One after another on the Yaotai, I called the children several times but couldn't sweep them away. It was just taken away by the sun, but it was taught by the bright moon to see the future. (Que Jiao, a work: You Jiao) - "Flower Shadow" by Su Shi of the Song Dynasty. The shadows of flowers are stacked on top of each other on the Yaotai, and the children cannot sweep them away despite repeated calls.
The sun has just taken away the world, but the bright moon has taught me to see the future. (Que Jiao Yiyi: You Jiao) Chanting things, expressing feelings, frustration and helplessness Translation and annotations
Translation
The flower shadows on the pavilion are layered one after another, and the children are called to go there several times. Cleaning, but how to sweep away the flower shadow? When the sun goes down in the evening, the shadows of the flowers have just faded away, but the moon rises again, and the shadows of the flowers reappear one after another. Appreciation 2
This is a poem about things. By chanting the shadows of flowers, the poet expresses his feeling of wanting to make a difference, but being helpless.
This poem focuses on the word "change" from beginning to end. The change of shadow reflects the change of light, and the change of light reflects the change of shadow. In the first sentence, "Go to the Yaotai", this is the movement of shadow, implying the movement of light. Why use "up" instead of "down", because the red sun is gradually setting in the west. The second sentence "Can't sweep away" depicts the immobility of the shadow, which indirectly expresses the immobility of the light. Light does not move and shadow does not move, so you cannot sweep it away with your horizontal and vertical swipes. In three or four sentences, one "receiving" and one "sending" describe the change of light, which leads to the change of "going" and "coming" shadow. The flower shadow is originally static, but the poet grasped the relationship between light and shadow and focused on expressing the movement and stillness of the flower shadow, as well as the changes in going and coming, thus giving the poem a dynamic beauty of ups and downs.
Writing about the changes in light and the changes in flower shadows is ultimately to convey the poet's inner emotional changes. "Shang Yaotai" describes the movement of the flower shadows, which already contains the meaning of contempt for the flower shadows; "cannot sweep away" describes the flower shadows that are difficult to remove, which clearly shows the hatred of the flower shadows; "put away" describes the disappearance of the flower shadows, which gives a sense of happiness; "send away" describes the flower shadows disappearing "In the future" I wrote about the reappearance of the shadows of flowers, and sighed helplessly. The poet cleverly incorporates his inner emotional changes into the sudden changes of the flower shadows, giving the poem an implicit beauty of both near and distant meaning and implicit meaning behind the words. Appreciation 1 The author of this interesting poem is also controversial. The reason is this: someone searched through "Seven Collections of Dongpo" and did not find this poem, but found this poem in Xie Fangde's "Dieshan Collection", so he wanted to "correct the name" of it as written by Xie Fangde , I think this is a bit too abrupt. Both "The Seven Collections of Dongpo" and "The Collection of Dieshan" have been transcribed and compiled by later generations. It is not uncommon for poems to be omitted or to include other people's poems. Xie Fangde was a person who respected Su Shi very much. His nickname was " "Stacked Mountains" comes from the first line of a seven-rhythm poem by Su Shi, "Three hundred folds of green mountains on the stream." It is said that "Poems of a Thousand Families" was edited by Xie Fangde. He liked Su Shi's poems and most likely made it specially Recommend this poem in the anthology of "Poems of a Thousand Families". Another feeling is that this poem is too similar to Su Shi's style. We can pick out another well-known poem by Su Shi for comparison: "If there is sound on the harp, why won't it sound when you put it in the box? If there is sound, "On your finger, why not listen to it on your finger?" is exactly the same as the "innocent" action of calling the child to sweep the shadow of flowers in this poem, and it also implies a thought-provoking truth in a seemingly unreasonable and seemingly ridiculing tone. Su Shi's poems are humorous and lively, sometimes full of childishness, and the language also has the characteristics of "doggerel". He once said: "Although I am not good at reading, there is no one who knows how to read better than me. If you can only understand the meaning, it is often said that you are unlearned." He said to his newborn son: "Everyone raises his son to be smart, but I have been misled throughout my life by being smart. I only hope that my child will be smart." If you are foolish and careless, you will be able to reach the government without disaster." Su Shi was a talented person, and his poetry style was often surprising and innovative, which cannot be summed up by the word "bold and unrestrained". He himself once said these two sentences: "Create new ideas in the law, and send wonderful principles in boldness." ("Book of Wu Daozi Paintings") Although these two sentences were not originally about himself, here "Invite you to enter the urn" ", this term is also very appropriate to describe Mr. Dongpo's poems. Let’s just talk about this poem: Some people say that the “flower shadow” in the poem describes the villains in power in the court who are difficult to drive away, inexhaustible, and endless. Interpreting poetry in this way is inevitably dull and boring.
If it really describes a villain, then Su Shi's skills are too poor. "Moonlight Flower Shadow" is such an elegant scene, but it has no offensive power at all when used to describe villains. When everyone curses each other, who calls the other person a "flower shadow"? For example, Liu Yuxi's "The Ballad of Gathering Mosquitoes" describes villains as mosquitoes, and Luo Yin describes a comatose official with a corpse lying on a plain meal as a puppet. This is called irony. So what is the metaphorical meaning in this poem? I think this poem has a profound metaphorical meaning and contains a very complex emotion. As the saying goes: "Like a shadow, it follows the form." Where there is a form, there is a shadow, and where there is a cause, there is an effect. All kinds of trivial matters in the world are just like the shadows of flowers lingering in front of the flowers. They cannot be exhausted or thrown away. As long as the sun and the moon reincarnate, as long as they still stay. In this world, you can't avoid or get rid of this shadow that will always follow you, whether you like it or not. Dongpo likes Zen, and I think there is quite a Zen feel in this poem. Su Shi (1037-1101) was a writer, calligrapher, painter and gourmet in the Northern Song Dynasty. His courtesy name is Zizhan and his nickname is Dongpo Jushi. Han nationality, Sichuan native, buried in Yingchang (now Jiaxian County, Pingdingshan City, Henan Province). He had a bumpy official career throughout his life, but he was knowledgeable and talented. He was excellent in poetry, calligraphy and painting. His writing is unbridled, clear and fluent. Together with Ouyang Xiu, he is called Ou Su, and he is one of the "Eight Great Masters of the Tang and Song Dynasties". His poetry is fresh and vigorous, good at using exaggeration and metaphor, and his artistic expression is unique. He is also called Su Huang together with Huang Tingjian. He started a bold and unrestrained school and had a huge influence on later generations. Together with Xin Qiji, he was called Su Xin. He was good at calligraphy in running script and regular script. He could create his own ideas. His pen was rich and ups and downs, and he had an innocent taste. He was called Song Dynasty together with Huang Tingjian, Mi Fu and Cai Xiang. The four schools have the same painting studies and literature, advocate spiritual similarity in painting, and advocate "scholar painting". He is the author of "The Complete Works of Su Dongpo" and "Su Dongpo Yuefu".
Su Shi
The reputation of the doctor has been heard in ancient and modern times, and Panqu Guzhen is even more outstanding. It will be said that Lingtou is free, and there are still a few clouds hanging in the sunset. ——Tang Dynasty·Cheng Yanxiong's "Song"
Song The reputation of the doctor has been heard throughout the ages, and Panqu Guzhen is even more outstanding.
It will be said that Lingtou is free, and there are still a few clouds hanging in the sunset. Chanting things inspires me to enter the ancient temple early in the morning, when the first sun shines on the high forest. The bamboo path leads to a secluded place, and the Zen room is surrounded by flowers and trees. The light of the mountain is pleasing to the birds, and the shadow of the pond is empty of the human heart. Everything is silent here, except for the sound of bells and chimes. (Version 1) Entering the ancient temple early in the morning, the first sunlight shines on the high forest. The winding path leads to a secluded place, and the Zen room is deep with flowers and trees. The light of the mountain is pleasing to the birds, and the shadow of the pond is empty of the human heart. Everything is silent except for the sound of bells and chimes. (Version 2) Entering the ancient temple early in the morning, the first sunlight shines on the high forest. The bamboo path leads to a secluded place, and the Zen room is surrounded by flowers and trees. The light of the mountain is pleasing to the birds, and the shadow of the pond is empty of the human heart. Everything is silent, except for the sound of bells and chimes. (Version 3) Entering the ancient temple early in the morning, the first sunlight shines on the high forest. The winding path leads to a secluded place, and the Zen room is deep with flowers and trees. The light of the mountain is pleasing to the birds, and the shadow of the pond is empty of the human heart. Everything is silent, except for the sound of bells and chimes. (Version 4) - Tang Dynasty·Chang Jian's "Inscribed on the Buddhist Temple Behind Poshan Temple"
Inscribed on the Buddhist Temple Behind Poshan Temple
Tang Dynasty: Chang Jian
Early morning Entering the ancient temple, the early sunshine shines on the high forest.
The bamboo path leads to a secluded place, and the Zen room is surrounded by flowers and trees.
The light of the mountains pleases the birds, and the shadows of the ponds empty the hearts of the people.
All sounds are silent, except for the sound of bells and chimes. (Version 1)
Entering the ancient temple early in the morning, the first sunlight shines on the high forest.
The winding path leads to a secluded place, and the Zen room is surrounded by flowers and trees.
The light of the mountains pleases the birds, and the shadows of the ponds empty the hearts of the people.
All sounds are silent except for the sound of bells and chimes. (Expand to read the full text∨
Entering the ancient temple early in the morning, the first sunlight shines on the high forest.
The bamboo path leads to a secluded place, and the Zen room is deep with flowers and trees.
The mountain light is pleasing to the birds, and the pond The shadow is empty and the heart is empty.
All sounds are silent, but the sound of bells and bells is heard. (Version 1)
Entering the ancient temple in the early morning, the first sun shines on the winding path. In the secluded place, the Zen room is filled with flowers and trees.
The light of the mountain is pleasing to the eyes of the birds, and the shadow of the pond is so empty that it is so quiet that only the sound of bells and chimes are left.
Entering the ancient temple in the early morning, the first sunlight shines on the high forest.
The bamboo path leads to the secluded place, and the Zen room is filled with flowers and trees.
The light of the mountain is pleasing to the eyes of the birds, and the shadow of the pond is empty.
All sounds are silent, except for the sound of bells and chimes.
(Version 3) Three Hundred Tang Poems, an ancient Chinese poem, describing scenery and chanting objects. I have passed the Spring Society, and I have spent time in the middle of the curtain. Last year's dust is cold. If you want to stay in the wrong place, try to merge into the old nest. There is also a Diaoliang caisson. Also soft-spoken and indecisive. The floating flowers are blowing quickly, and the green tail separates the red shadow. Fangjing. Celery mud is moistened by rain. They love to stick to the ground and fight to fly, competing to praise their beauty. Returning to the Red Mansion late, I can see the dim willow trees and dim flowers. You should live in a stable and fragrant environment. Then I forgot, Tianya Fangxin. Worried about the loss of the two moths of Cuidai, I draw alone every day. ——Song Dynasty Shi Dazu's "Shuangshuangyan·Yongyan"
Shuangshuangyan·Yongyan It's time to pass the Spring Society, and in the middle of the curtain, the last year's dust is cold. If you want to stay in the wrong place, try to merge into the old nest. There is also a Diaoliang caisson. Also soft-spoken and indecisive. The floating flowers are blowing quickly, and the green tail separates the red shadow.
Fangjing. Celery mud is moistened by rain. They love to stick to the ground and compete to fly, competing to praise their lightness and handsomeness. Returning to the Red Mansion late, I can see the dim willow trees and dim flowers. You should live in a stable and fragrant environment. Then I forgot, Tianya Fangxin. Worried about the loss of the two moths of Cuidai, I draw alone every day. Three hundred Song lyrics, graceful, chanting about things and writing about birds