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土壤原是暖的,山丘上的草木最先知。一连几日少女长发般细细柔柔的雨丝儿,原来是密密匝匝汉唐绣女的针脚儿,把个江山万里绣得姹紫嫣红,竟要成了后现代的泼彩抽象画了。我舍不得心中那份初雪说出去化作覆水难收的泥水,却也颇不服气遭受春之神弃之不顾的冷遇。于是,要找她去。犁过了的田畴最是丰韵:一犁铧一犁铧翻出的松软馨香的泥土,犹有生铁制作的银白色犁铧的微凹形,曲折别致地与覆草的田垄并行,又熏着暖阳,又照着那犁沟里的一湾清浅……怎么就使我联想起了温庭筠的《菩萨蛮》:
The soil is warm, the most prophetic vegetation on the hills. For a few days girl hair like thin, soft rain silk child, turned out to be densely turned the Han and Tang dynasties embroidered female children, a Jiang Wanli embroidered colorful, should actually become a post-modern abstract painting painted splashes. I could not bear the mind that share of the snow that turned into muddy water, but also quite unconvinced by the spring of God abandoned the cold reception. So, looking for her to go. The plowed Tian domain is the most charming: a ploughshare ploughshare ploughshare loosen the fragrant soil, still silver cast iron plowshare of the micro concave shape, twists and turns in parallel with the grass covered the ridge, but also smoked warm sun, And according to that one of the furrows in the furrow, the light and shallow ... how to remind me of Wen Tingyun’s “Buddha Man”: