The prospect drawn by the author first highlights the long streets with "scorching sun at noon" and "few people walking". The strong sunshine and deserted streets make the picture present a unique sense of tranquility. Of course, this silence is completely different from the "quiet night" described in many poems. The silence at night is often cold and bleak, while the "silence" at noon in Sanxian summer reflects a burning feeling, which makes people feel dull. Under such a quiet background, only the concentration of the three sages swelled on the edge of broken walls, adding a little weight to the original loneliness and boredom. This is an atmosphere in which the author is immersed in the second verse. In this poem, the author does not describe the performer of Sanxian in detail, but aims to express the sound and rhythm of Sanxian. But in this quiet movement, pictures and sounds blend together and set off each other, laying the overall style of the whole poem. Although there are "green grass" and "glittering" in this second verse, it seems to reveal some natural vitality, but it can't resist the surging three-stringed sound after all. The third verse of the poem shows this situation. In a specific way, the author depicts an old man in rags, holding his head in his hands, as quiet as a mouse. Although his face and expression are invisible, his movements and gestures show that the "three strings" struck by the sound are arousing his inner voice, showing his inner loneliness and pain. This picture, with the characters as the leading role and the scenery and sound as the background, truly expressed a side of social life at that time and vividly described the aging and decline of the ancient town in northern China. The author seems to be expressing a feeling of apathy in the world and giving a humanitarian sigh.
This poem is slowly spit out from the music of Sanxian. In the poem, a series of words with initials D and T are used to model the three-string sound, and the male and female characters are mixed together, showing the cadence of the three-string. Although Sanxian is a new poem, it also adopts the expression method of old-style poetry, and uses double phonology to help the harmony of syllables, which has produced lasting musical effects. This new poem has also made a useful exploration and attempt in inheriting and developing the fine tradition of China's classical poems describing music and making some innovations. It should also be pointed out that the vernacular used by Sanxian is completely vernacular, but it is by no means vulgar, which was really commendable at that time.
This poem is in the form of prose, but after reading it, it only feels like a poem. As Mao Dun pointed out, this poem is "more poetic" than those poems written as long as those lines and rhyming at the end of the sentence (On Early Vernacular Poetry in Volume 8 of Literature 1 issue).