Liuzhou fig leaves fall in February

Liuzhou February banyan leaves fall [Author] Liu Zongyuan? the Tang Dynasty

The official feels sad, and spring is half like autumn.

The mountain city is full of rain flowers and banyan leaves are full of warblers.

The frustration in officialdom and the anxiety of living in a foreign land come to mind together, and the scene in February in spring seems as cold as autumn, which makes people sad.

The flowers withered after the rain in the mountain city. The banyan leaves in the courtyard fell all over the floor, and the orioles were crying noisily.

Notes on "fig leaf" In February in Liuzhou "fig forest. Evergreen trees with aerial roots, thick stems and lush foliage. Produced in Guangdong, Guangxi and other provinces.

Huàn feelings: feelings of being an official.

Keith: The idea of living in a foreign country.

Sadness: describe sadness.

Spring half: February in spring.

Fans: Sad fans.

Mountain City: This refers to Liuzhou.

Do: wither.

The leaves of banyan trees are full of crying: satirizing the old-school figures who were in charge of state affairs at that time with scenery.

Appreciation of the Ficus carica Leaves Falling in Liuzhou in February —— This poem was written by Liu Zhou's secretary. It was February, in the warm south. Liuzhou is already full of flowers and beautiful spring. However, an unexpected storm looted the flowers and sent away the spring scenery. This is undoubtedly a spiritual blow to poets living in exile. Originally, he could also put his feelings in the scenery and relieve his inner troubles, but the reality is so ruthless! Sad mood triggered his poetic thinking.

"The public is sad, and spring is half like autumn." This poem begins with a straightforward expression of the mind. "Official sense" and "thought" are intrinsically related. Who is not moved by the hardships of traveling abroad for many years, the hardships of staying away from relatives in hometown and the sadness of leaving relatives and friends? Being demoted repeatedly should be doubly heavy. The word "complete sadness" truly shows the author's special mentality at this time. The pain of "official feeling" and the depth of "thinking" overlap and hit the poet's heart. He wanted to get rid of it, but there was nothing he could do. Under the control of this mentality, he had to walk out of the study and walk in the yard. And when he witnessed the past half of spring, his mood became heavier and heavier. "Spring is half like autumn", which is plain and fresh. It is a unique feeling that ordinary people have never had and will never have. It is indeed the scenery in the eyes of sad people and the condensation of mutual affection in their hearts. The word "lost in mind", with the meaning of "spring is half like autumn", is extremely confusing and annoying.

Three or four sentences, emphasizing narrative description. It seems that it is still difficult for people to understand the weight and connotation of rain, so the word "let a hundred flowers blossom" was added immediately. This rain is not the rain that moistens everything in early spring. It swept through the mountain city, and it rained heavily, washing everything away. This sentence, from a distance, puts the second sentence "spring is like autumn" into practice, and at the same time leads to the last sentence. "The leaves of banyan trees are full of songbirds." Dalbergia odorifera in Liuzhou has a large crown and four branches, so it can not be injured for a long time. But after the looting of this storm, those century-old banyan trees are also full of leaves. These scenes make the poet sad, and the warbler's voice adds a heavy sadness. The word "chaos" is obviously a true reflection of the poet's distracted mental state.

This poem describes the scenery and kills the depression. The writing is dignified and profound. In February, spring is in full swing, flowers are dying, and banyan leaves are full of autumn, which arouses the poet's official feeling and lingering thoughts. His conception and conception are different from the normal state, and his words and expressions are extremely dull. Su Shi's inscription on Dongpo comments on Liu Zongyuan's poem "Tao Yuanming": "It's expensive to be dry and light, dry outside and creamy inside, which seems light and beautiful, deep and thick." The works with rich content but slightly dry and indifferent words are actually the result of the poet's painstaking tempering, which is a very high realm of poetry creation art. Such works are often "lost in ancient bamboo slips and sent to the taste", and only after careful chewing for a long time can they get their true taste. Appreciation 2 As far as the poet is concerned, I am in love and I am in the realm of things. The triggering of poetic thoughts and the formation of poetry are often the result of mutual induction between me and things, feelings and situations. Liu Zongyuan's "My Topic" is just a work of blending things with my feelings. If we imagine the poet's creative state, he is an exile in a foreign land, an independent courtyard and a cluster of feelings. At this time, as "Wen Xin Diao Long Xun pian" said, his heart was shaken by "seeking movement" and he wrote lyrics because "feelings move with things". His poetic pen "follows things" and "swims with the heart". The world in the eyes is in harmony with the sad and confused feelings in the heart.

The first sentence of the poem, "My official feeling is so sad", is my inner feeling. Shen Deqian said in the anthology of Tang poems: "Liu poetry is good at mourning, which means coquettish." This is because Liu Zongyuan's life experience is similar to Qu Yuan's. He entered the official career at the age of 26 and died at the age of 47. It was only twenty-one years, but he lived in exile for fourteen years. He was demoted to Yongzhou at the age of 33 and was recalled ten years later. But only one month after he returned to Chang 'an, he was released to Liuzhou, which is farther and more remote than Yongzhou. This poem was written after he arrived in Liuzhou, that is, after his political hopes and hopes of returning to China flashed and eventually burst. You can refer to the poems he wrote on the way to Liuzhou to know this sentence, such as "From now on, you can't wait for the fleeting time" (A trip to Lingnan), "There is nothing in three hundred miles, but nine cycles of a vague forest mountain and a river are rolling in our intestines" ("Climbing the Liuzhou Tower"), "The seaside mountain is like a sword, and it is cut with sorrow everywhere" ("Hao Chusui" It is precisely because this emotion has accumulated in my heart for a long time that I don't need to use thick ink and heavy colors to render it here. Just a light stroke of the word "sadness" is enough to explain everything. When people appreciate poetry, they often find that it is the so-called "accumulation of wealth and thin hair" that expresses their deep affection with plain pen and ink, which is often more profound. As for the word "common" in this sentence, it shows that this sense of "sadness" is twofold, which is the sadness of official feelings plus the sadness of thoughts, so its weight is doubled.

The third and fourth sentences of the poem, "The mountain city is full of rain flowers and the banyan leaves are full of warblers", are the boundaries of images. At that time, Liuzhou was still a "land of sorrow", and its customs were different from those of the Central Plains. In the eyes of tourists, it is a special color and exotic sentiment, which is enough to arouse the idea of relegation and arouse their homesickness, not to mention seeing an unusual autumn scenery in February. The scene full of fallen leaves naturally makes people even more sad. Here, Yinger cries, which means "disorderly crying". It means that the poet feels things with emotion, and his words are out of emotion. In fact, there is no "chaos" in the singing of songbirds, because people who listen to songbirds are upset, so they have no feeling.

The poet wrote such a poem when the above feelings for me and the realm of things met and merged. The second sentence of the poem, "Spring is like autumn, and it becomes a mystery in an instant", is the intersection of his coming and going. If you look at the structure of this poem, it is a sentence connecting the preceding with the following. In the sentence, "I am fascinated" inherits the previous sentence, and in the sentence, "Spring is half like autumn" opens the last two sentences, thus playing a cooperative role between me and things, emotion and environment.

Of course, as far as the requirements of poetry are concerned, it is not enough for me to integrate with things, feelings and environment. The reason why this poem is particularly touching is that the poet's feelings for me are not temporary feelings and faint sadness, and the realm of things touched by the poet is not ordinary scenery or ordinary objects. Wang Shizhen has a set of "Qinhuai Miscellaneous Poems", the first of which is "Over the years, I was heartbroken by the Moling boat and dreamed of Qinhuai River Tower. In the rain and wind film of 10 day, the thick spring smoke scene is like autumn, and it is also written as "spring is half like autumn". However, Wang Shi's feelings are only a little melancholy about the past, and the land he touched is only a familiar land in the south of the Yangtze River. Although they are intertwined and masterpieces, they cannot compete with Liu Shi in weight and depth. Comments on "The Ficus carica Leaves Fall in Liuzhou in February" Author: An anonymous person wrote such a poem, when the above feelings meet and blend with the realm of things, things are perceptual and perceptual. The second sentence of the poem, "Spring is like autumn, and it becomes a mystery in an instant", is the intersection of his coming and going. if ...

Liu Zongyuan (773-8 19), the author of "Leaves of Banyan Trees in Liuzhou in February", was born in Hedong (now Yuncheng, Shanxi Province) in the Tang Dynasty, an outstanding poet, philosopher, Confucian scholar and even an outstanding politician, and one of the eight masters in the Tang and Song Dynasties. His masterpieces include more than 600 pieces such as Eight Chapters of Yongzhou, which were compiled into 30 volumes by later generations and named "Liuhe East Collection". Because he was from Hedong, he was called Liu Liuzhou, and because he was finally appointed as the secretariat of Liuzhou. Both Liu Zongyuan and Han Yu were the targets of the ancient prose movement in the middle Tang Dynasty, and they were also called "Liu Han". In the cultural history of China, his achievements in poetry and literature are outstanding, which can be said to be inseparable.

Liu Zongyuan's Other Works ○ Xiaoshitang

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A fisherman

Donkey of money

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