one

Beautiful people who see the bright clouds, think of their clothes and see flowers come to see them.

If Yushan didn't see her, it would be Yaochi meeting under the moon.

Secondly,

A red dew is fragrant, and the rain is heartbroken.

Excuse me, who looks like Han Palace? The poor swallow leans against her new makeup.

third

Famous flowers fall in love and laugh like kings.

Explain that the spring breeze is infinitely hateful, and the agarwood pavilion is northward.

These three poems were written by Li Bai when he offered sacrifices to Hanlin in Chang 'an, and were written in the prosperous era of Kaiyuan. One day, Xuanzong and Yang Fei were watching peony flowers in the palace, and Li Bai was ordered to write a new movement, which was written by Li Bai's imperial edict. Among the three poems, Mu Shaoyao (Peony) and Fei Yang co-wrote that flowers are people, and people are flowers, which makes people's faces smooth and harmonious and benefits Tang Xuanzong. From the perspective of text structure, the first one was written from space and introduced Yuan Long on the Moon to readers. The second song was written at that time, introducing the balcony of King Xiang of Chu and the court of Emperor Cheng of Han Dynasty to readers. The third song returns to the present reality, pointing out that the Tang Palace is north of Chenxiang Temple. Poetry and pen are not only easy to write, but also interlinked. The spring breeze in "The First" echoes the spring breeze in "The Third".

The first song, with seven words added: "Clouds need clothes, flowers need capacity", makes Yang Fei's clothes look like clothes and feathers, surrounded by her plump jade capacity. The word "Xiang" has both positive and negative understandings. It can be said that when you see clouds, you think of clothes, and when you see flowers, you think of looks. It can also be said that you think of clothes as clouds and looks as flowers, so the interaction is uneven, and the seven words give people a feeling of flowers. Next, "the spring breeze blows the sill to show the flowers", and the beauty of peony flowers is more colorful in the crystal dew, which makes the above sentence more full. At the same time, the wind dew symbolizes the grace of the king and makes the painted face more spiritual. Below, the poet's imagination suddenly rose to the Yushan and Yaotai groups where the Queen Mother of the West lived in heaven. If it weren't for "meeting" and "meeting", the poet pretended to choose, and he would surely see such a beautiful face only in fairyland! Yushan, Yaotai and moonlight, with simple words, set off a beautiful face, which naturally reminds people of a person as white as jade and a warm white peony flower. At the same time, the poet did not show any trace, and compared Yang Fei to a fairy, which was really exquisite.

The second song begins with the sentence "a piece of red dew condenses fragrance", which writes both color and fragrance; Not only the natural beauty, but also the dew beauty, which is a step further than the previous Revlon. With the story of the King of Chu, "The Nature of Wushan Rain Wasted Heartbroken" humanized the flowers in the previous sentence, pointing out that the King of Chu was a goddess heartbroken, but in fact, the goddess in the dream could not get the present beauty! After that, Zhao, the queen of Emperor Han Chengdi, was a peerless beauty, but Zhao still had to rely on new makeup. Those who looked like beauties in front of her eyes did not need makeup, which was naturally amazing. This song also respects the topic by depressing the goddess and the flying swallow and raising Yang Fei. According to legend, Zhao is light and can dance in the crystal plate held by imperial secretary, while he is relatively fat, with the inherent saying that "the ring is fat and thin" (Yang Guifei's real name is Yuhuan). Later generations fabricated the facts accordingly, saying that Yang Fei liked these three poems very much and often recited them. Gao Lishi thought it was a great insult, because Li Bai had ordered him to take off his boots. He called Yang Fei a great shame, saying that Li Bai had despised Fei Yang's fat with the thinness of swallows and her fornication with swallows, and her palace was a mess. If there is such a meaning in Li Bai's poems, first of all, he can't escape from Xuanzong, who has knowledge and culture, and Yang Fei is not a man without cultural accomplishment. According to the original poem, it is obviously impossible to suppress the ancient and respect the present and forcibly misinterpret it.

The third song returns to reality from the fairyland ancients. The first two sentences, "Famous flowers pour over the country and care for each other, which makes the king smile." The beauty in "Pour Out the Country" refers to Yang Fei, of course. The poem only points out here that the peony and "dumping the country" and "dumping the country" are combined into one, and the words "smiling and looking" are unified, so that the peony, Yang Fei and Xuanzong are integrated. Because of the "laugh" in the second sentence, the "show infinite hatred for the spring breeze" in the third sentence was aroused. The word "spring breeze" is synonymous with the king. This sentence makes the moving beauty of peony full of interest, and the king laughs. Of course, there is no hate, and the hate is relieved. At the end of last year, the place where Yang Fei enjoyed flowers was "Chenxiang Temple North". How elegant and romantic it is for people to lean on the flowers outside the diaphragm.

These three poems are rich in language and words, and the most prominent thing is to write flowers and people together, such as "the cloud wants clothes and flowers to look good", as if writing flowers and faces. "A red dew condenses fragrance" is also a mixture of people and things, referring to this and that. After reading these three poems, if you feel that the spring breeze is full of paper, the flowers are full of eyes and the face is blurred, you don't need to portray it. Naturally, people think that this is a peony, a beautiful jade, and nothing else. No wonder these three poems were deeply appreciated by Xuanzong of Tang Dynasty at that time.