1, original:
Yat sen villa
Don
A person lives in seclusion, overlooking the city, spring is gone, summer is clear. The grass was drowned by the rain and finally got the love of God. The rain was sunny.
Climbing on the high shelf, overlooking the distance, the sky is high and the afterglow of the sunset passes through the window lattice. Birds' nests have been dried, and their bodies are light again.
2. Interpretation: A person lives in seclusion, overlooking the city, leaving in spring and going to Qiu Lai in summer. The grass was drowned by the rain and finally got the love of God. It cleared up after the rain. Climbing on the high shelf and looking at the railing, the sky is vast, and the afterglow of sunset Ran Ran penetrates the window lattice. The nests of Vietnamese birds have dried up, and their posture has returned to lightness.
3. Appreciation: This poem depicts the bright and fresh state of sunny dusk after the rain and the scene of commercial prosperity, expresses the poet's relaxed and happy mood and cheerful and optimistic mentality, and typically reflects the author's emotional mentality in the early stage of Guimu. As a meaningful poem, the writing of "Yat Sen Qing" is closer to the "Xing" of "intentionally or unintentionally". Perhaps the poet had no clear intention to express his ambition, but when he climbed to the top of the mountain, he touched something and triggered an association. His feelings were integrated with the environment, thus integrating the feeling of understanding for a moment into the description of the late sunny scenery, so it was particularly natural and seamless.
4. Poet profile: Li Shangyin (about 813-about 858), born in western Henan (xi), also known as Fan Nansheng, was born in Xingyang, Zhengzhou (now Xingyang, Zhengzhou, Henan), a famous poet in the late Tang Dynasty, and was also called "Little Du Li" with Du Mu. Li Shangyin, Li He and Li Bai are also called "Li San". Together with Wen, they are called "arts and sciences", because their poems and essays are similar to those of the same period, and all three of them rank sixteenth in the family, so they are also called "thirty-six styles".