Ming Dynasty: Tang Xianzu
It turns out that there are colorful flowers everywhere, and it seems that they have all been ruined, and there is not a day to appreciate their beautiful scenery. As the morning and evening flies, the pavilions, wind and rain films and smoke waves draw boats, what Jinping people especially see is shame.
Translation and annotation
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Such charming spring scenery with flowers is not appreciated, and it is paid for the broken well and the broken wall. How did you spend your precious time in such a beautiful spring? What makes people happy? Carving beams and painting buildings, flying eaves and walking on walls, flowing Dan Pipa Pavilion, brilliant as a cloud. The warm spring breeze, with drizzle, floats in the misty spring water, and the boudoir people look at this beautiful spring scenery too humble.
To annotate ...
Colorful: describe the bright and beautiful flowers.
Break the well and fall down the wall: break the mine field and fall down the low wall. This is to describe the shabby and cold courtyard.
Naihetian: Nothing.
Whose home: which one.
Rolling at dusk: describes pavilions and broad scenery.
Cuixuan: Gorgeous pavilions.
Jin Ping: A person locked in a boudoir.
Te: that's right.
Shaoguang: Great spring.
Tang Xianzu (1550— 16 16) was a dramatist and writer in China in the Ming Dynasty. Word meaning is still, Hai Ruo people, number if stone, Qingyuan road flyover. Han nationality, Linchuan, Jiangxi. A.D. 1583 (11th year of Wanli) Jinshi, doctor of Taichang Temple, in charge of the Ritual Department. Because of impeaching Shen Shixing, he was reduced to Xu Wendian's history, and later transferred to Suichang County, Zhejiang Province. He was removed from his official position because he did not attach himself to dignitaries, and he never returned to his post. I studied under Luo Rufang and was influenced by Li Zhi's thought. In terms of opera creation, we are opposed to imitating the ancients and sticking to the rules. His works include The Peony Pavilion, The Tale of Handan, Conan and The Tale of Purple Hairpin, which are collectively called the four great dreams of Tang Yuming, among which The Peony Pavilion is the most famous. In the history of China opera, it is as famous as Guan Hanqing and Wang Shifu, and plays an important role in the history of China and even the world literature.
Make an appreciative comment
This lyric has always been talked about by people. It is elegant, colorful and meaningful, sincere and swaying with the scenery. It fully shows the emotional flow of Du Liniang when he visited the park, and embodies the characteristics of the integration of emotion, scenery, drama and thinking. It is very suitable for the current situation and development trend of the protagonist's emotions. "Colorful flowers bloom everywhere", the dazzling state of Spring Garden gives people a strong visual impact and beats the girl's heart. However, the protagonist is not just wandering in it, but "in" rather than "out". Inheriting the first sight of spring scenery is the scene imagined by the girl. She foresaw the colorful spring trend in the future-"Everything is paid for the broken well and the broken wall" and "Spring is so beautiful" opened the hero's field of vision, filled it with surprises and surprises, and the association with the hasty return of spring that followed shook the girl's heart with a bang, making it full of fear and helplessness.
The scene where the heroine is elated and then frowns is full of helpless emotions-"What a beautiful day, who will be happy?" She is aware of the dilemma of life here. If we look at these sighs from another angle, what is left inside is not just pure pessimism. After the heroine's mood fell into the trough, she still remembered Beautiful Days, Yun Qing Pavilion and Cooking Smoke.
In this lyric poem, the emotional change from joy to pain is closely related to the change from rich real scenes to dilapidated virtual scenes, so it is difficult for readers to judge the strict boundary between external scenes and internal feelings, because here, the scenes are emotional and still exist.
This song shows Du Liniang's regret that he hates being lonely in the night garden, and then accuses the feudal ethics and feudal thoughts of ruthlessly destroying the youth of girls. As a newly awakened girl, Du Liniang lamented that spring was fleeting, sad and lonely, longed for a free and happy life, and strongly demanded physical and mental liberation, which reflected the spirit of the times demanding personality liberation after the middle of Ming Dynasty and had a far-reaching impact on later generations. In A Dream of Red Mansions, Lin Daiyu read this song and thought of her own situation and infinite sentimental plot.