Bai Juyi's first grade poem 1 "Farewell to ancient grass"
Year: Tang Author: Bai Juyi
The long grass is so lush that the withered grass will thicken the color of the grass every autumn and winter.
Wildfire can't burn it out, but the spring breeze can revive it.
Weeds and wild flowers are all over the ancient road, and the end of the grass in the sun is your journey.
I once again sent my bosom friend, and the thick grass represented my deep affection.
To annotate ...
1, separation: vivid and distinct.
2. Fiona Fang: Grass stretching into the distance.
3. Hey: It looks lush.
Rhyme translation
The ancient plains are overgrown with weeds,
Every year, when spring comes, Qiu Lai turns yellow.
Let the wildfire burn endlessly,
The spring breeze is still booming.
In the distance, there are ancient post roads hidden in the grass.
Extending to the desolate city, it is green and clear.
The green grass grows in spring and sends away the wanderers.
Planting grass is better than being covered in injuries.
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The first sentence is the word "ancient grass". How lush ("detached") the original grass is, grasping the vitality of "spring grass", which can be said to be detached from "spring grass grows and grows" without trace, which opens up a good idea for the following. As far as "Ancient Grass" is concerned, why not start with "Qiu Lai Deep Path" (the original "Autumn Grass" was written by an ancient monk), and the whole story will be another kind of atmosphere. Weeds are annual plants, which flourish in spring and wither in autumn. "Come and go with each season" seems to be nothing more than that. However, writing "withered-glorious" is very different from writing "glorious-withered". If the latter is autumn grass, you can't make three or four good sentences. The word "one" overlaps together, forming a sigh, showing an endless feeling first, and three or four sentences will follow.
"Wildfire never completely devoured them, and they grew taller in the spring breeze." This is the development of the word "withered glory", which changed from a concept to an image. The ancient grass is characterized by tenacious vitality. You can't cut or hoe. As long as a few roots are left, the next year will be greener and longer, and will soon spread to Yuanye. Grasping this feature, the author does not say "endless chopping and hoeing", but writes "wildfire never consumes them completely", creating a heroic artistic conception. Wildfires start a prairie fire, and the flames are terrible. In an instant, a large area of hay was burned to the ground. Emphasizing the power of destruction and the pain of destruction means emphasizing the power of regeneration and the joy of regeneration. Fire can "burn out" all weeds, even stems and leaves, but the author says it is "inexhaustible" and is of great significance. Because no matter how fierce the fire is, there is no way to help the roots buried deep underground. Once the spring breeze melts into rain, the life of weeds will revive and cover the earth again with rapid growth in response to the abuse of fire. Look at that "vast sea of grass", isn't it a green flag of victory? The language of "they have grown taller in the spring breeze" is concise and powerful, and the word "rebirth" has three points and ten meanings. Song Dynasty and Notes on Remnant Gaizhai said that these two sentences were "not as concise as Liu Changqing's poem Burning Green in Spring", but they were not really seen.
These two sentences not only describe the character of "grass on the original", but also describe an ideal model of regeneration from fire. One sentence is dry, the other is glory, and how "Endless Burning" and "Blowing Again" sing and sigh, the confrontation is also natural, so it is outstanding through the ages. Although Liu's sentences are similar in meaning, they lack charm and are far less than white sentences.
If these two sentences focus on "ancient grass" and focus on "grass", then five or six sentences continue to write "ancient grass" and focus on "ancient grass" to lead to the meaning of "don't", then it is a turning point. Running water is natural for the final combination; And this combination is right, the beauty lies in seiko, and it is quite changeable. Both Fiona Fang and Cui Jing describe grass, which is more concrete and vivid than the original grass. Fang said "far", and the ancient plains were filled with fragrance; Cui Yue is "sunny", and the green grass is bathed in the sunshine, which is as beautiful as the first time. The words "invasion" and "connection" follow the word "rebirth", writing a trend of spreading and expanding, once again highlighting the image of the strong weeds in the competition for survival. The "ancient road" and "desolate city" are extremely tangent to the "ancient plain" Although the ancient Taoist city was deserted, the growth of grass restored its youth. Compared with the original autumn plain with autumn grass, it is full of vitality.
The author didn't write about Guyuan for the sake of "Guyuan", but at the same time arranged a typical farewell environment: Guyuan's scenery in "The Sand" was so charming, and the farewell happened in this background was so melancholy and poetic. The word "Wang Sun" is borrowed from Chu Ci to make a sentence, which generally refers to the traveler. "The prince and grandson swam away, and the spring grass grew." Refers to people who have not come back when they see the lush grass. However, here, it is used in different ways. It is about the sadness of seeing the lush grass send away. It seems that every blade of grass is full of special feelings. It is really: "Hate like spring grass, and live further" (Li Yu's "Qingpingle"). What a meaningful ending this is! At this point in the poem, "Farewell" has been made clear, the meaning of the question has been set, and the whole article is closed. "Guyuan", "Grass" and "Farewell" are integrated into one, and the artistic conception is extremely muddy.
Swansong: Story of Occi Byrne
Among many fans of the great poet Li Bai, Wei Wan is the most famous one. He started from the Wu Wangshan mentioned in "A Mountain of Yugong" and pursued his idol persistently. After half a year and three thousand miles, I finally caught up with the great poet in Guangling (now Yangzhou, Jiangsu). Wei Wan was introduced to meet Li Bai. He is travel-stained, with tears streaming down his face, and his hands are holding the 48-rhyme "Li Hanlin's Immortal Jinling" which took a year to write. Please correct me. Deeply moved by this, Li Bai reciprocated by writing a poem "Send Wei Wan Back to the Palace" with a rhyme of 120, and gave it back to Wei Wan to encourage the young man.
Du Fu also has fans, including the heavyweight poet Zhang Ji. Zhang Ji simply thinks that "you can make up for whatever you eat." He burned Du Fu's poems to ashes, added cream and honey, and drank every meal like a tonic. He also said with emotion, "Drinking his poems has changed my liver and intestines!"
Jia Dao is an ill-fated poet. He was poor and unhappy before his death, but his poems became famous after his death. There are many admirers behind him, one of whom is Dong Li, a poet in the late Tang Dynasty. Dong Li is a "bitter tree". On his turban, there is a string of copper pieces engraved with Jia Dao's head, and in his hand is a string of rosary for Jia Dao. Every time he hears that someone likes Jia Dao, he will personally copy Jia Dao's poems and give them to him. He also repeatedly reminded: "This is no different from Buddhist scriptures. Burn incense and worship Buddha."
However, none of these people are as crazy as Bai Juyi's groupies. In Jingzhou, there is a street pawn named Ge Qing. He has some culture and calls himself a "good white poem". Bai Juyi's poems were stabbed to more than 30 places from the neck down. Even Bai Juyi's poems are engraved on his back, with pictures and illustrations. He often sings topless in the street. Even in today's society, such crazy and grotesque behavior is probably rare.
In Song Dynasty, Su Dongpo was a poet with the most fans. His fan base is extensive, and even his life interest is imitated. For example, Dongpo meat, Dongpo cake, Dongpo fish and other foods related to him have been passed down to this day. He once lived in Yixing, Jiangsu, where there was a tradition of making pots. Later, Dongpo pots became popular all over the country. Even the kind of hat with high top and short brim that he wore was imitated by the literati and called it "Zizhan hat".
It is said that Su Dongpo returned to Bianjing from exiled Hainan Island in his later years, and the news spread like wildfire. Thousands of admirers gathered on both sides of the canal to catch a glimpse of idols.
Bai Juyi's Ancient Poems in Senior One: Two Poems from Ikebukuro
original text
one
The monk sat on the chess board, and the bamboo on the board was clear.
When no one saw the bamboo, I heard the child's voice.
Secondly,
Xiaowa punted (3) and stole Bai Lianhua back (4).
If you can't understand the hidden traces [5], duckweed will open together [6].
To annotate ...
(1) Mountain monks: refers to the monks who live in mountain temples. Chess: playing chess relatively.
(2) Xia Zi: refers to putting down the chess pieces.
(3) Little baby: refers to a boy or a girl. Ship: Ship.
4 white lotus: refers to white lotus.
(5) Trace: refers to the duckweed crossed by the boat.
[6] Duckweed refers to an aquatic plant with oval leaves floating on the water, fibrous roots under the leaves and white flowers in summer.
translate
one
Two monks were sitting playing Go, and the bamboo forest covered the chessboard. No one can see them outside the bamboo forest. If people are outside the bamboo forest, they can hear the subtle voices of two monks.
Secondly,
A child punted and secretly picked white lotus. He didn't know how to hide the trace. A boat crossed the duckweed on the water.
Creation background
According to the collation of Bai Juyi's poems, this poem was written in the ninth year of Daiwa (835), when Prince Shaofu was building his capital in Luoyang. One day when I was swimming by the pool, I saw a monk playing chess and a baby punting and wrote this group of poems.
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The first poem is about the game between a monk and a mountain, which is a reflection of one's own mentality. Monks in the deep mountains are at peace with the world and play chess under the shadow of bamboo. The purity of no dust fascinates the author. There are at least two monks in the "Mountain Monks Playing Chess". "When I smell a sound," someone is listening, so there are at least three people. The characters in this poem are all hidden, so although there are three people, they feel very quiet. In particular, the last sentence "When I smell a child's voice" is more like natural music, setting off real peace.
The second poem is about a child stealing white lotus. From the little hero in the poem to his departure, there is only a piece of duckweed, with colorful scenery, action description and psychological description, meticulous realism and full of interest; And the cute image of this little hero, who is innocent, lively and naughty, is even more vivid and lifelike.
In the poem, the poet narrated a little thing in a little doll's life, accurately captured the little doll's instant mood and drew a picture of picking lotus flowers. In the summer when the lotus is in full bloom, innocent and lively children paddle boats and secretly go to the pool to pick Bai Lianhua to play. I picked the lotus in high spirits and forgot to leave quietly without telling the adults. I didn't know and didn't expect to hide my tracks. I came back with my boat swaggering, and the boat gently shook the duckweed on the water, leaving clear and obvious traces of the waterway. The poet described the little doll in his poems with his unique popular style, which was very lovely and amiable. The whole poem is like vernacular, full of charm.
Bai Juyi is a great poet who is good at writing narrative poems. His long narrative poems are full of twists and turns, beautiful details and the poet's own feelings. Similarly, the sketches in his poems are more popular. Two unique poems on the pool are such a group of poems describing ordinary life. With its unique popular style, the poet wrote two small scenes: lovely, amiable and credible.