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Twilight ...... Seeing that the days belonging to spring are becoming fewer and fewer, I can't help but feel sad, because the scenery is no longer gorgeous, and because of the irretrievable time like flowing water.
Since ancient times, poets have often left works soaked in desolation for the twilight of spring.
For example, Fan Chengda's clouds: the spring of the green plum has gone, and the city is afraid of the wind and rain at dusk; for example, Li Shangyin's clouds: the heart is full of spring, and the income is to be stained with clothes; and then for example, Du Mu Suoyun: Leaning on the Guan Pavilion alone and giving wine, the spring of the year is all the time.
Walking into the ancient poems, in the most beautiful words, relying on the spring, listening to the most affectionate chanting, Poetry Lane in this issue brings you a poem by the Yuan Dynasty poet Huang Geng.
This poem is written bleakly and beautifully, and the last two sentences are even more tireless to read, and I believe everyone in front of the screen will also like it.
late spring
Yuan Huang Geng
In March, the spring sorrow is only known by the falling flowers.
The willow is white and the east wind is old, and the sun of a tree is called Zigui.
Huang Geng, whose name is Xingfu, was a poet in the late Song Dynasty and early Yuan Dynasty in mainland China.
Huang Geng's officialdom was frustrated, so he wandered the rivers and lakes, and made a living from the tour and the teaching hall in his life. In his later years, Huang Geng collected and catalogued his poems and named them "Moon House Comics".
The poem "Twilight Spring" we have shared here can be called a typical representative of the "twilight spring" type of poems, mainly describing what the author saw and heard in the twilight of spring.
The first line of the poem points to the season and cuts to the heart in a more straightforward way: the flowers gradually fade in March, and spring is nearing its end.
This is a very ordinary and generalized sentence, and the author does not use special writing techniques, but presents the overall scene of "twilight spring" in a straightforward tone to the reader's eyes.
But it is precisely because the first sentence is very typical and generalized, so at the first time of reading, our hearts will always be filled with a trace of melancholy and leisure.
And the bleak emotional color in the poem is also implicitly laid down in this description, which is also another key role played by the first sentence in addition to "to the point".
The sentence follows the content of the first sentence, and expresses the author's mood more directly: the sorrow of spring can only be known by the falling flowers, and the sorrow of late spring can only be known by those falling flowers.
In the writing of metrical poems, poets have always attached great importance to the expression of emotions, and the expression of emotions is divided into various forms, such as embodying with the help of scenery, such as directly fixing on the characters to go out of the tray, and then using the very high rate of "borrowing lyricism" and so on.
In the poem, the author's emotions are obviously expressed with the help of concrete objects.
Although the word "sorrow" expresses the emotions very directly and distinctly, the author uses the technique of "flower" to express "feelings" and gives the emotions a certain degree of vividness and patience.
The "sorrow" here is the common sorrow of the author and the "falling flower", and the word "only" pulls the distance between the author and the falling flower, so that the two of them have the emotional resonance of knowing each other, understanding each other, and cherishing each other in their hearts.
In addition, it is worth mentioning that Chengju's description of "falling flowers" also presents a beautiful picture of movement and stillness on the paper, so that readers can more truly experience the "sorrow" taste of the author's pen through visual touch.
The white catkins flutter in the wind, the sunset sprinkles on a lonely tree, and only listens to the cry of Zigui from time to time.
The last two sentences can be said to be the finishing touch of this poem, which is very in line with the writing characteristics of the seven-character quatrain.
Poetry Lane has also emphasized many times in our metrical poetry writing course that the last two sentences of the seven sentences are very important, and if they can play a role in "lifting" and can write them with bright features, then the whole poem will become extraordinary.
The last two sentences of Huang Geng's poem are a good proof of this; if there are lovers of rhythmic poetry writing in front of the screen, you might as well take a serious look at it.
The author chooses the typical representative image of late spring, "willow cotton", and cuts the scene of it flying in the wind, which not only adds a vivid sense of picture to the poem again, but also strongly echoes the title and fully embodies the bleak emotions in the poem.
With the backdrop of "willow white", the warm color of "a tree and the sun" in the latter sentence is particularly rich, and with the vivid expression of "Dongfeng Lao", the desolation and sadness of "called Zigui" in the latter sentence are also particularly full.
The catkins are flying, the sun is shining, the lonely tree is standing still, and the sub-rules are crying; such a picture is so beautiful that it is sad and sad.
The last two sentences of the poem can be said to be a combination of artistic visual beauty and emotional appeal, while closing the article steadily, it also leaves the infinite charm outside the article, which can be called a proper wonderful pen.
The spring and old willows are uncertain, and the sub-rules cry a few times to listen; reading this poem, I feel it in my heart. I don't know what you think after reading Huang Geng's poem?
Chase the footsteps of poetry, read and write to the end, welcome everyone to pay attention to No. 1 Poetry Lane, the next issue is wonderful, we will see you soon!