Xu Wei, 1521-1593, a native of Shanyin, Zhejiang in the Ming Dynasty, the word Wenqing, changed the word Wenchang, the number Tianchi, and the late number Qingteng. All beings. famous, genius and super-easy, poetry, calligraphy and painting are all work. I often say that my book is the first, the poem is second, the text is second, and the painting is second. His paintings are flowers, plants, bamboos and stones, and the brushwork is unrestrained and dripping, and he is full of creativity. Knowing the soldiers' curiosity, the guest Hu Zongxian, capturing Xu Hai, and luring Wang Zhi, all planned in advance. Zong Xian went to prison, and he was afraid of disaster and went crazy and killed himself. He was sentenced to death by killing his stepwife and sentenced to death in prison, and was imprisoned for seven years, but was rescued by Zhang Yuanxi. After that, he traveled to Jinling in the south, walked up to the valley in the north, and looked at the border and the congestion, and sang generously and sadly. In his later years, he was very poor, and there were thousands of books, which were sold out. He claims to be a person from the south and the north for the rest of his life. There are "Narrative of Southern Words", miscellaneous drama "Four Apes" and anthologies.
Intoxicating Ming · Xu wei
If you don't go around for the New Year, you will end up drunk.
A few street explosions are hard to wake up, and people are afraid of asking for money for wine.
The first sentence "Don't go around for the New Year" directly points out the state and mood of the protagonist. He is not busy preparing for the New Year, which is in stark contrast to the scene of ordinary people busy preparing for the New Year, showing that he is different and detached from the world.
The second sentence "The end of the drunken step" further depicts the protagonist's drunken state. He was in a drunken state all day, faltering and upside down. The depiction of this image makes the protagonist's drunken state more vivid and concrete.
The third sentence "A few street explosions are hard to wake up" uses the sound of firecrackers on the street to contrast the protagonist's intoxication. Even with the roar of firecrackers in the streets, he was hardly awakened, which further emphasized the depth of his drunkenness.
The last sentence "I'm afraid of people coming to ask for wine money" shows the hero's uninhibited and fearless. Even when someone asks for money, he is not afraid, and this attitude further highlights his free and detached attitude.
On the whole, the poem portrays vividly and contrastingly creates a character who is intoxicated with wine, disregards the world, and is uninhibited. At the same time, the poem also reveals a detached and free attitude towards secular things, reflecting the author's unique personality and emotions. In Xu Wei's pen, this intoxicating image is not only vivid and interesting, but also full of deep meaning and evocative.
Ten years after the death of the inner son, his family took the nephew to serve in the slightly returned mother's house, Luzhou red shirt, neck sweat, Shang Zhuyu wept for a few lines, and the night was raining and snowing, · Xu wei
The golden little Newsie is warm, and the sleeves are still folded.
I didn't know how to open the box, and the snow in the court was dim.
The first sentence, "The Golden Little New Jersey Shirt", describes the red shirt worn by the deceased wife, and the small gold buttons and delicate madder dyeing on it make the shirt look extra warm. The "warmth" here not only refers to the warmth of the clothes, but also contains the poet's warm memories of his deceased wife.
The second sentence "There are still traces of the case in the fold of the sleeve", through the detail of "the traces of the case", vividly depicts the virtuous image of the deceased wife before her death. Raising the case and raising eyebrows is a model of harmony and respect for each other in ancient times, and the "sleeve fold still has the marks of raising the case" not only shows the virtuousness of the deceased wife, but also reveals the poet's deep nostalgia for the deceased wife.
In the third sentence "I don't know how to cry when I open the box", the poet opens the box containing the relics of his deceased wife, sees things and thinks about people, and can't help but burst into tears. The "not knowing" here is not really not knowing, but expresses the poet's emotional loss of control and uncontrollable grief.
The last line, "The court is full of snow and the lights are dim", describes the poet's environment: the courtyard is covered with snow, and a lamp flickers in the dimness. Such a scene echoes the loneliness and sorrow in the poet's heart, forming a poignant artistic conception. At the same time, "snow" and "a dim lamp" also symbolize the passage of time and the blurring of memory, but the poet's nostalgia for his deceased wife is like this dim lamp, which always burns in his heart.
On the whole, this poem shows the poet's deep nostalgia and endless sorrow for his deceased wife through delicate descriptions and affectionate memories. Through the red shirt of his deceased wife's relics, the poet evokes memories of the image of the deceased wife's virtuous lady during her lifetime, and then expresses his deep attachment to his deceased wife and his unrelieved grief. The whole poem is sincere in emotion and far-reaching, and it is a touching and profound mourning work.
Wangfu Shi Ming · Xu wei
The sea and sky are endless, and the autumn grass and spring flowers are red.
Since sending her husband out, she has grown up in the moonlight.
The first sentence, "The sea and the sky are infinite", begins with a grand sea and sky scene, creating a vast and unpredictable atmosphere. This not only depicts the vastness of the natural world, but also hints at the boundlessness of the woman's inner world and her deep longing for her husband.
The second sentence "Autumn grass and spring flowers are red", through the contrast between "autumn grass" and "spring flowers", as well as the detailed description of "red in the bun", shows the woman's perseverance and expectation in different seasons. Regardless of spring and autumn, she always keeps thinking and waiting for her husband, and the red flowers inserted in her hair bun seem to be the unquenchable fire of love in her heart.
The third sentence "sending her husband out" directly points out the scene of the woman sending her husband away. This parting may be eternal, but the woman's heart has never changed, she sticks to that love and looks forward to her husband's return.
The last sentence "a growth in the moon" is the climax and finishing touch of the whole poem. The woman seems to have incarnated as a stone for her husband, standing in the moonlight all her life, watching the direction of her husband's return. Her figure seemed so lonely and firm in the moonlight, and her love was as bright as the moon, bright and eternal.
On the whole, this poem shows the image of a woman who sticks to love and looks forward to the return of her husband through vivid description and affectionate expression. Her love is as vast as the sea and the sky, as endless as autumn grass and spring flowers, and as pure and eternal as the moonlight. This is a touching love poem that gives a deeper understanding of the power of love and the belief that it holds.
Visiting Jiaze in the snow in the Baokui Temple (Yuan Hongdao comment: into the painting) Ming · Xu wei
The mountain trail is repeated, and the small building is a hundred feet and the dragon is worn.
The window is biased towards the plum blossom corner, and goes to reflect the snow peaks of the river.
In the first sentence "The mountain path is repeated", the poet looks for the traces of his friends along the winding mountain paths. The "repetition of the weight" here not only describes the twists and turns of the mountain road, but also expresses the poet's eagerness and hardship to search.
In the second sentence "A small building is a hundred feet and a dragon is lying in Yuanlong", the poet finally found the residence of his friend, which is a small building that towers into the sky, and the friend lies in it like Chen Deng (Yuanlong). The "Wo Yuan Long" here is an allusion to describe the elegance and extraordinariness of the friend, and it also hints at the poet's admiration for the friend.
In the third sentence, "The window is biased towards the corner of the plum blossom", the poet notices that the window of the small building is very distinctive, and it is biased towards the corner of the plum blossom. The "plum blossom horn" here not only refers to the actual plum blossom, but also implies a noble and tenacious character.
In the last sentence "go to reflect the snow peaks in the river and sky", the poet looked from the window and saw that between the river and the sky, several snow peaks were towering, and the plum blossoms in front of the window contrasted with each other. The "Snow Peak" here is not only a description of the natural scenery, but also a symbol of the noble character and tenacity of the friend.
Overall, the poem presents a beautiful picture of a friend in the snow through vivid depiction and clever conception. The poet uses allusions and symbolism to express his admiration and praise for his friends. At the same time, the natural scenery and cultural landscape in the poem complement each other, forming a beautiful picture, which makes people feel as if they are in the scene and feel the poetry and painting of visiting in the snow. Yuan Hongdao's comment on "entering the painting" is a high praise for this poem.
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