Fifteen-night moon-gazing poems

"Bai Shu Crow in the Atrium" clearly describes the environment of enjoying the moon, and secretly writes the modal of the characters, which is refined and implicit. Just like the first sentence of Ma Zhiyuan's (Tianjingsha) ("Qiu Si"), with the help of unique scenery, the bleak and desolate scene is pushed to the readers at once, giving people an unforgettable impression. This is a simple house. Late at night, the poet took the guests out of the hall and came to the yard. Looking down, I saw the moonlight on the ground like water. A piece of white. The shadow of the courtyard tree is sparse, like ink painting on paper. Moonwalker looked inside, and several crows stayed on the branches between the tree crowns. There is no mention of people in the whole sentence, but it reminds people of the moongazer at night everywhere.

The second sentence, "Coody Leng Silent Wet Osmanthus fragrans", closely follows the previous sentence, and further exaggerates the Mid-Autumn Festival night with the help of feelings. Among osmanthus fragrans, Gui Xiang is the most abundant in autumn. On the bright moon, the shadows of some circular volcanoes have been given a beautiful image by imaginative people, saying that it is a laurel tree in the moon palace. Some legends also say that osmanthus trees on the earth are generated by seeds falling from the sky. Song Wenzhi's "In the middle of the moon in Guangxi, the fragrance of heaven is floating outside the clouds" ("Lingyin Temple"), which makes people have infinite reverie. Wang Jian wrote this poem because Gui Xiang attacked people. The ancients thought that frost dew was like rain and snow falling from the sky, so the poet went to Guangxi to explore. It is strange that the cold dew made the branches so wet but didn't hear a sound. So I put pen to paper, not only wrote a tangible Mid-Autumn Festival party, but also showed the depth and silence of the night. The reader seems to be there, feeling that Gui Xiang and the cold are coming.

The third and fourth sentences, "I don't know who left Qiu Si tonight", adopt a suddenly enlightened brushwork, from the author's group of people to the full moon on earth, from the activities of enjoying the moon to the thinking of people's future, the artistic conception is open and implicit. Zhang's "Moonlit Night on the Spring River" wrote a month of acacia. Zhang Jiuling "The moon, now full of the sea, the end of the world * * *. Bringing a separated heart, I miss the moon in the long night ("Looking at the Moon and Thinking Far away"), which is hard to describe. There are thousands of people leaving Qian Qian in the world, and people's hearts are worried like autumn grass, and they are everywhere; The poet is thinking about who is certain, and so is everyone's thinking. It's not that he doesn't know who Qiu Si belongs to, but that he wrote Qiu Si's vast and vague, which seems to be true and false, and won the implicit beauty of poetry. Compared with his Fu style "Five Poems about the Moon Playing in Langzhong from August 11th to 15th" and other Mid-Autumn Festival poems in the Tang Dynasty, it can better show the characteristics that fewer poems are better than more.