How do Bai Juyi and Li Qingzhao compare their flower images?

There are many poems about flowers in Bai Juyi's poems, which show the poet's noble moral sentiments. The poet used flowers to describe himself, his friends, his ups and downs, and his social outlook at that time. By analyzing the flower images in Bai Juyi's poems, this paper shows that the flower images in Bai Juyi's poems about flowers are rich in connotation. The flower images in Bai Juyi's works are colorful and full of human personality characteristics. After reading it, the poet was deeply impressed and had endless reverie.

As we all know, Tang people love flowers. This has also created many poems related to flowers in Tang poetry. In the "Flower Department" of the Classified Dictionary of Tang Poetry, there are 835 poems about flowers, and 103 poets have written poems about flowers. Famous poets such as Li Bai, Bai Juyi, Du Fu and Liu Yuxi all wrote poems about flowers, among which Bai Juyi wrote the most, with 87 poems. Bai Juyi wrote 22 kinds of flowers and dozens of peonies in his life. Bai Juyi was a anthomaniac poet in the Tang Dynasty.

Bai Juyi loves flowers very much. He takes planting, raising and enjoying flowers as his pleasure in life. For Bai Juyi, flowers can not only beautify the environment, but also cultivate temperament. When relegated, enjoying flowers made him forget the frustration and sorrow of officialdom, which could beautify his remote relegation place. Therefore, Bai Juyi's feelings for flowers add another layer of his own adversity and personal feelings. The flower poems left by him all his life are an important part of his poems about objects, which have very important literary and cultural values. These poems reflect the poet's noble moral sentiment and unique pursuit of interest, as well as Bai Juyi's attitude towards life, and have irreplaceable functions and significance for us to explore Bai Juyi's unique spiritual world, artistic pursuit and social landscape in which the poet lives.

Bai Juyi has his own unique aesthetic view of flowers. While opposing "common people don't like flowers", he also disapproves of excessive flower cultivation and appreciation. He shows a feeling of loving flowers, which is more or less related to his own experience! In Bai Juyi's poems, there are peony, rhododendron, crape myrtle, peach blossom, apricot blossom, lotus flower and plum blossom, each of which contains the poet's endless love and pity. His feelings for plain flowers, especially white flowers, are even more special. For example, Bai Lianhua in Bai Lianhua often has a human temperament. He compared himself with Bai Lianhua's moral integrity, which showed that the poet stood his ground in his poems. In the poem Bai Lianhua in Toring Temple, he wrote: "I am getting dirtier and dirtier, and I see this Joan Yao Ying. It is called Honglian, but it has a clean name. ..... "I think the red-violet I once loved in front of Bai Lianhua is just a" clean name ". Bai Lianhua is lonely and independent, but the image of fragrance and charm is not entirely a realistic portrayal of the poet himself. He compares people to flowers, which makes people look like gods. Usually, through a sentence or two, flowers and related people come alive, and people deeply remember them. For example, in his poem "Pear Blossom by the River", "Pear Blossom is intended to make friends with leaves, and one tree and one river will annoy you to death. Most like a widow young woman, with white makeup sleeves and a blue gauze skirt. " Bai Juyi used white pears under fresh green leaves as a metaphor for young widows dressed in white, vividly showing the simple but elegant, demure posture and inner bitterness of widows in boudoir. Another example is the most famous poem "Song of Eternal Sorrow", "Pear blossoms bring spring rain, tears streaming down her face". The vivid and delicate pear flowers with raindrops are used to compare Yang Guifei, the "messenger of the Han family" seen on Penglai Fairy Mountain, and vividly depict Yang Guifei's sentimental and tearful expression.

There are many examples of this kind of classic description, such as flowers and bamboos, and the designed flower species are also very complicated. Based on the poet's flower poems, this paper analyzes the image of flowers. Poets compare themselves with flowers, comfort each other with flowers as companions, feel that their talents are not satisfied, and at the same time take flowers as a reference and lament the fragility of life. This has led to more thoughts on Bai Juyi's poems about flowers, but as a successful poet, due to various reasons, the images of China in his poems are still inexhaustible. This paper briefly states the author's own superficial views, hoping that more people can interpret the flower images in Bai Juyi's poems.

First, attach your ideal personality to the flowers.

Bai Juyi pinned his ideal personality on the flower image in his poems, so as to convey his feelings to the world. In his poem "Ziweihua", there is such a poem "monopolize wheatgrass for summer scenery, don't embrace the color to the spring breeze. ..... How about Suzhou Resettlement Office? Huatanglan will be in the middle of next month. " The poet put his emotions into The Flower of Wei Zi, writing about the rebellious character of the flower of Wei Zi, but in fact he also wrote that he didn't want to go with the flow and get involved in the secular wave. In "Winter jasmine to Liu Langzhong", it is also used to "send a cold spring with a green calyx, how many yellow flowers?" Tell the tourists in your words, don't turn a blind eye. " To express their unwillingness to compete for fame and gain and fall into a vulgar style.

"Don't mix it with the red one. This color can be distinguished by itself." ("Feeling Bai Lianhua") and his "White flowers are cold and don't love, also called peony. It should be like Bai Zanshan in the East Palace, also called a court official. " (Bai Mudan) Bai Juyi endowed Bai Lianhua and Bai Mudan with unique personalities. In the eyes of poets, flowers are people, and people are like flowers. The purity and elegance of flowers are consistent with the poet's own desire to maintain a delicate and kind character in officialdom. He said in the poem "Pomegranate Flowers on the Mountain": "Fight for this eaves for everyone to see." It shows the excellent quality of approachability.

Besides using flowers to express his ideal personality, Bai Juyi also used flowers to write about the valuable qualities of his friends. The poet wrote Yuan Zhen in Luoyang with chrysanthemum "This flower blooms more", praising him for not being afraid of power and enforcing the law impartially.

Second, use flowers to comfort the cause of frustration.

Bai Juyi had a rough life. He was demoted for loving and praising flowers and was attacked by his political opponents. But anyway. Demotion or demotion, Beijing officials can be improper, but flowers must be loved. The poet expressed his feelings in the Central Plains. Many of his poems about flowers reflected the poet's lament over the changes of current events and fleeting time, and expressed that although his official career was not smooth, he still insisted on his original intention, unwilling to go along with the secular world and still willing to maintain his noble quality. When I am frustrated and disappointed, I take flowers as my comfort, so as to pass away my helplessness and free myself from the world of flowers.

Bai Juyi lived in a remote place after his relegation. In order to change the monotony of life and forget his frustration and sadness in officialdom, he often vigorously planted flowers around his residence, so that his relegated place could be relaxed and comfortable, and the poet could temporarily enjoy life. As the poet wrote in the poem "Ziwei Flower", "Who is the companion who sits alone at dusk? Wei Zihua vs Ziweilang. " In the difficult days when I was relegated, I was no longer lonely with my favorite flowers as my partner.

Although Bai Juyi loves flowers, flowers can't completely free the poet from the bitterness of frustration, so in his poems, he also reveals the sadness of untimely birth. He shows his love for flowers. Isn't that his love for himself? "The inscrutable landing is still awkward, let alone falling into the soil?" It seems that flowers are themselves, and they are excluded, and their life experiences are sad. Another example is "I am disappointed to be late, but there are many sparse branches on the ground." There are both the injury of cherishing flowers and cherishing spring, and the poet's nostalgia for his teaching career. Good things are always fleeting.

He wrote in the poem "Watching Cherry Blossoms with Guests": "The weather is less than a mystery, and life is more unexpected. How about stopping to buy flowers and not getting drunk? " It also describes the poet's inner anguish and hesitation caused by the ups and downs of his career and his inability to display his talents. The poet feels that the ups and downs of his official career can generally be felt in his flower poems.

Third, with flowers, I feel that time flies.

Bai Juyi's life is closely related to flowers, which can be described as his life partner. Otherwise, how can there be a saying that "Hua Er will be your wife"? So Bai Juyi can be said to be a real "anthomaniac". His own career is not smooth, which makes his inner complex mood indescribable, and his love for life, so flowers bloom and fall will always cause endless sadness, reminding him of the changeable situation and unpredictable things.

Most of his poems about flowers still have the word "cherish", or take poetry as the topic, or in poetry, or express "cherish" feelings Through "Cherish Flowers", we feel more about the poet's cherish of time and life, and convey his feelings about the fleeting time, and that he doesn't cherish time for his youth, which is fleeting, and the author can't keep it, so he can only express his feelings by writing poems. For example, one of his songs, "Love before Flowers is Cui Xianghong and Liu Langzhong", "Falling flowers are like snow and temples are like frost, and drunkenness is good for self-injury. When I was young, I would check my bundle more, but after years of no interest, I became crazy. There are often few seasons in spring, and one hundred minutes at night is bitter. What is it like having a baby? Older than Cui Xiang and Liu Lang? " I wrote about the poet, because I was young and didn't know how to cherish time, but I still lost my years, and now I can only be sad. In "Looking for the Last Plum Blossom", the poet feels that "every year is just empty, why can't it bloom everywhere?" It conveys that flowers can bloom again in the coming year, but people are not like flowers, and time is gone forever.

In the world of flowers, Bai Juyi not only saw the flowers bloom and fall, but also stayed in the spring to go to Qiu Lai, and saw the shortness of life and the fragility of fate. Therefore, the flower image in the poet's poems about flowers contains the poet's endless feelings, which makes us still love it in future generations.

Fourth, use flowers to reflect the social customs and ethos of the Tang Dynasty.

From Bai Juyi's poems about flowers, we can also see the social customs and ethos of the Tang Dynasty, and even in his poems, there was dissatisfaction with the society at that time.

"When the flowers are drunk, the spring sorrow is broken. When you are drunk, you will break the branches into wine. " ("Drunk with Li Eleven, Remembering Yuan Jiu") is about the tastes of literati at that time, enjoying flowers and drinking together, and making wine orders when drinking. At the same time, there are also "tears at the sight of chrysanthemum, and pear blossoms are chilling." (cemetery concubine) reflects the main customs and activities of the Double Ninth Festival; Pick chrysanthemums and drink chrysanthemum wine. The second sentence is about the Cold Food Festival, when pear blossoms are in full bloom. The cold whiteness of pear blossoms coincides with the Cold Food Festival, which sets off the festive atmosphere.

There is a poem in "Peony Pavilion", "Flowers bloom and fall for 20 days, and a city is crazy." We can also see people's love for peony flowers in the Tang Dynasty. But at the same time, the poet's poem "Buy Flowers" is "a bunch of dark flowers, and ten families are blessed." When writing about people's love for peony flowers, they also satirized the social inequality at that time with sharp contrast. With a sigh of "Tian She Weng", it profoundly reflects the sharp contradiction between the exploiters and the exploited, and writes about the sufferings of people's livelihood and the cruel exploitation of rulers. It is very valuable for Bai Juyi to dare to write people's voices with his own poetry creation.

The flower images in Bai Juyi's poems about flowers not only bear the poet's heavy feelings. In fact, flowers also set off the artistic conception of the whole poem, making it look natural, smooth, gentle and moving.

There are many images of flowers in Bai Juyi's poems, too many to count. Poets compared themselves to flowers, or compared their friends to flowers, or conveyed the social atmosphere at that time through flowers, which made our readers feel Bai Juyi's deep love for flowers. He pinned his endless feelings on flowers, which made the flowers in his works have endless feelings, and made more and more later scholars have endless interest in his flower poems.

The Flower Image in Li Qingzhao's Poems

There are many natural images in Li Qingzhao's more than 40 existing poems, 35 of which are about flowers. The frequent flower images occupy the most important position in her poetic image system. Such as begonia, plum, chrysanthemum, cinnamon, lotus, ginkgo, plantain, clove, pear and so on. The image of flowers appears in almost every article. Among them, there are thirteen plums, four lotus flowers, three chrysanthemums, two osmanthus flowers, two begonia flowers and two pear flowers, almost all of which are unique in people's consciousness and not kitsch. However, in Li Qingzhao's works, flowers are not purely objective natural objects, but "flowers" and "humanized" natural objects saturated with the poet's deep affection, scene blending and resonance with the poet's soul. This poetess, who loves accompanying flowers, has integrated her outstanding personality spirit and complicated experiences of various encounters under the background of special times into the description of these flowers, making her a unique poetess among flowers. From Li Qingzhao's description of flower images, we can understand her inner feelings: in her early years, she expressed her joy; Middle-aged, expressing feelings of parting; In his later years, he expressed his sadness. Sima Qian called Qu Yuan "because of his pure heart" in Historical Records and Biography of Qu Yuan. Then, Li Qingzhao doesn't simply pick the flowers that can cause the most visual stimulation into her ci, but the flowers that can best integrate with her own personality pursuit into her pen, and each scene is swaying the "romance" that belongs to the poetess. This is not only an intentional choice to express feelings and write ambitions, but also an unintentional combination of life experience, personality pursuit and natural flowers.

In a special living environment, she is unusually sensitive to flowers. Before the plum blossom was in full bloom, she noticed that "Jiang Mei's flowers were broken and uneven" (Xiao Zhongshan); Mei Kai just left England, and she pitied "Plum Blossoms in the Evening Wind Courtyard Early" (Huanxisha). And "last night's wind and rain suddenly" ("Like a Dream") is more concerned about the fate of flowers. The formation and expression of any emotion is a reflection of the poet's own living condition. Therefore, the "begonia flower" after the "sudden storm" is not only a foreign object that causes the author to cherish spring and hurt flowers. Here, the life experience of begonia flowers is integrated with the poet's consciousness of his own destiny. In other words, behind this kind of "deep sleep without residual wine" is a reflection on the present situation of life value, or a hidden worry about the future fate. This is just a communication with the life state of Begonia after "sudden storm", "green, fat, red and thin". I pity flowers and feel sorry for myself, and the life state of flowers has become a metaphor for the state of human destiny.

"Emotions move with things, words and expressions" (Wen Xin Diao Long Search) and "Sighing when observing four seasons, thinking about disputes when observing everything" (Wen Fu) are human nature. Emotion and language will change with things. Therefore, the formation of Li Qingzhao's unique ci style is of course influenced by her congenital difference, personality and acquired family environment. Li Qingzhao was unrestrained in her early years. Although imprisoned in a small boudoir courtyard, she has lofty ideals, which can be seen from her early dreams (often thinking of the sunset in Xiting). After the marriage, sentimental Li Qingzhao, even though she was separated from her husband for a while, naturally wrote her farewell words with a pen. Li Qingzhao moved to Jiankang (Nanjing) after crossing the south. At this time, Li Qingzhao, who has an extraordinary temperament, is still interested in poetry and often goes out with her husband to look for poetry. Hui Zhou, a poet in the Song Dynasty, said, "When I met Yi 'an people, I said that I was sincere when I was born, and Yi 'an was worth the heavy snow every day, that is, I wore a hat and searched the city for poems. If I get a word, I will ask my husband to make peace, and I will be sincere in every difficulty. " You see, she is "eager to overwhelm her eyebrows." The death of Ming Cheng was a heavy blow to Li Qingzhao. With the great changes of the times and personal destiny, her ci style obviously changed from beautiful and charming in the early stage to sad and sad. The emotional appeal of the image of flowers has also changed from early happiness to sadness. For example, her early begonia became "green, fat, red and thin" after wind and rain, or it became "red snow" after flowering; Or write that she is addicted to "straying into the depths of the lotus", or write that she lingers in the dew-washed "Pinghua Cao Ting"; Or "pear blossoms are hard to thank" in the deep spring, or "pear blossoms are soaked" in the bright moon on a cold day ... The image of flowers contains the poet's endless reverie and profound thoughts. Introduce readers to an infinitely fresh and extremely clean and wonderful realm. This is unique in the ci circles of the Northern Song Dynasty at that time, and has unique artistic charm. Take chrysanthemums as an example. There were many poems by Yongmei before Li Qingzhao. Qu Yuan chanted chrysanthemums to show his Excellence. "Yuan Ming's original intention is chrysanthemum, but his original intention is not chrysanthemum. It is to install chrysanthemums to ease his mood. " (Ju Qu Xuan Ji) Li Qingzhao's character and style are deeply influenced by "Qu Ping and Ling Tao". In the pursuit of lofty ideals, they are consistent in noble character. Qu Zi's Eating Autumn Chrysanthemums, Ling Tao's Picking Chrysanthemums under the East Hedgehog, Yi An's Qiong Ji and Qing Fen Ji Yun, and the appreciation of the white pony in Dolly's ci became the intersection of Yi An's combination with Qu and Tao. Chrysanthemum is often called "yellow flower" in Yu Shu's ci, and often appears as a symbol or carrier of the poet's mentality and destiny. For example, in Drunken Flowers, the "yellow flower" growing in Dongli in late autumn is just the carrier of the sadness brought by the separation of the poetess and her husband and the sadness in autumn. In Dolly, the white chrysanthemums with "falling snow and thin jade" withered and scattered after autumn, which led to tears, wine and a poem-like "farewell sigh", thus expressing the poetess's fear of her husband's "encounter on the roof". However, the "yellow flowers" piled up all over the place in "Sound Slow" became the sad and lonely words of the poetess. By capturing the symbolic meaning of various flowers in Yu Shu Ji, we can explore the evolution track of Li Qingzhao's emotional mentality.

As an oriental scholar, Li Qingzhao, because of her innate nature, extraordinary talent and ambition, and the influence of Confucian personality spirit in traditional culture, naturally broke through the weak and obedient personality norms of ordinary boudoir women. She is not only passionate, romantic and competitive, but also strongly and consciously pursues the self-improvement of a gentleman's personality, transcending the secular, noble and conceited, and narcissistic. As a result, those flowers whose charm and temperament overwhelm the crowd are particularly attractive in the brewing of this life.

She especially worships Mei's charm and temperament. She appreciates the poetry contained in images such as "Liu Yanmei's cheek" ("Butterfly Lovers"), "Jade fragrance, Tan Shenxue III" ("Ren Yanjiao"), and can realize that "I don't know how much fragrance I used, but I can see infinite meaning in my bag" ("Jade House Spring"). The "Man Fang Ting" written by her is a work expressing things and wishes. Writing a sentence about plum blossoms is also writing a sentence about yourself. What is written between the lines is the lonely environment, chic charm, experience and the spirit of being alone and proud of the world. The first part of Ci expresses the experience of living in loneliness through words such as "seclusion", "lock", "leisure" and "deep seclusion". However, a Jiang Mei attracted all her attention at this time, putting her spiritual pursuit in the adversity of life. In the next film, the word "rhyme wins" shows Mei Yun's same realm and her own personality spirit. Although her fragrance is gone, her love will last forever, so that the value of life lies not in important places, but in "moonlight at night, but still romantic", which is the realm of life pursued by poets and writers who have always been unlucky and ambitious. Li Qingzhao's appreciation of sweet-scented osmanthus is even more extraordinary: "The yellow is faint and the corpus luteum is soft, and the love is far away." Why light blue and deep red? It's a first-class flower "The sweet-scented osmanthus here is yellow and yellow, and it is far from love, but there is a strange fragrance left in the world, so it is the first among flowers. This reflects Li Qingzhao's admiration for inner beauty and personality beauty. She regards Osmanthus fragrans as a "first-class flower", and naturally regards human inner beauty and personality beauty as the highest realm of life. People who have this realm of life are also "first-class" people.

Li Qingzhao married Zhao Mingcheng at the age of eighteen, and since then, she has started an academic love life, which is very elegant. She is lucky in love. The life partner she found is an excellent bachelor with similar interests. Their love life is both happy and full, which can be described as a pair. Her "beautiful words and dignified products" have won her husband's love and respect, and they are like-minded. Ming Cheng: "Every time I meet Su Huang's poems, although the numbers are half simple, I will still record them." Clear photo "poetic and picturesque like a night magpie, uneasy around three times." Whether it's looking for poetry through the snow or shooting tea, it's full of rich life interest. Such a good marriage is like a duck to water for Qingzhao and Mingcheng, which is undoubtedly a powerful driving force for their achievements in various undertakings. Therefore, the description of love in Li Qingzhao's early poems is mainly about spiritual life. She fell in love with chrysanthemum, symbolizing pure love and noble personality with the image of chrysanthemum, which has high artistic taste. For example, her masterpiece "Drunken Flowers" has a sentence:

Fog filled the clouds, and the days were spent in sorrow. Kapoor was among the birds in the incense burner. The festival is also a double ninth festival, and the jade pillow gauze kitchen is half cold at night.

Dongli drinks until dusk, and faint chrysanthemum fragrance overflows his sleeves. Don't say clear autumn is not a person, the west wind rolls the flag and beads curtain, and the person in the curtain is thinner than that Huang Ju.

This is a poem written by Li Qingzhao about her husband Zhao Mingcheng's trip on the Double Ninth Festival. Shortly after Li Qingzhao's marriage, her husband Zhao Mingcheng "traveled far". The boudoir was lonely, and on her ninth birthday, she "missed her relatives twice during the festive season", so she wrote this word and gave it to Zhao Mingcheng.

The first part begins with "fog" and "thick clouds", which outlines the gloomy weather and sets off the depressed mood and melancholy of the poetess. "Forever day": a long day. "Rui nao": it's a spice. "Golden beast" refers to a bronze incense burner engraved with the shape of an animal. On the Double Ninth Festival, the poetess lives like a year because she misses her husband. A person is in the boudoir, watching the incense burning in the incense burner slowly melt away, while the poetess is more sad, like smoke curling up like a wisp of smoke. Here, the author skillfully outlines a foggy environment to set off her lonely and boring mood. Scene fusion. The sentence "eternal troubles" is thought-provoking, with many words and long worries. The first sentence is external, and the second sentence is internal, which sets off the internal and external worries of female poets. The material state and human feelings set off each other, making sadness more and more "cut constantly, and the reason is still chaotic." These two sentences are more profound and concise than the article's "jade incense, red wax tears, all over the painting hall" This year's Double Ninth Festival, the annual "Double Ninth Festival" can only increase the sadness of female poets. Late autumn night, cool autumn makes it more difficult to sleep. Jade pillow and gauze chef used to be with their husbands, but now they are alone. Touching the scene means the pain of lovesickness. The word "cool" means "cool in autumn" and "cool in heart", which means that the poetess is lonely and desolate. These two sentences implicitly and profoundly reveal the poet's deep yearning for her husband through her personal feelings about "Jade Pillow Yarn Kitchen" and "Chuliang".

The next film uses the close-up of drinking and enjoying chrysanthemums on the night of Chongyang to express the feelings of cherishing people in more detail. The first two sentences say that when you enjoy chrysanthemum and drink alcohol in the chrysanthemum garden at night, you are covered with the fragrance of chrysanthemum. In ancient times, on the Double Ninth Festival, people climbed high and looked far away, or buried their heads in dogwood: "You know the height of a brother from a distance, and you can't plant dogwood all over the ground." (Wang Wei) or drinking and enjoying chrysanthemums: "I will come back at chrysanthemum time when I am on holiday in Shanju." (Meng Haoran) Since Tao Yuanming, chrysanthemum viewing in Chongyang has become a great event for literati. But Li Qingzhao was too sad to appreciate chrysanthemums, not to mention after dusk. Dusk is the most urgent time of the day to think of people. "Dongli drinking" is to drown my sorrows by drinking, but it is hard to extricate itself when I feel hurt, but it evokes deeper sadness. These two sentences are full of infinite bitterness. "I can't get rid of this situation," so I want to avoid chrysanthemums and go back to the house. At this time, the feelings of the poetess were highly sublimated, so a famous sentence that has been passed down through the ages came into being, "Don't worry, the curtain rolls west wind, and people are thinner than yellow flowers." Don't say don't worry about parting. The sentence "the curtain rolls west wind" is wonderful, and the clever use of inverted sentences doubles its dynamic aesthetic feeling. The phrase "people are thinner than yellow flowers" is an epigram and a swan song throughout the ages. The word "thin" is the "eye of the word" and the gathering place of the poet's feelings and spirit. Here, the thin chrysanthemum withered and weak in the west wind is superimposed with the thin image of the poetess. It is better than Qin Guan's "People are thin and have green poplar".

A few words vividly depict the modality of the poetess after she lost her soul. The west wind rolled up the bead curtain, and the young woman in the curtain was thin and gaunt, more fragile than the fine chrysanthemum outside the curtain. Chrysanthemum is a symbol of nobility and elegance. It is used to describe people, and it is very elegant. Appreciating chrysanthemums with wine is a metaphor for Tao Yuanming's lofty and indifferent personality. Chrysanthemum also has a beautiful and delicate charm. As an object that imitates people's thinness, its demeanor is more distinct. These are the original words of the poetess, which are particularly profound and vivid when used in the specific feelings of specific characters in this specific environment.

The word love is unknown, but it is written with a deep and implicit pen, but the deeper you love. The first sentence of the word points out the word "worry", and the last sentence ends with the word "thin", which echoes the word "worry" in the first sentence. Because of parting from sorrow, the waist belt is gradually widened, which means "making people haggard".

There are many poems about chrysanthemums in Song Dynasty, such as the images of chrysanthemums in Dongpo and Valley poems. Here, we only compare the chrysanthemum images in Xiao Shan's butterfly lovers ("Mourning for the Past") and Man Ting Square (Clear Water Begins Autumn) with Li Qingzhao's Drunk Flowers, from which we can see that Li Ci has won higher praise for its unique softness, softness and lightness.

Yan, Qin and Li are graceful and restrained, and all three poems are about looking at chrysanthemums and cherishing people. They use chrysanthemums as a medium to cause sadness, and use chrysanthemums to express their inner thoughts, worries and resentment. Their body feelings are keen and profound, and the image of chrysanthemums has become the carrier of the poet's feelings. However, the images of chrysanthemums in the three poems are different. The chrysanthemums in Yan's poems express persistent infatuation, which means "nothing happens when the flowers fall, and Yan's return is deja vu". The chrysanthemums in Qin Ci reveal the poet's inner "fantastic ideas" and sadness. "Ask Huang Ju by the fence and you'll know who to open the door for." It can be said that "tears ask flowers, flowers have no words." Yan and Qin are called "ancient tragic figures" because they mainly write about the erotic feelings that men and women miss each other. Its shallow language is full of flavor and its shallow language is good. "Although they are famous for writing tenderness, they are not as good as the unique deep tenderness of poetess Yi An. Words are expensive and feminine. As a sentimental woman, Yi An has a special liking for flowers, and her words are even more fragrant. The image of chrysanthemum in Drunken Flowers is no longer a purely objective natural scenery, an intermediary that causes people's worries, or an illusion caused by infatuation. After careful observation by Li Qingzhao, the image of chrysanthemum became a reflection of her interest. As Hegel said: "The greatest task of art is to make people find themselves in a foreign world. "Li Qingzhao's inner world is more graceful, light and delicate than that of male poets such as Yan and Qin, which makes her miss her husband deeply dive into the deepest part of her soul, thus achieving the artistic realm of selflessness and chrysanthemum, and thus producing a fantasy that is thinner than chrysanthemum. With thin and elegant yellow flowers, it means that people have been emaciated by the suffering of acacia, vividly showing the love of Li Qingzhao and his wife. The phrase "people are thinner than yellow flowers" can be described as a masterpiece of female poets. This chrysanthemum image not only symbolizes the deep affection of acacia, but also symbolizes the noble character of the poetess. The whole poem is quiet and beautiful, and its voice is emotional, which is really beyond Yan Qin's reach. It is no wonder that Zhao Mingcheng felt ashamed when he received the word "drunken flower songs" from Li Qingzhao, and "customs prevailed", so he thanked all the guests, forgot to eat and sleep for three days and three nights, and wrote fifty poems, but none of them could compare with his wife's "Immortality, curtain rolling west wind, people are thinner than yellow flowers". The "desire to win" here is not male chauvinism, but innocence as a husband and love appreciated by a wife. Yes, Li Qingzhao's word "Drunken Flower Yin" was handed down as a poetic anecdote in later literary circles. After crossing the south, in her "slow voice" words: "The yellow flowers are all over the ground, haggard and damaged, and now no one can pick them." This sentence shows a sense of fatigue in life. Here, the poetess moved her image into the chrysanthemum.