I felt something, and it was deeply rooted in my intestines.

I can't be far away from home, and I don't look forward to it every day.

I can't solve the problem in depth and don't think about it every night.

What's more, I stayed alone in the empty hall this evening.

Autumn is unknown, rain and dust.

If you don't learn Buddhism, you can forget your peace of mind. The first sentence comes straight to the point, and the things to be described are written out, and the strong emotional color is immediately displayed in front of the reader without the need for image rendering. The four sentences are in the same form, but they have deep feelings. The first sentence mentioned people's yearning and distance, which is a flat overview. So far, I have not mentioned what kind of people they are and how much they miss her. The second sentence focuses on missing, and the degree of missing is not deep. At this point, the center of the whole poem has pointed out the framework, which is clear, but only a picture. If compared with painting, composition, or sketch before meticulous painting, the lines are concise and powerful. The third sentence is the expansion and extension of the first sentence, which shows the remoteness of hometown, more precisely, the deep nostalgia for hometown life and people. The fourth sentence is an extension of the second sentence.

One or three sentences are realistic, and both hometown and people exist objectively. The second and fourth sentences are empty, and the things in memory and the feeling of colic are the poet's subjective feelings. One is solid, the other is virtual, rendering atmosphere. At this point, the line drawing has been dyed and a faint color has appeared. Yin and Yang, warm and cold colors are initially distinct. Poets give "people" a gap and "things" a knot. "Separation" and "knot" are all cold words, giving people the feeling that a pair of lovestruck lovers are separated by the living point. The poet vividly wrote his fiery feelings in two cold words, but the fiery was defeated by the cold. At this time, it naturally leads to his feeling of colic, which touched the readers. Here, the poet used another moving verb "look forward". My hometown is far away, so I can't look at it, but I still have to look at it. Even if I can't see it, my heart has already returned to my lover in that hometown.

The first four sentences are about a long-term state. From the sentence "It's like this", the poet began to describe a rainy night scene. When describing the scene of rain at night, the author cherishes words like gold. He only used two sentences and twenty words. These two sentences do not write thoughts, thoughts, people or things, but only describe many images, lights, halls, days and storms in concise words.

A situation word shows that what these four sentences describe is further increased on the premise of the first four sentences. So emotionally, it is also increased by the thoughts of the first four sentences. A "situation" replaces a thousand psychological descriptions. Night is time. Before "night", the poet used a noun as an adjective to describe "night" and "residual lamp". It must be late at night when the lights are on at six o'clock in the evening. The poet can't sleep at night and misses his lover for a long time. Under the dim light of the residual lamp, the long wick makes the light flicker, and the poet is extremely sad about this scene. He didn't say anything, and naturally he was silent. Silence made the room look "empty" and lonely. "Empty" is not necessarily a real lack of furniture, but a lack of "people". An "empty hall" is not necessarily an "empty hall", but also a loss in the poet's heart.

Autumn, Ignorance and Storm are more harmonious with the scenery. The word "Cang Cang" is not only a description of the wind and rain, but also the poet's mood at this time. These two sentences, without missing a word, dyed every word of the poet's yearning, and the dyed line drawing has basically been colored.

The last sentence can be said to be the finishing touch, and the whole poem is pushed to a climax by using the writing method of expressing one's mind directly. Want to forget, but can't forget, want to forget, but dare not forget. The poet's unforgettable love ended in vain, and countless thoughts, where to talk.

The whole poem runs through Bai Juyi's big, simple and wonderful style. Although it is about love and missing, it is not as graceful as most love poems. The delicate atmosphere is not deliberate, but an emotion and a natural feeling. This poem is not a neat modern poem popular in the Tang Dynasty. It has seven sentences, and the first four sentences use a lot of words repeatedly, which is not in line with the habit of poetry. The description of the image is placed after the narrative, and there are no metaphors and allusions in the whole poem, but a lot of stimulation and comparison. It can be said that there is no rhythm at all, and the most sincere feelings are expressed in the most straightforward language.

References:

Liu Xingchen 1. Appreciation of Bai Juyi's poems: Sichuan University, 2005: 26-352, Wang Tianhui. Research on Yuefu Poetry: Nanjing University, 2006: 50-583, Wang Weian. Appreciation of Bai Juyi's Works: Peking University, 2003: 4 1-52.