Drinking alone under the moon

Li Bai

A pot of wine among the flowers, drinking alone without any blind date.

Toast a glass to the bright moon, and look at each other as three people.

The moon does not know how to drink, but its shadow follows me.

While the moon is about to be shadowed, we must have fun until spring.

My singing moon lingers, my dancing shadows are scattered.

They make love together when they are awake, but they separate when they are drunk.

We will travel together forever, and we will meet each other in Miao Yunhan.

Poetry Appreciation

The poem describes the scene of drinking alone under the moon. Drinking alone under the moon is lonely, but the poet used his rich imagination to combine the moon and his own figure into the so-called "three people". From the word "flower" to the word "spring", from "drinking" to "song" and "dance", the lonely environment is rendered very lively. Not only is the pen and ink vivid, but more importantly, it expresses the poet's ability to relieve loneliness. Unrestrained personality and emotions.

On the surface, the poet seems to be really enjoying himself, but behind it is full of infinite desolation. The poet is so lonely that he invites the moon and shadows, but it is more than that. Even in the years to come, he will not be able to find anyone to drink with him. Therefore, I can only travel with the moonlight figure forever, and make an appointment to meet again in the fairyland in the sky.

Li Bai’s five-character ancient poems have a wide range of themes and colorful styles. Earlier we introduced two poems, "Saurus Acacia" and "Changgan Xing", which he wrote after learning Yuefu folk songs. The song "Drinking Alone under the Moon" is a full display of Li Bai's elegant and romantic poetic style as well as his personal spiritual world. The whole poem consists of 1 to 14 lines, the first eight lines have flat tone rhyme, and the last six lines have oblique tone rhyme. As far as the genre of five-character ancient poetry is concerned, "Drinking Alone Under the Moon" is not very long, but it contains the pursuit and yearning of a lonely and lonely soul. The only character appearing in this poem is Li Bai himself, but through the monologue, he stirs up layers of emotional waves in the depths of the soul. It is both ups and downs and willful and natural. It has always been considered the most important poem of Li Bai. A masterpiece of passion.

Wine and the moon were Li Bai’s most loyal companions who never left him for even a moment in his life. No matter where he went or where he was, he would always leave behind touching works about wine and the bright moon. For example, "Lanling has fine wine and tulips, and jade bowls hold amber light" ("Gu Zhong Zuo"); such as "Let's borrow the moonlight in Dongting on credit, and buy wine on the boat beside the white clouds" ("Pai Clan Uncle Xingbu Shilang Ye and Zhongshu Jia" "Five Poems on a Tour of Dongting"); such as "When will the moon come in the blue sky? I will stop drinking and ask now", "I only hope that when I sing and drink, the moonlight will always shine in the golden bottle" ("Asking the Wine to the Moon") ; Such as "If you are proud of life, you must have all the fun, and don't let the golden bottle stand empty against the moon" ("Jinjinjiu"). Through these popular poems, Li Bai created a unique realm that is both romantic and a little sad. The song "Drinking Alone under the Moon" is the one that takes this wine-moon complex to its extreme.

At the beginning of the poem, our poet is in a very pleasant environment under the moonlight among flowers, "a pot of wine among flowers", a pot of wine among flowers, drinking happily , get drunk and then rest. But unexpectedly, these flowers and this fine wine made Li Bai feel unhappy. What was the reason? It's because "there is no blind date when drinking alone"! Li Bai has a famous saying that can be used as a footnote to this poem, "When two people drink together, the mountain flowers bloom, one cup after another" ("Drinking with a Hidden Man in the Mountains"). With the company of like-minded "youthful people", we can go to the drunken land among the flowers and share the endless fun of drinking. But now I have no one to keep me company and I have to drink alone. But he had an idea and created a new realm for himself: "Toast a glass to the bright moon, and look at the shadow to become three people"! From the lonely "no blind date" to the chatting and laughing "three people", Li Bai completed it in one move and one shot. Look at him, when he raises his glass, the bright moon is with him, and when he lowers his head, his figure is with him. He is so free and unrestrained, so free and easy, and he looks like an "exiled immortal" that is hard to find in the world. How can others imitate him? The moon in the sky is Li Bai's eternal confidant in the spiritual world, and is also a frequent visitor in Li Bai's poems.

He once recalled his first understanding of the moon when he was a child: "I didn't know the moon when I was young, and I called it a white jade plate" ("Gu Lang Yue Xing"); when he was away from home, the moonlight evoked his nostalgia as a wanderer: "The moonlight shines brightly in front of the bed, and I doubt it." It's frost on the ground. I look up at the bright moon and look down at my hometown" ("Thoughts on a Quiet Night"); in the autumn moon, he once expressed endless lovesickness: "Looking at the exquisite autumn moon under the crystal curtain" ("Resentment on the Jade Steps"); Under the moonlight, he can become close friends with the ancients: "I have been meditating under the moon for a long time and have not returned, and my eyes have been so close to each other since ancient times" ("Yin under the Moon on the West Tower of Jinling City"). So when we read "Toast a glass to the bright moon, and look at the shadow to form three people", we are not surprised or puzzled at all. Instead, we believe that this is the real Li Bai, the pure and romantic person who lives in his own spiritual world. Li Bai, the "immortal of poetry" who doesn't eat the fireworks of the world! Only he could do such an incredible move, and only he could write such elegant and elegant poems.

"The moon doesn't know how to drink, and its shadow only follows me. I will accompany the moon for a while, and my entertainment will not last until spring." Although Li Bai invited the moon to accompany his figure, it is a pity that the moon is far away in the horizon. , it can only hang in the high sky and cannot drink wine with Li Bai; although the shadow is close at hand, it will only follow silently and cannot have real communication. At this moment, in this situation, the poet is still lonely in his heart. Perhaps there is a considerable gap in the ideological realm between geniuses and ordinary people, and their pursuit and exploration are often misunderstood. For example, because Li Bai could not realize his ideal of making contributions, he refused to be a royal scholar, and paved the way for the drunken life, dreams, death, singing and dancing of Emperor Tang Ming and Concubine Yang, so he did not enjoy the glory and wealth of the capital, and did not want the fine clothes and delicious food. If you want to wander around the rivers and lakes, but also say that you "want to cross the Yellow River, which is blocked by ice, and you will climb the Taihang Mountains covered with snow" ("Traveling is Difficult"), isn't this asking for trouble and trouble? Perhaps it was this lack of knowledge in practice that the world regarded as the reason why he eventually ended up as a "Changliu Yelang". The great poet Du Fu, who had a close acquaintance with Li Bai, wrote poems many times to express his admiration and concern for Li Bai: "The capital is full of crowns, but this man is alone and haggard" ("Dream of Li Bai, Two Poems"). However, even if Li Bai fell into the situation of "alone and haggard", he would never regret or bow to the world. One of his poems "Sitting Alone on Jingting Mountain" wrote: "All the birds are flying high, and I am alone." The clouds are alone. I never tire of looking at each other, only Jingting Mountain. "Whether it is a living bird or an inanimate cloud, as long as it can move, it will move away from Li Bai without hesitation. The only one left is motionless. Even so, Li Bai could still sit in the mountains with peace of mind, cultivate his moral character, enjoy himself, and refused to join the world. Therefore, when Li Bai failed to persuade the moon to drink wine and failed to communicate with the figure, he then thought about it. Being able to drink wine and compose poems under the moon among the flowers, away from the distractions of the world, wasn't it the pleasure that he dreamed of when he was drunk in Chang'an? , then on this beautiful spring night, together with the bright moon in the sky and the figures on the ground, have fun in time and never stop getting drunk. But the word "temporary" shows that Li Bai also clearly knows that this kind of relief is only temporary. However, perhaps it is precisely because of its short duration that it is even more precious and cannot be let go easily.

"My song wanders around the moon, and my dancing shadows are scattered. We make love together when we are awake, and we are separated when we are drunk. We will travel together forever, and we will see each other again." The following poems have changed from flat tones to oblique tones. , and the mood became more intense. At this time, Li Bai was already half drunk and was gradually getting better. He was singing and dancing, and he was so naive. He looked up with drunken eyes. The moon in the sky seemed to be dancing to the rhythm of his singing. He looked down drunkenly. It seemed that the figure on the ground was swaying as he danced. All of this seemed to show an inexplicable desolation and loneliness, and he felt that it was not easy to have them as companions. The word "sexual intercourse" showed that the poet was satisfied with this. Indeed, wine made Li Bai forget the troubles of the world. , the bright moon brought spiritual comfort to Li Bai. In this unaccompanied "coitus", the poet finally became intoxicated, and at the last moment before becoming intoxicated, Li Bai also realized that as soon as he was drunk, the moon and the figures would all return to their original forms. , this temporary combination centered on him will no longer exist.

However, he was not discouraged at all, because his relationship with the moon and the figure was long-term and stable. From this we can know that this is not Li Bai’s first time drinking alone under the moon, nor will it be the last, because the life path Li Bai chose under the circumstances at that time was destined to be accompanied by loneliness and downfall. , so he has no one to rely on except himself. This is probably the reason why he admired solitary heroes like Lu Zhonglian of Yibu Emperor Qin the most in his life. Therefore, he said, "I have been brooding under the moon for a long time and will not return, and my eyes have been so close to each other since ancient times." Therefore, he can only introduce "ruthless" things such as the moon in the sky and the figure on the ground to be his lifelong confidants. This is really the victory of ruthlessness at this time. Feeling in love. Making love with ruthless things naturally shows the harshness of the world and the warmth of human relations at that time. It can be imagined that when Li Bai was in Chang'an, waiting for imperial edicts, many people praised him and boasted about him. However, when he left the capital and was imprisoned, he suffered from the harshness of the world. However, through this drinking and monologue among flowers and under the moon, people can clearly feel that Li Bai still has gone through setbacks and never changed his original intention. As a representative poet of the prosperous Tang Dynasty, Li Bai is highly praised by later generations precisely because of the innate broad-mindedness and superb romance shown in his poems. Emperor Qianlong also affirmed "Drinking Alone under the Moon" from this perspective, "The wonders of the ages can be seen in front of the eyes. Although the situation at that time was depressing, it was not as broad-minded as it was."

"Under the Moon" "Drinking Alone" is famous for its emotional ups and downs and straightforward innocence. Throughout the whole poem, the emotional waves can be clearly divided into several levels of ups and downs. The first sentence starts with "Yang", "a pot of wine among the flowers", and the second sentence follows closely Then suppress, "Drinking alone without a blind date." But the next two sentences: "Raise your glass to the bright moon, and look at each other to form three people." This kind of neglect and loneliness without a blind date is swept away. The situation that appears at the end of the first part of the poem is a scene that changes from deserted to lively after ups and downs and hard work. This first emotional ups and downs can be seen as the beginning of the prologue, the arrangement of the "under the moon" scene and the appearance of "characters" (including the virtual moon and figures). Although there was a little trouble, it still followed the trajectory envisioned by the poet relatively satisfactorily.

The second part of the poem also has four sentences. The poet also experienced another emotional cycle from sadness to joy. From lamenting the unsatisfactoriness of the two invited drinking companions, the moon and the figure, to the selfless state of completely disregarding and enjoying themselves. The second ups and downs of the poem are the formal unfolding of the plot and the implementation of "drinking alone". At this stage, the poet relies on his enthusiastic but lonely state of mind to persistently pursue a kind of perfection that is impossible, because in In a lonely situation, there are only the moon that "doesn't know how to drink" and the shadow that "takes you alone". It can no longer be perfect, but it is at least an ideal state, although the sentence "accompanying the moon for a while" is more or less "accompanying". It reveals the helpless regret in the author's heart, but "having fun in spring" shows that the poet has adjusted his mentality, thus realizing the self-satisfied "drinking alone" that no longer needs the help of any external factors.

The third wave of poetry is the climax and sublimation of drinking alone. At this stage, the poet has been completely intoxicated by the realm of "drinking alone under the moon" created by himself, with chaotic dance steps and wandering. The moonlight seemed to be drunk and awake, everything and I were one. After the poet had had fun, he was about to fall asleep in the land of wine under the moonlight among the flowers. But at the last moment of his consciousness, he did not forget to meet him again. The two moons and figures who achieved "drinking alone" with him made a long-term agreement. "We will never be together without love, and we will meet again in Yunhan". Only after we have a preliminary understanding of Li Bai's life experience and pursuit can we truly understand this kind of persistent feeling.

The second success of this poem is the simplicity and innocence of the whole poem, without any artificiality. In this regard, Shen Deqian commented like this: "It comes out of the mouth, it is pure nature. This kind of poetry is not easy for people to learn" ("Tang Poetry"). Indeed, after Li Bai became famous, many literati wanted to follow in his footsteps, but in the end they always gave up halfway. Therefore, for thousands of years, people can only express sincere admiration for Li Bai's artistic realm of "hibiscus emerges from clear water, and the natural carvings are removed".

Gift to Wang Lun

Li Bai

Li Bai was about to leave in a boat, when he suddenly heard singing on the shore.

Peach Blossom Pond is a thousand feet deep, but it is not as deep as Wang Lun’s love for me!

In the fourteenth year of Tianbao (755), Li Bai traveled from Qiupu (now Guichi, Anhui) to Jingxian (now Anhui) to visit Peach Blossom Pond. The local Wang Lun often made fine wine to entertain him. Before leaving, Wang Lun came to see him off again, and Li Bai wrote this poem to say goodbye.

The first half of the poem is a narrative: it first writes about the person who is leaving, and then the person who sees them off, showing a picture of parting. The beginning of the sentence "take a boat" indicates that it is following the waterway; "willing to travel" indicates that it is when the boat is ready to go. This sentence makes us seem to see Li Bai saying goodbye to people on the boat about to leave the shore.

Who is the sender? The second sentence is not as straightforward as the first sentence. Instead, it uses a musical style and only says that it heard singing. A group of villagers stepped on the ground to the beat and walked and sang to see him off. This seemed to be beyond Li Bai's expectation, so he said "suddenly heard" instead of "distantly heard". Although this poem is relatively implicit, one can only hear its voice but not see its person, but people are ready to say it.

The second half of the poem is lyrical. The third sentence is a distant connection, further explaining that the location of the boat is in Peach Blossom Pond. "A thousand feet deep" not only describes the characteristics of the pool, but also foreshadows the conclusion.

The water of Peach Blossom Pond is so deep and deep, it even touches Li Ren's feelings. Wang Lun's deep affection is unforgettable, and the water is naturally connected with deep affection. The concluding sentence bursts out with "It's not as good as Wang Lun's love for me", which vividly expresses the sincere and pure affection by comparing things with objects. The pool is already "thousand feet deep", so how much deeper is the friendship between Wang Lun and Li Bai? Food for thought. Shen Deqian of the Qing Dynasty appreciated this sentence very much. He said: "If you say that Wang Lun's feelings are as good as a thousand feet of pond water, it is an ordinary saying. The wonderful state only changes in one change." ("Tang Poems") Obviously, the beauty lies in The good thing about the word "less than" is that it does not use metaphors but uses comparison techniques to turn the invisible friendship into a vivid image, which is ethereal and lingering, natural and true.

This little poem was deeply appreciated by later generations, and "peach blossom pond water" became a common expression for later generations to express their farewell feelings. Because of this poem, many beautiful legends and relics for tourists have been left in the Taohuatan area, such as the Tage'an Pavilion on the east bank with the inscription "Tage Ancient Shore" on the front door, the Diaoyin Platform under the rainbow stone wall on the west bank, etc.

Qingming Festival

Du Fu

It rains heavily during the Qingming Festival, and pedestrians on the road feel like dying.

May I ask where the restaurant is? The shepherd boy pointed to Xinghua Village.

"Jiangnan Tongzhi" records: When Du Mu was the governor of Chizhou, he went to Xinghua Village to drink wine. Xinghua Village refers to this in the poem. There are Duhu Lake, Southeast Lake and other scenic spots nearby.

This poem is about a "traveler" who has left his hometown, and during the Qingming Festival with continuous spring rain

Abstinence uses wine to drown his sorrows. Pedestrians, restaurants, shepherd boys, apricots

Flower villages, mountain roads and bays, and falling spring rain in the poem constitute an interesting

"Qingming mist and rain painting".

Four Quatrains (Part 3)

Du Fu

Two orioles sing in the green willows, and a row of egrets ascends to the blue sky.

The window contains Qianqiu snow of Xiling, and the door is docked with a ship thousands of miles away from Dongwu.

In 762 AD, Yin Yanwu from Chengdu entered the dynasty, and turmoil broke out in central Shu. Du Fu fled to Zizhou for a time. The Anshi Rebellion was put down the next year, and Yanwu returned to Chengdu the next year. When Du Fu learned about this old friend, he also returned to the thatched cottage in Chengdu. At this time, he was in a particularly good mood. Facing this vibrant scene, he couldn't help but write this set of poems about the scene. When I was inspired to write the poem, I did not plan a title in advance, nor did I plan to write a title after the poem was completed. I simply used "quatrains" as the title.

The whole poem seems to be one sentence per scene, four independent pictures. What is consistent and makes it constitute a unified artistic conception is the poet's inner emotion. At the beginning, the spring scenery of the thatched cottage was shown, and the poet's mood was peaceful. However, as his eyes wandered and the scenery changed, the appearance of the river boat touched his nostalgia. Four sentences of scenery completely express the poet's complex and meticulous inner thoughts.

Farewell to the ancient original grass

Bai Juyi

The grass grows in the original grass, and it withers and grows every year. Wildfires never burn out, but spring breezes blow them again. The distant fragrance invades the ancient road, and the clear green meets the deserted city. I sent the king and grandson away again, full of love.

Appreciation:

The earth is springing back, and on the ancient plains where the grass is flourishing, I say goodbye to you. I see the luxuriant grass, year after year, it withers but becomes green again. No matter how fierce the wildfires are, life will reincarnate if the spring breeze blows. Dear friend, when will you come back? The distant ancient road is filled with the warm fragrance of grass, and under the bright sunshine, a piece of green connects the wilderness. At such a moment, watching you go away, my heart is full of parting feelings. The use of cursive to write about separation is clever and appropriate, which reminds people of the chant of "the kings and grandchildren have traveled far away and never come back, the fragrant grass grows luxuriantly", and also reminds people of the cries of "separation and hatred are like spring grass, deeper and farther, and still alive".

This is a poem about things, and it can also be read as an allegorical poem. Some people think it is a mockery of villains. From the perspective of the whole poem, although the original grass refers to something, the metaphorical meaning is not definite. "Wild fire never burns out, but the spring breeze blows and grows again," but it is well-known as a kind of "resilience" and has become a swan song passed down through the ages.

"Spring Journey to Qiantang Lake"

Bai Juyi

To the west of Jia Pavilion in the north of Gushan Temple, the water surface is initially flat and the clouds are low.

Early orioles are vying for warmth in several places, while new swallows are pecking at the spring mud.

The wild flowers are becoming more and more charming, so only Asakusa has no horse hooves.

My favorite lake is the east side of the lake, with its green poplar shade and white sand embankment.

Appreciation:

This poem describes the poet's favorite spring, walking on the white sand embankment with water on both sides and willows and peach trees on both sides of the embankment. The bleak lake water is at your feet, as if you are walking on the water; the willow branches in early spring are like smoke, like mist, like threads, floating on your face, and infinite tenderness and infinite love well up in your heart, just like in a dream or a fairyland. The spring water on the lake is new, the spring orioles are chirping on the trees, the spring swallows are carrying mud in the air, the spring flowers are blooming on the embankment, the spring grass is just green, the willow branches are like smoke, mist, and silk. The poet's sharp and delicate brushwork praises the spring scenery of the West Lake and makes people enjoy it. I feel that West Lake is putting on spring clothes.

Moon in the Xijiang River·Walking on the Yellow Sand Road at Night·Xin Qiji

The bright moon scares the magpies on the other branches, and the breeze sings the cicadas in the middle of the night. The fragrance of rice flowers tells of a good harvest, and the sound of frogs sounds. There are seven or eight stars in the sky, two or three points of rain in front of the mountain. In the old days, by the forest of Maodian Society, I suddenly saw a bridge over a stream when the road turned.

Appreciation 1

This poem was written when Xin Qiji was living in Daihu, Shangrao. Huangsha, also known as Huangsha Ridge, is located in the west of Shangrao County, Jiangxi Province. It has beautiful scenery. It is said that "the mountains and rivers are like a picture" (Xin Qiji's "Partridge Sky: Events on the Yellow Sand Road"). Xin Qiji built a library nearby and often traveled along the Huangsha Road. Xin Qiji served as a frontier official in the Southern Song Dynasty, but his heroic and upright arguments and decisive and capable style, especially his political advocacy of resumption of the Anti-Japanese War, were resented by his colleagues and attacked by the highest ruling class. In the eighth year of Chunxi reign of Emperor Xiaozong of the Song Dynasty (1181), he was finally impeached and dismissed from office. He returned to his home in Daihu and lived a retired life of idleness. Xin Qiji always attached great importance to agricultural production and sympathized with the sufferings of the people. During his tenure as deputy envoy to Hunan Province, he once wrote "On Thieves and Zhazi" to plead for the people. He experienced the "screaming and painful state" of hundreds of people, pointed out the fact that "the government forced the people to rebel", and loudly called on the court to "benefit and support Yuanyuan". meaning". Before he resigned from office and lived idle, he said: "In life, hard work should be the first priority." So he took the name of Jiaxuan and called himself Jiaxuan layman. The long-term leisure life in the countryside brought him closer to the countryside and established a deeper relationship with the farmers, so that everything in the countryside aroused his great interest. Therefore, he was very concerned about the suffering of farmers: "The elders argued that the rain was even, and the frown on their brows was not like last year. They thanked diligently, but there was dust in the steamer." ("Huanxisha") The weather was smooth and the people were no longer hungry. He was also very happy. In these rural poems, Xin Qiji opposed the peaceful and tranquil countryside with the dirty and conflicting "city dynasty". "In ancient and modern times, the mausoleums and valleys are vast, and mulberry fields are often cultivated in the city and court." ("Qing Ping Le on Lu Qiao") He was ostracized* in the officialdom, but he could get temporary comfort and seek spiritual sustenance in the countryside. As his friend Lu Youyou said: "The joy of a farmhouse is no more evil than the competition between the city and the court" ("Yuechi Farmer").

It was motivated by this complex emotion that Xin Qiji wrote such lively and lively rural poems as "The Moonlight Walks Along the Yellow Sand Road on the Xijiang River". Only by linking the author's life experience and ideological ambitions can we understand more deeply The beauty of such words.

The song "Moon over the Xijiang River" is about an episode the author experienced while walking along the Yellow Sand Road at night. On a clear summer night in the south of the Yangtze River, the moonlight was bright and shining like day. The black magpie perched on the green tree branch thought that the dawn was coming, and flew up with a "yah" sound, jumping from one branch to another, causing The branches are still rustling! When it realized that it had made a mistake, it stopped on another branch. The breeze blows gently, the branches sway gently, and the sleeping summer cicadas also start chirping in the middle of the night. On this intoxicating clear moonlit night, our poet walked alone on the yellow sand road, listening to the chirping of cicadas and magpies, and smelling the fragrant fragrance of rice flowers. The proud men of the Water Kingdom seemed to understand our poet's joyful mood very well. mood, so a cheerful symphony was played for him. From the chorus of frogs, our lyricist has heard the news of a good harvest. The bright moon, the breeze, the frightened magpie, the chirping cicada, the fragrance of rice, and the sound of frogs. What the poet saw, heard, smelled, and touched were all refreshing. He was immersed in the summer night in the south of the Yangtze River. In the comfort of my home, I couldn't help but look up at the sky, where there were only a few sparse stars hanging on the blue sky. However, "there are unpredictable weather conditions", not to mention the midsummer weather in Jiangnan! I don't know when, a few floating clouds suddenly floated over and sprinkled a few drops of rain like a mischief. This sudden shower broke the poet's elegance and forced him to hurry to avoid the rain that came at night. I was in a hurry and had no time to look around. I turned a corner at the bridge and suddenly looked up, hey! A familiar thatched cottage appeared beside the woods of Tutu Temple. This is simply a beautiful, moving and interesting picture of a midsummer moonlit night in a mountain village in the south of the Yangtze River! It is full of poetry and painting, giving people a rich and beautiful enjoyment.

What artistic means did the author use to express this picture of a moonlit night in a mountain village in the south of the Yangtze River?

First of all, in terms of the choice of tone of words, the author chose Xiaoling's "Xijiang Moon" which is easy to express lively and cheerful emotions. The lyrics of "Xijiang Moon" are in double tone, with five crosses, two flat rhymes in the upper and lower columns, and one disgusting rhyme in each sentence. The four characters "chan", "year", "qian" and "bian" in this poem "Moon over Xijiang" are all in the rhyme of "Xian" in flat tone, and the two words "piece" and "jian" in the concluding sentence are in oblique tone, but in the rhyme of the poem Zhong also belongs to the same department. In this way, the two oblique rhymes are in harmony with each other, which can increase the beauty of the voice and emotion of the word. These two oblique rhymes are arranged on the conclusion of the upper and lower lines, with a short tone and an abrupt end, making the whole poem more harmonious and powerful. The number of words in each sentence of "Xijiang Moon" is roughly uniform, with six, six, seven and six sentences. Shangxiaque begins with two six-character sentences, which are easy to parallelize. The first two lines of the song "Moon over the Xijiang River" are very well paired. What needs to be pointed out here is the interpretation of "different branches". As far as I can see, there are roughly three explanations: one is to interpret "farewell" as "leaving", and there are two slightly different ways of saying it. One is that the moonlight "farewells the branches", and the other is that the black magpie "leave". "Leave the branch"; the second is to interpret "biezhi" as "the branch that leans out"; the third is to interpret "biezhi" as "another branch". I think the third explanation is better. Because the contrast between the two sentences "明月" is very solid. "Mingyue" and "qingfeng" are both natural scenes. It can be said that you don't need to buy a clear breeze and a bright moon; "jing magpie" and "cicada", "jing" and "ming" are both verbs, and both have the meaning of action. "Magpies" and "cicadas" are both animals that can fly and sing well; "Bie Zhi" is the same as "Midnight", "Zhi" and "Ye" are both nouns. "Bi" is used as an adjective here, and "Bie" should also be an adjective. , if used as a verb, it is not paired with "midnight". Besides, the first two sentences at the bottom of the word: "Seven or eight stars are outside the sky, and two or three raindrops are in front of the mountain." The contrast between quantifiers and quantifiers, nouns and nouns, and locative words against locative words is very neat. How can we imagine that Xin Qiji, who is proficient in poetry, would have mismatches in the duality of the same poem? In fact, the "parting branch" here has the same meaning as the "parting branch" in the poem "The cicada's lingering sound passed by the parting branch" in Fang Qian's "Living in Hao's Forest Pavilion" in the Tang Dynasty.

This sentence is a kind of very detailed realism. Only those who have seen this scene late at night will understand the beauty of this poem. Black magpies are extremely sensitive to light. They start to stir up during a solar eclipse, fly around and cry, and they do the same when the moon sets. This sentence actually means "the moon falls and the crows cry" ("Mooring on the Maple Bridge" by Zhang Ji of the Tang Dynasty), but it is more vivid than "the moon falls and the crows cry". The key lies in the word "bie", which implies that the magpie Hezhi means reluctant to leave the bright moon. Magpies often crow, so here we don’t say crow but crow itself. In the literal sense, it can also avoid the dull result of stacking up with "singing cicada". The two sentences "rice flower" indicate that the season is summer. These two sentences have the most vivid and profound impression in the whole poem. They vividly describe the lively atmosphere and joyful mood in the rural summer nights. This can be said to be a typical environment. Each of these four sentences has a sound (magpie, cicada, human voice, frog), but each sentence also contains the silence of the middle of the night. Both flavors are reflected in the night traveler's feelings, and his mood is very happy. The situation changed a bit in the second half of the film. The few stars in the sky indicated that time had progressed. It was clearly the middle of the night and almost dawn. The drizzle in front of the mountain is a threat to night travelers. It is a wave on the plain, and one can imagine the anxiety of night travelers. With this twist, the closing two sentences are made more powerful. "In the old days, by the forest of Maodian Society, when the road turned and the bridge was suddenly seen," is an inversion sentence. Inversion expresses the surprise of "suddenly seeing". While I was worrying about the rain, I walked across the creek bridge and the road changed direction, and I suddenly saw the thatched cottage where I had rested by the forest. The happiness at this time can be compared to the two lines of the poem "Mountains and rivers are full of doubts and there is no way, and there is a village with dark willows and bright flowers" (Lu You's "Visiting Shanxi Village"). The title of the poem was originally "Walking on the Yellow Sand Road at Night". The first six of the first eight sentences are all about scenery, and only the last two sentences show people walking at night. These two sentences serve as a reflection on the whole poem, so each sentence is about a night walk. It hides the edge first, then hits the nail on the head at the end, and the finishing touch is there. This technique is worth learning.

This poem has a vivid and concrete atmosphere (usually called scene) and expresses a kind of intimately felt interest (usually called emotion). The whole of this blend of scenes is an artistic image. The power of an artistic image does not lie in the number of plots used, but in whether those plots are typical and can serve as a base for drawing parallels, extending in all directions and penetrating into the deepest and most subtle aspects of real life. If this could be done, it would be both full of words and infinite of meaning. When we say that Chinese poetry uses refined language, we refer to this broad representation and rich suggestiveness. (Zhu Guangqian)

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