It cannot be ignored that the images in poetry are not individual, but group and whole. The overall beauty of images is not the sum of images, but the organic structure between image communities. Osmanthus fragrans, Spring Mountain, Moonrise, Mountain Birds, Shiming and Chunxi mentioned above were originally scattered. The reason why they can be unified into an organic whole is because of the meaningful context. In the classical lyric classics, meaning is emotion, and the characteristic of emotion is movement. So in Chinese, there are emotions, feelings, touches and heartbeats, and feelings are not static, but changing. Therefore, the preface to poetry says: feelings are indifferent, and vice versa. It is precisely because emotions are moving and images run through the movement and are unified into an organic structure (this is the artistic conception, which will be introduced in detail below), which I call the meaning pulse. Classical poetry analysis, words fail to express their meaning, and eloquent people are all over the world. The reason is that they forget the meaning, even if they are proud occasionally, it is only a fragment, not the whole meaning.
It is common to forget the meaning, because the reason is superficial, explicit and predictable, while the meaning is deep and implicit, which is not directly coherent in literature, but lies in the blank. For the general reader, it can be understood but not said. In China's classical poems, the superficial images are often colorful and obvious, so the deep meanings are easily concealed, ignored and obscured. Meaning pulse is more secret than image, and it is more difficult to sort it out comprehensively. For example, Bai Juyi's "Qiantang Spring Tour":