Wang Anshi's poems carry profound Chinese cultural traditions, among which the poems represented by "Docking the Boat Guazhou" have been praised through the ages. This article will focus on Wang Anshi's use of the word "green", and delve into the ingenuity of this word in his poems.
In "Docking Guazhou", "the spring breeze and the south bank of the Green River" has become a sentence. However, what is interesting is that Wang Anshi has repeatedly revised these two sentences when carving these two sentences, and the word "green" has gone through many versions. It is rumored that his choice of the phrase "the spring breeze and the south bank of the green river" is extremely rigorous, reflecting his diligent pursuit of the art of poetry.
Hong Mai recorded Wang Anshi's many revisions to the sentence "Spring breeze and the south bank of the Green River" in his creation, from which he to, entered, and filled, and finally finalized the word "green". This shows Wang Anshi's meticulous craftsmanship of every word and his creative attitude towards perfection. This word "green" becomes a highlight in the poem, outlining the verdant vitality of the plains south of the Yangtze River and showing the infinite vitality of the spring breeze.
In Wang Anshi's other works, you can also see the subtle use of the word "green". In "Mr. Shuhu Yin Bi", he depicts the thatched house in the courtyard, because it is often cleaned, the thatched house courtyard is clean and moss-free, and a water protects the field to surround the green, and the two mountains row to send green. The word "green" here is not only a description of the color, but also a vivid depiction of a neat, verdant and beautiful courtyard.
In Wang Anshi's poem "Guizhixiang Jinling Nostalgia", the word "green" in the sentence "The old things of the Six Dynasties flow with the water, but the cold smoke fades and the grass condenses green" is the color that describes the decay of plants and trees, which is different from the expression in "Spring Breeze and the South Bank of the Green River", showing the vicissitudes of time.
In another song "Sending Hefu to Long'an Light Rain", "The desolate smoke and cold rain help people to be sad, and the tears stain the clothes without knowing it." In addition to the spring breeze and the green sand, the word "green" in "When You Cross the River" is also used as an adjective, depicting the picture of the spring breeze blowing green on the sand, echoing the artistic conception of "Docking the Boat Guazhou".
Li Bai in "Attendant Yichun Garden, Feng Zhao Fu Longchi Willow Colors Listen to the Song of the New Warbler Hundred Songs" in "The East Wind Has Green Yingzhou Grass, Purple Palace Red Mansion Jue Spring is Good" also shows the vivid expression of the word "green", the east wind blows the grass of Yingzhou, making the whole city full of spring.
Liu Zongyuan's "Fisherman" depicts an intoxicating morning scene of the landscape with "G is a sound of landscape green", and through the word "green", the whole picture presents a dynamic change, as if it is a scene in a movie.
In Jiang Jie's "A Cut Plum Boat Crossing the Wujiang River" in the Song Dynasty, the sentence "The streamer is easy to throw people away, red cherries, green plantains" uses two color adjectives, "red" and "green", emphasizing the rapid passage of time, and subtly expressing the poet's feelings about the fleeting time of time.
In general, Wang Anshi and other literati use the word "green" not only as a depiction of color, but also as an expression of profound themes such as life, nature, and the passage of time. The word "green" in these poems, like a touch of emerald green paintbrush, gives vivid colors to the poems, showing the poet's sensitivity to life and the pursuit of art.
This article profoundly highlights the subtle use of the word "green" in the poems of Wang Anshi and other literati, and shows the multi-layered expression of this word in different contexts. Through the analysis of a number of classic poems, the text leads readers to the poet's creative path, so that readers can understand the deep meaning behind the poems more deeply.
First of all, the article takes "Docking the Boat in Guazhou" as a starting point, and reveals Wang Anshi's repeated modification of the word "green" in the creative process through Hong Mai's record. This attitude of striving for perfection not only highlights Wang Anshi's pursuit of art, but also presents the birth process of these two classic poems for readers. This way of digging out the story behind it makes readers feel more painstakingly and attentively in the creation of literati.
Secondly, the article vividly demonstrates the diverse expressions of the word "green" in the poetry of Wang Anshi and other literati through a number of examples. From the flexible use of adjectives to verbs, to the profound description of the word "green", such as "the spring breeze blows green" and "a water protects the field and wraps the green", etc., all present the poet's sensitive insight into natural scenery and his emotion about the passage of time. This multi-layered use of the word "green" makes the poem more vivid and vivid, outlining a rich picture, and guiding the reader to wander in the poetic world.
Furthermore, the article compares the use of the word "green" by different literati, such as Li Bai's "The East Wind Has Greened Yingzhou Grass" and Liu Zongyuan's "G is a Sound of Landscape Green", highlighting the changing beauty of the word "green" in different contexts. This kind of comparative analysis makes readers more aware of the uniqueness of the word "green" when each literati expresses his or her own unique emotions and themes, as well as the ambiguity and expressiveness of this character.
Finally, the article ends with Jiang Jie's "A Cut Plum Boat Crossing the Wujiang River" in the Song Dynasty, expressing his feelings about the rapid passage of time through "red cherries and green plantains". This use of color as a medium of expression leads the reader to the poet's deep thinking about life and time, making the whole article more emotionally resonant.
Overall, this commentary** not only highlights the multiple connotations of the word "green" but also presents the artistic charm of literary creation through an in-depth analysis of the use of the word "green" in the poetry of Wang Anshi and other literati. Through the analysis of the poems one by one, readers can understand the essence of classical Chinese poetry more deeply, and feel the profound emotions and life philosophies contained in them.
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