Iris ①
Su Shi
Flowers wither and red apricots are small. Swallows fly, green water people go around. There are fewer branches blowing willows, and there are more fragrant grass in the world. Swing inside and outside the wall. The layman in the wall, the beauty in the wall laughs. Laughter dies in silence, but passion is mercilessly annoyed.
(1) Song Zhe was relegated to Huizhou for three years (1096), or even earlier.
② Catkin and catkin.
(3) sad, disappear. Affectionate, refers to the wall layman. Ruthless, refers to the beauty in the wall.
This is a small word that laments the passing of spring and the beauty is hard to see. The poet's frustrated feelings and broad-minded attitude towards life are also faintly revealed here.
The first part is about the end of spring, and homesickness is implied in hurting spring. The first sentence "flowers wither, red apricots and green apricots are small" not only points out the season at the turn of spring and summer, but also reveals the natural metabolic law of spring flowers and green apricots. Although it is a description of scenery, it still contains ideas. The word "swallow" not only brought this place, but also described the environment of this family. Lightweight swallows fly obliquely in the air, surrounded by green water outside the house. How beautiful and peaceful! The word "others" implies and paves the way for the appearance of the next film "Beauty in the Wall". "On the Branches" expresses the poet's profound and broad-minded feelings in the delicate description of the scenery. Catkin is all over the sky and grass is boundless. It is the easiest to arouse people's worries. With the word "you", it is not long to live in exile here. On the surface, "there are plenty of grass in the sea" seems to mean that there are plenty of grass in the sea, and spring scenery is boundless, but in fact it means that as long as you are happy, where can you not settle down? "I was born with fate, and there is no inconvenience in all directions" ("Tea with Jiang Kui"). In the later period of his relegation to Hainan, the author sang, "There are 300 litchi branches a day, and I will grow up to be a Lingnan person" (Part II of Two Litchi Branches); "I don't hate dying in the south, then I will travel wonderfully all my life" ("Crossing the sea at night on June 20"), all of which contain a carefree magnanimity in the sadness of homesickness.
The next one describes the troubles and melancholy of beautiful women who can't hear voices. In the three sentences of "Swing in the Wall", the line drawing technique is used to describe pedestrians (themselves) wandering on the path outside the "other people's" wall, only to see the swing frame above the wall and the laughter of women swinging from the wall. At this point, the poet pointed out that he is a "pedestrian", which certainly means that he is a passer-by outside the wall of this "green water family", but there is also "life is like a line, I am also a pedestrian" ("Lin Jiangxian sends money to Mu Fu"). If the "Tianya" in the last film implies that Huizhou is far from the ends of the earth, isn't it just a stone's throw from the beauty? The last two sentences are self-mockery of a beautiful woman leaving. Pedestrians know that they can't see the figure and appearance of the beautiful woman in the wall, but just want to stop and listen for a while. Unexpectedly, the beauty has left on the swing at the moment, and I don't know that there is a affectionate pedestrian outside the wall. How can this not be annoying? These two sentences are extremely reasonable and interesting. Gaijiaren's "ruthlessness" is because there are "sentimental" pedestrians outside the wall, and more than one thing in the world is universal and inevitable. The poet was loyal all his life, suspicious, straightforward and slanderous. At this time, he finally arrived in Lingnan. Isn't it his "deep but merciless chagrin"? The author laughs at his passion, that is, at the unfair fate imposed on him and at all tragedies!
The whole word is unique and full of strange feelings. Writing scenery, taking notes, reasoning naturally, integrating Zhuang and Zhuang, the language is looped, and the style is fresh and beautiful. Wang Shizhen, a scholar of the Qing Dynasty, said, "I am afraid that Liu Mian, who lives on a branch, may not survive because of Liu Yong's love" (Flowers in Bloom). This is the embodiment of the author's poetic style. The Chronicle of Linz (Volume 5) quotes the cloud of Ci Tan Xia Lin: "Zi Zhan is in Huizhou, sitting idly with (Historical Records) on the cloud. When a young girl first arrives, her wood is rustling and she is sad for autumn. I was ordered to tell Dabai in the clouds that I would sing' Flowers are falling and residual red', and I would shed tears on my skirt and sing in the clouds. Zi Zhan criticized the reason and replied:' What I can't sing is' there are few willows blowing on the branches, and there are plenty of fragrant grass in the sea'! "Zi Zhan laughed and said,' It's my government that mourns autumn, and you hurt spring'." Mourning for the cloud, because she realized the complex feelings of broadmindedness and sentimentality contained in it. This word is similar to He Zhu's Jade Case (Ling Bo doesn't cross Hengtang Road) in purport, and both of them use the method of "vanilla beauty" to express their political frustration. But there is optimism and broadmindedness in bitterness and depression, which is not in the congratulatory message. This is also the charm of Su Shi's personality and works.