Zheng Gu's Farewell to Friends in Huaishang is not only a farewell poem, but also a farewell poem. The first two sentences are lyrical on the spot. The Yangtze River, willow and green flowers dance, but this charming spring scenery makes the poet full of sadness. Yes, we should shake hands with our best friends in this beautiful spring season in the south of the Yangtze River. Since then, I have traveled far and wide, and there is no future. How can this not make people feel sad and depressed? The overlap of homonyms "Yang Zi", "Yang Liu" and "Yang Hua" in the two sentences makes people feel the heaviness and sadness of singing and sighing in the aftertaste.
Farewell to Du DuDu is a famous farewell work. Poetic comfort: don't be sad when you leave. The first sentence is strictly opposed, and the third and fourth sentences are passed on by scattered tones, which turns reality into emptiness and the literary situation is ups and downs. Triple "However, China holds our friendship, and heaven is still our neighbor", and its towering peaks highly summarize the scene of "profound friendship, mountains and rivers are irresistible". Talk big, be told through the ages, and become a household name. At the end of the couplet, the theme of "sending" is pointed out.
The whole poem is full of ups and downs, pulsating flow and broad-minded artistic conception. It washed away the sadness in ancient farewell poems, and it is a unique stone tablet with bright and clear tone and high freshness.
Farewell to Du DuDu is a famous farewell work. Poetic comfort: don't be sad when you leave. The first sentence is strictly opposed, and the third and fourth sentences are passed on by scattered tones, which turns reality into emptiness and the literary situation is ups and downs. Triple "However, China holds our friendship, and heaven is still our neighbor", and its towering peaks highly summarize the scene of "profound friendship, mountains and rivers are irresistible". Talk big, be told through the ages, and become a household name. At the end of the couplet, the theme of "sending" is pointed out.
The whole poem is full of ups and downs, pulsating flow and broad-minded artistic conception. It washed away the sadness in ancient farewell poems, and it is a unique stone tablet with bright and clear tone and high freshness. Year: Tang Dynasty
Author: Li Shangyin
Works: A short message to a friend in the north on a rainy night.
Content:
When you ask about the return date, it's hard to say, evening rain, Manqiuchi.
When * * * cut the candle at the west window, but talk about the rain at night.
This is a well-known poem written by Bashu, a poet living in a distant foreign land, to his wife in Chang 'an. Li Shangyin's love for his wife is sincere. They were married less than 12 years, and their wife died. Even in that 12 year, because the poet was wandering around, he could not get together with his wife often. As the saying goes, a little parting is better than a wedding. Li Shangyin and his wife are often separated for a long time, so they have a deeper and stronger understanding of their love and acacia. In his works, he shows the enthusiasm of "spring silkworm spinning silk" and "wax torch turning into ash", showing a unique artistic style. ?
This little poem is written clearly, without allusions or comparisons, and goes straight to books, landscapes and words. The affection in the scene, the blending of the scene and the infinite affection in the plain words leave endless room for aftertaste. ?
At the beginning of the first sentence, you directly call the other person "Jun" and draw a picture of lovesickness between husband and wife from a unique perspective: Dear wife, you must be anxious to ask me when I will come back, so I'm telling you now that I don't know when I can go home. The uniqueness of this poem lies in the poet's writing of acacia from a misplaced perspective, that is, the other party may not really write to ask about the date of return, but the poet imagines that his wife is missing and asks about the date of return. In China's ancient poems, the poems about lovesickness often do not directly describe how they miss each other, but how they miss themselves, thus implicitly expressing the poet's feelings of missing. For example, Du Fu's "Looking at the Moon" shows his missing for his wife by imagining that his wife misses him on a moonlit night. The phrase "Jun asks if he will return soon" seems dull, but it injects the thoughts of his wife into every word, which is euphemistic, affectionate and intriguing. ?
"Late Rain Rising in Autumn Pond" is about the environment in which he lived at that time, that is, the scenery. The poet described a specific environment in concise language: Bashan, autumn night and heavy rain. The author gives a more specific description of this environment, not only describing the rain in the sky, but also describing the rain accumulated underground. Through the realistic scenery, people seem to feel such an atmosphere: it is dark all around, it is raining cats and dogs, the pool is full, there is no intimate friend around the author, and it is raining cats and dogs, making people feel lonely and desolate. This intermittent autumn rain makes people upset, the pool is full of feelings, and the nature author's heart is also surging. Then, the feeling of "autumn pool rising" is more than torrential autumn rain and rising pool water. Obviously, it is the emotional wave of the author's infinite yearning for his wife in sleepless nights. Therefore, there are deep feelings in the scenery, and the environment is written, but it is not just the environment. There is a word "love" between the lines. In this way, the blending of scenes constitutes an artistic realm.
If the first two sentences are written as prospect, then the last two sentences are written as future. On the night of autumn rain, the poets touched the scene, spread their wings of imagination and expressed their love with rich natural associations. The poet chose two modes here: one is the dynamic scissors, and the other is the confirmation of pronunciation. "* * * Cut the candle at the west window" depicts a beautiful picture of a beautiful night in detail and infinitely, and the word "* * *" describes the intimate mode. However, the word "He Dang" pushed the beautiful scenery described by the poet into the distance and into the void. This beautiful scenery turned out to be nothing more than the poet's yearning for it. As for when to return to my gentle hometown, everything is "irregular". This is a cruel thing and a helpless thing. This sentence is full of emotion, but it does not contain a word "emotion", which is very implicit. ?
There is no better way to express your feelings than words. "Keep your word". The poet imagined that husband and wife would get together, talk by candlelight and communicate with each other. "Refusing to talk" is a retrospective memory. The poet imagines that time at this time, and then he is talking about this time, talking about the feelings of missing when the rain is there at night. In this short four-sentence poem, the word "late rain" appears in two places, which is extremely rare in ordinary ancient poetry. This is because Late Rain gives the poet a very complicated and profound feeling, which is the most concise scenery language and the deepest family language. Writing about scenery and expressing emotions is the artistic conception of blending scenes in the poem. Used in this poem, it is very subtle, evocative and unique. ?
The first two sentences of this poem are about the real situation, which contains the thoughts of parting; The next two sentences are about meeting in the future, including the mood of getting together. Sorrow is real, but gathering is empty. The purpose of faking the future reunion is to set off the loneliness and nostalgia of the present. The stronger the expectation of reunion, the deeper the present nostalgia will be, and the harder it will be to send it away. The contrast between the two more profoundly expresses the sadness and deep yearning of reality. ?
Image, delicacy, implication and profundity are the artistic features of this poem.