Summer weather synthetic materials

From the Tang Dynasty poet Bai Juyi's "Cutting Wheat"

The Tian family has less leisure in the month, and people are twice as busy in May.

In the evening, the south wind rises and the wheat turns yellow.

Mother-in-law is rich in food, and children are full of pot pulp.

Go with Tian Xiang. Ding Zhuang is in Nangang.

Filled with the heat of the country, the back was scorched by the sun.

I don't know about the heat, but I regret the long summer.

There is another poor woman with her son in her arms.

Grab the ear with your right hand and hang the basket with your left arm.

Listening to his words of concern is very sad.

My family's taxes are gone, so I can take this to satisfy my hunger.

Today, I have no merit, and I have never worked in farming and mulberry.

There are three hundred stones in the land, and there is surplus food at the age of eight.

I am ashamed to read this in private, and I can't forget it every day.

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Seeing Wheat Cutting is a poem written by Bai Juyi when he was a county magistrate in zhouzhi county, and he felt the hard-working and poor life of the local people. The work criticizes the heavy taxes that caused people's poverty, and feels deeply guilty about not doing anything with enough food and drink, showing the humanitarian spirit of a conscientious feudal official. This poem was written in the second year of Yuanhe in Tang Xianzong (807), when the poet was thirty-six years old. Zhouzhi county is located in the west of Xi City, Shaanxi Province. The county commandant is responsible for catching thieves and collecting taxes in the county. Because Bai Juyi is in charge of this matter; Therefore, he is also most aware of the disaster suffered by the working people in this respect: harvesting.

The whole poem is divided into four layers, the first layer is four sentences, explaining time and its environmental atmosphere. As the saying goes, "farmers have less leisure in January and people are twice as busy in May", and the following things will happen in May when people are twice as busy. These two sentences always affect the whole body, revealing the author's sympathy for the working people at the beginning; "At night, the south wind rises and the wheat is covered with yellow." There is a harvest scene, and the big picture is pleasing to the eye. But who can think of the sadness of farmers under this harvest scene?

Eight sentences on the second floor show this "busy" wheat harvest scene through specific families. Mother-in-law and daughter-in-law are carrying rice baskets, while little grandson is carrying a kettle. They are going to deliver meals to people who work in the fields. Men go to the fields before dawn; After getting up, women are busy with housework before cooking; The little grandson went to the fields with his grandma and mom when they were delivering food. They will work with the men after supper. Do you think this family is busy? "It was full of the heat of the country, and my back was burned by the sun. I don't know about heat, but I regret the long summer. " These four sentences describe the wheat harvest positively. Their faces face the earth and their backs face the blue sky. The bottom is steamed like a cage, and the top is roasted like fire. However, they waved their sickles with all their strength and cut them all the way forward. It seems that they have completely forgotten the heat, because this is "the tiger's mouth grabs the food", and time must be seized! Reluctant to waste. The weather is so hot and the days are so long, but people work hard and are afraid of wasting a little time, which shows how much people cherish the wheat they are about to get. The word "pity" is well used here, which is a kind of writing that goes against human nature to highlight the emotional strength of people here and now. Bai Juyi's "Charcoal Man" has a saying that "poor clothes are simple, my heart is worried about charcoal, and my eyes are cold". The usage of the word "wish" is exactly the same as that of the word "cherish" here.

In three stories and eight sentences, the camera turned to a poor woman who was ruined by taxes. At present, she can only make a living by harvesting wheat ears, which is one level lower than the above-mentioned families who are busy harvesting wheat ears. Look at her image: a child in her left hand, a broken bamboo basket in her arms, and a fallen ear of wheat in her right hand. How tired you are, and how little you get! But what can we do? Now it's time to harvest the wheat, and there are still ears to pick. If you want to change, you must beg in the street. Last year and the year before last, her family also had land to plant and a family that Michael wanted to collect. It was only later that taxes were cornered and family property and land were changed, which led to this situation today. The fourth floor, six sentences, the poet feels guilty and ashamed of such a tragic scene under the bumper harvest.

The title of the work is "Watching the Wheat Harvest", but what actually appears on the screen is a wheat harvester next to the wheat harvester, and the author's attention is just more focused on the latter. At present, they are rich and poor in different degrees, but their fate is closely related. Gleaner, who is sad and poor today, was a hard and busy reaper yesterday; I also know that today's hard-working wheat harvester will not be reduced to miserable and miserable wheat pickers tomorrow. As long as there are heavy taxes, the working people will never escape bankruptcy. Here, the author sharply criticized the tax system that harmed the people at that time and expressed deep sympathy for the suffering of the working people. Moreover, it is not general sympathy, but further putting yourself in, feeling that you are too different from the working people and feel guilty. Bai Juyi's poems at this time truly reflect the thoughts and feelings of the working people and breathe out their voices.

The basic feature of this poem is to describe the real life scene truthfully, without exaggeration. He chose the busy family and the bleak gleaning scene, which made them form a strong contrast. Although the former is bitter and tired, there is still hope for them for the time being. As for the latter, it is completely broken duckweed, which is in jeopardy. The scenes, atmosphere, image and psychology shown by the two lenses are very good.

At the end of the poem is a comment, which is the same as many satirical poems by Bai Juyi. The discussion of this poem does not directly point to the root of social diseases, but shows my guilt, which is also a vague criticism of the whole bureaucratic aristocratic society. Bai Juyi is a 300-stone county marshal. Shouldn't those big bureaucrats and big noble feel more guilty? The emperor is in charge of taxation, and Bai Juyi can't openly oppose it. He can only use this ending to achieve the purpose of irony.

An excellent poem describing summer in the composition material: We look at the green trees surrounding your village and the light blue distant mountains.

From Meng Haoran, a poet in the prosperous Tang Dynasty, "Passing through the Old Village"

This old friend prepared a delicious meal and invited me to his hospitable farm.

Green Woods surround the village and green hills are located outside the city.

Open the window facing the valley vegetable garden and pass the glass to talk about crops.

Please come here to see chrysanthemums when the ninth festival comes.

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The whole poem depicts the beautiful mountain village scenery and quiet rural life, with plain language, natural and smooth narration and no traces of rendering and carving. However, it has sincere feelings and mellow poetry, and has the aesthetic interest of "clear water produces hibiscus, which is naturally carved", so it has become a masterpiece in pastoral poetry since the Tang Dynasty.

Write a sentence or two on the invitation, "old friend" means it's not the first time to be a guest. Three or four sentences are famous sentences describing the scenery of mountain villages. Surrounded by green trees, the green hills are oblique, just like a faint ink painting. Write five or six sentences about the taste of mountain village life. Facing the garden in the yard, talking about crops with wine is kind and natural, full of life breath. At the end of the two sentences, let's get together on the Double Ninth Festival and write down the depth of friendship.

"Prepare chicken and rice for me, old friend. You entertain me on your farm." This beginning is like a note in a diary. An old friend "invites" and the author "arrives". There is no rendering in the text, it is simple and casual. This is just a possible form between friends who don't need to be polite. The invitation of "chicken and millet" not only shows the unique flavor of Tianjia, but also shows the simplicity of hospitality. It is this kind of hospitality without ceremony and ostentation and extravagance that makes the hearts of friends more open to each other. This beginning is not very focused, calm and natural, but it is an excellent introduction to the content of life to be developed, showing the characteristics of the atmosphere, which needs to be further enriched and developed below.

"We look at the green trees around your village and the pale blue mountains in the distance." When I entered the village, the author looked around for such a fresh and pleasant feeling. These two sentences are close to the border and surrounded by green trees, which seem to be unique and unique. The next sentence is light, accompanied by green hills abroad, which makes the village not lonely and shows a broad prospect. The village is located in Pingchou, far away from Qingshan, giving people the feeling of lightness and tranquility, but it is by no means indifferent and aloof. It is precisely because the "old friend village" appeared in such a natural and social environment that the host and guest raised their glasses at the window.

"We open your window, cross the garden and field, and talk about mulberry and hemp with cups in our hands" is even more carefree. The word "open porch" here seems to be inadvertently written into the poem, but the above two sentences are written on the outer wall of the village. Here, the narrator drinks and chats in the house. The porch window is open, and the outdoor is reflected indoors, giving people a relaxed feeling. For these two sentences, people pay more attention to "talking about Sang Ma" and think that it is "meeting each other without miscellaneous words" (Tao Yuanming's Returning to the Pastoral Residence). But there are threshing floors and vegetable gardens in front of the entrance window, surrounded by green shade, giving people a spacious and stretched feeling. The word Sangma makes readers feel that it is rural. Thus, readers can not only appreciate the stronger local flavor, the flavor of labor production, but also smell the soil flavor on the nursery, see the growth and harvest of crops, and even feel the characteristics of regions and seasons. With the combination of these two sentences and the first two sentences, green trees, green hills, cottages, playgrounds and Sang Ma blend harmoniously, forming a beautiful and quiet pastoral landscape, while the laughter of the host and guest and the words about Sang Ma seem to linger in the readers' ears. It is different from the pure fantasy of the Peach Blossom Garden, but it is more realistic in the prosperous Tang society. It is in this world that poets who once lamented that "the Lord of the realm is harsh on us, and the people who handle affairs are not like us" not only forgot the setbacks encountered in political pursuit, but also forgot the gains and losses of fame and fortune, even the lonely and depressed mood in seclusion. From his glance at the green hills and trees, and his wine conversation with friends in Sang Ma, we can see that his thoughts are relaxed and even his actions are flexible. The environment and atmosphere of the farm showed its conquest here, which made Meng Haoran somewhat converted.

"I'll come back at chrysanthemum time when I have a holiday on the mountain." Meng Haoran was deeply attracted by the farm life, so when he left, he told his master frankly that he would come back to see chrysanthemums in the autumn Double Ninth Festival. A few simple poems, the enthusiasm of old friends to treat each other, the pleasure of being a guest, and the cordial harmony between the host and the guest are all on the paper. Du Fu's "Drinking by Tianfu Mud, Drinking Beauty, Being Strict and Sincere" said: "When the moon rises, I will stay, but I still ask for help." In Du Fu's poems, Tianfu keeps people, and the feeling is urgent; In Meng Haoran's poems, he also made an appointment with an old friend, meaning to ease his words. Readers can get a glimpse of the difference between Du Fu's depression and Meng Haoran's calmness.

An ordinary farm, an ordinary dinner of chicken and millet is so poetic. It describes the prospect of the eyes, and the level of description is completely natural in spoken language. Both the pen and the pen are very relaxed, and even the form of rhythmic poetry has become free and flexible. The feeling that the poem gives readers is that this brisk and approachable style complements the simple pastoral described by the author, showing a high degree of adaptation in form and content, but it is calm and kind, but not dull. Plain contains deep affection. On the one hand, although there is almost no trace of strenuous exercise in every sentence, on the other hand, there has never been weakness in every sentence. For example, the first two sentences of the poem only write the invitation of friends, but they can show the simple peasant atmosphere; Three or four sentences only write green trees and green mountains, but you can see a world; Five or six sentences only write wine gossip, but they can show the comfortable fit between mood and environment; Seven or eight sentences only say that Chongyang will come again, but naturally they show their attachment to this village and old friends. These sentences are balanced and even, and together with * * *, they form a complete artistic conception, which combines quiet and beautiful pastoral scenery with simple and sincere friendship. This is the so-called "although the writing is wonderful, the syntax is not seen" (Shen Deqian's "Three Hundred Tang Poems"), "If you don't wonder, you will be strange ... If you lose your job, you will be unfortunate" (Pi Rixiu's "Yunzhou Meng Ting Ji"). He deeply integrated artistic beauty into the flesh and blood of the whole poem, which seemed natural and natural. This kind of showmanship is not dazzling, not showing off skills, not only relying on one or two carefully crafted sentences to prop up the facade, but also reflecting the superb artistic level. For example, a beautiful woman, her beauty is perfect and holistic, not because a certain part is particularly touching. Instead of putting on airs, she was amazed by a natural color and charm. It is precisely because of the true reflection that the words are scattered and pure, which makes the whole poem show its charm from "light touch" without "heavy makeup"

An excellent poem describing summer: the early summer is still peaceful and the grass has not stopped.

From the Southern Dynasty poet Xie Lingyun's "Swim the Redstone into the Far Sea"

The first summer was peaceful, and the grass didn't rest.

Water stays in the morning and evening, and the clouds are repeated.

Zhou Lan is very tired, but Kuang is very poor.

There is steady flow after Sichuan, but Jason Wu does not send it.

Set sail for quarrying, and hang seats to meet the bright moon in the sea.

The rise has no clue, and the virtual boat has surpassed it.

Loyalty and light-heartedness inspire others, and they are eager for help.

Unfortunately, there is not enough fame and fortune, but what suits you can be ignored.

Please attach a public statement, but thank you for your deletion.

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After the trip to Nanting (see You Nanting), Xie Lingyun began his journey of seeking success in Yongjia. On the one hand, mountains and rivers can't really soothe the bitterness in his heart, so during this time, the word "tired" often appears in his poems; On the other hand, however, the scenery always gives him new feelings, which makes him lose his balanced mentality, at least get vent and tend to a temporary balance. It is in this wandering that he established his position as the originator of landscape poetry, which may be unexpected by himself.

Chishi is located in the southeast of Nanyongning (now Yongjia, Zhejiang Province) and Angu (now Ruian, Zhejiang Province), about dozens of miles away from the county seat and adjacent to Wenzhou Bay in the east. Maritime navigation, usually considered as a place name, is actually a business. According to the Song Dynasty's Yongjia County Records, "Sailing boats surround the mountain, and the land is used to the sea, so there are many ships, so the mountain is named after sails", which is located in the north of Angu County. The so-called sail land of spiritual luck should be in this mountainous area. However, Ji Zheng didn't say that there was a place name "Oceanwide", so the word "Oceanwide" should be regarded as a verb-object structure. The title seems to refer to visiting Chishi and then sailing at sea. The focus of the poem is on the sail sea, and swimming in Chishi is just an introduction.

The whole poem is divided into three levels. The first level of the clause is "Kuang nails poor hair". It is written that you are tired of swimming in the red stone, and then you want to sail in the sea. As the second level, from the sentence "behind the ship" to the sentence "virtual boat", I am writing about the situation of sailing and the change of mentality. Below the sentence "Zhonglian" is the third level, that is, wandering and thinking, which carries the purpose of adapting to the weather and saving lives. The change of mood is the main thread running through the whole poem.

The sentence "Keeping Summer" echoes the poem "I am not tired of youth, I have seen Zhu Ming move" in You Nan Ting, which not only points out the holiday season, but also shows a complex mood of comforting feelings. You Nan Pavilion was moved by the scenery. Judging from the iteration of spring and summer, it is deeply sad that the prime of life has gone and he is sick in Sri Lanka. What is said here is that it is early summer, the weather is finally refreshing and warm, and the grass has not withered because of the arrogance of the sun. It can be seen that the poet seems to have recovered slightly from the sadness of his previous poems. In particular, we can notice that "the fragrant grass is still in its infancy", in fact, the reverse is "Li Sao" and "I am still in infancy before I am old, and I am afraid that the thrush will sing first, making my husband's grass not fragrant". Then, in "Masturbation", we can see Xie Ke's arrogant character of "courting officials". However, this relief can't last long. It's monotonous to swim around the red stone dozens of miles to the south outside the county, and the change of rain or shine and the appearance of clouds have lost their freshness because of frequent appearance. This trip to the seaside has been exhausting, and more importantly, they are faced with a barren land in the far north and a poorer and northerner sea. Some people think that "Kuang Nai-poor" is a poet who is full of lofty sentiments and bent on going to sea. But the word "Kuang Nai" clearly means "tired". Before seeing the sail sea, the poet was in a bad mood.

However, when the boat entered the sea along the harbor, the wonders suddenly became clear and the water was like a mirror. After crossing the Chuanjiang River, the river is safe, and the eight poems of Bo Tianwu in Chaoyang Valley are tyrannical, but they are also "quiet" at this time, as if welcoming the poet's visit. So he rowed on the sea of Zhang Yunfan, and casually took this stone flower, which was shaped like a turtle's foot and as big as a mirror-a white full moon. When he looked up and looked back, the sea was boundless, and his mood was as empty as sitting in a canoe.

Looking at the sea from a distance, the poet's feeling must be the same as that of Hebo in Zhuangzi Qiushui, which really opened his mind and swept away the accumulated troubles. So, he wanted to travel, pursue the ancient times, and then realized the truth of life: there were all kinds of hermits at sea, helping Lu Zhonglian who retired after his career was successful; And in the year of Childe (see King Zhuangzi Qin), he was above the river and his heart was under Wei Que. Although the shapes and traces are similar, their interests are quite different. The latter is just a false hermit with a false name, which is out of place with Zhuangzi's "Don't be a martyr" (Autumn Water). Just as Lu Zhonglian said, "I am rich and trusted, and I would rather be poor than belittle the ambitions of the world", which is in line with the truth of "returning to nature". Compared with the two, the poet seems to be wary of his conceited life in the past. He is willing to remember a passage that Taigong Ren taught Confucius in Zhuangzi Sanmu: "Cut the straight wood first, and the spring will be exhausted first." If you show your talent, you will be appointed by heaven. Only by "cutting the scars and damaging the potential", bathing in the snow, and filling the inside with humility can we remain healthy all year round-just like the sea, bottomless and boundless, but as flat as a mirror. At this point in the poem, the situation completely conforms to infinity.

Fang's "Zhao Wei" once pointed out that Tong Zhuang, this poem takes the meaning of both "Zhuangzi" and "Autumn Water". The poem takes Hongshi as the guest, sails and sails as the main body, and takes the combination of "Zhou Lan is tired and poor" and "no mood, empty boat is outside" as the turning point, expressing the spiritual sublimation caused by seeing Wang Yang in the lyric of the landscape, and showing the structure of the poem.

The reason for this poem is naturally reflected in the natural and exquisite journey of landscape writing. "Sailing for quarrying, hanging seats to meet the sea and the bright moon", seafood is rare, and seeing the poet sailing in the warm wind and the sea of tranquility is full of comfort, then the idea of being suitable for the public will naturally arise. Bao Zhao's comments on Xie's "Born Lovely as a Baby Lotus" ("Biography of Heather") refer to this language feature that Chinese is full and overflowing, elegant without hurting cleverness.

A quatrain describing summer: the crystal curtain moves and the breeze rises, and the roses are full of fragrance.

The poet's masterpiece "Summer in the Mountain Pavilion" in the late Tang Dynasty.

Green trees, deep shadows, long summer, the reflection of the tower in the pond.

The crystal curtains are blowing gently, and the roses are fragrant.

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This is a seven-character quatrain describing the summer scenery.

The first sentence seems dull, but carefully pondering the word "shade" not only makes the tree lush, but also implies that the sun is like fire around noon in summer, so the "shade" can be "thick". This "thick" is not only the chance of shade, but also the meaning of "deep" in depth, that is, the shade is dense and deep. A Dream of Red Mansions describes the scene of the Grand View Garden at noon in midsummer, which means "the scorching sun is in the sky and trees are everywhere". Around noon in summer can give people the feeling of "long summer". Yang Wanli said in "Taking a nap in early summer" that "sleeping for a long time is ruthless", which was written by me. Therefore, "the length of summer" is implicitly associated with "the shade of trees", which is by no means an ordinary pen.

In the second sentence, "the balcony reflects into the pond", the poet sees the balcony reflection in the pond. The word "Ru" is well used: at noon in summer, the sunny sky is silent, the water in the pool is crystal clear, and the reflection of the balcony is very clear in the pond. This word "Jin" just writes the real scene of the balcony reflection at this time.

The third sentence, "The crystal curtain moves and the breeze rises", is the most exquisite sentence in the poem. This sentence can be divided into two meanings. First, the pool water under the scorching sun is crystal clear; The breeze is blowing gently and the sea is blue. The poet used the "crystal curtain moving" to describe this scene, which is wonderful and very realistic-the whole water surface is like a curtain made of crystal, blown by the wind, and under the rippling water waves, the reflection of the balcony shakes with it, which is very wonderful. Secondly, poets who look at the scenery first see the fluctuation of the pool water and then feel the wind. Summer breeze will not be felt at once, only when you see water waves, so it is said that "the crystal curtain moves and the breeze rises." If you write "the breeze rises" first and then "the crystal curtain moves", it will be as tasteless as chewing wax.

Just as the poet was intoxicated with the beautiful summer scenery, suddenly a burst of flowers came, and the aroma was refreshing, and the poet's spirit did it one brace up. The last sentence of the poem, "the fragrance of roses all over the yard", adds bright colors to the quiet scenery and is full of intoxicating fragrance, which makes the whole poem full of unique vitality in summer. "One Courtyard Fragrance" coincides with the above sentence "The breeze rises".

Poetry describes the summer scenery, using similar painting techniques: dark green trees, reflections on the balcony, water waves in the pond and roses on the shelf, forming a picture with bright colors and clear artistic conception. All this was described by the poet standing on the mountain pavilion. Although there are no mountain pavilions and poets in the poem, when people appreciate this poem, they seem to see mountain pavilions and leisurely poets.

This article describes the leisurely feeling of the pond in summer.