水仙子·寻梅冬前冬后几村庄,溪北溪南两履霜。树头树底孤山上。冷风来,何处香?忽相逢缟袂绢裳。酒醒寒惊梦,笛凄春断肠。淡月昏黄。 乔吉的《水仙子·寻梅》以细腻、委婉的笔触把人带入了“寻梅”之中,让人在“寻梅”的过程中获得了一个完整的、丰富的生命意象。 作者一开始就突兀而来,下笔不凡。“冬前”“冬后”拉开了时间的间隔,在这句中只有“冬前”“冬后”两个凝滞的时间意象,显示出整个冬天秩序的跳跃性,“村庄”是实“冬前”“冬后”是虚。“溪北”“溪南”“树头”“树底”则是空间意象的推移,是作者艰难的跋涉过程。“两履 Narcissus find plum winter before winter village, Creek North Stream two vanishing frost. Tree at the end of Gushan. Cold wind, where incense? Awake winter awake, flute sad break heartbroken. Dim moon dim. Georgie’s “Water Daffodil Seeking Plums” brought delicate and euphemistic brushstrokes into the search for plum, which made people obtain a complete and rich image of life in the process of finding the plum. The author from the very beginning unexpected, extraordinary pen. “Winter before” and “after winter” opened the gap between time. In this sentence, there are only two stagnant images of time, “before winter” and “after winter,” showing the leaping of the whole winter order. “The village” is the real “ Winter before ”“ after winter ”is empty. “Stream North”, “Stream South”, “Tree Head” and “Tree Bottom” are the images of space and are the author’s difficult journey. "Two shoes