The moonlight is like water, the remaining chrysanthemums are beside the sparse fence, the fallen leaves are falling, the flying dragon is flying fast, the late autumn night is quiet, the cold air is biting, but the poet is concentrating on his reverie. The atmosphere of this poem is cool and quiet, the colors are bright and beautiful, the charm is fresh and meaningful, popular, simple and approachable. "Late Autumn Night" is a masterpiece of both elegance and vulgarity, and is both elegant and vulgar. Just as the Qing Dynasty poetry critic Ye Xie commented in "Original Poems": "The white slang is vulgar but the elegance is also in it." This is the case with this poem.
The so-called shallow means that it is simple and popular, catchy, without allusions, and does not use Austrian language; the so-called light means to enter lightly and come out lightly, without strong colors or colorful words; the so-called clear means It means that the atmosphere is refreshing, fresh and clear, not artificial, and natural; the so-called beauty means radiant, innocent and pure, brilliant in literary talent, and beautiful in appearance. The first couplet describes a bright moon hanging high in the vast blue sky, bright, beautiful and silent, bringing readers into a vast, bright, clear, peaceful and profound realm.
Meditating under the moon, looking into space from a distance, leisurely and fascinated, I can't help but feel lonely and worried, but I have no words to the moon, only the shadow. Here, the poet outlines the lonely and lonely state of mind. This state of mind is very harmonious in tone with the quiet moonlit night. The couplet says that the chrysanthemums are in bloom. According to common sense, the autumn chrysanthemums are proud of the frost and snow, and stand alone; but at this time, the remaining chrysanthemums are blooming, and they are still leaning against the sparse fence. It can be seen that the withering stage is not far away.
However, it can still last for some time. As for the aging phoenix tree, it can no longer withstand the invasion of cold air. The leaves have withered and fallen on the cold well. Here, the flowers are blooming against the leaves, the remaining chrysanthemums are against the declining tung trees, and the sparse fence is against the cold well, which further creates a lonely and cold atmosphere. Although it is a description of a scene, it contains a hint of sadness, echoing the word "sorrow" written in the first couplet. The neck couplet changes from plants to animals. The pheasants outside the Great Wall, flying rapidly across the sky from north to south, feel that the late autumn is over in order to avoid the cold invasion; due to the short days and long nights, the crow of the neighbor's roosters has also been postponed. Here, Saihong flies in a hurry and crows late to the neighbor's chicken, and feels the end of autumn to know the night forever, which contrasts with the coldness of the late autumn night, thereby deepening the poetic sentiment to a newer realm. The last couplet goes back to writing about people. This is the sad man written in the first couplet. He is silent and lonely. Just when he was thinking a lot, the bleak autumn wind came and blew on the white dew. The air was so cold that it made his clothes feel cold! The whole poem is smooth and refreshing, elegant, light and beautiful, quiet and far-reaching.
There is no clear boundary between vulgarity and elegance, but they are opposite and complementary to each other. Elegance emerges from the vulgarity, and elegance contains the vulgarity, which is the best. Huang Tingjian emphasized the importance of turning the vulgar into the elegant ("Yun Mingshu Yun Yin Again"), and Wu Na also emphasized the transition from vulgarity to elegance ("Preface to Differentiating Styles of Articles"). The key to turning vulgarity into elegance lies in the word "hua". Zhang Wei, a poetry critic of the Tang Dynasty, regarded Yuan Zhen as a person who entered the house, and Bai Juyi as the master of education in his "Preface to the Poet's Host and Guest Picture". He regarded both Yuan and Bai as famous poets who had reached the level of elegance. It can be seen that elegance does not exclude the popular. The most pure elegance is often ancient and dignified, but lacks clarity* and mass*; if elegance contains vulgarity, incorporates vulgarity into elegance, and returns from elegance to vulgarity, there will be no trace of vulgarity, but a taste of vulgarity, and no vulgarity. The appearance, but the vulgar charm. This kind of vulgarity is the ultimate elegance and the ultimate vulgarity.
Because it is no longer a pure vulgarity, but an elegant vulgarity, which is higher than ordinary vulgarity. "Late Autumn Night" is a masterpiece of both elegance and vulgarity, and is both elegant and vulgar.
As the Qing Dynasty poetry critic Ye Xie commented in "Original Poems": Bai slang is both vulgar and elegant.