《文心雕龙·物色》说:“春秋代序,心亦摇焉。”季节的交替几乎天然地能引起人心的摇荡,这实际上出于人内心对未来渴望和忧虑并存的心理。尤其是文人,他们敏感的心更易产生涟漪。故古代吟咏季节的诗篇不胜枚举。春夏秋冬,各有其景,各具其情。文学史上固有伤春悲秋的传统,伤春往往是由于人生的不如意,哀悯春之逝去,本质上是源于爱春和惜春的。当烂漫芳春扑面而来,诗人们还是难以遏制那种毫无功利性的愉悦,正因其无功利性,所以那些直接表达出这种简单而强烈的欣喜之情的诗歌,往往用语简单,情感清新,并能在有意无意之间表现出作者的修养。春天,作为新的轮回的开始,温暖,湿润,意味着生机和希望,几乎是永恒地带给人喜悦,这种喜悦有时是闲适,有时是惊叹,有时是对天生万物的感激与会心,有时还是对春极美却难留的伤感。…… “The Literary Mind and the Carving of the Dragon” shows: “The sequence of the Spring and Autumn, the heart is also yan yan.” The alternation of the seasons almost naturally arouses people's heart and soul, which is actually out of the psychology of people's inner desire and anxiety about the future. Especially the literati, their sensitive heart is more prone to ripples. Therefore, the poems of the ancient chant season are numerous. Spring, summer, autumn and winter, have their own scenery, each with its own affection. In the history of literature, there is an innate tradition of wounds and sorrows and sorrows. Spring sorrow often results from the unhappiness of life, the pity of spring, and the essence of spring sorrow. It is because of the non-utilitarian nature that the poets find it hard to stop the unpleasant pleasures of the poem when they are blossoming. Therefore, those poems that directly express such simple and intense feelings of joy are often simple and emotional Fresh, and can show the author's self-cultivation between intentional and unintentional. In the spring, as the beginning of a new cycle, warmth and moistness mean vitality and hope, which are almost always euphoric, which is sometimes leisurely, sometimes marvelous, sometimes grateful, and sometimes innate Very sad to spring but sad to stay. ...