Translation of ancient poems! ! Speed. thank you

(1) Huang tingjian 1080 (the third year of Yuanfeng) entered Beijing in the autumn and served as Taihe in Taihe County, Jizhou (now Taihe County, Jiangxi Province). In autumn, he left Bianjing for Jiangnan. This poem was written when he was stranded in Chikou (now Guichi, Anhui Province) due to wind and rain on his way to his post. (2) Jade: Great bustard, as big as a duck, with purple fur, long neck and envy. Hoe: Egret, whose pecking posture resembles a farmer's hoe, hence its name. The first half of this poem is lyrical about the scenery. From the beginning of deduction, the first couplet drew a picture of an isolated city: there is an isolated city by the Yangtze River. It has been raining for three days, and people in small cities can only live on vegetables. This is a very elegant and simple pen. The poet seems to be handy, not fake, but poetic. Between the lines, I show my love for the quiet life in the town. This place is purely for scenery writing, but the inner feelings have been spread. When the poet looked around at the couplet, some casual scenes touched his feelings, and he saw the inner waves in leisure and tranquility. The vast rivers flow into the distance, and the winding mountains are like a pair of bluebirds. Sima Xiangru's "Upper Fu Lin" said: "Swan is swan, goose is jade." Guo Pu's note: "As big as a duck, the neck is long and red and purple." That's the vision. A closer look is: "I have a hard time being idle." The hoe is an egret. The bird is all white, giving people the impression of being lofty and elegant, but the poet thinks it is idle and bitter. The word "bitterness" is actually the result of the poet's touching the scene and projecting his feelings on foreign objects. Here, the image contains rising and metaphor. On the surface, it describes egrets, but in fact it is the poet's self-metaphor. At that time, Huang Tingjian was faced with various contradictions. He is ambitious but brilliant, but now he is disappointed by selling politics. He is just an idle scholar who has no right. He can only sigh from himself that "the young man's heart turns absurd, and the beauty is jealous and ashamed" (the second rhyme of Liu Tong's Begging for the Field and Asking for Family Poems), and "the flea learns to kill dragons in the year, and it is suitable for solid and sparse, and it is difficult for people to learn salt, making tea for the autumn moon" (. He didn't want to bow to others and longed to return to the fields, but he had to bow to be an official because of his livelihood. As the saying goes, "If you taste all your worries, there will be no land" ("Two Rhymes Send Runfu"), "I am covered in stains, and my sister-in-law is forced to get married and has nothing to offer. How dare you have leisure? " ("Su Haoran") all expressed their inner anguish. But poetry only ends there, leaving a lot of room for imagination. The second half of this poem is lyrical. Couplets are based on things, and necklaces are based on people. The fisherman just came to the water's edge from his home to collect his net, but this very accidental sight touched the poet's feelings about the world. He thought of the fish escaping from the net, so he used the idiom "Better to retreat and form a net" (Biography of Han Dong's Book) to express his mentality of being indifferent without seeking official advancement. This new word is also a clever idea. Compared with allusions, the ancients called it the law of reversing the verdict. For example, Yang Wanli said, "Turning over ancient cases is the most wonderful method." (Zhai Chenghua) "Art Garden Huang Ru" said: "How can a scholar achieve this if he directly uses the story, uses it against his will, has no knowledge, has extraordinary opinions and does not follow the rules?" This technique was influenced by Zen Buddhism, but Zen Buddhism turned it into a case and further improved its wisdom. For example, Huineng, the sixth ancestor, has a famous saying, "Bodhi has no trees, and a mirror is not a stage." There was nothing, where did the dust come from? " This is Huineng's reversal of Shen Xiu's fable of heart and tree and mirror. Huang Tingjian's association inspires association from trivial matters of life, and shines a spark of thought, which is similar to the front of Zen Buddhism and obtains wonderful enlightenment from ordinary things. The poem ends with the words of reaching the Tao, showing an ultra-refined mind. "History between pitches" is translated into a sentence in Wang Xizhi's Preface to Lanting Collection: "I enjoy it, and between pitches, it is history." The original intention of escape is to sigh that life is short and not feel the sadness coming from it. Although Huang Tingjian used its literal meaning, it meant the opposite: things were changing rapidly, and in the face of an impermanent life, he still withdrew from the field of fame and fortune and went to books for fun. This is just as he said in another poem: "fame and fortune, it is difficult to have a cup." The concept of hundred bodies is an illusion, and all people fight for it first. If anyone is not sick, remember that Tao Qian is back. "("Xi Tai Shou Bi Chao San Zhi Zheng ") This shows the profound influence of Buddhism and Taoism on Huang Tingjian. Huang Tingjian's poems are refined and lofty, but this lofty style is not reflected by romantic and aesthetic calligraphy and painting. When describing his daily life, he often shows a refined and arrogant spiritual realm. This poem, for example, is written casually, by analogy, interesting, and named after the image of ordinary things, which is also quite interesting. The language of the poem is fresh and strange, literally without dazzling colors, but it has its own profound cookies. The scenery is elegant and charming, lyrical and powerful, turning ordinary allusions into new ones, so as to draw the poet's heart out of vulgarity at this moment. Metric aspect, the spirit of ancient poetry is applied to metrical poetry, and parallel prose syntax is also involved. Parallel prose is not only antithetical to each other, but also "water distance" and "mountain length", "leisure in body" and "bitter in heart" constitute relative sentences, and the neck couplet and tail couplet adopt prose syntax. The neckline confrontation intentionally makes it useless, and there is a causal relationship between the upper and lower sentences, such as flowing water, "this so-called one-way gas is exhausting" (Fang Zhao Wei). The combination of function words at the end gives people a quaint feeling. This poem is fresh and quaint, as Fang commented: "Don't have a flavor, just wash it." (Zhao Wei Zhan Yan)