Green trees, deep shadows, long summer, the reflection of the tower in the pond.
The crystal curtains are blowing gently, and the roses are fragrant.
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This is a seven-character quatrain describing the summer scenery.
The first sentence seems dull, but carefully pondering the word "shade" not only makes the tree lush, but also implies that the sun is like fire around noon in summer, so the "shade" can be "thick". This "thick" is not only the chance of shade, but also the meaning of "deep" in depth, that is, the shade is dense and deep. A Dream of Red Mansions describes the scene of the Grand View Garden at noon in midsummer, which means "the scorching sun is in the sky and trees are everywhere". Around noon in summer can give people the feeling of "long summer". Yang Wanli said in "Taking a nap in early summer" that "sleeping for a long time is ruthless", which was written by me. Therefore, "the length of summer" is implicitly associated with "the shade of trees", which is by no means an ordinary pen.
In the second sentence, "the balcony reflects into the pond", the poet sees the balcony reflection in the pond. The word "Ru" is well used: at noon in summer, the sunny sky is silent, the water in the pool is crystal clear, and the reflection of the balcony is very clear in the pond. This word "Jin" just writes the real scene of the balcony reflection at this time.
The third sentence, "The crystal curtain moves and the breeze rises", is the most exquisite sentence in the poem. This sentence can be divided into two meanings. First, the pool water under the scorching sun is crystal clear; The breeze is blowing gently and the sea is blue. The poet used the "crystal curtain moving" to describe this scene, which is wonderful and very realistic-the whole water surface is like a curtain made of crystal, blown by the wind, and under the rippling water waves, the reflection of the balcony shakes with it, which is very wonderful. Secondly, poets who look at the scenery first see the fluctuation of the pool water and then feel the wind. Summer breeze will not be felt at once, only when you see water waves, so it is said that "the crystal curtain moves and the breeze rises." If you write "the breeze rises" first and then "the crystal curtain moves", it will be as tasteless as chewing wax.
Just as the poet was intoxicated with the beautiful summer scenery, suddenly there came a burst of flowers, which was refreshing and refreshed the poet's spirit. The last sentence of the poem, "the fragrance of roses all over the yard", adds bright colors to the quiet scenery and is full of intoxicating fragrance, which makes the whole poem full of unique vitality in summer. "One Courtyard Fragrance" coincides with the above sentence "The breeze rises".
Poetry describes the summer scenery, using similar painting techniques: dark green trees, reflections on the balcony, water waves in the pond and roses on the shelf, forming a picture with bright colors and clear artistic conception. All this was described by the poet standing on the mountain pavilion. Although there are no mountain pavilions and poets in the poem, when people appreciate this poem, they seem to see mountain pavilions and leisurely poets.
This article describes the leisurely feeling of the pond in summer.
An excellent poem describing summer: the mountains and rivers are covered with white water, and the rain is like smoke in the sound of rules.
April Days by Weng Juan, a poet in the Song Dynasty.
The mountains and plains are all green, and the sound of Zigui is raining like smoke.
In April, there were few idle people in the countryside, and sericulture was planted in the fields.
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This poem describes the early summer scene in the rural areas of the south of the Yangtze River (now Danxi Town, Yueqing City) in a simple way. The first two sentences focus on the scenery: green plains, Shirakawa, Zigui and misty rain, and a few strokes outline the unique scenery of the water town in early summer. The last two sentences are about people. The picture mainly highlights the image of farmers transplanting rice in paddy fields, thus setting off the tension and busyness of rural labor in April. Call before and answer after, interweaving into a colorful picture.
In April in the south of the Yangtze River, the hillside is green, Yuan Ye is green, and green trees, grass and seedlings are displayed in front of the poet, which is a world dominated by green. In the green Yuan Ye, rivers and canals crisscross, and the roads are full, flowing and white; Paddy fields filled with water are also white. Looking up, the green fields and the white water are all shrouded in faint smoke. Is that fog? A cigarette? No, it was a drizzle. From time to time, a few cuckoo calls came from the trees and the air. The first two sentences of the poem describe the scenery of Jiangnan in early summer, with broad vision and delicate brushwork; Bright colors and hazy artistic conception; Dynamic and static combination, vivid and colorful. "The rain is like smoke in the sound of the sub-gauge", and the drizzle like smoke seems to be summoned by the sub-gauge, which is particularly sense of realm.
"In April, there were few idle people in the countryside, and only silkworms were planted in the fields." The last two sentences are about busy farming in early summer in Jiangnan. Mulberry picking, sericulture and transplanting are two major agricultural activities related to food and clothing. Now is the busy farming season, and every household is very busy. Don't take the last sentence of the poem too seriously, thinking that every family picks mulberry to feed silkworms first, and some people transport seedlings and some transplant them; Some people put silkworms into the field first, some people put silkworms into the field first, some people are only busy with one of them, and many people have to do something else. "Planting fields only when raising silkworms" is just a simplification, which outlines the busy atmosphere of rural farmers in April. As for not directly saying that people are too busy, but that there are few idle people, it is deliberately euphemistic and soothing, in order to maintain a leisurely tolerance in people's busy tension, which is in harmony with the watercolor-style hazy colors described in the first two scenes.
An excellent poem describing summer: it rains at home in Huangmei season, and frogs are everywhere in the grass pond.
From the Southern Song Dynasty poet Zhao Shixiu's "Guest"
Mei Huang Shi, every family was flooded by rain, and the pond was covered with green grass and frogs.
It's past midnight, and the invited guests haven't come yet. I tapped the chess pieces bored and shook the wick of an oil lamp.
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The first sentence "It rains at home in Huangmei season" explains the environment at that time. Huangmei season is a rainy day in the south of the Yangtze River. After a long summer, plums turn from green to Huang Zhi, commonly known as Huangmeitian. At that time, it was raining in Mao Mao. As the saying goes, "Flying freely is as light as a dream, and the continuous rain is as fine as sorrow." For vision, it is a deep comfort. As for the rain beating on thousands of tiles, it is from far and near, gently soft, with a trickle down the tile trough and eaves, and all kinds of tapping and sliding sounds are closely woven into a net, as if "whose fingers are massaging the helix", and the mood is unusually quiet and serene.
In the sentence "Frogs are everywhere in the grass pond", the poet's attention naturally turned from rain to nearby, and frogs came and went, setting off the tranquility around at that time. Imagine, if it is not inner peace, it is anxiety and irritability. Why do you know the sound of insects and the new green screen window tonight?
Let's look at the third sentence, "I have an appointment to stay up late." I suspect that the book draws the conclusion of "anxiety" mostly based on this sentence. Friends won't come after midnight. If it were you and me, of course I would be anxious. But this is Zhao Shixiu, one of the "Four Spirits of Yongjia", and Zhao Shixiu, known as the "genius". Zhao Shixiu, a famous scholar, was a scholar in the year of Emperor Shao Xiyuan. He is the editor-in-chief of Shangyuan County and an official of Yunzhou. Although he is an official, he is frustrated and depressed. He often swims between mountains and rivers with Buddhist monks, longing for a quiet and indifferent life, and even wants to "return to his hometown" like Tao Yuanming ("Nine guests and one feather are proud of their rhyme, so I sent Zhu Jizhong"). After his death, Dai Fugu, a giant in Jianghu, wrote about Zhao Zizhi, saying that he was a "character in the Eastern Jin Dynasty". Don't be anxious without an "appointment to stay up late"?
The last sentence is "knock the chess pieces and drop the snuff". I don't know how the predecessors understood the word "leisure". I think so, too. The "leisure" of "idle knocking" should be that we seem to be bored a few times, so we just take it, take it, take it casually, just like Lu You's interest in "making grass with short paper". Zhao Shixiu is also sitting in front of the lamp, waiting for the guests from afar, bored, comfortable to see the pieces in the game, just pick them up and knock casually. How can he feel anxious?
An excellent poem describing summer in the composition material: We look at the green trees surrounding your village and the light blue distant mountains.
From Meng Haoran, a poet in the prosperous Tang Dynasty, "Passing through the Old Village"
This old friend prepared a delicious meal and invited me to his hospitable farm.
Green Woods surround the village and green hills are located outside the city.
Open the window facing the valley vegetable garden and pass the glass to talk about crops.
Please come here to see chrysanthemums when the ninth festival comes.
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The whole poem depicts the beautiful mountain village scenery and quiet rural life, with plain language, natural and smooth narration and no traces of rendering and carving. However, it has sincere feelings and mellow poetry, and has the aesthetic interest of "clear water produces hibiscus, which is naturally carved", so it has become a masterpiece in pastoral poetry since the Tang Dynasty.
Write a sentence or two on the invitation, "old friend" means it's not the first time to be a guest. Three or four sentences are famous sentences describing the scenery of mountain villages. Surrounded by green trees, the green hills are oblique, just like a faint ink painting. Write five or six sentences about the taste of mountain village life. Facing the garden in the yard, talking about crops with wine is kind and natural, full of life breath. At the end of the two sentences, let's get together on the Double Ninth Festival and write down the depth of friendship.
"Prepare chicken and rice for me, old friend. You entertain me on your farm." This beginning is like a note in a diary. An old friend "invites" and the author "arrives". There is no rendering in the text, it is simple and casual. This is just a possible form between friends who don't need to be polite. The invitation of "chicken and millet" not only shows the unique flavor of Tianjia, but also shows the simplicity of hospitality. It is this kind of hospitality without ceremony and ostentation and extravagance that makes the hearts of friends more open to each other. This beginning is not very focused, calm and natural, but it is an excellent introduction to the content of life to be developed, showing the characteristics of the atmosphere, which needs to be further enriched and developed below.
"We look at the green trees around your village and the pale blue mountains in the distance." When I entered the village, the author looked around for such a fresh and pleasant feeling. These two sentences are close to the border and surrounded by green trees, which seem to be unique and unique. The next sentence is light, accompanied by green hills abroad, which makes the village not lonely and shows a broad prospect. The village is located in Pingchou, far away from Qingshan, giving people the feeling of lightness and tranquility, but it is by no means indifferent and aloof. It is precisely because the "old friend village" appeared in such a natural and social environment that the host and guest raised their glasses at the window.
"We open your window, cross the garden and field, and talk about mulberry and hemp with cups in our hands" is even more carefree. The word "open porch" here seems to be inadvertently written into the poem, but the above two sentences are written on the outer wall of the village. Here, the narrator drinks and chats in the house. The porch window is open, and the outdoor is reflected indoors, giving people a relaxed feeling. For these two sentences, people pay more attention to "talking about Sang Ma" and think that it is "meeting each other without miscellaneous words" (Tao Yuanming's Returning to the Pastoral Residence). But there are threshing floors and vegetable gardens in front of the entrance window, surrounded by green shade, giving people a spacious and stretched feeling. The word Sangma makes readers feel that it is rural. Thus, readers can not only appreciate the stronger local flavor, the flavor of labor production, but also smell the soil flavor on the nursery, see the growth and harvest of crops, and even feel the characteristics of regions and seasons. With the combination of these two sentences and the first two sentences, green trees, green hills, cottages, playgrounds and Sang Ma blend harmoniously, forming a beautiful and quiet pastoral landscape, while the laughter of the host and guest and the words about Sang Ma seem to linger in the readers' ears. It is different from the pure fantasy of the Peach Blossom Garden, but it is more realistic in the prosperous Tang society. It is in this world that poets who once lamented that "the Lord of the realm is harsh on us, and the people who handle affairs are not like us" not only forgot the setbacks encountered in political pursuit, but also forgot the gains and losses of fame and fortune, even the lonely and depressed mood in seclusion. From his glance at the green hills and trees, and his wine conversation with friends in Sang Ma, we can see that his thoughts are relaxed and even his actions are flexible. The environment and atmosphere of the farm showed its conquest here, which made Meng Haoran somewhat converted.
"I'll come back at chrysanthemum time when I have a holiday on the mountain." Meng Haoran was deeply attracted by the farm life, so when he left, he told his master frankly that he would come back to see chrysanthemums in the autumn Double Ninth Festival. A few simple poems, the enthusiasm of old friends to treat each other, the pleasure of being a guest, and the cordial harmony between the host and the guest are all on the paper. Du Fu's "Drinking by Tianfu Mud, Drinking Beauty, Being Strict and Sincere" said: "When the moon rises, I will stay, but I still ask for help." In Du Fu's poems, Tianfu keeps people, and the feeling is urgent; In Meng Haoran's poems, he also made an appointment with an old friend, meaning to ease his words. Readers can get a glimpse of the difference between Du Fu's depression and Meng Haoran's calmness.
An ordinary farm, an ordinary dinner of chicken and millet is so poetic. It describes the prospect of the eyes, and the level of description is completely natural in spoken language. Both the pen and the pen are very relaxed, and even the form of rhythmic poetry has become free and flexible. The feeling that the poem gives readers is that this brisk and approachable style complements the simple pastoral described by the author, showing a high degree of adaptation in form and content, but it is calm and kind, but not dull. Plain contains deep affection. On the one hand, although there is almost no trace of strenuous exercise in every sentence, on the other hand, there has never been weakness in every sentence. For example, the first two sentences of the poem only write the invitation of friends, but they can show the simple peasant atmosphere; Three or four sentences only write green trees and green mountains, but you can see a world; Five or six sentences only write wine gossip, but they can show the comfortable fit between mood and environment; Seven or eight sentences only say that Chongyang will come again, but naturally they show their attachment to this village and old friends. These sentences are balanced and even, and together with * * *, they form a complete artistic conception, which combines quiet and beautiful pastoral scenery with simple and sincere friendship. This is the so-called "although the writing is wonderful, the syntax is not seen" (Shen Deqian's "Three Hundred Tang Poems"), "If you don't wonder, you will be strange ... If you lose your job, you will be unfortunate" (Pi Rixiu's "Yunzhou Meng Ting Ji"). He deeply integrated artistic beauty into the flesh and blood of the whole poem, which seemed natural and natural. This kind of showmanship is not dazzling, not showing off skills, not only relying on one or two carefully crafted sentences to prop up the facade, but also reflecting the superb artistic level. For example, a beautiful woman, her beauty is perfect and holistic, not because a certain part is particularly touching. Instead of putting on airs, she was amazed by a natural color and charm. It is precisely because of the true reflection that the words are scattered and pure, which makes the whole poem show its charm from "light touch" without "heavy makeup"