One after another on the Yaotai, I called the children several times but couldn't sweep them away. ——Su Shi's "Flower Shadow" of the Song Dynasty. There are many flowers on the Yaotai, and they can't be swept away by the children. They came up one after another on the Yaotai, and they couldn't be swept away by the children despite being called several times.
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 Objects, 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 went down in the evening, the shadows of the flowers had just faded away, but the moon rose again, and the shadows of the flowers reappeared 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 be swept 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 joy; "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 "Dongpo Seven Collections" and "Dieshan Collection" have been transcribed and compiled by later generations. It is not uncommon for poems to be omitted and other people's poems to be included. 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 "Poetry of a Thousand Families" was edited by Xie Fangde. He liked Su Shi's poems and most likely specially wrote it. 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 its 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 by being smart all my life. I only hope that my child will be smart." If you are foolish and reckless, 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 the trivial matters in the world are just like the shadows of flowers lingering in front of the flowers, which 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). His official career was bumpy throughout his life, but he was knowledgeable, extremely talented, and 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 was able to 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 bamboo horse rushes into the river, and the paper kite stalks the wind. A shepherd boy rides an ox, and his singing shakes the forest. The war has not ceased, and the children are marching eastwards. I know that there are children picking and knitting, and a light falls on the fence late at night. The gentleman is drunk, and the boy supports him. Passers-by asked and waved, fearing that they would be frightened and ignored. The children of Xinglang and the ladies of Hengjiang smiled and pointed at the fisherman with a light leaf. The children came back early from school and were busy taking advantage of the east wind to fly kites. The day is long and I fall asleep with no thoughts, watching children catching willow flowers. The children were forced not to sleep, but stayed together all night and had a good time. Silkworm mother washes her cocoons in front of the stream, and the shepherd boy plays the flute and bathes in clothes. The child's golden basin sheds the ice at dawn, and the colorful silk threads are used as silver zhengs. The flowers have fallen, the children have not swept away the house, the orioles are singing, and the mountain guests are still sleeping. Calling children in the middle of the night and plowing at dawn, the oxen are unable to move and are walking hard. Loves riding a bamboo horse on a bamboo fence, but is too lazy to gather golden sand on a golden land.