Blue waves edge the water and flow eastward, looking at a boundless spring scenery. There is always spring, but the luxurious Sui Palace is deserted and dilapidated, leaving only broken wells and ruins for people to mourn. Pedestrians, don't look at the beautiful scenery on the long embankment. Poplar floating in the wind and flying all over the sky seems to be a symbol of the disappearance of luxury in the Sui Dynasty, which makes people feel melancholy.
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This is a nostalgic poem. Most of the nostalgic poems start from the historical sites in front of us, with the ups and downs of the past and present as the background, and contain certain realistic feelings in expressing the sense of historical vicissitudes. This article is a typical poem. The title "Bianhe" refers to the Tongji Canal dug by Yang Di. At that time, in order to visit Jiangdu, Yang Di mobilized more than one million migrant workers to dig through the economic canal and plant willows on the seawall, which is called Suidi in the world. A luxurious palace was also built by the Bianshui River. This Bianhe River is the witness of history, which witnessed Yang Di's profligacy, exhausted people's wisdom and finally went to self-destruction. The poet's sense of sadness over the past and the sense of historical vicissitudes began in Bianhe, which exhausted the people's ointment and became a historical witness to the demise of the Sui Dynasty.
"Bianshui flows eastward in infinite spring, and the Sui Palace Que has become dust". At the beginning, I wrote the poet's memory of the history caused by Bianhe. Bianshui rippling blue waves, slowly flowing eastward, spring Liu Suifeng floating on the embankment, showing infinite tenderness, both sides are shrouded in a colorful and endless spring scenery. The poet wrote about spring, but did not describe the scene of spring in detail. But the poet skillfully added the word "infinite", which made the meaning of spring concrete. The image of Bianshui flowing eastward is easy to arouse the association of the long river of time, and with the embellishment of "infinite spring", the Bianshui flowing through countless spring and autumn has a certain symbolic color, which evokes the infinite association of spring scenery on both sides of Bianshui. Then the poet thought of the "Sui Palace Que", which is the grand palace of Emperor Yang Di, symbolizing the decadent rule and luxurious life of the Sui Dynasty. Now it has been abandoned and broken, leaving only broken wells and broken walls for people to mourn. "It has become dust". It is an exaggeration to say that the glory of the past has gone. Poetry is in sharp contrast with the eternal life of Bianshui and the melting dust of Sui Palace, showing the eternal nature, the vicissitudes of life, the smoke of luxury, the ruthlessness of history and the meaning of vicissitudes. This sense of historical vicissitudes implies profound meaning, just as Liu Yuxi said in Five Topics of Jinling Taicheng: "Thousands of families become weeds because of a song" backyard flowers ". "
"Pedestrians don't look at the long embankment, and the wind blows flowers and kills people." In the last two sentences, continue to write about the typical scenery on the bank of Bianhe River, and instead express your feelings from the willows on the embankment. Catkin flutters with the wind and dances like snow. It used to be a symbol of spring, which should make people feel comfortable. However, the willows in front of us are linked with the rise and fall of the Sui Dynasty, and the vicissitudes of history are inevitably embarrassing. These spring scenery are now the witness of history. In those days, Emperor Yang Di planted willows on the riverbank, which was just an ornament of his luxurious trip to the south. In the end, it became a historical witness to the debauchery and national subjugation. Willow and poplar floating in the wind aroused the poet's infinite emotion. In the eyes of poets with a sense of historical vicissitudes, they seem to be a symbol of the disappearance of luxury in the Sui Dynasty (the relationship between poplar and Yang Sui constitutes an ideological relationship, which is easy to make people associate). Facing this weeping willow, future generations can't help feeling that prosperity is fleeting and history is eternal. However, what makes people feel deeper may be the reality that although the Sui Dynasty is not far away and the mistakes are ahead, no one among the contemporary rulers has learned from the history of the Sui Dynasty. In the intense and deep sadness of "rising wind and falling flowers and killing people", the face of the declining era is clear and looming. This also shows the poet's deep concern for national affairs.
The application and comparison of these seven-character quatrains have deepened the historical lesson of Yang Di's self-destruction. The poet put grief in the past and hurt his feelings now in the spring, which is euphemistic and tortuous and has deep feelings. Finally, the pen of hurting the present vividly shows the poet's anxiety about the country.