#以书之名#
Waiting, the river is often like a tidal wave, sometimes calm, sometimes surging. In ancient times, waiting for someone was more like a grind of the soul. At that time, there were no modern means of communication, and a "wait for me" could make people drift in an endless river of time. If someone delays something, all that is left is the loss that is full of expectations and turned into a shadow.
The ancients felt a lot about waiting. They incorporated those complex emotions into the poems, so that when future generations read them, it seems that they can travel through thousands of years and resonate with their hearts. Lu Yan of the Tang Dynasty once wrote in "The Shadow of the Sycamore: The Sunset Slope": "The old man will not come tonight, teach the person to stand up the shadow of the sycamore." Imagine the poet under the plane tree, looking forward to it, the night falling, the autumn breeze is bleak, and the inner expectation and loss are intertwined, forming a poignant picture.
Meng Haoran also once had a poem: "The son of the son is coming, and the lonely piano is waiting for Luojing". The poem describes an agreement with a friend, but before the friend arrived, the poet could only be alone, stroking the piano and waiting. This scene seems to let us see a quiet mountain forest, the moonlight is sprinkled on the piano, and the poet's heart has already drifted into the distance.
However, if you want to say that the most touching poem of waiting, it is Zhao Shixiu's "The Guest" in the Song Dynasty. Zhao Shixiu, as the eighth grandson of Song Taizu, has a completely different life interest from the royal children. In his "The Guest", the sentence "If you don't come for the night and a half, you will knock on the chess pieces and drop the lanterns" is like a delicate picture, showing the poet's appointment with his friends in the dead of night. And the failure of a friend made the poet transform this waiting into a deep understanding of life.
Zhao Shixiu's poems not only express his unique feelings about others, but also show his love and pursuit of life. His poetry style is unique, known as the Jianghu poetry school, and has become a clear stream in the literary circle of the Song Dynasty. And his song "The Covenanter" has become a classic praised by future generations.
In the Huangmei season, it rains at home, and the grass pond is full of frogs.
There is an appointment not to come for the night and a half, and the chess pieces are idle and the lights are dropped.
At the beginning of the poem, the words "Huangmei Season" are used to gently outline a picture of the smoke and rain in the south of the Yangtze River. The plums are ripe, the rain is colorful, and the Jiangnan in the mist and rain is like an ink painting, which is so beautiful that people are intoxicated. This kind of scenery has attracted many literati and artists to linger, looking for that trace of elegant poetry.
Immediately afterwards, the melodious frog chirping in the poem is like a symphony of summer nights, resounding in the ears. In this quiet summer night, the sound of frogs is even more crisp, as if they are talking to the drizzle, weaving the summer night dream of Jiangnan. The drizzle and the sound of frogs chirping, moving and still, reflect each other, which makes people think of the picture of smoke and rain in the south of the Yangtze River, and a quiet beauty is born in their hearts.
However, the emotion in the poem reaches its climax in the third verse. The poet turned his pen and mentioned that a visitor had visited, but he did not arrive in the middle of the night. This expectation and loss, like a touch of loneliness in the drizzle, quietly permeated my heart. The poet waits for the guest's knock, but only hears the sound of rain and frogs, and this contrast adds to the loneliness and melancholy.
The last sentence "Knocking on the chess pieces and falling the lanterns" is undoubtedly the essence of the whole poem. When the poet was bored, he tapped the table with a chess piece and inadvertently knocked off the lamp. This detailed description vividly shows the poet's inner melancholy. His movements, though mechanically repetitive, reveal a deep expectation of his guests. The fall of the lamp means that the wick has been burning for a long time, and it also suggests that the poet has been immersed in this anticipation for a long time.
Throughout the poem, the poet depicts the beautiful scenery of the south of the Yangtze River with delicate brushstrokes, skillfully integrating emotions and scenery to complement each other. The last sentence pushes the poet's loneliness and disappointment to a climax, in stark contrast to the sound of rain and frogs outside the window. The more noisy it is, the more the poet is in a state of dismay. Read carefully, the artistic conception is elegant, fresh and refined, and it is really a classic.