Lesson 8 of Bamboo Rhyme School (Landscape Composition of Landscape Poetry)

Lecture/marginal meaning

Landscape is both a natural landscape and a historical landscape. Mountains and rivers have the ingenuity of nature and the cultural precipitation of human history. Appreciating mountains and rivers, of course, includes these two aspects: natural landscape and human landscape. Natural landscape will give people all kinds of beautiful feelings, and occasionally trigger all kinds of emotions born of scenery; Cultural landscape can also give people some beautiful feelings (historic sites, cultural relics, ancient buildings, etc.). ), but more is to give people meditation and emotion, soothe the past and present. The writing of landscape poems is not only a retelling and lamentation of natural beauty, but also a reflection and attachment to history, the world and life.

Try to read the poem Jingshan by Hu Ceng, a poet in the Tang Dynasty;

In front of Baoyu Rock, the laurel leaves are thick, and the cold water in Bixi still flows.

The ape cried at the sunset in the empty mountain, and it was suspected that the Jing people had not stopped crying.

Jingshan, namely Jingtu Mountain, is located in Huaiyuan County, Bengbu City, Anhui Province. Baoyuyan, also known as Baoyu Rock, or Bianhe Cave, is a magnificent landscape of Jingshan Mountain. Baoyuyan has a natural oval boulder embedded horizontally and a vertical frame hanging in the air, forming a cave. There is a pile of white clouds above the cave, which is said to be the place where Bian He, a Chu man, killed jade, so it is called Bianhe Cave. The first three sentences of this poem outline the autumn scenery in Jingshan: Baoyu Cave is full of fallen leaves, and the clear and transparent stream has been flowing like this since ancient times. The setting sun slowly disappeared from the distance, and there were waves of apes in the empty valley. The word "Liu" in the second sentence subtly evokes nostalgia for the past, and a cold word lays the necessary foundation for crying.

So, what are the Jing people crying about? Anyone who is familiar with the allusions of Heshibi knows that during the Spring and Autumn Period, Bian He, a Chu man, got a piece of beautiful jade from Jingshan. He gave it to the king of Chu, but his foot was cut off. He cried for three days and nights at the foot of Jingshan Mountain with the jade in his arms. This passage is recorded in Han Feizi and He Shibi. Obviously, when the poet was watching the scenery of Jingshan, he remembered this unjust case and felt deeply. On the one hand, I deeply regret the unfair experience in Bian He, on the other hand, I feel a little sad that this unfair experience may continue.

Interrogative words in sentences have two meanings. One is the ape crying in the third sentence, which reminds Bian He of crying. The second is to connect the cold water in the second sentence to the present, the cold water is still flowing, and the association of similar experiences with Bianhe continues. This poem ends with a question, with a cavity of grief and indignation, which is a kind of brushwork of praising mountains and rivers and nostalgia for the past.

Runzhou written by Zhongshu Shi, a monk in the Tang Dynasty, is another way of writing:

Gu Bei building blew the flute, Yunfei out of the health palace.

There are many grasses in the south of the Yangtze River in February, and it is drizzling in spring.

Runzhou is located in Zhenjiang City, Jiangsu Province. Gu Bei Mansion, namely Gu Bei Mansion, is located in Kanluoji, Gubei Mountain, Dantu County, Zhenjiang. The first two sentences of this poem are "A Flute Wind", which first shakes out the feeling of homesickness, and then melts this feeling into the scenery in front of you. Is to write about love first, and then write about scenery. "A flute wind" comes from Du Mu's poem "The curtain falls on the deep swing, and the flute wind falls on the balcony at sunset". "Jiankang Palace", the tour guide faces the Forbidden City. Jiankang is now Nanjing, and it was Kyoto in the Southern Dynasties. The poet said that a Qu Di blew in front of the Gu Bei building, and the ruins of the Forbidden City in the Southern Dynasties flew out of an old broken cloud.

In fact, the fragment of this cloud is the author's thought. What idea? Of course, it is a little sad about the collapse of the Southern Dynasties and the rise and fall of the country. This kind of sadness has no sustenance and finally melts in the drizzle. Sadness becomes very light when it rains. But like a pinch of salt sprinkled into a bowl of water, it faded without a trace, but the taste was still there.

Looking at the scenery and thinking about the past is more because of the change of the scene. For example, a poem by Liu Changqing, a poet in the Tang Dynasty, "The Scenery of Zhuyu Bay":

Desolate wild shops are unique, and people are far away.

Among the ancient trees, Suijiayuan is the majority.

It used to be a scenic spot where rich and powerful people lived in the former dynasty, but now the scenery is no longer, even ruined and withered, desolate and uninhabited. The only things visible are the old trees, which seem to be the witness of the passage of time and the shortage of people and things. This poem also expresses the sadness that the dream of the rise and fall of a country and the alternation of dynasties is not common, but Liu Changqing, after all, was a poet in the middle Tang Dynasty who was far away from the Sui Dynasty, and could not witness the scene before Sui Jiayuan. Therefore, the impression of Sui homeland can only be heard from people or seen from books, and the feelings are not appropriate and shallow.

Rereading a poem "Feeling Kowloon" by Qiu, a poet in the late Qing Dynasty, makes people feel sad about the rise and fall of their home country;

The peaks are stacked against the building, and there is a cloud in the corner.

It suddenly occurred to me that in the spring last year, Kowloon was still Hanjiashan.

Qiu is a patriotic poet who was born in Taiwan Province. This poem was written after the signing of the Xin Chou Treaty. The pain of ceding land for compensation made the poet extremely angry. Therefore, when the poet gambled that the great rivers and mountains of Kowloon Peninsula were cut off, his grief and sadness were beyond words. The word "suddenly remind of" is a switch for emotional overflow. Last year, Kowloon was full of beautiful spring, but this year, it has changed. The peak is still dotted with green trees and buildings, but hanging on the horizon is a sleepy cloud dyed red by the sunset. Why is this happening? Ah, I remember, so this land has fallen. The last two sentences of this poem contain extremely painful sadness, and the word "suddenly remembered" has a sudden and wonderful use.

Compared with this grief and helplessness, warriors who fought bloody battles to recover occupied land often have a kind of courage and heroism in their landscape poems in the face of foggy mountains and rivers. Try to read "Out of Taihang" by Zhu De, a pioneer and military poet in New China.

The peaks on the wall are so fashionable that the natural danger of the Yellow River is close at hand.

The smoke on both sides of the strait is like fire, which can comfort and hate.

When the author wrote this poem, as the commander-in-chief of the Eighth Route Army, he commanded the war against Japan in Taihang Mountain area. The poet risked his life on the battlefield. He has a sense of life on the battlefield. Coupled with his love for the motherland and the people of the motherland, this poem is full of enthusiasm. The first two sentences of the poem describe the majesty of Taihang Mountain and the precipitousness of the Yellow River, which lays a solid foundation for the confidence of "comfort and hate" in the conclusion, while "standing on the wall between mountains and peaks" in the first sentence is not only for scenery, but also contains the meaning that people of all ethnic groups and various anti-Japanese organizations rise up and fight back. This poem is not only an excellent landscape poem, but also an excellent military poem, which links landscape writing with emotion and body.

Of course, the appreciation of mountains and rivers is often pushed to a secondary position when writing about mountains and rivers and cherishing the past and the country. Strictly speaking, these should not be classified as landscape poems.

The description of landscape poetry is the artistic expression of the poet's appreciation of landscape, which is shaped by his pen. The vastness of heaven and earth, the beauty of mountains and rivers, and the beauty of scenery make people have eyes and hearts, which varies from person to person. This is called "those who touch the environment have different minds" (Ye Xie dialect in Qing Dynasty). Because of different blending hearts, some people are good at writing big scenes, while others are good at writing small scenes and small and medium-sized scenes. In the Qing Dynasty, Wang Chuanshan believed that a small scene was used to convey the god of a big scene, such as "making the emperor big and making him backward" (Jiang Zhai Shi Hua). There is some truth in this statement, but it is too absolute. Because writing big scenes is different from writing small scenes, we can't all measure gains and losses by whether they are vivid or not. Small scenes can be vivid, and big scenes can see the situation clearly. The boldness of vision of a big scene can't be conveyed by a small scene. That is to say, in Wang Chuanshan's own example, "This river flows beyond heaven and earth, and the mountains are both there and there" gives people great momentum with infinite space, magnificent scenery and boundless physical state. This is a grand scene written by a broad-minded person, and its boldness is enough to touch people's hearts. How can there be a saying of "no contact"? In fact, it is good to write big scenes or small scenes. As long as you experience the situation and trigger the natural overflow of true feelings, you can touch the hearts of poets and readers. Here, we might as well find a few quatrains about big scenes, small scenes, or big scenes interspersed with small scenes to savor.

"The green hills on both sides of the strait are opposite, and the lonely sails come from the sun."

"Flying down three thousands of feet, it is suspected that the Milky Way has fallen for nine days."

"When the autumn water sets, the distant mountains are extinguished by time."

"The peaks are too strong, and the Yellow River is a natural barrier."

They are all good poems with lofty sentiments and extraordinary verve.

Kou Zhun, a poet in the Song Dynasty, wrote four poems, the third of which is also about big scenes:

The shore is wide and sparse, and the waves are slender. You can't just rely on the threshold of danger to think about how long it is.

The rustling trees are far from the forest, and the autumn mountains are half sunset.

This is the scene of the poet looking at the north on the bank of the Yellow River. From the river to the mountain, from near to far, the Yellow River "has a faint wave" and the autumn mountain "has a sunset", with a wide field of vision and far-reaching scenery. When you look around, your feelings are the same. Between the lines, the poet's infinite affection for the vast northern land is revealed. "The rustling trees are far away from the forest, and the autumn mountains are half sunset." I haven't finished reading the poem, but a magnificent and peaceful landscape emerges in my mind, which is far-reaching and concrete.

Look at the four musts of Tang Dynasty poet Yang Ling;

When the second-class guest goose comes to Qiu Lai, he often sends two or three letters home.

The sunset glow has gone, and there are countless peaks in the green hills.

The brushwork of this poem is similar to that of Kou Zhun's last poem, both of which look at the vast mountains and rivers with thoughts. Finally, it ends with a scene and feeling. "The sunset glow is gone, and countless peaks in the green hills are seen in chaos", which shows that the autumn plain is endless, while the sunset glow is gone, only the green hills are boundless. A word "chaos" leads to homesickness and infinite sorrow.

Some people write big scenes without revealing their thoughts and hide their feelings in poems, such as "Looking at Chashan in the Boat" in the late Qing Dynasty and autumn:

The boundless sunset is red, an island in the vast sea.

Ink marks are thick and short, and it is rainy outside Chashan.

After the Sino-Japanese Sino-Japanese War of 1894-1895, the poet organized an uprising army in Taiwan Province Province to defend Taiwan Province against Japan. After the defeat, he went to Guangdong to engage in cultural education. This poem was written in 1900. The signing of the "Xin Chou Treaty" has become a lingering pain for poets. The poet once wrote in "Six Poems Leaving Taiwan": "The prime minister has the right to cut land, but the lonely minister is powerless to return to heaven." This humiliation aroused his great indignation, and his inability to return to heaven filled his heart with sadness. The sadness in the boat is not a word, but it is integrated into the whole poem from beginning to end. "Boundless blue waves", "Boundless sea", "Dark clouds with ink marks" and "misty rain" are all gloomy and melancholy tones, which diffuse and stretch in the boundless sea, and the scene is grand, and the sadness rushes with the scene, beyond the poem. This is the effect of writing big scenes.

Chai Lu's "Sunlight from the green moss shoots into the grove and reflects on me" is a small scene depicting details.

"It's too light for anyone to hear, except my comrade, the bright moon" is also a small scene in Zhuliguan.

Looking at Spring in the City is a small and medium-sized scene with broad vision.

Autumn Mountain, a four-line poem by Zhang Ji, a poet in the Tang Dynasty, is also a small and medium-sized scene.

There are no clouds in the autumn mountains, the wind can return, and the moon is scattered.

The stone bed in the thatched cottage is still, and the sound of dew falling between the leaves is heavy.

This poem is about a quiet autumn mountain, a cloudless moon, an empty room, a lazy moonlight and an idle thatched cottage. It's so quiet that you can hear the sound of dew dripping among the leaves clearly. This technique of describing details and writing small scenes is similar to that of Chai Lu.

Fan Yao, a poet in Qing Dynasty, opened his eyes and wrote a poem "Four Lines Up the Mountain". Please see how he describes the natural scenery seen in the mountains:

Hundreds of flying springs spray raindrops, and the spring breeze is graceful and green.

There are seedlings and needles all over the mountains, listening to the partridges in the sunset all the way.

"Spray rain beads" is a close-up view, and you can't see rain beads when you are far away; "Green Weeds" is a little farther away. Weeds are a kind of vanilla, which is beyond recognition. "The seedling needle comes out" is the foreground of the eye. The seedling just grows out and is as thin as a needle tip. This is a tiny observation. This poem is written in a series of small scenes, fresh and hearty, with a spring breath of the mountains.

Shen Deqian, a poetry critic in Qing Dynasty, advocated vigorous poetic style. His theory of mode, Wang's theory of verve and Yuan Mei's theory of soul are the three representatives of the poetry circle in Qing Dynasty. However, some people say that Shen Deqian's poems are "honest and lack of vigilance, but they have rules and regulations and lack true spirit" (Zhu Tingzhen's words), but some landscape poems written by Shen Deqian are exceptions. For example, the following four-line "Week":

There are steep ponds and streams everywhere, while the sun is flat.

Pedestrians will feel green and cicadas will walk all the way through Xuzhou.

Xuzhou, an ancient place name, is located in today's Xuchang, Henan. The first two sentences of this poem describe the natural scenery of Xuzhou's mountains and rivers: there are gurgling streams everywhere, and endless poplar branches are fluttering in the wind, which almost covers the flat Shan Ye. Because of the "hanging a hundred miles" in the poem, the last two sentences of the poem highlight the distinctiveness of this scene with "green eyebrows" and "cicadas singing all the way" One is visual effect, and the other is auditory effect. Together, the scene of "hanging a hundred miles" in Xuzhou is vividly written and full of "true spirit".

In fact, this poem also uses the poems of predecessors, such as "The Peak" by Lu Lun in the Tang Dynasty, "Climbing the mountain road, smelling streams everywhere". There is a description of "green bearded people" in Eight Topics of Qingxi, which was searched in Qing Dynasty. So subtle, but also "fine police." This is the success of Shen Deqian's writing of small landscapes.

Rereading the Tang Dynasty poet Weng Juan's Wild Hope, there is also a very clever way to write it:

One day is cool and sunny in autumn, and countless peaks are far and near.

Idle up the mountain to see wild water, suddenly see underwater green hills.

The first two sentences are big scenes, and the last two sentences are small scenes. In the big scene, the mountain is a real scene and the water is a virtual scene, while in the small scene, the water is a real scene and the mountain is a virtual scene. The landscape scene of Wild Hope changes between this big and small scene and the virtual and real scene, enjoying itself and being full of poetry.

It is best to appreciate the natural scenery and write landscape poems. My heart is relaxed, my vision is broadened and my mind is magnificent. When I see the words I think of, I will have a fresh beauty, a graceful beauty and a harmonious beauty. For example, a group of pastoral poems written by Wang Wei in Wangchuan, which was introduced earlier, belongs to this situation.

Here are some excellent works by other poets. Read Bai Juyi's Ode to Mujiang first;

A sunset gradually sank into the river, half green and half green.

On the third night of September, the dew is like a pearl and the moon is like a bow.

This poem, titled Ode to the Twilight River, was improvised by the poet when he visited the river view in the evening. But it takes a long time to write "sunset", "dew" and "moon" in the poem from evening to late at night. Obviously, the author has enough time and a leisurely attitude to linger on the river (or the river).

The first two sentences of this poem say that the river presents a red and green landscape in the sunset. When the setting sun shines on the river, we use "paving the road" instead of "taking photos", which means that the "setting sun" is close to the horizon at that time and the light reflects the ground, which means that "paving the road" is extremely vivid. At the same time, "paving" is softer than "taking pictures", showing the softness of the sunset near dusk, giving people a kind and leisurely feeling. Due to the slow flow of the river, there are tiny ripples on the river surface, and the bright side will be "red", while the backlit side will still be dark blue waves. "rustling" here means countless green appearances. Because the river is covered by the light of the sunset, it presents two different colors. The poet keenly observed this subtle instantaneous change. When the poet touched the sparkling and colorful scene of the river in the sunset with relish, the poet himself was intoxicated.

The last two sentences of the poem turn to the scene where the new moon takes off at night and the autumn dew falls. "Dew is like a real pearl" means looking down, "Moon is like a bow" means looking up, and the poet's mood is full of joy between pitching. The water drops are clear and dewy, and they are round. Because of the clear bath of the new moon, they are crystal clear, like real pearls. A crescent moon rises in the night sky and looks like a hanging bow from a distance. Perhaps this day has any special significance for poets. Perhaps the beauty of this night gave the poet a special feeling and wanted to remember this day. The poet pointed out that this is "the third night in September". Not only that, but also added the word "pity" to express his incomparable joy.

It is said that this poem was written by Bai Juyi on his way to Hangzhou for secretariat. At that time, there was a fierce dispute between the parties in the court. Bai Juyi is willing to stay away from the political whirlpool, so he is attached to the mountains and rivers and enjoys the scenery. It is precisely because of this leisure that I wrote such a beautiful scenery and a particularly quiet situation. It can be said that only with a relaxed and harmonious attitude can we paint colorful and beautiful scenery.

This can also be exemplified in Dai Shulun's poem "The Best of Lanxi":

Liu Wanmei hangs on the cool moon, and the Zhongshan mirror looks more.

Peach blossoms rained in Lanxi for three days, and carp came to the beach at midnight.

Dai Shulun was a famous poet in the middle Tang Dynasty. He used to be governor of Fuzhou, secretariat of Fuzhou and secretariat of Rongzhou, Guangxi. He is upright in the history of the empire, and officials are responsible for management. During his tenure, he had outstanding achievements and was an excellent local official. Dai Shulun's poems are good at reflecting rural life and are sincere and touching. This poem, entitled "Lanxi Acura", is a folk song of the people in the fishing village. Lanxi is in the southwest of Lanxi County, Zhejiang Province. Ba is a rowing tool similar to paddle, and Acura is a boat song. But this boat song written by Dai Shulun is a fresh and elegant water landscape painting, a cheerful and beautiful fishing song and a wonderful pastoral poem.

You see, there is a crescent moon hanging over Liuwan. The moonlight is cold. The lush and hazy mountains all over the country are reflected in the mirror-like streams, which makes people look down. This is a wonderful scene written in the first two sentences. The moon hangs on the willow tips, the mountains sink to the bottom of the water, the moonlight is cool, the mountain shadows are misty, the stream is as level as a mirror, and the water is as clear as water. This is a quiet scene. Three or four sentences turned to the scene: the sudden small spring rain rained for three days in a row. The flowing water in Lanxi is surging, and fish flock to it. In the middle of the night, people flocked to the shallows to play and jump. Everyone who has lived in a water town knows that after the spring rain, freshwater fish such as crucian carp, common carp and anchovies will wave their fins and tails in the shallows along the stream bank to compete for "new water".

Quiet night creek scene after rain, noisy spring tide fish season in the middle of the night. Poets appreciate the beautiful scenery, fishermen appreciate the flood. Although this poem does not write "people" or "feelings", the joy of the poet and the joy of the fishermen have penetrated into this poem. A good landscape poem is like this, which makes people feel as if they were there, as if they heard its voice, as if they had asked its heart, as if they had got its feelings. However, this should be based on the joy of the poet, and it is for * * *.

Poets' happiness can often be written in general scenes. For example, Yuan Jishan's song "Yun Naiqu":

In the second spring, the Xiangjiang River is flat, and the moon is full and windy.

Singing songs over Pingyang defenders, the guards asked each other their names.

The author of this poem, Jie Yuan (Charity), was a writer in the Tang Dynasty. Tang people compared him with Su, Xiao and Han Yu, saying that he was a pioneer of the ancient prose movement in Han and Liu Dynasties. This poem was written by the author on his way back to Changsha when he was in Daozhou Secretariat. * * * has five quatrains, which is the second one. Yi Naiqu is also a boat song, and Yi Nai describes the sound. The preface of the author's poem says that it is difficult for the ship to go backwards when it comes to turning back, so he wrote five poems for the ship to sing in order to take the right path. Retrograde and flooding, this situation is easy to make people depressed. But in order to encourage the boatmen's fighting spirit, the author infected them with optimism. In his works, the night on the way home is very quiet and beautiful: in February of Xiangjiang River, the river rises, making the river more spacious and open, and a full moon shines on the river, and the warm spring breeze makes people feel comfortable. The poet praised this scene, saying that it is the most suitable for "night walking". Optimism dissolves depression. The most interesting thing is that the last two sentences of this poem add infinite fresh interest to the details of a Pingyang garrison officer interrogating the passengers on board late at night.

Yu Biyun's "A Brief Introduction to Poetic Realm" commented: "The last two sentences say that people on the list, swaying and composing songs, must pass Pingyang garrison. Tianjin officials should pay attention to the night, ask the name, that is, switch, let the guests go. The author can only write this story. " It is a detail of life that everyone turns a blind eye to, and a poet with a strong flavor of life in the times. It is no wonder that Gu Le, a poet in the Song Dynasty, highly praised the poem Ci Shan, saying that it is "light and shallow, leisurely in the eyes, and its taste is realistic." In fact, it is a good mood to write a good scenery with a breath of life.

If you have leisure, mind, taste and wisdom, you can be familiar with the scenery and write good poems. The stars are always those stars, the moon is always that moon, the mountain is always that mountain, and the water is always that water. Why do some people feel happy when they enjoy beautiful scenery?

The scenery is outside, and the feelings are in people's hearts. Scenes can be sensational, scenes can hurt people, and scenes can be chaotic; Love can change the scenery, create it, or destroy it. As Wang Fu said, "Although it is divided into two parts, the scenery gives birth to feelings, the feelings give birth to scenery, the sadness and joy blend, the honor and disgrace meet each other and the strain is hidden." Heaven physics, sadness and focus can be used endlessly, flowing without stagnation, and those who are poor and stagnant do not know. "(Jiang Zhai Shi Hua) Heaven is metaphysical, so it is changeable to mourn coke lovers. Knowing this and applying it to poetry creation, we usually write scenes with feelings in them and write them in. As mentioned earlier, Bai Juyi, Dai Shulun and Yuan Jie are quatrains. Most of Wang Wei's and Li Bai's pastoral poems are masterpieces of scenery without "people" and "me", but the feelings are in the scenery and show the scenery.

Here, read another poem "Yushan Road" by the Song Dynasty poet Yang Wanli.

The water in the north of the village is ringing in the south, and the shade in the alley is low.

Castle peak is conceited and dust-free, and it takes care of Bixi every day.

Yushan is in the south of Sanqing Mountain, a famous scenic spot in Shangrao City, Jiangxi Province. Yushan Road is the main path from Yushan to Sanqing Mountain. The scenery around Yushan Mountain is beautiful, and the so-called "three mountains and thousands of peaks are steep, and the ice stream is cold". Because the stream flows through the winding valley, the first sentence of this poem is about the noise of the stream, and the gurgling sound of the stream can be heard everywhere in the north and south of the village. Because of the steep peaks, the trees around the houses and villages are low, but the shade is lovely. The first two sentences have described the landscape of Yushan Road, which is full of scenery and sound. The last two sentences are anthropomorphic, praising the freshness, beauty and elegance of Qingshan Bixi. Because of the cleanliness of the stream, the reflection of Qingshan in the water is very clear, and the flow of the stream causes the jitter of the reflection of Qingshan, which seems to be that Qingshan consciously shines again and again. Qingshan keeps taking pictures all day because he (she) believes that he (she) is clean and free from dust. In this way, Qingshan and Bixi have noble souls and lovely personalities. In fact, this is the poet's love for scenery. There is no "I" in the scenery, and the green hills are like "I", which is intriguing.

In the Northern Song Dynasty, Zhao Bian also wrote an anthropomorphic landscape poem. This scholar of Longtuge and Chongchentang, who has the reputation of "Tough Imperial Adviser" and "Zhao Qingtian", is an elegant person who attaches great importance to physical and mental cultivation. It is said that he won the Jinshi, and later came to work in Shu. "A horse enters Shu, and a piano and a crane follow" is even more telling. In the Ming Dynasty, in order to commemorate him, the people of Chongqing specially built the "Zhao Lugong Temple" for him and the former judge Lu You, and hung the plaque "Qin and Meihua" on the gate. Qin He eulogizes Zhao Bian's integrity, while Plum Blossom eulogizes Lu You's noble sentiment. Zhao bian's poems are well written, and Su Zhe once praised him for "fresh and neat poems and beautiful words, such as bleak."

Zhao argued for the quatrain of "Wild Goose Swinging Back to Chang Yunfeng" and wrote:

I have traveled all over the famous mountains and rivers, but I am still looking back.

The peak is like many emotions, and thyme is still a probe.

Yandang Mountain, located in Yueqing City, Wenzhou, Zhejiang Province, is famous for its peculiar, steep and magnificent mountain scenery. Historically known as "the first mountain in southeast China", known as "the famous mountain on the sea" and "the first mountain in the world". Yandang Mountain is divided into South Yandang Mountain, Middle Yandang Mountain and North Yandang Mountain. Among them, North Yandang Mountain is the most famous, named after "there are lakes on the top of the mountain, reeds are overgrown, grass is swaying, and autumn geese stay here".

Zhao Bian's poem does not specifically describe the wonders of Yandang Mountain, but it leaves readers with an infinite imagination that they are reluctant to go after visiting the scenic spots. This poem also uses personification, but it is not the same as that written by Yang Wanli. Yang's personification is that there is no person in the scene, and the green hills are like me. Zhao's personification is that there is a person in the scene and the peak is like a person. Originally, "I" was sentimental, and I kept looking back at the beautiful and moving peaks when I got back in the car, but at the end of the poem, I said that "the peak" was still "sounding" hundreds of miles away, which was "also like sentimentality".

In this anthropomorphic way, the poet's own feelings are moved to the mountain peak, and the expression is still "my" obsession and nostalgia for the scenery. But if you say it directly, it will be very poetic.

Seven nights of rain stayed on the island in the middle of the lake.

Text/Border Meaning (Liaoyang)

Lan Zhi Xiangman Zhuzhou, Meidi Quxi Building.

Singing in spring is tiring, and staying on rainy nights.

A unique step of the seven absolutely river embankment

Text/Border Meaning (Liaoyang)

Walking along the river bank, the wind is sunny, smoke and sunshine penetrate the sky.

Gull Xiang mirrors the water and is far away from people, waiting for guests.

Chinese scholar tree

Text/Border Meaning (Liaoyang)

A string of silver bells hung on the tree, and the breeze brought warmth and tenderness.

The mountains are deliberately cared for by the clouds, and the butterfly dancing bees fly honey.