Huang Songting Jian
The wind and the snow cap are in another forest, and the purple swallow oriole is in late summer.
The three cauldrons are exhausted by the ancients, and the loving mother looks forward to returning to her heart in one year.
How can I rest when I am working hard? I can't help but see the power of mountains.
I want to see the sunset on three paths, and I will scream and scream.
Wearing a fur coat and hat, the author left home in the heavy snow. "Now it is the end of summer, the author left home for a long time, will naturally miss home.
Three paths: Jiang Xu returns to his hometown, and thorns block the door. There are three paths in the house, and he can't get out. He only wants the middle, and Yang Zhong follows him. Later, "Sanjing" refers to the hermit's home.
Appreciate:
The first couplet mainly uses the comparison method to compare the costume (snow hat) when leaving home with the present scenery (Ziyan and oriole). It shows the passage of time, suggesting that you have been away from home for a long time, missing your hometown, and touching the scene leads to the following feelings about life); It also paved the way for the lyricism of the last couplet.
The last couplet expresses the poet's homesickness and desire for seclusion. Use association and imagination (imaginative writing) to describe the summer night scenery of hometown and express homesickness; The Three Classics uses Jiang Xu's allusions to express his desire to live in seclusion. "Fighting for cicadas and hissing for Liu Yin" is lyrical with scenery, expressing the yearning for hometown and the desire to retire, which is implicit and meaningful and has a long aftertaste.
Extended content:
Huang Tingjian wrote a poem and said:
First, pay attention to the words. Use the word "every word has a place". At that time, people commented on Huang Tingjian's poems, "Every word must be refined in the month, and it has not been lightly issued." Huang Tingjian also put forward the "eye in the sentence" of poetry. The so-called "eye in a sentence" is what later generations call "eye in a poem", which means paying attention to the tempering of key words. For example, the word "green" in Spring Breeze and Green Jiang Nanan is tempered, which can be described as "turning a word like a key to closing a door".
Second, pay attention to grammar. Huang Tingjian's poem "Send Gu Zidun to Hedong": "The syntax is unknown, and the autumn moon is from Chengjiang". What is "syntax"? As can be seen from this poem, Huang Tingjian's exposition of poetry syntax is relatively simple, such as clear and sensible autumn moon.
In "Two Letters with Wang", he said: "After arriving in Kuizhou, if you are familiar with his ancient poems, you will find that their syntax is concise and ingenious. The plains and mountains are high and deep, which seems unattainable. The article is successful, without axe teeth, and it is a good ear. "
The third is to pay attention to the rules. Huang Tingjian made a lot of discussions on the significance of the composition, such as: "If you want to write songs of Chu and catch up with the ancients, you must first read the songs of Chu and observe the twists and turns of the ancients' intentions before writing. For example, if you want to make brocade, you must have a brocade machine that can make brocade.
Compare the composition structure to a "brocade machine". Another example is "the things in the valley must be carefully arranged." Every time I see the post-school, I will tell you more about the twists and turns of the "original road". " Another example is: "Writing poetry is like writing a zaju. It was arranged from the beginning, and when it came, it was necessary to slap. "Taken together, Huang Tingjian's so-called composition is about the twists and turns of poetry structure, which are all thought out by studying the works of predecessors.
Although Huang Tingjian talked about the poetic method, he did not stick to it, but wanted to go beyond it and reach the realm of "self-harmony without worrying about breaking the rope".