The wind has stopped the dust and fragrant flowers, and I am tired of combing my hair at night

Things are people who don't want to talk about everything, and tears flow first

I heard that Shuangxi Spring is still good, and I plan to go boating

I am afraid that Shuangxi stern boat can't carry a lot of worries

This word is Shaoxing, Song Gaozong for five years (1135 She was fifty-three years old. At that time, she was already in the midst of national ruin and death, her dear husband died, most of her treasures were lost, and she was homeless in a foreign land, so her feelings were extremely sad.

The first sentence describes what we have seen at present, which is that the wind is full of flowers, and it is desolate, but it avoids describing the fury of the wind and the mess of flowers from the front, and only uses the word "the wind lives in the dust" to show the consequences of this small disaster, then the wind destroys flowers and falls red all over the ground, all of which are in it, and the pen is extremely meaningful. Moreover, when the wind did not stop, the flowers flew and fell like rain. Although it was extremely unbearable, there were still residual flowers visible; After the wind stops, the flowers have been stained with mud, and people have turned to dust, leaving traces, but with the smell of dust, the spring scenery has been swept away, and it is even more unbearable. Therefore, the word "the wind keeps the dust fragrant" is not only implicit, but also expands the capacity because of its implication, so that people can experience more feelings from it. The second sentence is written because what you see is what you see, so you do it. The sun is already high, and my head has not yet been combed. Although it has the same meaning as "getting up and combing my hair" in "On the Phoenix Platform", it is the sorrow of birth and separation. This is the hate of death, and the depth is different.

three or four sentences, from implicit to vertical and straight, point out that all the sorrows and sufferings come from "things are human beings". And this kind of "things are human beings" is by no means an accidental, individual or slight change, but an extremely extensive, drastic, fundamental and significant change, in which endless things and endless pains are all involved, so it is summarized as "everything is off". This is really "a seventeenth history, where to start"? So I was just about to say, tears are already flowing.

the first two sentences are implicit; After two sentences, the truth rate. Implicit, because this situation has nowhere to sue; Truth rate, because although knowing that there is nowhere to sue, but still have to sue. Therefore, if they are opposite, they are actually complementary.

The first film is extremely expressive of the unbearable scenery in front of us and the sad mood, so the next film will be put aside and talked about from a distance. This poetess likes to travel around the mountains best. According to Zhou Hui's "Qingbo Magazine", when she was in Nanjing, "every day it snowed heavily, that is, wearing a hat and wearing a coat, and looking around the city to find poetry." This is true in winter, and spring can be imagined. Since she has a hobby of sightseeing, she also has a sad mood that she needs to borrow sightseeing to get rid of it, and Shuangxi is a scenic spot in Jinhua, so she naturally has the idea of boating on Shuangxi, which is called "how much to swim in the spring" in Nian Nujiao. But in fact, her pain is too great, and her sorrow is too deep. Can a boating trip be relieved? Therefore, before I swam, I had already predicted that the boat was too heavy to carry. The idea is both novel and real. The next * * * four sentences, the first two sentences open, a turn; After two sentences together, another turn; The six empty word turning points of "hearing and saying", "imagining" and "fearing" are vivid. Shuangxi spring is good, but it is just a "smell"; Going boating is just a "plan", and then "fear" suddenly appears below, obliterating the "plan" above. When I heard about it, I also thought about it. As a result, I just sat at home and worried.

Wang Shizhen's Flowers Are Picking Up, says, "You can't carry a lot of worries" and "You can carry the twilight worries home" and "You can only carry a boat away from hate and go to two states", so you can see each other. "Don't leave the boat with your oars, and you'll have trouble driving for a day." This comment tells us that there must be a limit to the novelty of writing. The right thing, after one step, becomes wrong; Beautiful things, after one step, become ugly. Like "sculling", it is both "leaving the boat" and "a day of trouble", for fear that it is not clear, artificial and unnatural, so it is difficult to be accepted. Therefore, "Wen Xin Diao Long Ding Shi Pian" said: "Those who meet secretly are clever with new ideas, and those who disagree are strange with losing their bodies." The difference between "coincidence" and "strangeness" is just a step.

Li Houzhu's Yu Meiren says, "How much sorrow can I have when I ask you? Just like a river flowing eastward. " Just worry more than water. Qin Guan's "Jiangchengzi" says: "It is tears to be a riverside, and there are endless worries." Then sorrow has materialized and become something that can be placed in the river and drained with the water. Li Qingzhao and others put it on the boat further, so the sorrow has a weight, which can not only flow with the water, but also be carried by boat. Dong Jieyuan's "Xian Lu Dian Jiang Lip Wraps the Order and Tail" in "The Legend of the West Chamber" says: "Don't ask about the severity of parting, you can't carry it on a horse." Then the sorrow is unloaded from the ship and carried on horseback. Wang Shifu's "The West Chamber" zaju "Zhenggong Rectification and Ending" says: "All the troubles in the world fill the chest and measure how these cars can afford it." He unloaded the sorrow from the horse's back and put it on the car. From these small examples, we can see that literature and art must be inherited and developed at the same time.

The whole layout of this word is also noteworthy. Ouyang Xiu's "Picking Mulberry Seeds" says: "After all the flowers, the West Lake is good, messy and red, and the flying flocks are misty, and the weeping willows are dry." When all the tourists went away, they began to feel the spring sky, lowered the curtain, and Shuangyan returned to the drizzle. " Zhou Bangyan's "Looking at the South of the Yangtze River" says: "Wandering prostitutes are scattered and go back to the embankment alone. The grass is full of smoke and water, and the dense clouds are dark in the west of the city, and the nine strangers are not stained with mud. Under the peach and plum blossoms, the Spring Festival Evening is not a success. Outside the wall, I saw flowers looking for a way to turn, and the horses in the willows crossed the warblers, and it was sad everywhere. " The practice is the same and can be compared. Tan Xian's Fu Tang Ci Hua criticized the first sentence of European Ci: "Sweep the place and you will be born." This is the characteristic of the layout of these three words. Sweep means sweep, and life means life. Judging from the first sentence of these three songs, they are all talking about the end of the previous stage. The words Ou and Li mean that the spring is over, and Zhou Ci means that the beauty is gone. At the end of the day, wheatgrass is full of eyes and flowers. Of course, there are many touching scenes to write, but after the end, what else is there to write? At the beginning, isn't it sweeping away everything that can be written? It was not until I read on that I realized that there was another scene below. Ou Ci wrote about the leisure and sadness in late spring, Zhou Ci wrote about the bleak mood of going back to the embankment alone until returning, and Li Ci wrote about the deep pain caused by the wind and the dust. And these are what the writer wants to show, and they are also the most moving parts, so they are called "sweeping the place to be born". It's like we went to see a full-length play, and arrived a little late. When we entered the theater, a very lively scene just started after watching a little, but we didn't know the content of the following scene. When we watched it again, we found that we had caught up with the most exciting climax of the whole drama. The social life that any work can reflect can only be some aspects. Lyrics are especially so because of the limitation of space. This way of writing can take the omitted part as the background to contrast the text, thus unexpectedly strengthening the infectious power of the text, so it is desirable.