Xifei was busy with me during the day and went to Qingshan to sneer at southerners.
Lonely pillow can't win the dream of my hometown, and I still carry the dust of the imperial city.
My friends fell down, and all the stars were scattered, singing for Sha Ou.
This poem was written by the author in Jinshan, Zhenjiang. With fresh language and deep feelings, this poem artistically expresses the sadness of the journey, the loneliness of the guests, frequent homesickness and the dirt of clothes, and has a strong artistic appeal. In lyrical techniques, there are both direct expression and scenery background. .
"Yang Zijiang's first few worries were like an old guest to the storm." As soon as it came out, the word "guest worries" was already impressive. After crossing the Yangtze River several times, the waves on the river remained the same, but the journey added new troubles.
"Xifei is busy with me during the day and goes to Qingshan to sneer at southerners." Spread the feeling that travelers are running around worrying about their jobs. The sun rises and sets every day, endless, and I don't know the beginning and the end. However, it is obviously unreasonable for the author to have the idea of "busy with me". But from this unreasonable language, he lamented that he ran all over the world, and his feelings of drifting with the flow went from shallow to deep. Corresponding to this sentence, it is the green hill winding south, which is particularly cold and inhuman. It doesn't understand the depth of travelers' worries at all. On the contrary, it seems cynical, relying on the leisure and dignity of Qingshan to compare how meaningless it is for people to leave their homes and their wives for what they want.
Thinking of this layer, the author can't help but feel disappointed and helpless. Although he has just come from the capital, his clothes are still stained with the dust there, but the favor of his hometown has frequently fallen asleep, which makes people unable to sleep. Here, the phrase "I still carry the dust of the capital in autumn" comes from the poem "betrothed to Gu Yanxian" by Lu Ji, a poet of the Jin Dynasty. "The dust is far more than that of plain clothes". When readers think about Lu's poems, they will have a deeper understanding of the author's hardships in the imperial city.
"Friends dispersed, and Sha Ou was shocked." Thanks to this, the author thought of like-minded friends, and now he is like himself. He lives in four directions, with long mountains and wide waters. If he wants to join forces again and talk about the past, he can't get it. He couldn't help looking sad and feeling sad. "Sing for Sha Ou" may be a true story, that is, the author dreams in the middle of the night, tossing and turning in bed, and then finds it difficult to sleep, so he goes out for a walk on the river head and sees seagulls. It may also be that the author couldn't sleep well, turned on the light, fiddled with pen and ink, and wrote poems to express his feelings. Maybe he remembered Du Fu's song "Fly, fly, I'm just a sandpiper in the world!" " And borrow them into poetry. It is a matter of course to live in this world and have no fixed place to live. Just like Gao Xiang's Sha Ou between heaven and earth, it ends in Xige. Therefore, "Sha Ou" has become a symbol of loneliness and nowhere to stay. Once sung, the melancholy of the whole poem can rise to a new and universal realm, and readers' thoughts can be detached from it, and they can experience the poet's loneliness and find their own feelings.
Reflecting the troubles of travel and service is a common theme in China's classical poems, which has been recorded historically since The Book of Songs. The fatigue of the journey, the strangeness of foreign life, and the emptiness and boredom of nowhere to return are easily captured by poets, who often regard this loneliness as a lonely experience all their lives, thus enriching the connotation and broadening the realm of poetry. The author's Crossing the River expresses such an experience in simple and old-fashioned language. However, the stability of the work and the accuracy of the words make this poem widely praised.
References:
Qian Zhonglian, 1. A Dictionary of Poetry Appreciation in Yuan, Ming and Qing Dynasties Liao, Jin and Yuan Ming: Shanghai Dictionary Publishing House, 1994: p. 364.