What are the artistic features of Wang Anshi's Nostalgia at Xiang Jin Mausoleum in Gui Zhi?

The scenery of this poem is magnificent and the weather is open, which fully shows the author's high foothold and broad mind. The first three sentences are generally written. In a few words, the season, place and weather are clearly explained, and the whole word is put in a perspective overlooking the fence. In a crisp autumn atmosphere, the momentum is extraordinary. The following "A thousand miles into a river is like a practice" describes water, and "Qingfeng is like a cluster" describes mountains, which describes the situation of mountains and rivers in Jinling as a whole and depicts a broad background for the whole poem. Navigation is a concrete description of the scenery under this background. On the river, countless sails are sailing in a hurry in the afterglow of the sunset. Compared with "Western jackdaw is somewhat west outside the sunset, and the water flows around the lonely village" (Qin Guan's Man Ting Fang), the former is vast and magnificent, while the latter is sad and has a different style. However, many jagged wine flags on both sides of the Yangtze River are floating in the wind. Compared with Du Mu's "Wine Flag Wind in Guo Shan in Water Village", the difference between bodybuilding and bodybuilding is obvious. As for "colorful boats are cloudy, herons rise to the Milky Way", just like the focal plane is further pushed away, with the sails drifting away, the poet's vision is also expanded, so that water and heaven can be integrated into one, and the myriad manners of the Yangtze River are written in a broader space. The distant sails are like floating in the faint white clouds, and the flying egrets are like starting from the Milky Way. The word scenery is mixed with reality, alternating with shades, interlaced with distance, combined with reality, and the shades are appropriate, which constitutes a wonderful landscape map of Jinling. Its broad and fresh realm and magnificent style are incomparable to those works such as Small Garden Fragrant Path and Falling Moon.

Secondly, the idea is novel and far-sighted, which shows the insight of a sober politician. The comments made by Gui Zhixiang in his next films are by no means lamenting personal joys and sorrows, but reflecting his concern and anxiety about the future of the country and the nation. The first three sentences, "I miss the luxury struggle in the past, sigh on the roof outside the door, and complain constantly", were read by exposing the rulers of the Six Dynasties who built Jinling as their capital and took advantage of the beautiful mountains and rivers in the south of the Yangtze River to make a mistake. People who sigh are contemptuous of their tragedy after tragedy, which is both sad and hateful. The criticism of this sentence is that since ancient times, literati and poets have only lamented the rise and fall of dynasties in the face of Jinling mountains and rivers, failed to jump out of the small circle of honor and disgrace, and failed to stand at the proper height, so it is difficult to learn historical lessons from the successive collapse of the Six Dynasties. Now, the past of the Six Dynasties has gone with the flowing water, leaving only a few lifeless strands of hay shrouded in cold smoke. This song "Cold Smoke Rotting Grass Coagulating Green" clearly reveals the author's dissatisfaction with the failure to make great efforts to govern the country in the Northern Song Dynasty. The whole word focuses on the conclusion: "Today, business women still sing all the time, and the music stays in the backyard." This meaning was also written by Du Mu in the Tang Dynasty. However, unlike Du Mu, the author does not blame the ignorance of business women, but refers to scolding, implying that geisha is still singing the voice of national subjugation, precisely because those in power indulge in debauchery and lead a drunken life. However, it will be as sad as the Six Dynasties if we don't change course and take measures to enrich Qiang Bing. This conclusion is tantamount to warning the authorities in the Northern Song Dynasty. Some people say that Zhang Wei's "Leaving the Pavilion" is the original of Wang Anshi's "Guizhixiang". From the perspective of language and syntax, Wang Ci was really influenced by Zhang Ci. Zhang Fang is just a negative sadness about the rise and fall of the Six Dynasties: "How many things happened in the Six Dynasties? Looking at the floor, there is nothing to say when it is cold. " The ideological realm of these two words can hardly be mentioned in the same breath.

Third, the composition pays attention to the writing of prose, which is coherent and extremely similar. In the first sentence of the last movie, the word "seeing is wrong" enveloped the whole article, and an article was born. The second sentence "old country" points to Jinling, paving the way for the next discussion of homesickness. The following scenery is written from a general perspective, followed by close-up and prospect, and finally stopped at "painting difficulty", which not only summarizes the above scenery, but also naturally turns to the following discussion. This arrangement is very appropriate and natural. The following film opens a discussion: Jinling is so magnificent, but it is a historical witness to the successive demise of the Six Dynasties. The three sentences of "thinking about the past and thinking about the future" show the attitude towards the rise and fall of the Six Dynasties, and the two sentences of "leaning on the sky to shine through the ages" write the views on the works that have always paid tribute to Jinling. The following is to turn it into reality, and the sentence goes back to today. The head and tail are round, the structure is precise, and the layers are unfolded. There are scenes in the lyrics, such as Yan Shu's "Walking on the Sand": "A sad dream wakes up and the sunset shines deep in the courtyard", which is an inexplicable spring worry; There is a love complex, such as Liu Yong's "Wu Fengqi": "Clothes are getting wider and wider without regrets, and people are haggard for Iraq", which shows a single-minded and sincere love. Guizhixiang ends with a discussion, in which the author's views on major practical and political issues are entrusted. These characteristics of the text structure of Guizhixiang reflect that the development of Ci is characterized by prose after entering slow Ci.

Fourth, allusions are appropriate and natural. "A thousand miles into a river is like practicing" is a poem in Xie Tiao's "Going to Three Mountains at Night and Returning to Wangjing": "Yu Xia is scattered into beautiful scenery, and Chengjiang is as quiet as practicing." The Star River Herons Rise is based on a poem written by Li Bai when he boarded the Phoenix Terrace in Nanjing: "Three mountains and a half fall out of the sky, like this egret is divided into Dao Jiang". "Sighing on the roof outside the door, sorrow and hatred continue" is an allusion of the Sui Dynasty's destruction of the past: when Enemy at the Gates was in China, the heartless General Sui was still singing and dancing with his beloved concubine Zhang Lihua. Du Mu's Taicheng Qu once recited this matter. However, Wang Anshi skillfully only borrowed the word "building outside the door", saying that the army was under pressure and the building was decadent and shameless, which showed the collapse of the Six Dynasties very succinctly and vividly. The word "sorrow and hatred" summarizes the history of the Southern Dynasties. The end of the sentence is based on Du Mu's poem "Bo Qinhuai", but it is endowed with more profound and incisive ideological content. Before Wang Anshi, it was rare to use four allusions in one word.

Missing the mausoleum

This is the late autumn in the ancient country, and the weather is very early. Thousands of miles are like a river, like clusters of Qingfeng. Sail back to the sunset, with the west wind on your back and the wine flag tilted. The colorful boat is cloudy, and the Milky Way heron rises, which is difficult to draw.

Miss the past, compete for prosperity, sigh outside the door, and continue to hate. Throughout the ages, it is a shame to look up to it. The past of the Six Dynasties flowed with the water, and the cold smoke faded the grass. Today, the strong women in business still keep singing, and all the songs in the backyard are left behind.