Go out of the west gate.

Looking west of the city.

It's a long story

Green and deep.

Xiao Shuang von Ye Dan.

It is cloudy at night.

The festival is not shallow

I am deeply touched.

Catch a female lover.

The lost birds miss the forest.

Be affectionate and loving.

How to leave the feast?

Touch the mirror and your temples.

Take the belt and slow it down.

The arrangement is empty talk.

You are lonely, Le Qin Ming.

Translation:

not have

Appreciate:

In the evening, the poet strolled out of the west gate. Generally speaking, people detained by officials are most afraid of the long night at dusk, because the business during the day can also distract their minds, while their leisure time is like a rock, making it difficult to entertain. This feeling is common to ordinary people, not to mention the poet's sensitive mind. Therefore, when Lingyun looked up at the western hills in the suburbs, the green mountains and green waters in Yongjia were all unattractive, and all the information was shocking. Worship the mountains like a screen, never ending. The dark green and light green of the past are also shrouded in the boundless twilight and become unfathomable. In the morning, the frosted red maple is no longer visible, only the setting sun is silent and sinks in the heavy and gloomy fog. It has been two or three months since I went to Beijing on July 16 in early autumn. Golden autumn has passed and winter has come. Sadness is naturally more, but there is no more. Seeing this depressing and confused suburban scene in front of me aroused the poet's deep homesickness. At present, this female bird stranded in the forest seems to be telling the memory of the old couple. The returning birds in the air are hovering. It must be lost and has been looking for its former forest nest. Feather birds have feelings, but they know how to love each other, but as the soul of all things, people can't bear to leave their close relatives and friends. With this in mind, the poet returned to his place of residence in frustration. He wiped the dust off the bronze mirror, saw that stars and frost had appeared on the original black sideburns, teased the clothes, and found that the clothes that fit before had become loose. Gu Ying hurt himself, and the poet can't help but doubt the wisdom of Zhuangzi that he has always believed in. "The Great Master" said, "If you arrange to leave, you will enter the sky"; It means that if you are content with the passing of nature, you can be integrated with nature and enter the empty superman realm. Now it seems that this is just an empty theory; All I can say is the narcissistic voice of the piano.

This poem is the most plain chapter in Xie's poems, and there are not many typical words and expressions. Even Hyunri, whom he was most satisfied with, only appeared in the form of negation. Feel lyrical on the spot, learn the style of Jian 'an poetry in the late Han Dynasty, and even deliberately seek simplicity when starting a sentence. The thirteenth cloud of Nineteen Ancient Poems: "Drive to the East Gate to see Guo Bei's Tomb"; The second paragraph of Cao Zhi's "Seeing the Home" says: "Climb the North Mangban and look at Luoyang Mountain from afar." For reading it, its inheritance is very clear.

However, although the effect is ancient, there are obvious new changes; It embodies the consistent characteristics of Xie Ke's poetry creation after he was relegated to Yongjia.

The structure of poetry is the same as artistic conception and Jian 'an poetry; At the same time, it shows the characteristics of buckling and multilayer folding. First of all, autumn scenery is divided into two layers, centering on "Festival to" and "Emotion to". Even the words "love" and "how", I took the second scene and introduced the last four sentences of sigh. This is the double-line structure of scene-emotion-scene-emotion (or vice versa) that Xie Ke often used after Yongjia's relegation, and it is a new creation of layout in Chinese poetry.

The landscape modeling of poetry is also more exquisite. Especially make good use of verbs and adjectives, and write them in the form of fascination, such as the melancholy in the four sentences of Zhang Lian. The words "overlap", "space" and "yin" in the first sentence, the second sentence and the fourth sentence are connected together to form a complex and unpredictable realm, which can best show the feelings of subjectivity and objectivity. The first two sentences of a sentence pattern are the rhythm of "two, one, two" and the last two sentences are in the form of "two, two, one", and their changes are also helpful to the expression of the situation. The sentence "Xiao Shuang von Ye Dan" is particularly interesting. Some people think that these two sentences are actually writing two poems in the morning and evening respectively. In fact, Xiao Jing is not seen in "Going out to the West for a Night". So some people suspect that "dawn" may be a mistake of "being late", but this is not the case. Because the green is "deep", you can't see the red leaves clearly. So this sentence is not true, it is empty. The mountains overlap, and the twilight is boundless. The red leaves that the poet longs to see in the morning are slightly dim, but they are not available, only the clouds at dusk. This virtual scene not only aggravates sadness because of contrast, but also makes emptiness appear in depression through a little red in imagination, so as not to cause the feeling of stagnation. This is the profound meaning of Xie Shi's words.

Xie Lingyun introduced:

Xie Lingyun, a poet in the Southern Dynasties and the Song Dynasty. Chen Xia (now Taikang, Henan). Born in Huiji Huining (now Shangyu, Zhejiang). Because he was fostered in the Du family in Qiantang since childhood, he was named Ke. Because he was the grandson of Xie Xuan, he was made public in the Jin Dynasty, so he was also called Xie. At the end of the Jin Dynasty, he served as General Langya, the secretariat of Yuzhou, and the Northern Emperor Taiwei. After entering the Song Dynasty, due to Emperor Wu of Song's policy of restraining gentry, he was demoted to a leisure time and served as a magistrate of Yongjia and a secretariat of Linchuan. In 433 (the 10th year of Yuanjia), he was killed by Song Wendi (Liu Yilong) for "treason". Xie Lingyun was born in a famous family and was brilliant, but his career was bumpy. In order to get rid of his political troubles, Xie Lingyun often makes waves and creates miracles. Most of Xie Lingyun's poems describe the natural scenery and places of interest in Yongjia, Huiji and Peng Li. Among them, there are many natural and fresh sayings, such as "Spring grass grows in the pond and willow turns into songbirds" ("going upstairs in the pond"); Write autumn colors: "The wild sand shore is clean, the sky is high and the autumn moon is bright" ("First visit to the county"); Write the winter scenery "the bright moon shines on the snow, and the north wind is strong and sad" ("Year of the Year") and so on. Depicting natural scenery from different angles gives people beautiful enjoyment. Although there are many famous sentences in Xie Lingyun's poems, there are few good sentences throughout. Most of his poems are about scenery and metaphysics, and there are still the tails of metaphysical poems. Nevertheless, Xie Lingyun's creation greatly enriched and developed the realm of poetry, making the description of landscape independent from metaphysical poetry, thus reversing the style of metaphysical poetry since the Eastern Jin Dynasty and establishing the status of landscape poetry. Since then, landscape poetry has become a genre in the history of China's poetry development.