What are the ancient poems describing spring?

Langtaosha

The Bianshui River flows eastward with tiger eye patterns,

The Qinghuai dawn color is duck-headed spring.

Look at the sandy place at the ferry.

How many people are crossing the world.

This is a nostalgic poem. The Bianhe River in the title refers to the eastern section of the Tongji Canal opened by Emperor Yang of the Sui Dynasty, that is, the section of the canal from Banzhu (today's north of Xingyang, Henan) to Xuyi and Huaihe. In order to visit Jiangdu, Emperor Yang of Sui Dynasty mobilized more than a million migrant workers to dig Tongji Canal and plant willow trees along the embankment, which is known as Sui Embankment in the world. A luxurious palace was also built on the bank of Bian River. This Bianhe River is a historical witness of Emperor Yang of the Sui Dynasty who was extravagant and lustful, exhausted the people's support, and ultimately destroyed himself. The poet's nostalgia for the past and sadness for the present, as well as his sense of the vicissitudes of history, are triggered by the Bianhe River in front of him.

The first sentence puts aside the past events of the Sui Dynasty and focuses on the spring scenery of the Bianhe River. Bianshui River has blue waves and flows eastward leisurely. The green willows on the embankment are covered with soft silk. Thousands of miles of green fields on both sides of the bank are connected with fields. You can see the boundless spring scenery. The flowing water of the Bianhe River attracts people's imagination to see the thousands of miles of spring scenery on both sides of the river. It makes the originally relatively abstract three words "infinite spring" have a vivid sense of image, and it transitions to the second sentence without any trace. Liu Yuxi's "Willow Branches" said: "Emperor Yang's palace was by the Bianshui River." The "Sui Family Palace" in the second sentence specifically refers to Emperor Yang's palace by the Bian River. Spring is always there, but the luxurious Sui Palace at that time has become desolate and decadent, leaving only broken wells and ruins for people to pay homage to. "Has become dust" uses exaggerated pen and ink to emphasize that the luxury of the past has disappeared. It forms a shocking and strong contrast with the boundless and eternal spring scenery in the previous sentence, showing the vicissitudes of the world and the ruthlessness of history. "The six generations of Taicheng competed for luxury, and the spring wedding was the most extravagant. Thousands of households and thousands of doors grew into weeds, only for the flowers in the backyard" (Liu Yuxi's "Five Titles of Jinling·Taicheng"), which is included in "The Palace of the Sui Family" Isn’t the connotation in "Chengchen" exactly this kind of profound historical emotion?

The first and second sentences still generally express feelings about the eternal beauty of spring and the absence of luxury. The third and fourth sentences further capture the typical representative of spring scenery in Bianshui - the willow color on the Sui embankment to express feelings. The spring breeze of willow catkins floats like snow, which is a beautiful spring scenery that makes people feel happy. However, the willows on the Bianhe River embankment in front of us are entwined with the rise and fall of the Sui Dynasty and the vicissitudes of history. The spring scenery is not only not pleasing to the eye, but also On the contrary, it made people feel more emotional. The willow trees along the embankment of Emperor Yang of the Sui Dynasty were originally to embellish the scenery for his extravagant behavior during his southward tour to Jiangdu. In the end, the willow trees along the embankment of the Sui Dynasty became a historical witness of the debauchery and the subjugation of the country, allowing future generations to deeply understand the risks of luxury and luxury in front of it. After all, history is ruthless. In the eyes of poets with deep historical sentiments, the poplar flowers that are blowing in the wind and flying all over the sky seem to be a symbol of the disappearance of luxury in the Sui Dynasty (the poplar of poplar and the poplar of Yang Sui also form a kind of ideological connection) Natural connection, it is easy for people to make associations from here to there). However, what is even more depressing is perhaps the objective reality: Although the lessons of the Sui Dynasty are not far away and the same mistakes are made before them, the contemporary feudal rulers have not learned any profound lessons from the history of the Sui Dynasty. Feeling sad without taking heed will only make future generations feel sad for today's people again. This may be the deeper meaning contained in the two lines of the poem "Pedestrians should not go up to the long embankment to look, for when the wind blows and the flowers bloom, they will worry about killing people."

Reminiscing about the past and chanting history have something in common in terms of expressing historical emotions and embodying real-life political feelings. However, chanting history is mostly inspired by events and focuses on embodying historical lessons; nostalgia for the past is often inspired by scenery and focuses on expressing the feelings of the rise and fall of the past and present. The former is more real and the latter is more imaginary; the former is more concrete and the latter is more ethereal. By comparing Li Yi's poem with Li Shangyin's "Sui Gong", which has a similar theme and content, we can see the similarities and differences between the two. "The Palace of the Sui Dynasty" grasps the typical example of "the spring breeze lifts the country to cut the palace brocade, half as a barrier and half as a sail", showing the huge waste caused by traveling south to the Jiangdu, and embodying the historical lesson of extravagance and debauchery that subjugated the country; "Bianhe Qu" However, the contrast between the spring scenery of Bian River, the flying willows and flowers on the dike and the desolation and decadence of the Sui Palace embodies historical emotion in the rise and fall of the past and present. One of them focuses on "seeing the trouble in a corner", and the other focuses on "introducing the past and cherishing its prosperity". If you cannot see their similarities, you may regard nostalgic poems as simply nostalgia for the past and sentimentality about history, ignoring the meaning of hurting the present; if you cannot see their differences, you may often regard them as nostalgia for the past and sentimentality about history. It is easy to think that the content of nostalgic poems is too general. The value of nostalgic poetry is often not easily understood, and this is probably an important reason.

Recommended on 2019-02-12

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