"The shadows of the leisurely cloud pool are long and the sun is long, and things change and the stars move several autumns" comes from the fifth and sixth sentences of the Tang Dynasty poet Wang Bo's ancient poem "Poetry of the Prince of Teng". The full text is as follows:
Prince Teng The high pavilion is adjacent to the river, and the jade-wearing Luan sings and dances.
The clouds flying over Nanpu are flying towards the painted building, and the bead curtain rolls into the west mountain rain at dusk.
The shadows in Xianyuntan Lake are long, and things change and the stars move several autumns.
Where is the emperor's son in the pavilion now? Outside the threshold, the Yangtze River flows empty.
Notes
⑹Riyouyou: Wandering freely every day.
⑺ Things change and stars change: describe the changes of the times and the replacement of all things. Object: Scenery of the four seasons.
⑻Emperor’s Son: Refers to Teng Wang Li Yuanying.
⑼Sill: railing.
Translation
The towering Tengwang Pavilion overlooks the sandbank in the middle of the river, and the gorgeous singing and dancing with the ringing of jade and luan bells has long stopped. In the morning, Huadong flew up to the clouds in Nanpu; in the evening, the bead curtain was caught in the rain in Xishan. The shadows of leisurely colorful clouds are reflected in the river, floating leisurely all day long; time flies, personnel change, and I don’t know how many springs and autumns have passed. Prince Teng, who used to visit the high pavilion, is nowhere to be found now. Only the surging river water outside the railing is rushing into the distance.
After the three relatively calm rhymes of "Dance" and "Rain", it immediately turns to the three long and soft rhymes of "Yu", "Autumn" and "Liu". Using the cooperation of chapters and meanings, special emphasis is placed on the time aspect, and it is played with. The emphasis on space in the first half of the song has changed. The word "Xianyun" intentionally or unintentionally connects with the "Nanpu cloud" mentioned above, and the word "Tanying" deliberately avoids the word "jiang" and deepens "jiang" into "tan". The clouds are in the sky and the pond is underground. Every time you lean down and up, you are still writing about space, but then using the three words "rilong" immediately transfers space into time, pointing out the length of time, not just one or two days. But over the years, it is natural to feel the change of seasons, the changes of constellations, and the natural reminder that the person who built the pavilion is now alive. Here, one "several" and one "he" are asking questions in succession, expressing compact emotions. Finally, it turns from time to space, pointing out that things will change, stars will move, the emperor's son will die, but the Yangtze River outside the threshold will flow eastward forever. The word "sill" and "jiang" echo the first sentence of the high pavilion facing the river, which is full of energy.
There are only fifty-six words in this poem. Among them, those belonging to space include pavilions, rivers, buildings, curtains, clouds, rain, mountains, lakes, and pool shadows; those belonging to time include sun. The words "long time", "things change", "stars move", "several autumns", "where are we now", are blended together without any sense of stacking a bed frame. The main reason is that they all revolve around a center - Tengwang Pavilion, and each plays the role of the stars over the moon.
Tang poetry mostly uses real words (i.e. nouns), which is obviously different from Song poetry which likes to use more imaginary words (especially turning words). For example, in the sentences 34 and 3, except for the word "fly" and the word "juan" which are verbs, the other twelve characters are all real words, but the two virtual words bring the twelve real words to life. The Tang Dynasty people The good use of real words, real but not real, can be seen here.
In addition, the end of the poem uses dual syntax, which is very distinctive. Generally speaking, couplets are often placed in the middle paragraph to serve as a layout. This is used to end, and it is not juxtaposed like two doors (the term is called a fan pair), but opens and closes, taking a "lateral position", flowing naturally without leaving any trace, showing Wang Bo's extraordinary ability. Talent. Later, Du Fu's seven-character rhymed poems and even seven-character quatrains often used this technique, such as "From Ba Gorge through Wu Gorge, then go down to Xiangyang to Luoyang", "The lip fat and facial medicine follow the grace, and the green tubes and silver poppies descend into the sky." ", "The butterflies dance around and play, and the orioles crow at ease" and so on. This shows Wang Bo’s influence on the development of Tang poetry.