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这首诗为试帖诗，命题“古原草送别”。草与别情，似从古代的骚人写出“王孙游兮不归，春草生兮萋萋”（《楚辞·招隐士》）的名句以来。此诗写出了“古原草”的特色而兼关送别之意，还写出了新意。
首句即破题面“古原草”三字。“离离原上草”，抓住“春草”生命力旺盛的特征，可说是从“春草生兮萋萋”脱化而不着迹，为后文开出很好的思路。就“古原草”而言，也可开作“秋来深径里”（僧古怀《原是秋草》），那通篇就将是另一种气象了。野草是一年生植物，春荣秋枯，岁岁循环不已。“一岁一枯荣”意思似不过如此。然而写作“枯──荣”，与作“荣──枯”就大不一样。如作后者，便是秋草，便不能生发出三、四的好句来。两个“一”字复叠，形成咏叹，又先状出一种生生不已的情味，三、四句就水到渠成了。
“野火烧不尽，春风吹又生。”这是“枯荣”二字的发展，由概念一变而为形象的画面。古原草的特性就是具有顽强的生命力，它是斩不尽锄不绝的，只要残存一点根须，来年会更青更长，很快蔓延原野。作者抓住这一特点，不说“斩不尽锄不绝”，而写作“野火烧不尽”，便造就一种壮烈的意境。野火燎原，烈焰可畏，瞬息间，大片枯草被烧得精光。而强调毁灭的力量，毁灭的痛苦，是为着强调再生的力量，再生的欢乐。烈火是能把野草连茎带叶统统“烧尽”的，然而作者偏说它“烧不尽”，大有意味。因为烈火再猛，也无奈那深藏地底的根须，一旦春风化雨，野草的生命便会复苏，以迅猛的长势，重新铺盖大地，回答火的凌虐。那“离离原上草”，就像是绿色的胜利旗帜。“春风吹又生”，语言朴实有力，“又生”二字下语三分而含意十分。宋吴曾《能改斋漫录》说此两句“不若刘长卿‘春入烧痕青’语简而意尽”，实未见得。此二句不但写出“原上草”的性格，而且写出一种从烈火中再生的理想的典型，一句写枯，一句写荣，“烧不尽”与“吹又生”唱叹有味，对仗亦工致天然，故卓绝千古。而刘句命意虽似，而韵味不足，远不如白句为人乐道。
如果说这两句是承“古原草”而重在写“草”，那么五、六句则继续写“古原草”而将重点落到“古原”，以引出“送别”题意，故是一转。上一联用流水对，妙在自然；而此联为的对，妙在精工，颇觉变化有致。“远芳”“晴翠”都写草，而比“原上草”意象更具体、生动。芳曰“远”，古原上清香弥漫可嗅；翠曰“晴”，则绿草沐浴着阳光，秀色如见。“侵”“接”二字继“又生”，更写出一种蔓延扩展之势，再一次突出那生存竞争之强者野草的形象。“古道”“荒城”则扣题面“古原”极切。虽然道古城荒，青草的滋生却使古原恢复了青春。比较“乱蛩鸣古堑，残日照荒台”（僧古怀《原上秋草》）的秋原，就显得生气勃勃。
作者并非为写“古原”而写古原，同时又安排一个送别的典型环境：大地春回，芳草芊芊的古原景象如此迷人，而送别在这样的背景上发生，该是多么令人惆怅，同时又是多么富于诗意呵。“王孙”二字借自楚辞成句。“王孙游兮不归，春草生兮萋萋”说的是看见萋萋芳草而怀思行游未归的人。而这里却变其意而用之，写的是看见萋萋芳草而增送别的愁情，似乎每一片草叶都饱含别情，那真是“离恨恰如春草，更行更远还生”（李煜《清平乐·别来春半》）。这结尾意味深长。诗到此点明“送别”，结清题意，关合全篇，“古原”“草”“送别”打成一片，意境极浑成。
全诗措语自然流畅而又工整，虽是命题作诗，却能融入深切的生活感受，故字字含真情，语语有余味，不但得体，而且别具一格，故能在“赋得体”中称为绝唱。▲
appreciation
This poem is a test poem, with the theme of “Farewell to Ancient Grass”. Grass and farewell love seem to have been written by ancient poets since the famous line “Wang Sun never returns when he travels, but spring grass grows luxuriantly” (“Songs of Chu – Calling Hermits”). This poem describes the characteristics of “ancient primitive grass” and the meaning of farewell, as well as a new idea.
The first sentence breaks the theme with the words “ancient primitive grass”. “Lush grass on the plains”, grasping the characteristics of “spring grass” with exuberant vitality, can be said to break away from the “spring grass grows luxuriantly” and leave no trace, which provides a good idea for the following article. As far as “ancient grass” is concerned, it can also be opened as “deep path in autumn” (Monk Gu Huai’s “It’s Autumn Grass”), which will be another kind of atmosphere throughout. Wild grass is an annual plant. It thrives in spring and withers in autumn. “In one year, withers and thrives once each” seems to mean nothing more than that. However, writing “withered – withered” is quite different from writing “withered – withered”. If the latter is autumn grass, it cannot produce good sentences of three or four. The two “one” words are overlapped to form an aria, and then a kind of everlasting sentiment is formed first, and three or four sentences are naturally formed.
“The wild fire will never burn out, and the spring wind will blow again.” This is the development of the word “Kuo Rong”, which has changed from concept to image. The characteristic of ancient grass is its tenacious vitality. It can never be cut down. As long as there is a little root, it will be greener and longer in the coming year, and soon spread to the wild. The author grasped this feature and created a magnificent artistic conception by not saying that “cutting is inexhaustible and hoeing is inexhaustible”, but writing that “wildfire is inexhaustible”. Wildfire started a prairie fire, and the flames were awesome. In a blink of an eye, large areas of dry grass were burned out. The emphasis on the power of destruction, the pain of destruction, is to emphasize the power of regeneration, the joy of regeneration. Fire can “burn up” weeds, stems and leaves, but the author said that it “can not burn up”, which is very meaningful. Because no matter how fierce the fire is, there is no way to hide the roots deep in the ground. Once the spring rains, the life of weeds will revive, and with rapid growth, they will cover the earth again, answering the abuse of fire. The “Lush grass on the plains” is like a green victory flag. “The spring wind blows and lives again”, the language is simple and powerful, and the word “living again” has three parts of meaning. Song Wu Zeng’s “Manlu of Changing Fasts” said that these two sentences “are not as simple as Liu Changqing’s words of ‘spring comes into the burning scar green’, but the meaning is exhausted”, which is actually unknown. These two sentences not only describe the character of “the original grass”, but also describe an ideal model of regeneration from the fire. One is about withering, the other is about glory. “Burning is inexhaustible” and “blowing is born again” are very interesting. The antithesis is also natural, so it is outstanding for thousands of years. Although Liu’s sentence is similar in meaning, but lacks charm, it is far less eloquent than Bai’s.
If these two sentences are based on “ancient primitive grass” and focus on “grass”, then five or six sentences will continue to write “ancient primitive grass” and focus on “ancient primitive grass” to lead to the theme of “farewell”, so it is a turn. The last couplet uses flowing water. The beauty lies in nature; And this couplet is right. The beauty lies in its exquisite workmanship, and I feel that it has changed a lot. “Yuanfang” and “Qingcui” both write about grass, which is more specific and vivid than the “original grass” image. Fang said “far”, the fragrance on the ancient land can be smelled; When Cui says “sunny”, the green grass is bathed in the sun and looks as beautiful as you can see. The words “invading” and “connecting” followed the words “rebirth”, which created a trend of spread and expansion, and once again highlighted the image of the strong survival competition weeds. The “ancient roads” and “barren cities” are extremely close to the “ancient plains”. Although the ancient city is desolate, the growth of grass has restored the youth of Guyuan. Compared with the autumn plain, where “the ancient moat roars in disorder and the sun shines in the ruins” (Seng Gu Huai’s “On the Autumn Grass”), it seems vibrant.
The author does not write about the ancient land for the purpose of writing “ancient land”, but also arranges a typical environment for seeing off: in spring, the scene of the ancient land with fragrant grass is so charming, and how sad and poetic it is to see off against such a background. The word “Wang Sun” is borrowed from Chu Ci. “When Wang Sun swims, he will not return. When spring grass grows, he will be luxuriant.” It refers to people who see luxuriant grass and miss travelling. Here, however, it’s used in a different way. It’s about the sorrow of seeing off the luxuriant grass. It seems that every blade of grass is full of farewell feelings. That’s really “leaving hate is just like spring grass, and living even farther away” (Li Yu’s “Qing Pingle, Farewell to the Spring Half”). This ending is meaningful. Here the poem points out “Farewell”, settles the theme, closes the whole article, “Ancient Plains”, “Grass” and “Farewell” are integrated, and the artistic conception is very mixed.
The language of the whole poem is natural, smooth and neat. Although it is a topic poem, it can blend in with deep feelings of life. Therefore, the words contain true feelings, and the language has aftertaste. It is not only decent, but also unique, so it can be called a swan song in “appropriate”. ▲
