There are many natural images in Li Qingzhao's more than 40 existing poems, 35 of which are about flowers. The frequent flower images occupy the most important position in her poetic image system. Such as begonia, plum, chrysanthemum, cinnamon, lotus, ginkgo, plantain, clove, pear and so on. The image of flowers appears in almost every article. Among them, there are thirteen plums, four lotus flowers, three chrysanthemums, two osmanthus flowers, two begonia flowers and two pear flowers, almost all of which are unique in people's consciousness and not kitsch. However, in Li Qingzhao's works, flowers are not purely objective natural objects, but "flowers" and "humanized" natural objects saturated with the poet's deep affection, scene blending and resonance with the poet's soul. This poetess, who loves accompanying flowers, has integrated her outstanding personality spirit and complicated experiences of various encounters under the background of special times into the description of these flowers, making her a unique poetess among flowers. From Li Qingzhao's description of flower images, we can understand her inner feelings: in her early years, she expressed her joy; Middle-aged, expressing feelings of parting; In his later years, he expressed his sadness. Sima Qian called Qu Yuan "because of his pure heart" in Historical Records and Biography of Qu Yuan. Then, Li Qingzhao doesn't simply pick the flowers that can cause the most visual stimulation into her ci, but the flowers that can best integrate with her own personality pursuit into her pen, and each scene is swaying the "romance" that belongs to the poetess. This is not only an intentional choice to express feelings and write ambitions, but also an unintentional combination of life experience, personality pursuit and natural flowers.

In a special living environment, she is unusually sensitive to flowers. Before the plum blossom was in full bloom, she noticed that "Jiang Mei's flowers were broken and uneven" (Xiao Zhongshan); Mei Kai just left England, and she pitied "Plum Blossoms in the Evening Wind Courtyard Early" (Huanxisha). And "last night's wind and rain suddenly" ("Like a Dream") is more concerned about the fate of flowers. The formation and expression of any emotion is a reflection of the poet's own living condition. Therefore, the "begonia flower" after the "sudden storm" is not only a foreign object that causes the author to cherish spring and hurt flowers. Here, the life experience of begonia flowers is integrated with the poet's consciousness of his own destiny. In other words, behind this kind of "deep sleep without residual wine" is a reflection on the present situation of life value, or a hidden worry about the future fate. This is just a communication with the life state of Begonia after "sudden storm", "green, fat, red and thin". I pity flowers and feel sorry for myself, and the life state of flowers has become a metaphor for the state of human destiny.

"Emotions move with things, words and expressions" (Wen Xin Diao Long Seeking Things) and "Sighing at four o'clock and thinking about everything" (Wen Fu) are human nature. Emotion and language will change with things. Therefore, the formation of Li Qingzhao's unique ci style is of course influenced by her congenital difference, personality and acquired family environment. Li Qingzhao was unrestrained in her early years. Although imprisoned in a small boudoir courtyard, she has lofty ideals, which can be seen from her early dreams (often thinking of the sunset in Xiting). After the marriage, sentimental Li Qingzhao, even though she was separated from her husband for a while, naturally wrote her farewell words with a pen. Li Qingzhao moved to Jiankang (Nanjing) after crossing the south. At this time, Li Qingzhao, who has an extraordinary temperament, is still interested in poetry and often goes out with her husband to look for poetry. Hui Zhou, a poet in the Song Dynasty, said, "When I met Yi 'an people, I said that I was sincere when I was born, and Yi 'an was worth the heavy snow every day, that is, I wore a hat and searched the city for poems. If I get a word, I will ask my husband to make peace, and I will be sincere in every difficulty. " You see, she is "eager to overwhelm her eyebrows." The death of Ming Cheng was a heavy blow to Li Qingzhao. With the great changes of the times and personal destiny, her ci style obviously changed from beautiful and charming in the early stage to sad and sad. The emotional appeal of the image of flowers has also changed from early happiness to sadness. For example, her early begonia became "green, fat, red and thin" after wind and rain, or it became "red snow" after flowering; Or write that she is addicted to "straying into the depths of the lotus", or write that she lingers in the dew-washed "Pinghua Cao Ting"; Or "pear blossoms are hard to thank" in the deep spring, or "pear blossoms are soaked" in the bright moon on a cold day ... The image of flowers contains the poet's endless reverie and profound thoughts. Introduce readers to an infinitely fresh and extremely clean and wonderful realm. This is unique in the ci circles of the Northern Song Dynasty at that time, and has unique artistic charm. Take chrysanthemums as an example. There were many poems by Yongmei before Li Qingzhao. Qu Yuan chanted chrysanthemums to show his Excellence. "Yuan Ming's original intention is chrysanthemum, but his original intention is not chrysanthemum. It is to install chrysanthemums to ease his mood. " (Ju Qu Xuan Ji) Li Qingzhao's character and style are deeply influenced by "Qu Ping and Ling Tao". In the pursuit of lofty ideals, they are consistent in noble character. Qu Zi's Eating Autumn Chrysanthemums, Ling Tao's Picking Chrysanthemums under the East Hedgehog, Yi An's Qiong Ji and Qing Fen Ji Yun, and the appreciation of the white pony in Dolly's ci became the intersection of Yi An's combination with Qu and Tao. Chrysanthemum is often called "yellow flower" in Yu Shu's ci, and often appears as a symbol or carrier of the poet's mentality and destiny. For example, in "Drunk Flowers", the "yellow flower" growing in Dongli in late autumn is just the carrier of the sadness brought by the separation of the poetess from her husband and the sadness in autumn. In Dolly, the white chrysanthemums with "falling snow and thin jade" withered and scattered after autumn, which led to tears, wine and a poem-like "farewell sigh", thus expressing the poetess's fear of her husband's "encounter on the roof". However, the "yellow flowers" piled up all over the place in "Sound Slow" became the sad and lonely words of the poetess. By capturing the symbolic meaning of various flowers in Yu Shu Ji, we can explore the evolution track of Li Qingzhao's emotional mentality.

As an oriental scholar, Li Qingzhao, because of her innate nature, extraordinary talent and ambition, and the influence of Confucian personality spirit in traditional culture, naturally broke through the weak and obedient personality norms of ordinary boudoir women. She is not only passionate, romantic and competitive, but also strongly and consciously pursues the self-improvement of a gentleman's personality, transcending the secular, noble and conceited, and narcissistic. As a result, those flowers whose charm and temperament overwhelm the crowd are particularly attractive in the brewing of this life.

She especially worships Mei's charm and temperament. She appreciates the poetry contained in images such as "Liu Yanmei's cheek" ("Butterfly Lovers"), "Jade fragrance, Tan Shenxue III" ("Ren Yanjiao"), and can realize that "I don't know how much fragrance I used, but I can see infinite meaning in my bag" ("Jade House Spring"). The "Man Fang Ting" written by her is a work expressing things and wishes. Writing a sentence about plum blossoms is also writing a sentence about yourself. What is written between the lines is the lonely environment, chic charm, experience and the spirit of being alone and proud of the world. The first part of Ci expresses the experience of living in loneliness through words such as "seclusion", "lock", "leisure" and "deep seclusion". However, a Jiang Mei attracted all her attention at this time, putting her spiritual pursuit in the adversity of life. In the next film, the word "rhyme wins" shows Mei Yun's same realm and her own personality spirit. Although her fragrance has passed away, her love will last forever, so that the value of life lies not in important places, but in "moonlight at night, but still romantic", which is the realm of life pursued by poets and writers who have always been unlucky and ambitious. Li Qingzhao's appreciation of sweet-scented osmanthus is even more extraordinary: "The yellow is faint and the corpus luteum is soft, and the love is far away." Why light blue and deep red? It's a first-class flower "The sweet-scented osmanthus here is yellow and yellow, and it is far from love, but there is a strange fragrance left in the world, so it is the first among flowers. This reflects Li Qingzhao's admiration for inner beauty and personality beauty. She regards Osmanthus fragrans as a "first-class flower", and naturally regards human inner beauty and personality beauty as the highest realm of life. People who have this realm of life are also "first-class" people.

Li Qingzhao married Zhao Mingcheng at the age of eighteen, and since then, she has started an academic love life, which is very elegant. She is lucky in love. The life partner she found is an excellent bachelor with similar interests. Their love life is both happy and full, which can be described as a pair. Her "beautiful words and dignified products" have won her husband's love and respect, and they are like-minded. Ming Cheng: "Every time I meet Su Huang's poems, although the numbers are half simple, I will still record them." Clear photo "poetic and picturesque like a night magpie, uneasy around three times." Whether it's looking for poetry through the snow or shooting tea, it's full of rich life interest. Such a good marriage is like a duck to water for Qingzhao and Mingcheng, which is undoubtedly a powerful driving force for their achievements in various undertakings. Therefore, the description of love in Li Qingzhao's early poems is mainly about spiritual life. She fell in love with chrysanthemum, symbolizing pure love and noble personality with the image of chrysanthemum, which has high artistic taste. For example, her masterpiece "Drunken Flowers" has a sentence:

Fog filled the clouds, and the days were spent in sorrow. Kapoor was among the birds in the incense burner. The festival is also a double ninth festival, and the jade pillow gauze kitchen is half cold at night.

Dongli drinks until dusk, and faint chrysanthemum fragrance overflows his sleeves. Don't say clear autumn is not a person, the west wind rolls the flag and beads curtain, and the person in the curtain is thinner than that Huang Ju.

This is a poem written by Li Qingzhao about her husband Zhao Mingcheng's trip on the Double Ninth Festival. Shortly after Li Qingzhao's marriage, her husband Zhao Mingcheng "traveled far". The boudoir was lonely, and on her ninth birthday, she "missed her relatives twice during the festive season", so she wrote this word and gave it to Zhao Mingcheng.

The first part begins with "fog" and "thick clouds", which outlines the gloomy weather and sets off the depressed mood and melancholy of the poetess. "Forever day": a long day. "Rui nao": it's a spice. "Golden beast" refers to a bronze incense burner engraved with the shape of an animal. On the Double Ninth Festival, the poetess lives like a year because she misses her husband. A person is in the boudoir, watching the incense burning in the incense burner slowly melt away, while the poetess is more sad, like smoke curling up like a wisp of smoke. Here, the author skillfully outlines a foggy environment to set off her lonely and boring mood. Scene fusion. The sentence "eternal troubles" is thought-provoking, with many words and long worries. The first sentence is external, and the second sentence is internal, which sets off the internal and external worries of female poets. The material state and human feelings set off each other, making sadness more and more "cut constantly, and the reason is still chaotic." These two sentences are more profound and concise than the article's "jade incense, red wax tears, all over the painting hall" This year's Double Ninth Festival, the annual "Double Ninth Festival" can only increase the sadness of female poets. Late autumn night, cool autumn makes it more difficult to sleep. Jade pillow and gauze chef used to be with their husbands, but now they are alone. Touching the scene means the pain of lovesickness. The word "cool" means "cool in autumn" and "cool in heart", which means that the poetess is lonely and desolate. These two sentences implicitly and profoundly reveal the poet's deep yearning for her husband through her personal feelings about "Jade Pillow Yarn Kitchen" and "Chuliang".

The next film uses the close-up of drinking and enjoying chrysanthemums on the night of Chongyang to express the feelings of cherishing people in more detail. The first two sentences say that when you enjoy chrysanthemum and drink alcohol in the chrysanthemum garden at night, you are covered with the fragrance of chrysanthemum. On the Double Ninth Festival in ancient times, people climbed the mountain and looked far away, or buried their heads in dogwood: "If you know the height of your brothers, you are not as good as one person." (Wang Wei) or drinking and enjoying chrysanthemums: "I will come back at chrysanthemum time when I am on holiday in Shanju." (Meng Haoran) Since Tao Yuanming, chrysanthemum viewing in Chongyang has become a great event for literati. But Li Qingzhao was too sad to appreciate chrysanthemums, not to mention after dusk. Dusk is the most urgent time of the day to think of people. "Dongli drinking" is to drown my sorrows by drinking, but it is hard to extricate itself when I feel hurt, but it evokes deeper sadness. These two sentences are full of infinite bitterness. "I can't get rid of this situation," so I want to avoid chrysanthemums and go back to the house. At this time, the feelings of the poetess were highly sublimated, so a famous sentence that has been passed down through the ages came into being, "Don't worry, the curtain rolls west wind, and people are thinner than yellow flowers." Don't say don't worry about parting. The sentence "the curtain rolls west wind" is wonderful, and the clever use of inverted sentences doubles its dynamic aesthetic feeling. The phrase "people are thinner than yellow flowers" is an epigram and a swan song throughout the ages. The word "thin" is the "eye of the word" and the gathering place of the poet's feelings and spirit. Here, the thin chrysanthemum withered and weak in the west wind is superimposed with the thin image of the poetess. It is better than Qin Guan's "People are thin and have green poplar".

A few words vividly depict the modality of the poetess after she lost her soul. The west wind rolled up the bead curtain, and the young woman in the curtain was thin and gaunt, more fragile than the fine chrysanthemum outside the curtain. Chrysanthemum is a symbol of nobility and elegance. It is used to describe people, and it is very elegant. Appreciating chrysanthemums with wine is a metaphor for Tao Yuanming's lofty and indifferent personality. Chrysanthemum also has a beautiful and delicate charm. As an object that imitates people's thinness, its demeanor is more vivid and visible. These are the original words of the poetess, which are particularly profound and vivid when used in the specific feelings of specific characters in this specific environment.

The word love is unknown, but it is written with a deep and implicit pen, but the deeper you love. The first sentence of the word points out the word "worry", and the last sentence ends with the word "thin", which echoes the word "worry" in the first sentence. Because of parting from sorrow, the waist belt is gradually widened, which means "making people haggard".

There are many poems about chrysanthemums in Song Dynasty, such as the images of chrysanthemums in Dongpo and Valley poems. Here, we only compare the chrysanthemum images in Xiao Shan's butterfly lovers ("Mourning for the Past") and Man Ting Square (Clear Water Begins Autumn) with Li Qingzhao's Drunk Flowers, from which we can see that Li Ci has won higher praise for its unique softness, softness and lightness.

Yan, Qin and Li are graceful and restrained, and all three poems are about looking at chrysanthemums and cherishing people. They use chrysanthemums as a medium to cause sadness, and use chrysanthemums to express their inner thoughts, worries and resentment. Their physical feelings are keen and profound, and the image of chrysanthemums has become the carrier of the poet's feelings. However, the images of chrysanthemums in the three poems are different. The chrysanthemums in Yan's poems express persistent infatuation, which means "nothing happens when the flowers fall, and Yan's return is deja vu". The chrysanthemums in Qin Ci reveal the poet's inner "fantastic ideas" and sadness. "Ask Huang Ju by the fence and you'll know who to open the door for." It can be said that "tears ask flowers, flowers have no words." Yan and Qin are called "ancient tragic figures" because they mainly write about the erotic feelings that men and women miss each other. Its shallow language is full of flavor and its shallow language is good. "Although they are famous for writing tenderness, they are not as good as the unique deep tenderness of the poetess Yi An. Words are expensive and feminine. As a sentimental woman, Yi An has a special liking for flowers, and her words are even more fragrant. The image of chrysanthemum in Drunken Flowers is no longer a purely objective natural scenery, an intermediary that causes people's worries, or an illusion caused by infatuation. After careful observation by Li Qingzhao, the image of chrysanthemum became a reflection of her interest. As Hegel said: "The greatest task of art is to make people find themselves in a foreign world. "Li Qingzhao's inner world is more graceful, light and delicate than that of male poets such as Yan and Qin, which makes her miss her husband deeply dive into the deepest part of her soul, thus achieving the artistic realm of selflessness and chrysanthemum, and thus producing a fantasy that is thinner than chrysanthemum. With thin and elegant yellow flowers, it means that people have been emaciated by the suffering of acacia, vividly showing the love of Li Qingzhao and his wife. The phrase "people are thinner than yellow flowers" can be described as a masterpiece of female poets. This chrysanthemum image not only symbolizes the deep affection of acacia, but also symbolizes the noble character of the poetess. The whole poem is quiet and beautiful, and its voice is emotional, which is really beyond Yan Qin's reach. It is no wonder that Zhao Mingcheng felt ashamed when he received the word "drunken flower songs" from Li Qingzhao, and "customs prevailed", so he thanked all the guests, forgot to eat and sleep for three days and three nights, and wrote fifty poems, but none of them could compare with his wife's "Immortality, curtain rolling west wind, people are thinner than yellow flowers". The "desire to win" here is not male chauvinism, but innocence as a husband and love appreciated by a wife. Yes, Li Qingzhao's word "Drunken Flower Yin" was handed down as a poetic anecdote in later literary circles. After crossing the south, in her "slow voice" words: "The yellow flowers are all over the ground, haggard and damaged, and now no one can pick them." This sentence shows a sense of fatigue in life. Here, the poetess moved her image into the chrysanthemum.