The tide is full of smelting city Zhu, and the sun is inclined to sign the pavilion.
Cai Zhou's new grass is green, and the shogunate is old and smoky.
Prosperity and waste are caused by personnel, mountains and rivers and empty terrain.
* * * spend a song, miserable.
Labels: ode to history, love for the past, love for past poems, other feelings.
The spring tide flooded the boat in Yecheng, and the afterglow of the sunset shone obliquely in the road sign pavilion.
The new grass in Cai Zhou is strong and green, and the Shogun Mountain is still foggy and green.
The rise and fall of a country depends on personnel, and mountains and rivers also have steep terrain.
Yushu * * * spends this song of national subjugation, which makes people unbearable.
Notes on "Jinling Nostalgia" (1) Qicheng: a famous weapon-making place in Dongwu. Smelting: a "Taiwan".
⑵ Luting Pavilion: Pavilion name, in Jinling.
⑶ Cai Zhou: the name of Jiang Zhongzhou. Cai: One is "Fang".
(4) shogunate: mountain name.
5. Rise and fall: refers to the rise and fall of the country. People: refers to people's actions.
[6] Empty terrain of mountains and rivers: there are dangerous situations in which mountains and rivers are empty.
⑺ * * * Flower: namely "Yushu * * * Flower", the name of a song written by Chen Houzhu.
Appreciation of "Jinling Nostalgia" —— "The tide is full of smelting cities, and the sun is slanting to sign pavilions." The first couplet is about the morning scene and the evening scene. People came to the riverside to look for the remains of Yecheng, the place where Soochow was smelted in those days, when the early tide was rising, the water and the sky were one color, and the wind and waves were full of Sichuan. Where is Yecheng, a famous historical site in Wu Gou with the theme of practicing martial arts? The poet looked everywhere, but he was at a loss. Only the lapping sound of Jiang Tao and the desolate scene by the river. It seems to tell people that the ambitions of Ye Cheng and Wu have already disappeared without a trace in the long river of time. In the evening, the deer pavilion stands alone in the oblique light, accompanied by only a long shadow cast on the ground. The lively ostentation and extravagance that Xie Shijia, the king of the Eastern Jin Dynasty, once sent off here has long since disappeared. Although the pavilion and sunset are still the same, the personnel are completely different. The first two sentences of the poem subtly reveal the contrast of ups and downs from the scenery, which makes the poem stick to the meaning of the topic as soon as it is written, and naturally reveals the feeling of mourning the past and drawing lessons from the present.
"The new grass in Cai Zhou is green, and the old smoke in the shogunate is green." Although the couplet is still written about scenery, the scenery written here is not only a tribute to historical traces, but also a witness to the poet's understanding of a historical issue. The poet said: you see, although the time sequence is chilly in spring, the colorful boats of warships that are not heavy in the heart of the river have grown new green grass; Known as the gate of Jinling, the Mufu Mountain faces Wangjiang, and the smoke from the top of the mountain is curled up, and the scene remains the same. In the face of the surging river, the poet remembered that the Eastern Jin warlord, the Soviet Union, had attacked Jinling in an attempt to establish hegemony by virtue of obstacles. Soon Tao Kan and Wen Qiao rebelled here and sailed 40,000 times in Cai Zhou. At that time, we looked at each other, all over the sky colorful flags, fighting for days. Finally, we defeated the Soviet army and made the Jinshi room a safe place. He still remembers that Shogunate Mountain was named because Prime Minister Wang Dao had set up a Shogunate garrison here. But once upon a time, the Eastern Jin Dynasty was replaced by Liu Song, and Liu Yiji, the king of Hengyang, became the secretariat of Southern Yanzhou. Since then, this mountain has become the ancestral home of the nouveau riche in Liu Song. In the ever-changing history, the scenery of mountains and rivers has not changed. What the poet still sees is that spring grass is green year after year, and old cigarettes are new year after year. This combination of ancient and modern events and immediate prospects is a whole, and the words "new grass green" and "old smoke green" are vivid and vivid, blending scenes and scenes, paving the way for the feelings behind.
"The rise and fall are caused by personnel, and the mountains and rivers are empty." The neck joint is connected with two joints, and the discussion is turned. The poet revealed the secret of the rise and fall of the Six Dynasties in extremely refined language, warning the world: Where did the prosperity of the Six Dynasties go? Where are all the powerful people at that time now? Mountains and rivers are dangerous, which does not provide guarantee for long-term stability; The rise and fall of a country depends on personnel! In this couplet, the poet thought for thousands of miles, made his own big speech, and put forward the outstanding opinion that the existence of the country is "virtuous without danger". Later, Wang Anshi's "Four Poems of Jinling Nostalgia" is the second one: "The heavenly soldiers went south to this bridge river, and the enemy country pointed out that they surrendered at that time. The mountains and rivers are magnificent and empty, and the king SHEN WOO is unparalleled. " That's from this. Explain that the discussion is high and the knowledge is outstanding.
At the end of the couplet, "* * * Flowers" is a song, bitter and unbearable. "The emperors of the Six Dynasties all died of natural disasters and indulgence, and the lessons of history have not been remembered by future generations. The poet's Yushu * * * is still popular today, suggesting that the rulers of the Tang Dynasty indulge in pleasure and follow in the footsteps of the Six Dynasties, with disastrous consequences. The flowers in Yushu are recognized as the voice of national subjugation. The poem implicitly contains a warning of national subjugation in a musical phenomenon, which is meaningful. " Bo Qinhuai by Du Mu, a poet in the late Tang Dynasty: "Businessmen don't know how to hate their country, but they still sing" * * * flowers "to cross the river, which is precisely based on this.
"Yi Zhen Zhai Shi Shuo" said: "You don't have to point to the facts when reciting an epic, but you can see the masterpieces of the ancients. This is the case with Liu Yuxi's poems. The first couplet is swaying from the front of the topic, and the last couplet is lingering from the back of the topic. The first two couplets only point out the places of interest in Jinling related to the Six Dynasties, so as to hint at the reasons for the rise and fall of the ages, rather than remembering one emperor, one thing and one thing every day. In the last two couplets, the theme of the whole poem is revealed through discussion and emotion. This technique is quite ingenious when used in chanting historical poems and remembering ancient poems. Appreciation of Jinling (now Nanjing, Jiangsu) has been the capital of the Six Dynasties since the Three Kingdoms and Wu Dynasties, and it is an important theme for poets to chant history. Sikong Shu's "Jinling Nostalgia" is typical in material selection, exquisite in application and unique in originality.
The first two sentences are more realistic. The author chose two typical scenes to describe what he saw in front of him. There is not much pen and ink, but it can show the decadent and desolate scene of the ancient capital Jinling very concretely and vividly. Chariot Road is the road that the emperor passed by car. I think of the emperor's trip, with banners and drums, and he was crowded around. How magnificent! Now this scene no longer exists, only Jiang Feng, who has experienced the vicissitudes of the world by the roadside, grows tall and big, covering the sky and casting a heavy shadow, making the deserted road darker and more gloomy. The word "dark" in Jiang Feng Dark is both realistic and reveals the author's heavy mood at the moment. Along this road, you can see some remnants of the palaces of the Six Dynasties. "Six generations of Taicheng competed for luxury", and the palaces in the past were resplendent and magnificent, not to mention the spring when flowers were blooming and birds were singing and dancing. Now it's desolate here, and there are only weeds growing everywhere. It seems that the whole palace has become their world. In "Wild Grass Spring", the word "spring" not only points to the season, but also deliberately indicates that only this growing wild grass is dotted with spring. The antithesis of these two sentences is neat, and the Road Palace is in sharp contrast with Jiang Feng and Weeds, which inspires readers to compare their present situation with history, and the feeling of ups and downs naturally resides in it.
Next, with a turn of the pen, the physical object was transported to the virtual, and the story was used to express * * * in an ingenious way. Allusions are natural and appropriate, rich and intriguing.
First of all, the nature of Yu Kaifu is Yu Xin, because there was an official who opened the government for three departments, so it was called. Yu Xin was a famous poet in Liang Dynasty. He was an official in Jinling in his early years. Together with his father Yu Jianwu, he was deeply appreciated by Liang Wudi. The so-called "father and son are forbidden to enter and leave the East Palace, and they will not give in to each other." It is natural for poets to recall the past from roads and palaces. Of course, it is easy to think of Yu Xin, which is in line with the scene in front of the author.
In addition, during Yu Xin's mission to the Northern Dynasties and the Western Wei Dynasty, Liang died in the Western Wei Dynasty and was forced to stay in Chang 'an, which was appropriate. After the Northern Zhou and Wei Dynasties, he was forced to be an official in the Zhou Dynasty and stayed in the Northern Dynasty, and finally died in the first year of Emperor Wendi of Sui Dynasty. He experienced several dynasty changes in the Northern Dynasties and witnessed the downfall of the last two dynasties in the Southern Dynasties. His life experience can best reflect the turmoil and changes of that era. In addition, he traveled in the north for a long time and often missed his old country and hometown. Most of his poems have "homesickness", and the famous "Jiangnan Fu" is a masterpiece in this respect. There are some similarities between the poet's life and that of Yu Xin. He experienced the "Anshi Rebellion" and witnessed the decline of the Tang Empire from its heyday. During the An Shi Rebellion, he left his hometown and took refuge in the south. After the rebellion, he couldn't return to Chang 'an for some time and was very homesick. Therefore, the poet used Yu Xin's allusions, both lamenting the rise and fall of the Six Dynasties in history and the decline and fall of the Tang Dynasty, which included his yearning for his hometown and his understanding of life experience. It is indeed appropriate, stable and rich in connotation. The word "sad" falls heavily and is worth pondering. Yu Xin once wrote "Fu of Sorrow", which is sad and moving. He said, "Being hurt is a mourning thing, but I feel sad ..." It is natural to name it "Mourning for the Past", which not only summarizes Yu Xin's life experience, but also expresses the author's deep sympathy for this predecessor poet, and is also a confession of his sad mood here and now.
This poem is an epic masterpiece with 20 crosses missing, rich connotations and profound feelings. Liu Yuxi (772-842), the author of Jin Ling Nostalgia, was a native of Lushan Mountain in his later years, Han nationality, and was born in Luoyang, China (now Luoyang, Henan) in the Tang Dynasty. It originated from Zhongshan (now Dingzhou, Hebei Province), and its predecessor was Liu Sheng, King Jing of Zhongshan, calling himself "Xingyang native, Luoyang native". Neighbors put forward a new theory that Liu Yuxi is a descendant of Xiongnu and a native of Jiaxing. According to Mr. Deng Shengbin's textual research, his father, Liu Xu, suffered an Anshi rebellion and moved his family to the east to settle in Pengcheng. Liu Yuxi was a scholar in the ninth year of Zhenyuan (793). At the beginning, he was appointed as a clerk in Du You's shogunate and an envoy to Huainan, and was highly valued by Du You. Later, he entered the DPRK from Du You and supervised the empire. At the end of Zhenyuan, he made friends with Liu Zongyuan, Han Ye and formed a political group headed by Wang. Later, he successively served as Sima of Langzhou, Secretariat of Lianzhou, Secretariat of Kuizhou, Secretariat of Hezhou, Doctor of Host and Guest, Doctor of Ritual and Secretariat of Suzhou. Liu Yuxi's last term was Prince Ke, so his poetry collection was named "Liu Ke Ji" by later generations. Bai Juyi praised Liu Mengde as a poet in Pengcheng, so Liu Yuxi was also known as a poet in the middle Tang Dynasty, an outstanding politician, philosopher, poet and essayist in the middle Tang Dynasty.
Liu Yuxi's Other Works ○ Humble Room Inscription
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