Issue 295 can be read here
Tan Tianpeng. Date: Tang Dynasty.
Author: Wang Jian.
Jingwei words. Jingwei who teaches reclamation, seaside stones Qingleilei.
But if the sea water is used as a dry pool, what can the fish and dragons in the sea do?
The mouth piercing is not an empty stone, and the grass and trees in the mountains have no full branches.
Towards the twilight sea at the head of the tree, fly many feathers and fall into the water.
The mountains are not over, the sea is not flat, may my body be dead and my son will live!
Lei Lei: There are many mountains and rocks.
But yes: as long as.
What to do: What to do.
Wear: Broken. Null: Only.
Comment: Compared with other poets who write Jingwei's poems, this poem has a novel perspective, not to evaluate Jingwei itself, but to think rationally about its reclamation behavior, which includes sympathy for Jingwei who is tired and scarred because of reclamation, and questions about Jingwei's reclamation, which hurts the innocent and destroys plants and trees, and at the same time reveals the author's infinite compassion.
The first sentence, "Jingwei who teaches reclamation". On the surface, it seems to be a question, but in fact it is a question, and it is asked knowingly, because everyone knows that Jingwei reclamation is for revenge and revenge for "drowning". However, this question can cause readers to think more about the act of land reclamation. Next, the author presents four pictures for readers around "reclamation":
The first one, "Seaside Stone Qinglei Lei". This is a real-life depiction, by the sea, with mountains of stones. This is the basis of Jingwei reclamation, and there are many stones, which shows the determination of Jingwei reclamation.
The second piece, "What do the fish and dragons do in the sea". This is a hypothetical, writing about the consequences of reclamation. After the sea was filled, the fish and dragons in the sea were in trouble like dried carp, and there was nowhere to survive. The fire at the city gate affected the fish in the pond, and the innocent fish and dragon may be harmed because of their own personal vendettas, and the reason why the author knowingly asked gradually appeared.
The third painting, "The grass and trees in the mountains have no branches". The fifth sentence "Piercing the mouth is not an empty title stone", according to the second sentence "The seaside stone is green and Leilei", plays a transitional role in the poem. The author's perspective shifts from the seaside to the mountains, then to a real-life depiction, and then to write about the consequences of reclamation, and the grass and trees in the mountains are scattered. The reclamation affected not only the fish and dragons, but also the grass and trees in the mountains!The author's reason for knowingly asking is further revealed.
The fourth, "Towards the twilight sea at the head of the tree, flying many feathers and falling into the water". This picture is a combination of fiction and reality, and then writes about the consequences of reclamation. Fictional Jingwei was tired and bruised all over his body due to reclamation. "Morning" and "twilight" are mostly imaginary, intertextual and meaningful, but there is reality in the virtual, highlighting the tiredness of Jingwei. "Mouth piercing", "feather folding", and "falling into the water" are words that are written in reality, and there are voids in reality, and Jingwei's body is covered with bruises. The author understands Jingwei's reclamation, after all, the sea is the culprit of the tragedy. The author is full of compassion for the suffering suffered by Jingwei during the reclamation, after all, Jingwei's bloody spirit of revenge is worthy of affirmation.
These four pictures, describing the consequences of reclamation, are also the accumulation process of the author's compassion, from hurting the innocent to self-harm, the damage of reclamation has reached the extreme, and the poet's compassion has also reached the extreme.
That's it, the 295th issue [readable here] is written here, and we'll see you next time.
External propaganda: Gong Dangdang.