Fine grass worries about smoke, hidden flowers and railings are always fascinating. There is no one in the deep courtyard at sunrise, and Haiyan flies away from time to time.
In a slow dress, the fragrance lingers, and the sky can't help but walk all the way. Weeping willows only provoke the spring breeze, how can pedestrians use them?
Generally speaking, Yan Shu's ci is beautiful and moist, not for agitation, but with profound and secluded effects. The poem "tottering" is a good poem that can show this feature. At the beginning, "fine grass worries about smoke, and flowers are afraid of dew", on the surface, seems to be only a description of the scenery: mist on the grass and dew on the stamens. It is an external scene, but it contains a very sharp feeling. The words "worry" and "fear" used by him show Yan Shu's delicate feelings, which are perfectly combined with the dual form of form. You see, in spring, those fine grasses seem to have a sad look in the mist, and those beautiful flowers seem to have a sense of war in the dew. Using "sorrow" to express the mood of the grass in the fog, on the surface, is the mood of flowers and grass, but in fact, it expresses people's mood through the personification of grass and flowers. Things are people and things are people. Yan Shu's other poem "Recent Flowers" can be compared with this sentence. The same realm is just a spring scene in autumn scenery, but it also shows Yan Shu's delicate, subtle, sharp feelings and beautiful feelings in a small image, which puts down his delicate and deep feelings. The following seven-word long sentence "railings are always fascinating" is a summary of the first two short four sentences and a general emotional narrative. This sentence tells you: "Fine grass worries about smoke, but hidden flowers dare not show up", which is what the poet saw by leaning against the bar. It is the habit of ordinary people to lean against the railing and overlook, but everyone leans against the railing to watch the wind and rain, the mountains and rivers, the grass and the flowers. However, only Yan Shu saw that the fine grass was sad in the mist of that spring, and the flowers were cold and timid in the morning dew, which triggered his feeling of "ecstasy". When you say "ecstasy", isn't it ecstasy only when you are sad and painful? However, because of the misty mist on the grass and the dew on the flowers, Yan Shu can "ecstasy", which shows the poet's deep affection. The last film is summed up in two words: "There is no one in the courtyard at sunrise, and Haiyan flies away from time to time." The front is changed from writing about scenery to writing about people. "No one is quiet" means someone, but a person is fascinated by the fence. The environment of "no one in high school is quiet" sets off people's loneliness. "Haiyan flies in two places at any time" is a contrast to human loneliness. Haiyan's flying between the two places has left endless traces of feelings for lonely people, lingering in the "Japanese Academy" and rendering the deep melancholy in loneliness.
The next movie, A Slow Clothes Fragrance, moved from outdoor to indoor, still writing about people. Ceng Yun's Nineteen Ancient Poems, "Sunset fades away, clothes slow down", wrote that he was thin and haggard because he missed people far away. Here, "dressing slowly" describes that people who dress generously are thin and thin, and it also implies the meaning of leaving. "Fragrant fragrance" and "Hui" are incense made as spices, which were often used indoors by ancient women. "Residual" means burning residual. "Wick" is a wick, which is what we often say. "Fragrant fragrance" refers to the fragrance written indoors and burned into ashes in sections. This implies the gloomy mood of people indoors. Qin Guan's "Broken Magnolia" says: "The end of the world hates the old, and the golden stove is fragrant." Compared with the sadness in your heart, the sadness in your heart is broken. You can make a note here. However, Yan Shu did not express her inner feelings as clearly as Qin Guan's Seal of Incense compared with Ileum. He just objectively wrote "wearing a slow robe, lingering fragrance", which is not obvious, stimulating or implicit. Most people read it, because it's easy to read, so they will pass by without a deep understanding. But the beauty of Yan Shu's ci is not achieved through careful experience. After reading it, you will ignore how affectionate he is about the parting of lovesickness because he didn't say it directly. Isn't it a pity that he went to Baoshan and returned empty-handed? The lovesickness parting in Nineteen Ancient Poems and the sadness written by Qin Guan in People's Son Magnolia all give their own reasons. In Nineteen Ancient Poems, it is because the parting people are "thousands of miles away" that the clothes gradually slow down. Qin Guan broke his ileum because "old grievances are in the end of the world, lonely and desolate people don't ask" Yan Shu didn't say. Then, does his melancholy affection really mean the parting, nostalgia and acacia between people in reality? Yan Shu didn't say it directly, so it's not limited by individual events, which makes you think about how many beautiful events in your whole life are worth homesick, and how many beautiful people, things and things are worth trusting and betting on! These two sentences give people infinite and far-reaching imagination and association.
Let's move on to the next sentence, "I can't help traveling all the way." This is a long sentence, which is the end of the first two sentences. It's the same as the first three sentences of the last film. Two dual double sentences followed by a single sentence are compact and complete. "Can't help it" is unstoppable. "Tianchang" and "Tiaolu", the eternal sky is above, and the distant road is below. The combination of the two is good, and the road is long. There is no way to stop this. The word "can't help it" shows the irreparable sadness for everything that has gone away. Then the thought of "taking a slow coat" made me feel more helpless about my loss. Then, at the end of two sentences, I wrote: "weeping willows only provoke the spring breeze, but never attract pedestrians." I said in a questioning tone, asking without answering, leaving endless affection. Willow branches sway with the wind and have a beautiful posture. In Yan Shu's view, this sentimental and sentimental weeping willow is just to anger the spring breeze. Although countless willow branches sway from morning till night, which one can keep people who want to leave? Which soft strip can save the beautiful past that has disappeared? It symbolizes the profound helplessness of the whole life, and there is a profound nostalgia that needs to be carefully recited to understand.
Some people may think that Yan Shu here is nothing more than a feeling of hurting spring. Appreciating it has no great and far-reaching significance in reality. Of course, we appreciate Yan Shu's ci here, not to ask everyone to cry when hurting spring, but to express deep sigh and regret for the passage of time in Yan Shu's emotion of hurting spring, which is very profound and far-reaching in extremely subtle emotional narration. Although on the surface, this kind of emotion may be nothing more than hurting people's feelings, it can make readers feel a kind of improvement in their hearts and feelings. This moral is the most noteworthy material and achievement of this poem. Feng in the Southern Tang Dynasty in the Five Dynasties and Ouyang Dayan in the early years of the Northern Song Dynasty are the most noble and profound writers.