Dian Jiang Lip Ding Weidong Guo Wusong
Jiangkui
Yan Yan has no intention, and the west bank of Taihu Lake goes with the clouds. Several peaks are bitter. It is raining in Shang Lue.
Next to the fourth bridge, I plan to live with you every day. That's not what happened. Looking back, the willows danced irregularly.
Text explanation of crimson lips:
(1) Dianjiang Lip: epigraph name. Forty-one words, first three rhymes, last four rhymes. "Halal Collection" is composed of "Lu Xian Tune", which is the same in Yuan Dynasty and Northern Dynasty, but slightly different in flat and even sentence patterns, and is still commonly used in Beijing Opera.
⑵ Ding Wei: the 14th year of Xichun in the Southern Song Dynasty (1 187). Wu Song: A work, Wusong, which is now Wujiang City, belongs to Jiangsu Province.
⑶ Yan (yān) Yan: refers to the red rock in the northern Youyan area. Yan, the northern emperor also. Unintentional: inorganic heart, still pure and natural. Yan Yan has no intention: I envy those carefree and free birds.
(4) Taihu Lake: a big lake in southern Jiangsu Province.
5] Shang Lue: Discussion, brewing and preparation.
[6] The fourth bridge: namely "Ganquan Bridge outside Wujiang" (Zheng's "Collation of Miaohaozi"), hence the name "all products rank fourth" (Suzhou Fuzhi).
⑺ Tian Sui: Lu Guimeng, a writer in the late Tang Dynasty, was named Tian Sui Zi.
⑻ Why: When and where.
Levies an uneven appearance.
Pink lips translation:
The wild geese in the north are carefree, with white clouds floating from the west bank of Taihu Lake. A few lonely peaks in the distance look bleak, as if brewing a big storm at dusk.
I really want to live in seclusion with Tiansui by the Fourth Bridge. But where are people like him now? I leaned against the railing to recall the years and saw the willow dancing unevenly in the cold wind.
The background of Dian Jiang Lip's creation;
In the winter of the 14th year of Song Xiaozong's Xichun (1 187), Jiang Kui wrote this word when he traveled to Huzhou and Suzhou and passed through Wu Song (now Wujiang, Jiangsu). Jiang Kui usually likes Lu Guimeng, a recluse poet in the late Tang Dynasty. Wu Song is where Lu Guimeng lives in seclusion.
Appreciation of crimson lips:
There are four elements in Jiang Kui's poems: meteorology, solemnity, blood and rhyme. The requirements of the four are "weather should be abundant", "honor should be macro", "blood should be connected" and "rhyme should be elegant" Although it is the language of poetry, it is also very appropriate to transfer it to words. From this word, we can know that what it says is true.
The boundary of the first part is the boundary of the poet's pitching world. The first sentence "Yan Yan has no intention" is winter, which is the season when Yan Yan flies south. Lu Guimeng has many poems about the northern geese, such as The Lonely Goose: "I was born in heaven and earth, and I am the only southern goose." "Returning to the Wild Goose": "Going to the north and coming to the south is my Cao Zheng, and I should work far away." "Jingkou": "Wild geese frequently talk about the north." "Jinling Road": "The northern geese are straight." Goose: "How long is the road between north and south?" There are also many poems about geese in Baishi's poems, such as "The Flying Goose" and "Except the Night", as well as the words "Huanxisha" and this word. It may have something to do with his feeling of wandering around the rivers and lakes for many years, and also with his great affection for Lu Guimeng. Yan Yan, who is really written in the air, is a metaphor of wandering life. It is another metaphor for Yan Yan's natural disposition to point out that she has no intention of flying with the seasons. This also uses Lu Guimeng's poems. Lu Guimeng's Autumn Fu Period Attacks the United States: "Clouds are like leisurely water." "It's a beautiful thing in the new autumn": "The heart is like a lonely cloud, who knows more in the world." The next sentence was written unintentionally: "The west bank of Taihu Lake goes with the clouds." Yanyan flies leisurely on the west bank of Taihu Lake with faint white clouds. Yan Yan's departure is a metaphor for her sense of wandering in the Jianghu. If you are careless about the cloud, you are pure natural. Song Chenyu's "Hidden Words" says: Baishi is like a man of Jin and Song Dynasties. When it comes to meaning, it is estimated that it will not be very high. " Fan Chengda called it "Mo Han's character, like a Confucian in Jin and Song Dynasties." Zhang Yu's Biography of the White Stone Taoist also said that he was "as light as a fairy." However, Jiang Kui is different from the celebrities in the Jin and Song Dynasties. The so-called celebrities in the Jin and Song Dynasties were actually nobles who died in their leisure years, while Jiang Kui lived a life of cloth, and when the Southern Song Dynasty declined, his home country was hated, and his life experience was not comparable to that of celebrities in the Jin and Song Dynasties. So the following is the thought of worrying about the country and the people. A word from the west bank of Taihu Lake has a vast and distant artistic conception. Taihu Lake is pregnant with five mountains, and "Tianshui is integrated" (Lu Guimeng's "First Entering Taihu Lake"). The artistic conception of this word is as great as heaven and earth. "A few peaks are austere. Shang Lue is yellow and rainy. " The bitterness and helplessness of this sentence reflects the myriad sorrows of people. Never anthropomorphic writing mountain, fresh this magic pen. Compared with Xin Jiaxuan's "I think Castle Peak is charming, and I expect Castle Peak to be so" ("Yu Meiren"), it is a different story.
The realm of the next film is the realm of the poet pitching the present and the present. "When I get to the Fourth Bridge, I plan to live with you every day." The fourth bridge is located in Lu Guimeng's hometown. "Wu Jun Tu Xu Jingzhi" says: "Lu Guimeng lives in Songjiang Shangfuli." Songjiang is Wujiang. Tian Suizi is Lu Guimeng's name. Heaven follows the language "Zhuangzi Zaiqi", which means that spirit moves with nature. Lv Guimeng has the ambition to help the world, and his "Two Nights in the Village" says: "Without a monarch, Yao and Shun can't go up and down. Without living national strength, it is quite civilized. " But he lived in the late Tang Dynasty, so he had to live in seclusion. Jiang Kui's life is not without ambition. The poem "Travel in the Past" said: "Traveling all over China, sighing that there are not many heroes." Song of Eternal Sorrow: "The Central Plains was born together, and God is in old age, looking south at the golden drum of Changhuai." However, he also raised a scholar who had no first place, and he drifted all his life. Lu and Jiang have similarities. Lu Guimeng is good at the Spring and Autumn Annals. His Biography of Mr. Fu Li says: "I am free and unfettered, so I can read the books of ancient sages, explore the great books, and understand the righteousness." "In Zhenyuan and Han Dynasty, I tasted the general principles of Spring and Autumn Annals and carved them in stone." "If there is no biography, it will be nearly a hundred years. Jiang Kui is good at music. In the third year of Qingyuan in the Southern Song Dynasty, he entered the Dayue Instrument. At that time, he had been touring the south for 60 or 70 years, and the music code had long since died out. Jiang Kui put forward the idea of comprehensive criticism and achievements of the music system at that time, including musical instruments and songs. " Writing books is too common. "("Song Shi Le Liu Zhi ") They have a high sense of responsibility for traditional culture because of their clothes, and so do they. It is this sense of spiritual identity that gives Jiang Kui the language of "only facing the sky with the son of meditation, and being cold all his life" (the poem "Sangao Temple") and "three lives must follow Lu Tiansui" (except the poem "Night"). Next to the Fourth Bridge, planning to live with you every day is the embodiment of this sense of identity.
On the fourth bridge, the land is still there, and the sky is with the children, but the people are gone. With the word * * * in the middle, the ancients who are still in their hometown are connected with their past selves, and the boundaries between ancient and modern are lost. This is a special brushwork adopted by the poet in order to break the limitations of ancient and modern times and seek to recite spiritual sentences with the ancients. Another example is Liu Guo's friendship with Dongpo, Lotte and Lin Hejing in Qinyuanchun. It writes about nature, life and history, and the pen turns out new ideas and writes about the times, with unlimited pen power. The word "today" is rich in meaning and covers a wide range. There are many meanings, such as when, where, why and how. Therefore, "why today" includes what the world is, where the world is going, why it is here and how to face it. This is one of the major rhetorical questions covering the universe, life, history and times, and it is also a major rhetorical question full of philosophical reflection. Among them, the focus is mainly on the word "today". Nostalgia, strong brushwork and broad weather. Both the ancient and the present are embodied in the text, which complements the historical meaning of "what is today". You should know that this place belonged to wuyue in ancient times, and Yin Jian, whose wuyue rose and fell, once aroused the infinite emotion of Lv Guimeng in the late Tang Dynasty: "Changzhou is full of thorns, but only hates Taiwan luxury. The prince of Wu will die in everything, and the stone may not get the sixth house. " ("Wu Gong Nostalgia") can not help but evoke the infinite emotion of Jiang Kui in the Southern Song Dynasty: "Beauty used to have fun on the stage, but today she looks at the five lakes on the empty stage. Residual snow dies before grass melts, and no elk crosses Gusu. " (except at night)
Nostalgia is the pain of today. "Irregular Dance of Residual Willow", Liu Ben is delicate and rotten as residual, so his dance is also uneven, but he still dances endlessly. The word "dance" is persistent and powerful, with desolation in it and desolation in it. In fact, the natural image of "the dancing of residual willows" is a symbol of the decline of the Southern Song Dynasty, implying that although it is broken, it is unwilling to perish. This is similar to Li Shangyin's "Leyou Tombs" and "to see the sun, for all his glory, Buried by the Coming Night", which symbolizes the irretrievability of the national fortune in the Tang Dynasty. As a natural image itself, it complements the natural meaning of "what is the present". The artistic conception of pen collection is actually a portrayal of the national luck of the Southern Song Dynasty. Looking back at the sentence "several peaks suffer", it means the foreshadowing of the end. Nine years ago, Xin Jiaxuan wrote "Fishing" and said: "Don't lean on the dangerous fence, and the sunset will be bright." It is the same artistic conception. The word "Jiang Kui" uses the word "dance", which contains infinite desolation and tragic.
Being good at describing the ethereal realm and writing from the imaginary place is a major feature of Jiang Kui's ci. This word combines the feelings of life experience and the hatred of home and country, and is an invaluable treasure in patriotic words in the Southern Song Dynasty. The source, home and country are dominated by natural images, which are in a dominant position in Ci, and integrate nature, life, history (respecting nature and cherishing the past) and times.
Especially, "what is the present", one of the major backchat, although its significance focuses on the present, its significance is far more than that, and it is a philosophical reflection put forward by the poet in the face of nature, life, history and times. The artistic conception of the whole word also rose to the philosophical level. What's Now? What's Now in The Peach Blossom Garden and Where's the Past Era in Youzhou Tower? Behind me are future generations? ”。 This word is full of infinite emotions, but it is just "the more meaning, the fewer words". This kind of writing is easy to form an indirect distance between the self-expressed image and the written image, resulting in a hazy aesthetic feeling. The combination of sound and feeling of this word is also very subtle. The first two words of the first sentence in Part I rhyme, the third and fourth words of the last sentence are disyllabic at dusk, and the fourth word of the next apposition sentence rhymes and crosses disyllabic. It is natural to be unhappy. The magical function of the double phonological ring lies in adding endless sounds and emotions to this short chapter.
Personal data:
Jiang Kui (Kuí) (1154-1221) was born in Poyang, Raozhou (now Poyang County, Jiangxi Province). Writers and musicians in the Southern Song Dynasty. He is a poor boy, who has tried many times. He has never been an official all his life, and he has been wandering the rivers and lakes all his life, helping his friends by selling words for a living. He is versatile, proficient in temperament, able to compose his own music, and clear pronunciation and mellow voice. His works are famous for their ethereal subtlety. Jiang Kui is good at poetry, prose, calligraphy and music, and is another rare artistic all-rounder after Su Shi. Jiang Kui's ci has a wide range of themes, such as feeling of time, lyricism, chanting things, love, writing scenery, remembering trips, arranging festivals, making friends and giving gifts. In his poems, he expressed that although he was in the Jianghu, he never forgot the feelings of the monarch and the minister and the thoughts of harming the heavens and the earth, described his wandering life, and expressed his depressed mood of being unworthy of the world and frustrated in love, as well as his transcendent and refined character like a lonely cloud and wild crane. Jiang Kui lived in the West Lake at night and was buried in Ximacheng. Many books have been handed down, including Poems of Taoist White Stone, Songs of Taoist White Stone, Continued Book Score and Jiang Tieping.