The first film of this word was written in Autumn, beyond the Great Wall, which showed that Zhao Jun was moved by the scene and looked back at the old events in the Han Palace. The first two sentences of the next movie continue to express Zhao Jun's feelings, revealing the depth of Zhao Jun's grief and indignation and the historical continuity of this tragedy. The syllables of the whole word are clear, depressed and frustrated; Literally beautiful and warm, shocking, can be said to be vigorous and graceful, gentle and sad.
The poet's northland scenery, facing the desolate Xiaoxiang, has been pitching through the ages, attracting a historical picture of Zhao Jun's departure. "White Goose" here not only points out the season, but also exaggerates the situation. It was in this sad autumn season that Zhao Jun went to the countryside to the frontier. The phrase "Pipa heartbroken" is a scene hanging from the throne. Legend has it that Zhaojun rode on a uniformed horse, holding a lute in his hand and playing homesick songs all the way, which made Zhaojun's image more poetic. "Zitai", Purple Palace, refers to Chang 'an Palace.
After a film, it was said that Zhao Jun was lonely at first, and no one asked. Until I decided to marry Uhaanyehe, when I left, "Zhao Jun was a handsome man, a great official of the Ming Dynasty, and Gu Ying was wandering around. When the emperor saw it, he was frightened and wanted to keep it, but it was difficult to break his promise, so he went with the Xiongnu" (The Biography of the Southern Xiongnu in the Later Han Dynasty). The sentence "Old Love" said that Zhao Jun always cared about his beautiful appearance. "How old are you? You can't see the imperial palace, and you have a grudge and ask the court to handle it" (The Story of the Southern Xiongnu in the Later Han Dynasty), so you married the Xiongnu far away and turned over, hating yourself for having this "jade face". Different from previous poets or later dramatists, Yuan Haowen did not stay in sympathy or resentment, but turned his attention to the ladies-in-waiting of Qian Qian who never filled the vacancy and therefore did not pay attention to future poets.
Speaking of "peaches and plums in the deep palace", since Zhao Jun is not the only one, we might as well understand it this way: although the vast number of women locked in the deep palace are as gorgeous as peaches and plums, they can only wither in vain. Year after year, flowers bloom and fall, and they can only accompany the bells and drums and worry about the galaxy for the rest of their lives. They are not happier than Wang Zhaojun, but equally sad. As Fei Ming Qu said: "Don't you see that Nagato is close at hand, Gillian is closed to the outside world, and there is no north or south in life."
After two sentences, the poet turned again. From the distant mountains of Daiqing, I think of Zhao Jun's sad eyebrows; Because of the foreshadowing of the first two sentences, Zhao Jun became the representative of all vocal women at that time and later. "There are endless mountains in spring" reveals the depth of Zhao Jun's grief and indignation and the historical continuity of this tragedy. The author is not accusing a Han emperor or sympathizing with a Wang Zhaojun. He intuitively realized that the tragedy of the maid-in-waiting was a social disease of the feudal autocratic dynasty, and later generations mourned for it, just like a mountain in spring.
The exact time to write this word is uncertain. Considering the background of the whole era at that time, it can be said that it also reflected Yuan Haowen's inner sadness. Times have changed, the scenery remains the same, and the feeling of being homesick is similar. The white goose is thrilling and the green hills are full of sorrow, which is not only out of sympathy for Zhaojun, but also the externalization of the poet's mentality. So mourning the past and hurting the present, pity for others and hurting yourself are inseparable.