huā tuì cán hóng qīng xìng xiǎo. yàn zǐ fēi shí, lǜ shuǐ rén jiā rào.
The flowers have faded to red, green, apricot and small. When swallows fly, green water surrounds people.
zhī shàng liǔ mián chuī yòu shǎo. tiān yá hé chù wú fāng cǎo!
There are few willow trees blowing on the branches. There is no grass anywhere in the world!
qiáng lǐ qiū qiān qiáng wài dào. qiáng wài xíng rén, qiáng lǐ jiā rén xiào.
The swing inside the wall and the road outside the wall. Pedestrians outside the wall, beautiful women inside the wall smile.
xiào jiàn bù wén shēng jiàn qiāo. duō qíng què bèi wú qíng nǎo.
The laughter gradually disappeared and became quieter. Passionate but annoyed by ruthlessness.
This poem is about hurting spring. Su Shi was good at boldness. He is also the best at elegance. This poem describes the fresh and beautiful spring scenery. At the same time, there is reason in the scenery, and we still comfort ourselves by saying "There is no fragrant grass (a close friend)". The author's "passionate but ruthless anger" is not limited to his lovesickness for the "beautiful woman". The second part of this poem is a fragment of a love story, and may not necessarily have any sustenance. Just a nice euphemistic poem. Wang Shizhen said, "The willow branches on the branches are afraid of the overwhelming love in the fields. It may not be possible." "Flowers and Grass" points out that this poem is comparable to Liu Yong's poem with a graceful style.
"The flowers have faded to red, green and apricots." Fading means that the color becomes lighter or disappears. The first sentence describes the scene of late spring, which means: In late spring, the apricot flowers wither and wither, and only small and green apricots hang on the branches. The author's sight begins with an apricot tree: the flowers have withered, the remaining red color is fading away little by little, and young green apricots have begun to bear on the branches. "Can Hong", he especially noticed the newborn "Green Apricot", his tone revealed pity and affection, consciously diluting the previous strong sadness. "When swallows fly, green water surrounds a house." Swallows fly around in the air, and green water surrounds a house. These two sentences paint a beautiful and vivid picture of spring, but without the embellishment of flowers and trees, it still seems to be imperfect. Some people once thought that the word "Rao" should be "xiao". Reading through the whole word, there is no outstanding scenery that indicates that this is an early morning scenery, so it seems to be unfinished. Swallows fly around the house, green water flows around the house, pedestrians walk around the house, and the word "around" is very real. "There are few willow cotton blowing on the branches. Where in the world is there no fragrant grass?". The general meaning of the two sentences is: the catkins on the trees are getting fewer and fewer under the wind, and spring is coming to an end. Isn't it possible that the world is so big that there is no pleasant scenery? The catkins are flying and the spring is about to end, which is certainly sad; but the green grass is also a state of mind. Su Shi's broad-mindedness can be seen here. The sentence "Tianya" comes from Qu Yuan's "Li Sao", "Where can there be no fragrant grass, how can you care about your hometown?" are the words of the diviner Lingfen to persuade Qu Yuan. His thoughts are consistent with what Su Shi said in "Ding Feng Bo" "This place of peace of mind is my hometown" is consistent. In the end, he was banished to Lingnan, thousands of miles away. At this time, he was already in his old age, looking at his hometown in the distance, almost to the end of the world. This situation is very similar to catkins flying in the wind.
Shangyu describes a set of late spring scenery. Although there are some bright colors, due to the lack of flowers and plants, he feels more of decay and desolation, which is just like the author's state of mind at this time. The author was relegated to the outside world, frustrated in his career and far away from his family, so he felt lonely and melancholy, and wanted to find some beautiful scenery to relieve his depression. Unexpectedly, it was difficult to find beautiful scenery, and his mood became even worse. The upper column expresses the author's love for spring and his pursuit of beautiful things.
"There is a swing in the wall and a road outside the wall. Pedestrians outside the wall, beautiful women inside the wall laugh." There is a road outside the wall. Pedestrians passing by the road only hear the sound of swings in the wall, and there are waves of sweet music. Laughter came from inside from time to time. It turned out to be a woman playing on the swing. This scene was suddenly filled with desolation and was filled with the joyful melody of youth, making passers-by unable to help but stop and listen attentively to the mesmerizing laughter. The author pays great attention to the relationship between hiding and revealing in his artistic treatment. Here, he only writes about the swing on the wall and the laughter of the beautiful woman, while hiding the rest, allowing "passers-by" to imagine, and create endless meanings in their imagination. The repetition of words is the most taboo in Xiaoci, but these three sentences have a total of sixteen characters, and "in the wall" and "outside the wall" are repeated respectively, accounting for half of them. The reading is well-organized and thought-provoking. Inside the wall is home, outside the wall is the road; inside the wall there is a happy life, young and energetic life; outside the wall are pedestrians on their way. The author left a blank as to the mood and demeanor of the pedestrians. However, in this silence, one feels a sense of desolation and loneliness. "The laughter gradually fades away, but the passion is annoyed by ruthlessness." Maybe it's because the pedestrian has been standing there for a long time, and the beauty in the wall has returned to the room; maybe it's because the beauty is still having fun, but the pedestrian has gradually walked away. In short, the beauty's laughter gradually disappeared, and the surroundings seemed quiet. But the pedestrian's heart could not calm down. The laughter of the woman in the wall courtyard gradually disappeared, but the pedestrians outside the wall felt uneasy after hearing the laughter.
He heard the woman's sweet laughter, but could not see her appearance; his mood was ups and downs, and the woman did not know that there was a man outside the wall who was troubled by her. Men are passionate, women are ruthless. The words "passionate" and "ruthless" here are often interpreted as love. There is a feeling of nostalgia for life, a feeling of homesickness, a yearning for young life, a feeling of serving the country, etc. It can indeed be said to be "affectionate" But the beautiful woman is young, simple and carefree, neither feeling sad about her youth nor worrying about her life's fate. She can really be said to be "ruthless". The author expresses such profound emotion, what kind of thoughts will a "ruthless" person stir up in him? Perhaps it evokes his yearning for the good old days, perhaps it is an analogy and association with the relationship between king and minister, perhaps it doubles the emotion of the end of the good years, perhaps it is a kind of thinking and understanding of the philosophy of life, the author did not say it clearly, but left It creates rich white space, allowing people to recall and imagine.
The people outside the wall describe the favor and indifference of the beautiful lady inside the wall, which makes the pedestrian even more melancholy. Here, "beautiful woman" represents the "grass" that the author of Shangqiu pursues, and "walker" is the incarnation of the poet. Through the portrayal of such a set of images, the poet expresses his depressed mood that will never be relieved.
Looking at the whole poem, the poet wrote about spring scenery and spring people, and the latter can also be regarded as a special landscape. The poet wanted to work hard but failed in the end. The whole poem truly reflects the poet's psychological journey, with hazy artistic conception and endless aftertaste.