The opening sentence of the poem goes straight to the point. "Wu Si Shu Tong" describes the fine structure of the harp, which is used to set off the superb skills of the performer. Writing about things is also about writing about people, achieving the effect of killing two birds with one stone. The term "high autumn" not only indicates that the time is late autumn in September, but also means "high autumn air and refreshing air". Compared with "late autumn" and "late autumn", it is richer in meaning. Write two or three sentences about music. The poet deliberately avoids the formless, colorless and elusive subject (the sound of the konghou) and starts writing from the object ("empty mountain and condensed clouds" and the like), using reality to describe the imaginary, both real and illusory, and is highly expressive. As soon as the beautiful and melodious string singing came out, the floating clouds in the empty mountains and fields became slumped and stagnant, as if they were bowing their heads to listen. Xiang'e and Su Nu, who were good at playing the harp, were also moved by the music and shed tears. The sentence "Empty Mountain" empathizes with objects and writes clouds as having human auditory functions and thoughts and feelings, which seems to go a step further than "If the sky is sentimental, the sky will also grow old" ("The Golden Bronze Immortal Ci Han Song"). It cooperates with and complements the "Jiang'e" sentence below, and strongly emphasizes the magical and wonderful sound of the konghou, which has the charm of "shaking the heaven and the earth, weeping ghosts and gods". The fourth sentence, "Li Ping plays the Chinese harp", uses the "Fu" pen to name the performer and explains the location of the performance. In the first four sentences, the poet deliberately broke through the general writing method of describing characters, time, and place in order, and made careful arrangements. He wrote about the piano first, the voice, and then the person. The time and place were interspersed one after another. In this way, the music is highlighted and has the artistic power to take the lead. The fifth and sixth sentences describe music directly, and each has its own characteristics. The "Kunshan" sentence uses sound to express the ups and downs of the music; the "Furong" sentence uses form to write the sound, deliberately exaggerating the beauty of the music. "The phoenix of broken jade in Kunshan screams." Sometimes all the strings of the konghou sound in unison, making a noisy noise, like broken jade and a landslide, which makes people unable to distinguish; sometimes a single string sounds alone, like the cry of a phoenix, vibrating the forest trees and stopping the moving clouds. "The hibiscus weeps and the fragrant orchid smiles" is a unique concept. Dewy hibiscus (i.e. lotus) is a common sight, and blooming orchids do give people the impression of smiling. They are all the embodiment of beauty. The poet uses "hibiscus weeping dew" to describe the sadness of the piano sound, and "fragrant orchid laughter" to show the joy of the piano sound, which can not only be heard but also witnessed. This method of expression is truly wonderful in both form and spirit. From the seventh sentence to the end, they are all about sound effects. First, I will write about what is close at hand. The air-conditioned light in front of the twelve city gates of Chang'an is all melted away by the sound of the konghou. In fact, the cold air and cold light cannot be melted away, because Li Ping played the harp very well, and people were so intoxicated by his beautiful string singing that they could not even feel the cold wind and dew in late autumn. Although the wording is romantic and exaggerated, it expresses a true feeling. "Purple Emperor" is a pun, referring to both the Emperor of Heaven and the emperor at that time. The poet does not use "King" but "Purple Emperor", which is not only a pursuit of novelty in word choice and sentence construction, but also an ingenious transitional technique, connecting the previous and the next, and naturally expanding the artistic conception of the poem from the human world to the immortal world. In the following six sentences, the poet flies to heaven and the sacred mountain with the wings of imagination, bringing readers into a broader, deeper, magical and magnificent realm. "Where Nuwa refines stones to mend the sky, the rocks shatter the sky and make the autumn rain fall." The music spread to the sky. Nuwa, who was mending the sky, was so fascinated by the music that she forgot her duty. As a result, the earth was shattered and the autumn rain poured down. This kind of imagination is so bold and extraordinary, unexpected and touching. The word "funny" closely links the powerful charm of music with the above-mentioned wonderful sights. Moreover, the scenes of earth-shattering and autumn rain can also be regarded as manifestations of musical images. In the fifth couplet, the poet describes from heaven to the sacred mountain. The wonderful music was transmitted to the sacred mountain, and the goddesses were deeply moved by it; the music was so touching that it made "the old fish dance on the waves and the skinny dragon dances." The poet uses the words "old" and "thin" to modify the fish and dragon, which seem to be flat and dry, but have completely opposite artistic effects, making the musical image more plump. The old fish and the thin dragon were originally weak and had difficulty moving, but now they are leaping and dancing to the melody of the music. This unexpected image description makes the invisible and beautiful sound of the bell appear in front of the readers like a relief. The above eight sentences are written in form and sound, and most of them are moving objects. They come together, are novel and magnificent, and are dizzying. The last two sentences use still life for further contrast: Wu Gang, who was exhausted from cutting osmanthus all day long, stood there for a long time, forgetting to sleep; the Jade Rabbit crouched aside, letting the late night dew keep falling. The sweater on his body was soaked and he refused to leave.

These beautiful images full of thoughts and feelings are deeply imprinted in the hearts of readers, just like the bright moon projected on the water, appearing deep and distant, intriguing and thought-provoking. The greatest characteristic of poetry is its peculiar imagination, vivid images, and full of romanticism. The poet is committed to transforming his abstract feelings, emotions and thoughts about the sound of the harp into concrete objects through association, making them visible and perceptible. The poem does not directly judge Li Ping's skills, nor does it directly describe the poet's self-feeling. Some of it is just a description of the music and its effects. However, throughout the whole article, the poet's emotions are expressed everywhere, and he expresses his feelings and evaluation of the music in a tortuous and clear way. This integrates external objects and internal emotions, forming an artistic realm that is pleasing to the eye and mind.