I'm getting thinner and thinner, but I never regret it. I'd rather look haggard because of her thinness. This sentence expresses the poet's persistence and firmness in love, as well as his helplessness and pain in love.
The whole poem is as follows:
Dead Hua Lian, leaning against the dangerous building, the wind is fine
Liu Yong in Song Dynasty
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. (Lan Tong Lan)
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.
The whole poem is interpreted as follows:
I leaned on the railing of a tall building for a long time, and the breeze brushed my face a little bit, which made me feel dejected in the endless spring, and my depression and sadness rose from the distant and boundless sky. Green grass, drifting clouds and smoke, hidden in the afterglow of sunset, no one understands my feeling of leaning against the railing.
I'm going to get drunk in my bohemian mood and raise a glass to sing, but I feel meaningless when I barely laugh. I'm getting thinner and thinner, but I haven't always regretted it. I'd rather look haggard because of her thinness.
Sentence annotation
Leaning against a dangerous building: leaning against the railing of a high-rise building for a long time. Don't go, don't go. Dangerous buildings, tall buildings.
Look at the distance.
Dark and gloomy: vague and unknown, describing depression and sadness.
Born in the sky: rising from the boundless sky.
Smoke and light: clouds and fog hovering in the air.
Yes: I understand.
Aperture: same as "column".
Plan: Plan.
Boredom: wild and uninhibited.
Qiǐng(qiǐng) Le: Just smile. Strong, reluctant.
Belt widening: refers to people gradually losing weight.
Elimination: Worthy and tolerable.
Make an appreciative comment
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"
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 it is not the content of "Spring Sorrow" itself, it adds to the sad taste 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 the entanglement of this "spring worry", but even willingly suffers from it, even if he gradually looks gaunt and thin, 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". (I mean the woman I love deeply, and I also mean my own life ideal)
This word is a wonderful extension of "Spring Sorrow", that is, "Acacia", but it refuses to hit the point. It only revealed some news to the readers between the lines, but it came to an abrupt end when it was about to be written. It was so vague, confusing and tortuous that it was not until the last sentence that the truth was made clear. 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.
Brief introduction of the author
Liu Yong (about 987- about 1053), a famous poet in the northern song dynasty, was a representative of graceful and restrained school. Han nationality, a native of Chong 'an (now Wuyishan, Fujian), was originally named Sanbian, with the word Jingzhuang, and later renamed Yong, with a clear word, ranking seventh, also known as Liu Qi. He is a scholar in the imperial court, and the official is Yuan Wailang, so he is known as Liu Tuntian in the world. He called himself "Liu Sanbian, who wrote lyrics in sequence", devoted his life to lyrics and boasted that "white clothes are fluttering". His poems mostly describe the city scenery and the life of geisha, and he is especially good at expressing his feelings of travel and service, and has created many slow words. Description, scene blending, popular language and harmonious melody were widely circulated at that time. One of the most representative figures of graceful and restrained school had a great influence on the development of Song Ci, including Yulin Ling and Klang Ganzhou.