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这是一首和诗，作者是用原唱同题抒发自己宦游江南的感慨和归思。江南早春天气，和朋友一起游览风景，本是赏心乐事，但诗人却像王粲登楼那样，“虽信美而非吾土”，不如归去。所以这首和诗写得别有情致，惊新而不快，赏心而不乐，感受新鲜而思绪凄清，景色优美而情调淡然，甚至于伤感，有满腹牢骚在言外。
诗一开头就发感慨，说只有离别家乡、奔走仕途的游子，才会对异乡的节物气候感到新奇而大惊小怪。言外即谓，如果在家乡，或是当地人，则习见而不怪。在这“独有”、“偏惊”的强调语气中，生动表现出诗人宦游江南的矛盾心情。这一开头相当别致，很有个性特点。
中间二联即写“惊新”。表面看，这两联写江南新春伊始至仲春二月的物候变化特点，表现出江南春光明媚、鸟语花香的水乡景色；实际上，诗人是从比较故乡中原物候来写异乡江南的新奇的，在江南仲春的新鲜风光里有着诗人怀念中原暮春的故土情意，句句惊新而处处怀乡。
“云霞”句是写新春伊始。在古人观念中，春神东帝，方位在东，日出于东，春来自东。但在中原，新春伊始的物候是“东风解冻，蛰虫始振，鱼上冰”（《礼记·月令》），风已暖而水犹寒。而江南水乡近海，春风春水都暖，并且多云。所以诗人突出地写江南的新春是与太阳一起从东方的大海升临人间的，像曙光一样映照着满天云霞。
“梅柳”句是写初春正月的花木。同是梅花柳树，同属初春正月，在北方是雪里寻梅，遥看柳色，残冬未消；而江南已经梅花缤纷，柳叶翩翩，春意盎然，正如诗人在同年正月作的《大酺》中所形容的：“梅花落处疑残雪，柳叶开时任好风。”所以这句说梅柳渡过江来，江南就完全是花发木荣的春天了。
接着，写春鸟。“淑气”谓春天温暖气候。“黄鸟”即黄莺，又名仓庚。仲春二月“仓庚鸣”（《礼记·月令》），南北皆然，但江南的黄莺叫得更欢。西晋诗人陆机说：“蕙草饶淑气，时鸟多好音。”（《悲哉行》）“淑气催黄鸟”，便是化用陆诗，而以一个“催”字，突出了江南二月春鸟更其欢鸣的特点。
然后，写水草。“晴光”即谓春光。“绿苹”是浮萍。在中原，季春三月“萍始生”（《礼记·月令》）；在江南，梁代诗人江淹说：“江南二月春，东风转绿苹.”（《咏美人春游》）这句说“晴光转绿苹”，便是化用江诗，也就暗示出江南二月仲春的物候，恰同中原三月暮春，整整早了一个月。
总之，新因旧而见奇，景因情而方惊。惊新由于怀旧，思乡情切，更觉异乡新奇。这两联写眼中所见江南物候，也寓含着心中怀念中原故乡之情，与首联的矛盾心情正相一贯，同时也自然地转到末联。
“古调”是尊重陆丞原唱的用语。诗人用“忽闻”以示意外语气，巧妙地表现出陆丞的诗在无意中触到诗人心中思乡之痛，因而感伤流泪。反过来看，正因为诗人本来思乡情切，所以一经触发，便伤心流泪。这个结尾，既点明归思，又点出和意，结构谨严缜密。
前人欣赏这首诗，往往偏爱首、尾二联，而略过中间二联。其实，它的构思是完整而有独创的。起结固然别致，但是如果没有中间两联独特的情景描写，整首诗就不会如此丰满、贯通而别有情趣，也不切题意。从这个意义上说，这首诗的精彩处，恰在中间二联。
尾联点明思归和道出自己伤春的本意。诗采用拟人手法，写江南早春，历历如画，对仗工整，结构细密，字字锤炼。
这首诗造语警策。体例上韵脚分明，平仄和谐，对仗工整，已是成熟的律诗作品。结构上，首联一个意群，颔联颈联一个意群，尾联又一个意群，并且首尾呼应、中间展开。这种行文方式是初唐律诗乃至此后的唐律中常用的格式。因此，这首诗可谓初唐时期完成近体诗体式定格的奠基之作，具有开源辟流的意义。▲
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This is a harmonious poem. The author uses the same title as the original song to express his feelings and homesickness about official travel in the south of the Yangtze River. In the early spring of Jiangnan, it was a pleasure to visit the scenery with friends, but the poet, like Wang Can who climbed the stairs, “believed in the United States rather than our land”, and was reluctant to return. Therefore, this poem is different from the poem in that it is new but unhappy, enjoyable but not happy, fresh but sad, beautiful and indifferent, even sad, and full of complaints.
At the beginning of the poem, he sighed that only those who left their hometown and ran for official career would be surprised by the foreign festival climate. That is to say, if you are in your hometown or local people, you will be familiar with it. In this “unique” and “startled” emphasis, the poet’s contradictory mood of official travel in the south of the Yangtze River is vividly displayed. This beginning is quite unique and has a lot of personality characteristics.
The second couplet in the middle is “Jingxin”. On the surface, these two couplets describe the phenological change characteristics of Jiangnan from the beginning of the new spring to the middle of spring and February, showing the beautiful spring scenery of Jiangnan with birds singing and flowers fragrant; In fact, the poet compared the phenology of the Central Plains in his hometown to write about the novelty of the exotic Jiangnan. In the fresh scenery of the midspring in Jiangnan, there is a poet’s nostalgia for his hometown in the late spring of the Central Plains.
“Clouds and clouds” is about the beginning of the new year. In the ancient concept, the Spring God East Emperor was located in the east, the sun rose in the east, and spring came from the east. But in the Central Plains, the phenology at the beginning of the new spring is “the east wind thaws, the insects begin to shake, and the fish get on the ice” (The Book of Rites – The Moon Order). The wind is warm and the water is still cold. The Jiangnan water town is close to the sea, and the spring breeze and water are warm and cloudy. Therefore, the poet highlighted that the Spring Festival in the south of the Yangtze River rose with the sun from the eastern sea to the world, and reflected the clouds all over the sky like the dawn.
The “plum and willow” sentence is about flowers and trees in the first month of early spring. Both plum blossom and willow trees belong to the first month of early spring. In the north, plum trees are found in the snow. The willow color is seen from afar, and the winter has not disappeared; The south of the Yangtze River is already full of plum blossoms, willow leaves and spring. As the poet described in the poem “Big Plum” written in the first month of the same year, “Where plum blossoms fall, there is suspicion of snow. When willow leaves open, there is a good wind.” So this sentence says that when the plum and willow trees cross the river, the south of the Yangtze River is full of flowers and trees.
Then, write about spring birds. “Shu Qi” means warm climate in spring. The “yellow bird” is the yellow warbler, also known as Canggeng. In February of mid spring, “Canggeng Ming” (The Book of Rites – The Moon Order) was heard from both north and south, but the yelling of the yellow warblers in the south of the Yangtze River was more joyful. Lu Ji, a poet in the Western Jin Dynasty, said, “The cymbidium grass is very gentle, and the birds sound good when they are alive.” (Sad Life) “Shu Qi urges the yellow birds” is a poem written by Lu, and the word “urge” highlights the characteristics of the chirping birds in the spring of February in Jiangnan.
Then, write water plants. “Sunny light” means spring light. “Green apple” is duckweed. In the Central Plains, in March of Jichun, “Ping was born” (The Book of Rites · The Moon Order); In Jiangnan, Jiang Yan, a poet of the Liang Dynasty, said, “In February spring in Jiangnan, the east wind turns green apples.”.
In a word, the new is strange because of the old, and the scenery is surprised because of the feeling. Because of nostalgia and homesickness, Jingxin feels more exotic and novel. These two couplets show the phenology of Jiangnan in the eyes of the writer, which also implies the nostalgia for the hometown of the Central Plains, consistent with the contradictory mood of the first couplet, and naturally turn to the last couplet.
“Ancient tune” is a term that respects Lu Chengyuan’s singing. The poet used the unexpected tone of “suddenly hearing” to skillfully show that Lu Cheng’s poems unintentionally touched the pain of homesickness in the poet’s heart, and thus shed tears. On the contrary, it is precisely because the poet was homesick, so once triggered, he would cry bitterly. This ending not only points out meditation, but also points out harmony. The structure is rigorous and meticulous.
When people appreciated this poem, they often preferred the first couplet and the last couplet to the middle couplet. In fact, its conception is complete and original. Although the knot is unique, if there is no unique scene description in the middle two couplets, the whole poem will not be so full, coherent and interesting, and will not be relevant. In this sense, the highlight of this poem lies in the middle couplet.
The tail couplet points out the original intention of hurting spring. The poem adopts the personification technique to write the early spring of Jiangnan, with picturesque history, neat antithesis, fine structure and refined characters.
This poem is a warning. In style, the rhyme is clear, the tone and the tone are harmonious, and the antithesis is neat. It is already a mature rhythmic poem. In structure, the first couplet is an idea group, the chin couplet is an idea group, and the tail couplet is another idea group, and the head and tail echo and expand in the middle. This style of writing is commonly used in the early Tang Dynasty and even later in the Tang Dynasty. Therefore, this poem can be said to be the foundation work for the completion of the close style poetry style in the early Tang Dynasty, and has the significance of opening up the source and opening up the stream. ▲
