Love flowers recently, lean on dangerous buildings.
Leaning against the dangerous building, the wind is fine, looking forward to spring sorrow, and the sky is dark. In the afterglow of grass and smoke, no one can rely on the meaning of silence.
I plan to get drunk on the map of madness and sing songs for wine, which is strong and tasteless. I don't regret that my belt is getting wider and wider, which makes people haggard for Iraq.
Translation of butterfly lovers, leaning against a dangerous building
I am standing on a tall building, and the soft spring breeze is blowing head-on, and the sky is filled with endless worries and gloom. The setting sun is slanting and the grass is misty. Who can understand my mind silently leaning against the railing?
I want to indulge myself and get drunk. When I raise a glass in a song, I feel that I am reluctant to play but have no interest. I'm getting thinner and thinner, and I don't regret it. I'd rather languish for you.
Notes on "Dead Hua Lian, Rely on Dangerous Buildings"
(1) leaning against a dangerous building: leaning against the railing of a tall building for a long time. Don't go, don't go. Dangerous buildings, tall buildings.
(2) Look at extremes: look far and wide.
⑶ ànàn: I feel depressed and sad. Born in the sky: rising from the boundless sky.
(4) Smoke and light: floating clouds.
5] Meeting: I understand. Aperture: same as "column".
(6) Sparse madness: wild and unruly.
(7) plan: plan.
Once. Strong, reluctant.
Be gradually widened: refers to people gradually becoming thinner. Chinese version of "Ancient Poetry": "The day of parting is far away, but the day of clothing is slow."
(9) Elimination: Worthy and tolerable.
Appreciation of Death in Hua Lian and Living in a Dangerous Building
This is a people-oriented poem. The poet combines the loneliness of wandering in a foreign land with the lingering feelings of missing the right person, and writes lyrically and sincerely with the expression of "winding path leading to seclusion" I still lack feelings in the scenery. With the touch of the "breeze", the independent high-rise building is beyond the realm. "Spring Sorrow" can "look at the extreme and feel the darkness" and draw the infatuated thoughts of the Iraqi people. The grief and indignation of "silence" is the most sad and painful. "I'm going to get drunk," I couldn't help being angry and depressed. "When you sing a song about wine, it's still tasteless to be strong", and write your life's suffering experience; The phrase "the belt is getting wider and wider" will unfortunately be borne by everyone, and there will be no regrets. The last two sentences of Wang Guowei refer to the second realm that those who want to achieve great things and ask great things must pass through. "The belt is getting wider and wider, and I will never regret it. I am haggard for Iraq."
In the first part, it is said that going upstairs has caused "spring sorrow": "It's okay to lean on a dangerous building." This is the only narrative in the whole word that highlights the protagonist's appearance like paper-cutting. "The wind is very thin", with a scene, adds a little background to this silhouette and makes the picture come alive immediately.
"Looking at the spring sorrow, the sky is dark", looking at the end of the world, a kind of "spring sorrow" arises spontaneously. "Spring Sorrow" points out the season again. For the specific content of this "sorrow", the poet only said "born in the sky", which shows that what scenery in the sky touched his sorrow. Judging from the next sentence "grass smokes", it is spring grass. The lush grass is still alive, which is easy to remind people of endless sadness and hatred. Liu Yong borrowed spring grass to show that he was tired of traveling and homesick, and also expressed his yearning for his loved ones. As for the spring grass in the sky, what kind of "spring sorrow" the poet touched, the poet stopped here and said nothing more.
"In the afterglow of the grass, no one can write the lonely and desolate feeling of the protagonist by virtue of the meaning of the column without words". The previous sentence points out the time with the description of the scenery, and you can know that he stood on the roof for a long time and was reluctant to leave at dusk. "Smoke and Light on Grass" is about the extremely vivid and lifelike spring scenery. Spring grass, covered with grass, looks up and down, and there is a misty light in the afterglow of the sunset. An extremely beautiful scenery, together with the word "residual photo", adds a layer of sentimental color, which sets the tone for the next lyric. "There is no one to lean on", because no one understands his feeling of climbing high and looking far, so he is silent. There is nothing to say about "spring sorrow". Although this is not the content of "Spring Sorrow" itself, it adds to the "sadness" of "Spring Sorrow". The author didn't say what his "spring worry" was, but turned to pen and ink, complaining that others didn't understand his mood. The poet is evasive here, which makes readers unpredictable.
In the next movie, the author put down his pen and wrote down how he found pleasure in suffering. "Sorrow" is naturally painful, so forget it and play. "I'm going to get drunk" and write his plan. He has deeply realized the depth of "spring sorrow", and it is difficult to get rid of it by his own strength, so he wants to drown his sorrows by drinking. The poet made it very clear that the purpose was to "get drunk with a picture." In order to pursue this kind of "drunkenness", he was "confused and crazy" and didn't stick to anything as long as he was drunk. Not only should you drink hard, but you should also "sing to the wine" and express your sadness by singing loudly. But the result is that "strong music is still tasteless", and he did not restrain "spring sorrow". Pretending to be happy and "tasteless" shows the persistence of "spring sorrow".
At this point, the author reveals that this "spring worry" is a kind of unswerving feeling. The reason why his sadness lingers is precisely because he not only doesn't want to get rid of this "spring worry", but even willingly suffers from it. Even if he gradually looks haggard and emaciated, he will never regret it. "I am pining for Iraq" is the only problem: the poet's so-called "spring sorrow" is nothing more than the word "acacia".
This word is a wonderful extension of "Spring Sorrow", that is, "Acacia", but it has not got to the point. It only revealed some news to the readers between the lines, but when it was about to be written, it stopped to turn the pen and ink, so it was vague, confusing and tortuous, and it was not until the last sentence that the truth was revealed. In the last two sentences of the word, the love of acacia came to an abrupt end when it reached its climax, and the passion echoed with great appeal.