow leaves. We can imagine that crows can still have old trees to return to, but wanderers are homeless. How miserable and helpless it is! Next is a small bridge, flowing water, and a small farmhouse with faint smoke. The rural scenery in which such people live is so quiet and sweet, comfortable and carefree. All this can't help but remind the wanderer of the bridges, flowing water and relatives in his hometown. Here, the sad feelings are written in the happy scene, which sets off the helpless sadness of the wandering wanderer.
In the second painting, we can see that in the bleak autumn wind, on the lonely ancient road, a wanderer suffering from homesickness rides a long-delayed thin horse and wanders into the distance in the heavy twilight. At this time, the sun sets, scattering a bleak oblique light. This is the reunion moment when birds return to their nests, cattle and sheep return home and people return home. However, the wanderer is still "the end of the world is reduced." At this moment, this situation, a wandering in a foreign country, in the face of such a bleak and desolate scene, how can it not be sad, heartbroken and heartbroken! The heart of a wandering wanderer drops blood in the autumn wind. ...
A very short ditty expresses its indescribable connotation, vividly depicts the sad inner world of a wanderer and gives people a shocking artistic feeling. Reading makes people feel bitter, and singing makes people feel more sad. People who watch this song without tears don't know what it means.
On the one hand, this poem has won such high praise because it depicts a wonderful late autumn evening scene and truly shows the loneliness and sadness in the world. Although depressed, it reflects the depressing atmosphere of the times at that time and has certain social significance. On the other hand, more importantly, it has high artistic achievements. The obvious features are:
1. Simple and profound interdependence
Song Yu, an ancient man, once described a beautiful woman's figure as "adding one point is too long and subtracting one point is too short". The refinement of the characters in Tianjingsha Qiu Si can also be said to have reached the point where one word cannot be added or subtracted. There are only five sentences and twenty-eight characters in the whole article. No exaggeration, no allusions. This vivid picture is outlined by pure line drawing: at dusk in late autumn, a travel-stained wanderer rides a thin horse and walks alone on the ancient road against the chilly west wind. He walked past an old tree covered with withered vines and saw crows hovering in the treetops at dusk. He crossed the small bridge across the stream and came to the doors of several families by the stream. At this time, the sun is about to set, but he hasn't found a place to stay. It will be a long night, and he can't help feeling sad and deeply sad. As for why the wanderer drifted here? Where on earth is he going? These meanings can be left to the reader to imagine. This poem is really a masterpiece with simple words and rich meanings, and less wins more. In the first three sentences and eighteen words of the poem, * * * wrote nine things: rattan, tree, crow, bridge, water, home, road, wind and horse. Every word, every word and every scene can be described as "cherishing ink as gold". However, brevity is not simple. Before the names of nine things, there are modifiers expressing their own characteristics, such as withered, old, faint, small, flowing, human, ancient, western and thin, which make all things have distinct personalities and make unrelated things form a unity in the desolate late autumn twilight. The author has no place to write these things, nor does he write about the relationship between these things and the activities of vagrants, but readers can imagine them and connect them closely. In simplicity, you can see depth and fineness.
2. Static and dynamic scenes set each other off.
The artistic effect of Tianjingsha Qiu Si is also due to the successful use of foil techniques. The author brings many relatively independent things into a picture at the same time, thus forming the mutual contrast between dynamic and static, bright and dark, background and subject: the "flowing water" in dynamic contrasts with the "small bridge" and "people" in static, showing a quiet environment; "West Wind" and "Ancient Road" set each other off to make the road more desolate; On the autumn scenery map sketched by the author, on the one hand, the dead vines, old trees and crows are gloomy in the autumn wind and small showers, and on the other hand, the afterglow of the sunset paints the dead vines, old trees and crows with a touch of gold; The "small bridge flowing water" presents an elegant and comfortable scene, which is in contrast with the wanderer who fell into a foreign land, making the "heartbroken person" more sad. Judging from the whole composition, the first four sentences are about scenery and the last one is about people. But people are the main body and scenery is the background of people's activities. When the background is written, the main body is set off. This is the wonderful use of mutual contrast.
3. Scenery and emotion blend together
Poetry expresses ambition. This poem aims to express the sorrow of the people who were born. But people's thoughts and feelings are abstract and difficult to express. The author uses the traditional writing method of attaching affection to things to portray this bitterness and sorrow incisively and vividly. Dead vines, old trees, faint crows, westerly winds, thin horses, sunset, tangible and sensible things all have obvious late autumn colors, which are similar to intangible and abstract bitterness. Only by seeing and touching can people feel concrete and vivid. Just like "Ask you how worried I can be?" ? Just like a river flowing eastward, "sorrow" has nothing to do with "water", but the author uses the river as a metaphor for sorrow, and the two are "like". It is very profound to express infinite sadness with the scenery of the river flowing eastward. Natural scenery originally had no thoughts and feelings, but when the poet incorporated these objective things into his aesthetic comprehension and feelings, they were endowed with emotional colors and merged with people's thoughts and feelings. "Little Bridge Running Water" is just a very common landscape, but when it is in the same picture with "Tianya heartbroken man", it is no longer an isolated scene, but the fuse of heartbroken people, which brings a sad atmosphere to the picture. The so-called "feelings are presented by scenes, and scenes are born by feelings" is the truth. "Tianjingsha Qiu Si" can be called a masterpiece with feelings in the scene, scenery in the feelings and a seamless scene.
The song "Tianjingsha", although short in length, is well known by many people, and it can be regarded as a swan song throughout the ages. In just 28 words, it depicts a very real and vivid picture of the sunset in the suburbs in autumn. The first three sentences are a pair of legs, and nine pictures are presented in turn: dead vines, old trees, faint crows, small bridges and flowing water, people, ancient roads, west winds and thin horses. The scenery is set off by the scenery, and the feelings are born in the scenery, which outlines the wandering and sad feelings of travelers on the desolate background. Here, the author creatively combines isolated natural objects skillfully, making the whole picture full of fluidity and life. At the same time, consciously highlight the darkness and cold of the picture, thus fully showing the strong sadness of "sad people" wandering around the world.
A berth at the foot of Gubei Mountain.
[Solution]
This poem was written in late winter and early spring. When I was traveling in the river, I felt homesick. The beginning begins with a antithesis, which describes the feeling of wandering in Shenchi's hometown. The second couplet is about sailing on the river of "tidal flat" and "positive wind", and the scene is magnificent. Sanlian wrote about the scene of sailing at dawn, and the antithesis implied philosophy, "The beauty of depicting scenery lies in generations to come", giving people a progressive artistic charm. The tail couplet saw that the geese missed their parents and echoed the first couplet. The whole poem is shrouded in faint homesickness. "... the night now gives way to the ocean of the sun, and the old year melts in freshness", without losing the wonderful poetry garden, the magnificent Millennium.
[translation]
Tourists pass the bleak Gubei Mountain, and the boat goes along with a green river. The spring tide rises, and the rivers on both sides are wider. Sail before the wind just hung the sail high. The red sun broke through the night and rose from the sea. Spring on the river is as early as the end of the year. Where will the letter from home be sent? When will Guiyan fly to Luoyang?
[Appreciation]
This poem is about the spring scenery on both sides of the strait when the author went boating at the foot of Beishan Mountain in late winter and early spring. Write overlapping green hills, winding paths, rippling blue waves and canoes first. "Until the bank at low tide widens, there is no wind to stir my lonely sail" depicts the magnificence and heroism of the poets in the lower reaches of the Yangtze River. "..." Tonight gives way to the ocean of the sun, and the old year melts in the clear spring "is a well-known sentence, which depicts the scene and joy in the process of alternating day and night in winter and spring, thus arousing the homesickness of the last sentence and expressing the author's yearning for the hometown of returning geese. Spring and homesickness blend harmoniously.
The next berth on Beibao Mountain was first seen in the Collection of National Xius edited by Rui in Tang Dynasty. When Yin Kun, a native of the Tang Dynasty, was selected into the Lingying Collection in He Yue, there were many different essays on the topic of "Jiangnan Yi": "The south is full of new ideas, and the east is the first day. On both sides of the beach, the wind is hanging. ... night gives way to the ocean of the sun, and the old year melts in freshness. I have never observed the weather, but I am biased. " This article is based on a berth at the foot of Beibao Mountain and has been read for a long time.
Wang Wan, a native of Luoyang, spent his whole life "running between". "Beigushan" is in the north of Zhenjiang City, Jiangsu Province, facing the river on three sides. The first two sentences of "Jiangnan Yi" quoted above are "South Man is full of new ideas, and the East is in the early stage." Its "eastbound" should be through Zhenjiang to the south of the Yangtze River. The poet traveled all the way, and when he set sail at a berth at the foot of the Beibao Mountain, the tide was flat and the shore was wide, and the geese returned at night, which triggered feelings in his heart and became a masterpiece through the ages.
The poem begins with a dialogue, which is both beautiful and detached. "Hakka Road" refers to the way the author wants to go. "Castle Peak" refers to "Beigushan". By boat, the author is walking towards the "green water" in front of him, towards the "green hill" and towards the distant "guest road" outside the "green hill". This couplet is written "Visiting the Road" first, and then "Sailing". His wandering feelings in Jiangnan and Shenchi's hometown have been revealed between the lines, thinking about the "hometown book" and "returning to geese" at the end of the couplet.
The second couplet's "Widening the banks at low tide" and "Widening" are the results of "tidal flat". The spring tide is surging and the river is vast. Looking around, the river seems to be flat with the shore, which broadens the horizons of the people on board. This sentence is written in a grand way, and the next sentence, "No wind stirs my lonely sail", becomes more and more wonderful. "Hanging" means hanging straight from one end to the other. The poet uses "the wind is right" instead of "smooth sailing" because "smooth sailing" alone is not enough to ensure "sailing" Although the wind was smooth, it was strong and the sails bulged into an arc. Only under the condition of downwind and breeze can the sail be "hung". The word "positive" includes both "shun" and "harmony". Xiao Jing is quite vivid in this sentence. But not only that, as Wang Fuzhi pointed out, the beauty of this poem is that it "conveys the god of the big scene with a small scene" (Jiang Zhai's poetic remarks). It is conceivable that if you sail in a winding river, you always have to turn. Such a small scene is rare. If you sail in the Three Gorges, even if it is calm, it will still surge. Such a small scene is rare. The beauty of this poem lies in that through the small scene of "stirring a lonely sail without wind", it also shows the big scenes of Ye Ping's opening, great rivers and calm waters.
When you watch the third part, you will know that the author will sail at the end of the year. The tide is flat without waves, smooth but not fierce. At close range, the river is green, while at a distance, the banks are open. This is obviously a mysterious night, revealing the breath of spring everywhere. A person sails slowly and feels that it has reached the end of the night. These triple, is the performance of rowing on the river, is about to dawn.
This couplet has always been famous. Yin Kun said, "..." Night now gives way to the ocean of the sun, and the old year melts in freshness "is a rare sentence among poets. Zhang (Zhang) wrote the title of "Government Affairs Hall", and every time he showed his ability and made it a model. "("He Ji Ling ") In the Ming Dynasty, Hu Yinglin wrote" Poetry ". In the internal compilation, it is said that the combination of "the sea and the sun" "describes the scenery, which is amazing through the ages". When the night has not subsided, a red sun has risen from the sea; The old year has not passed, and the river has shown spring. "Day after day" and "spring into the old year" both indicate the alternation of time series, and they are in such a hurry. How can this not make the poet in the "guest road" homesick? These two sentences are also very kung fu. The author regards "the sun" and "spring" as symbols of new beautiful things from the perspective of refinement, emphasizes them by referring to the position of the subject, personifies them with words such as "life" and "ru", and endows them with human will and emotion. The beauty is that the author has no intention of reasoning, but he has a natural interest in reasoning when describing landscapes and festivals. The sea is born in the dead of night, which will drive away the darkness; Jiang Chun, the "spring" of river scenery, will break into the old year and drive away the severe winter. It not only depicts the scene truly and accurately, but also shows the universal truth of life, giving people optimistic, positive and upward artistic inspiration.
The sea is rising, and spring is budding. The poet puts the boat on the green water and continues to sail to the guest road outside Qingshan. At this time, a flock of geese returning to the north are walking through the clear sky. Wild goose crosses Luoyang! Reminds the poet of the story "A goose's foot gives a book". Let's send a message to the geese: Geese, when you fly over Luoyang, please give my regards to your families. These two sentences are closely linked, and the whole article is shrouded in a faint homesickness.
Although the first five laws were widely known as the third place at that time and spread to future generations, there were not only two beautiful sentences; Generally speaking, it is also quite harmonious and beautiful.
Spring outing in Qiantang Lake
Selected from Bai Changqing Collection. Qiantang River and West Lake in Hangzhou. Bai Juyi (772-846), whose real name was Lotte, was also known as Xiangshan layman in his later years. Taiyuan (now Shanxi) people.
. Great poet of Tang Dynasty. Note "Bai Changqing Collection".
1. Gushan Temple: Built in the early years of Tianjia, Emperor Chen Wendi of the Southern Dynasties (560 ~ 566), it was named Chengfu and renamed Guanghua in the Song Dynasty. Gushan Mountain: Located in the north of West Lake, between Houhu Lake and Waihu Lake, with isolated peaks and beautiful scenery, it is a scenic spot that can be climbed by lakes and mountains.
2. Jia Pavilion: namely Jia Gongting. Tang Zhenyuan (AD 785-804) Jia Quan, a secretariat of Hangzhou, built a pavilion in Qiantang Cave, which was called "Jia Pavilion" or "Jia Gong Pavilion". The pavilion arrived at the end of the Tang Dynasty.
3. Initial leveling of the water surface: In spring, the lake began to rise, and the water surface just leveled the lake shore. Chu: Adverb, just now. Cloud feet are low; The clouds hung low and seemed to be connected with the lake. ○ Point out the starting point and route of the spring outing, and focus on depicting the scenery of the lake.
4. Early Spring Warbler: An oriole comes in early spring. Warbler: oriole, the song is euphemistic and beautiful. Competing to warm the trees: competing to fly to the sunny branches. Warm tree: a tree pointing to the sun. Xinyan: A swallow just flew back from the south. Take it. Swallows nest with mud in their mouths. Look up and see what you can see in spring, singing and dancing, full of vitality. Focus on birds.
5, disorderly flowers: wild flowers of various colors. Gradually: adverb, gradually. Desire: adverb, will, will. Charming eyes: dazzling. Shallow grass: Spring grass that just grows out of the ground and is not too high. Talent: Just right. No: yes, yes. Looking down on the spring outing, the flowers are tender and the grass is tender, and the spring is full. Focus on flowers and plants.
6, the line is not enough: I am bored with travel. Yin: Same as "Yin". Baisha Dike: Today's Bai Causeway, also known as Sand Dike and Broken Bridge Dike, is located on the east bank of West Lake, which existed before the Tang Dynasty. Another Bai Causeway outside Qiantang Gate was built during the self-styled change of administration in Hangzhou. The poet from north to west, from south to east, surrounded the lake for a week, and at the end of the poem, he expressed his deep affection with his "favorite".
poetic sentiment
From the north of Gushan Temple to Jiating West, the spring water on the lake is just flush with the levee.
White clouds overlap and connect with the waves on the lake.
A few early orioles scrambled to fly to the sunny tree.
Its new swallow nests with spring soil in its mouth.
Countless and colorful spring flowers gradually fascinated people's eyes.
Shallow spring grass can just cover the horseshoe.
I like the beautiful scenery on the east side of West Lake best, but I haven't visited enough.
Then go to see the charming white sand embankment in Green Liu Xia.
translate
On a bright spring day, I believe Malay arrived at Qiantang Lake, from Gushan Temple to Jiagongting West. A spring rain has just passed. Clouds and gases are connected with microwaves on the lake surface, as if attached to the water surface. The lake is full, almost flush with the shore. There are euphemistic cries of orioles in the distance and near. These messengers of spring are playing and chasing, scrambling to fly to the sunny branches. The newly returned swallows are flying up and down by the lake. They are busy with mud and nesting. Along the way, a cluster in the east and a cluster in the west are almost dazzling. Spring grass on the road just emerged from the soil, just enough to cover the horseshoe. Spring God hangs flowers on trees and spreads grass on the ground for people to enjoy, but I am most fascinated by the area around Hudong, where trees are shaded and Bai Causeway lies quietly by the lake, which really makes people linger.
From the north of Gushan Temple to Jiating West, the spring water on the lake just overlaps with the dike and white clouds and is connected with the waves on the lake.
Several early orioles scrambled to fly to the sunny tree, and the new swallows were nesting with spring mud in their mouths.
Countless colorful spring flowers gradually fascinated people's eyes, and the shallow spring grass just covered the horseshoe.
I like the beautiful scenery in the east of the West Lake best. I haven't visited it enough, especially the white sand embankment under the green shade.
The early warbler and the new swallow compete for flying, and the flowers and plants are beautiful and full of vitality. The poet set foot on the Qiantang River embankment and enjoyed a spring outing. Faced with such a beautiful spring scene, he lingered and refused to leave.