Young people leave home, old people come back,

The local accent has not changed.

The children don't know each other,

They laughed and said, "stranger, where are you from?"

Homecoming Books (2)

Original poem:

It has been many years since I left my hometown.

Recently, the staff has been consumed by half.

Only the lake in front of the door,

Spring breeze does not change the waves of the past.

The first song was written when I first came here, expressing my feelings of hurting the old for a long time. In the first and second sentences, the poet was in a familiar and unfamiliar environment in his hometown, and he felt quite uneasy all the way: he left home in his prime; When I got home today, I couldn't help feeling. The first sentence summarizes the fact that you have been away from home for decades with sentences like "running away from home when you are young" and "going back to your boss", which implies the feeling of hurting your boss. The second sentence inherits the previous sentence with "the hair on the sideburns is fading", and specifically describes the state of being a boss, and sets off the changed "hair on the sideburns" with the constant "local accent", meaning "I don't forget my hometown, can my hometown still recognize me", thus paving the way for the following two sentences to arouse children's questions.

Three or four sentences changed from an emotional self-portrait to a dramatic scene in which children smiled and asked questions. "Laugh and ask where the guest comes from", which is just a faint question among children, so stop here; On the poet, it became a heavy blow, which triggered his infinite feelings. In his later years, the sadness of the opposition between subject and object was included in this seemingly dull question. This is the place where the whole poem ends quietly, but the meaning is like an empty valley, full of sadness and boundless.

As far as the whole poem is concerned, one or two sentences are mediocre, while three or four sentences are like twists and turns, with no boundary. The beauty of the last two sentences lies in the powder on the back, which is seamless: although mourning is written, it is expressed in a happy scene; Although I wrote about myself, it was turned out from the side of the child. The scene where children ask questions is full of life interest. Even if we are not infected by the poet's long-term feelings of hurting the elderly, we can't help but be moved by this interesting life scene.

The second song can be regarded as a sequel to the first one. After the poet got home, he learned about the personnel changes in his hometown through conversations with relatives and friends. While sighing for a long time, he could not help sighing about the impermanence of personnel. "Leaving my hometown for many years" is equivalent to the last song "Leaving home to be the boss when I was young". The poet never tires of repeating the same meaning, just because all feelings are caused by decades of exile. So the next sentence is to dig out the discussion about personnel. The sentence "Recently, people have passed half" seems abstract and objective, but it actually contains many specific contents that deeply touch the poet's feelings. The sigh of "finding half our friends dead" and all kinds of sighs caused by the sinking of relatives and friends are included. Too numerous to mention, so we have to brush it off in general.

After three or four sentences, the poet's eyes shifted from personnel changes to the description of natural scenery. Jinghu Lake is located at the northern foot of Huiji Mountain in Shaoxing, Zhejiang, more than 300 miles from Fiona Fang. He's former residence is next to Jinghu Lake. Although it has been decades since I left Jinghu Lake, the water waves in Jinghu Lake are still rippling in the surrounding spring scenery. By the independent mirror lake, a feeling of "things are different from people" naturally came to my mind, so I wrote a poem "Only the mirror lake in front of the door, the spring breeze will not change the old waves". The poet compares "semi-killing" with "unchanging", further develops the meaning of "semi-killing" with "only", and emphasizes that almost all things in the past have changed except the lake wave. From the direct expression of one or two sentences to the writing and discussion of three or four sentences of scenery, it seems to be idle and irrelevant. In fact, this is a clever contrast, which only strengthens the feelings to be expressed from the opposite side. Under the background of continuous lake waves, the feelings of personnel are getting deeper and deeper.

It should also be noted that words expressing time such as "many years", "recent" and "old times" run through the whole poem, which makes the whole poem shrouded in an atmosphere of deep meditation and overwhelming emotions. Compared with the first Prime Minister, if the poet once felt that it was a little relief to be among his relatives when he entered the house for the first time to see the children, then when he was introduced by his relatives and friends, he became independent from the sparkling mirror lake, which undoubtedly became more and more sad.

Write to my wife in the north on a rainy night.

(Tang) Li Shangyin

June asked whether the return date has not yet been determined.

Autumn pool night rain rises.

When * * * cut off the western window candle,

But words in the rain at night.

This little poem is written clearly, without allusions or comparisons, and goes straight to books, landscapes and words. The affection in the scene, the blending of the scene and the infinite affection in the plain words leave endless room for aftertaste. ?

At the beginning of the first sentence, you directly call the other person "Jun" and draw a picture of lovesickness between husband and wife from a unique perspective: Dear wife, you must be anxious to ask me when I will come back, so I'm telling you now that I don't know when I can go home. The uniqueness of this poem lies in the poet's writing of acacia from a misplaced perspective, that is, the other party may not really write to ask about the date of return, but the poet imagines that his wife is missing and asks about the date of return. In China's ancient poems, the poems about lovesickness often do not directly describe how they miss each other, but how they miss themselves, thus implicitly expressing the poet's feelings of missing. For example, Du Fu's "Looking at the Moon" shows his missing for his wife by imagining that his wife misses him on a moonlit night. The phrase "Jun asks if he will return soon" seems dull, but it injects the thoughts of his wife into every word, which is euphemistic, affectionate and intriguing. ?

"Late Rain Rising in Autumn Pond" is about the environment in which he lived at that time, that is, the scenery. The poet described a specific environment in concise language: Bashan, autumn night and heavy rain. The author gives a more specific description of this environment, not only describing the rain in the sky, but also describing the rain accumulated underground. Through the realistic scenery, people seem to feel such an atmosphere: it is dark all around, it is raining cats and dogs, the pool is full, there is no intimate friend around the author, and it is raining cats and dogs, making people feel lonely and desolate. This intermittent autumn rain makes people upset, the pool is full of feelings, and the nature author's heart is also surging. Then, the feeling of "autumn pool rising" is more than torrential autumn rain and rising pool water. Obviously, it is the emotional wave of the author's infinite yearning for his wife in sleepless nights. Therefore, there are deep feelings in the scenery, and the environment is written, but it is not just the environment. There is a word "love" between the lines. In this way, the blending of scenes constitutes an artistic realm.

If the first two sentences are written as prospect, then the last two sentences are written as future. On the night of autumn rain, the poets touched the scene, spread their wings of imagination and expressed their love with rich natural associations. The poet chose two modes here: one is the dynamic scissors, and the other is the confirmation of pronunciation. "* * * Cut the candle at the west window" depicts a beautiful picture of a beautiful night in detail and infinitely, and the word "* * *" describes the intimate mode. However, the word "He Dang" pushed the beautiful scenery described by the poet into the distance and into the void. This beautiful scenery turned out to be nothing more than the poet's yearning for it. As for when to return to my gentle hometown, everything is "irregular". This is a cruel thing and a helpless thing. This sentence is full of emotion, but it does not contain a word "emotion", which is very implicit. ?

There is no better way to express your feelings than words. "Keep your word". The poet imagined that husband and wife would get together, talk by candlelight and communicate with each other. "Refusing to talk" is a retrospective memory. The poet imagines that time at this time, and then he is talking about this time, talking about the feelings of missing when the rain is there at night. In this short four-sentence poem, the word "late rain" appears in two places, which is extremely rare in ordinary ancient poetry.

Image, delicacy, implication and profundity are the artistic features of this poem.

Farewell to friends in Huai Shang

Tangzhenggu

Yangchangjiangtou,

Huayang is worried about killing people crossing the river.

Some bagpipes left the pavilion very late,

Xiang Jun, Xiaoxiang and I, Qin Xiang.

This poem was written by the poet when he broke up with his friend (Huai Shang in the title) in Yangzhou. Different from the usual farewell, this is a farewell: friends crossed the Yangtze River and Xiaxiaoxiang (now Hunan), and they went north to Chang 'an.

One or two words are lyrical on the spot, reminding you to leave, writing in a chic way, and reading has a natural charm. The picture is very sparse: at the ferry at the head of the Yangtze River, the willows are green, in the evening breeze, the willows are lightly brushed, and Yang Shuhua is floating. The boat is moored on the shore and my friend is about to cross the south of the Yangtze River. A few faint strokes, like a fresh and beautiful elegant ink painting. The scenery is full of emotion and meaning. The lingering willows, dragging their deep feelings of farewell, arouse a kind of sadness of "a dark willow blooms in another village, but jade is hard to tie"; The ethereal Huayang aroused the confused separation between the two sides of the strait and aroused the sense of wandering at the end of the world. The beautiful willow color and pleasant spring scenery have just become the catalyst for parting here, so there is a saying that "crossing the river and worrying about killing people". At first glance, the poet touched the scenery with light ink and expressed his sorrow with heavy pen. At first glance, it doesn't seem harmonious, but after careful tasting, I feel the harmony and unity of the two. The intentional repetition of homonyms such as "Yangzijiangtou", "Yangliuchun" and "Huayang" in two sentences constitutes a style that is both light and smooth, full of charm and beauty, which makes people feel deep and eternal, and does not seem too heavy and sad. Although the second sentence only mentions "people crossing the river", it goes without saying that each other is drifting, separated by the north and the south, and you are worried about me.

"A few bagpipes leave the pavilion late. You go to Xiaoxiang and I will go to Qin." In three or four sentences, from the scenery of Jiangtou to the farewell banquet, describe the scene when shaking hands positively. After the banquet, the wine was full and the flute was played during the dinner. Live lyricism may be a "folding willow" symbolizing separation. This flute is talking about each other's parting, so that two friends who are about to break up are close together, silently looking at each other, missing each other and rising with the wind. Judging from the sound of the flute, the sky seems to be getting dark unconsciously. It's time to say goodbye. Two friends cherish each other in the heavy dusk and go their separate ways-you go to Xiaoxiang and I go to Qin. This poem came to an abrupt end here. This is a one-handed farewell poem.

The success of this poem is closely related to having such a unique and lyrical ending. On the surface, the last sentence is just a description of their respective trips. It lacks the description of the scenery and the lyricism of singing three sighs. In fact, the deep charm of poetry lies in this seemingly simple knot. Because parting has been repeatedly rendered by a series of image scenes, such as spring scenery at the head of the river, a bright future, a farewell banquet, bagpipes and twilight, is it just right to completely end the sentence? Liu Huang, the barrier of G soil, shows its rich connotation in counterexcitation and contrast. The sadness of parting, the infinite sadness of going to the end of the world, the deep yearning for the different roads between the north and the south, and even the endless loneliness in the long journey are fully expressed in this wordless discourse. "Jun" and "I" are opposite, and the word "Xiang" overlaps, which makes this poem more lyrical.