Here are Zhang Jiuling's love thoughts of "the sea rises, the moon rises, and the ends of the earth are at this time"; Wang Wei's magnificent scenery of "the desert is straight, the river falls yen"; Li Bai's Ji Ji joy of "the apes on both sides cannot sing, and the light boat has passed the mountains"; Qinglian's "the poem of Confucius" the clear water comes out of the lotus, and the natural decoration is done ”In Taibai's "sending Meng Haoran to Guangling", there is "the lonely sail far away, the shadow in the blue sky, and only the flow of the Yangtze River in the sky". In Li Shangyin's "late love", there is "Heaven's love for the grass, and the world's love for the late". In Zhang Ji's "wind bridge and Night Mooring", there is "cold mountain temple outside the city of Gushu, and the bell goes to the passenger ship at night". In Yu Wenbao's "clear night record", there is "near water" The natural philosophy of "the moon comes before the tower, and the sunflowers and trees are easy to spring"; the village silhouette of "the rising of smoke and the rising of sun is a sound of landscape green" in Liu Zongyuan's "Fisherman"; the beautiful scene of "white birds fluttering and green water surging" in Kong Shangren's "Peach Blossom Fan and mourning for the south of the Yangtze River"
面对这些美妙的诗句,我们似乎可以研究一下古诗词中“情,思,景”的关系。明代的袁宏道在《叙小修诗》中曾说:“情随境变,字逐情生。”同时代的学者袁枚也说:“品画先神韵,论诗重性情。”
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