“伤春悲秋”是我国古典文学中表现得最繁多最丰富的情感,而文人们似乎更偏爱“悲秋”这种情绪。自宋玉在《九辩》中发出“悲者,秋之为气也。萧瑟兮草木摇落而变衰”之嗟叹起,悲秋情绪便缓缓地在文人的意识中沉淀下来,悲秋形象便渐渐地在文人的作品里定格下来,萦绕盘旋,挥之不去。“万里悲秋常作客,百年多病独登台”(杜甫)、“海畔尖山似剑芒,秋来处处割愁肠”(柳宗元)、“秋阴不散霜飞晚,留得枯荷听雨声”(李商隐)、“江声不尽英 ”Spring and Autumn Spring and Autumn“ is the most abundant and abundant emotion in Chinese classical literature, and the literary people seem to prefer the ”sad autumn“ emotion. Since Song Yu in the ”Nine Debates,“ issued in the ”tragedy, the autumn is also angry.“ Xi Xi grass fell and decline, ”sigh, sad mood slowly slowly in the literati consciousness, sad Autumn image will gradually be settled in the works of the literati, linger around, lingering. “Wanqiuqiuqiu often guest, more than a hundred years sick only on stage” (Du Fu), “Sea Jianshan like Jianmang, Autumn everywhere cut melancholy ” (Liu Zongyuan), Had to hear the sound of dry rain “(Li Shangyin), ” The river is not as good as English