1. Simple Tang Poetry 300 Ancient Poems on Early Childhood Education
Spring Morning
Meng Haoran [Tang Dynasty]
Sleeping sickness in spring unconsciously broke the morning, and the chirping of birds disturbed my sleep.
How many flowers fall after a stormy night.
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In spring, it is dawn before you know it, and birds can be heard everywhere.
Looking back at the sound of wind and rain last night, I don't know how many beautiful spring flowers have been blown down.
To annotate ...
Dawn: At first light, Xiao Chun: Spring morning.
It's dawn before you know it: it's dawn before you know it.
The song of a bird.
Know how much: I don't know how much.
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The poem "Spring Dawn" was written by the poet when he lived in seclusion in Lumen Mountain, and the artistic conception is very beautiful. The poet seized the moment when he just woke up in the spring morning to describe and associate, vividly expressing the poet's love and pity for spring. This poem does not use the general technique of directly describing the immediate spring scene, but captures the typical spring breath through the "spring dawn" (spring morning) when he wakes up instantly, expressing his feelings of loving and cherishing spring.
The first two sentences of this poem were written by a poet who didn't know it was dawn because of his dream on a spring night. When he woke up, he heard birds singing everywhere outside the house. The poet cherishes ink as gold, and expresses the vibrant scene of Chunxiao with only one sentence: "Birds are singing around". However, people can know that it is the cheerful songs of these birds that awaken the lazy and sleepy poet. It is conceivable that it is already a beautiful spring outside the house at this time, and we can appreciate the poet's praise for spring.
It is this lovely scene of spring dawn that makes the poet naturally turn to the association of the third sentence and the fourth sentence in the poem: I heard a burst of rain last night, and now how many flowers are shaken in the courtyard? Linked to the first two sentences of the poem, this night's storm is not a storm, but a gentle breeze and drizzle, which sends the poet into a sweet dream and cleans the morning brighter, which is not hateful. But in the end, it will shake off the spring flowers and take them away. Therefore, the phrase "I don't know how many flowers have been folded" implies the poet's faint sadness and infinite reverie about the passing of spring scenery.
Ye Shaoweng, a poet in the Song Dynasty, wrote a poem "Don't Meet in the Garden", which is a famous sentence from ancient times to the present. In fact, there are * * * similarities in writing with Xiao Chun. Ye Shi introduced people into the wall, let people imagine through a visual image, and went out of the wall from an apricot; Meng's poems lead people out of their homes and make people imagine through auditory images. With only a few strokes, I wrote a prosperous spring with good weather and strange rain. Both poems show that abundant spring is unstoppable. You see, didn't it break through the wall of the house, show it in front of your eyes and linger in your ears?
Shi Buhua said, "Poetry is literature, not expensive." This little poem is only four lines and twenty crosses, but it is full of twists and turns when written. The first word "spring" points out the season and writes the sweetness of spring sleep. "Unconsciousness" is vague unconsciousness. On this warm spring night, the poet slept so soundly that the sunshine came to the window and the sweet dream woke up. It shows the poet's joy in loving spring. The second sentence is about spring scenery, and birds sing in the early morning of spring. "Everywhere" means everywhere. Birds are noisy in the branches, which is a vibrant scene. "Smelling birds" means "smelling birds". In order to rhyme, the word order of ancient poems has been properly adjusted. Three sentences turned into memories, and the poet recalled the drizzling spring rain last night. The last sentence came back to my eyes, thinking of the scene where spring flowers were beaten by wind and rain. From happy spring to cherishing spring, the poet pinned his love for spring on the sigh of falling flowers. Love is extremely precious, and cherishing spring means loving spring-that misty spring rain also attracted the poet's attention to flowers and trees. The leap of time, the alternation of wind and rain, and the subtle changes of feelings are all very interesting and can bring endless interest to people.
Xiao Chun's language is simple and natural, and there is no trace of artificial carving. In a shallow sense, the scenery is real, just like a clear spring flowing from the depths of the poet's heart, crystal clear, full of the poet's life and beating the poet's pulse. Reading it, just like drinking refined mash, makes you feel drunk. The poet found the true interest and essence of nature through feeling and understanding. "The article is natural and wonderful." This is the most natural poem, the voice of nature.
2. Simple Tang Poems 300 Ancient Poems on Early Childhood Education
On hearing her play the harp
Li Duan [Tang Dynasty]
Jin Su's guzheng makes a beautiful sound, and the beauty of guzheng sits in front of the jade house.
Trying to please Zhou Lang as much as possible, you see she deliberately dialed the wrong string.
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The piano in Suzhou is beautiful, and the beauty who plays the piano by hand sits in front of the jade piano pillow.
I tried my best to win the favor of Zhou Lang. You see, she deliberately dialed the wrong string again and again.
To annotate ...
Zheng Ming: Playing the guzheng.
Jin Su: In ancient times, Gui was also called Jin Su, which meant that the chord axis was thin and delicate.
Column: the short axis of tuning.
Plain hand: refers to the slender white hand of a woman who plays the piano.
Jade room: refers to the jade Zheng pillow. In the room, a kite string is tied to the pillow.
Zhou Lang: Zhou Yu, the general of the State of Wu during the Three Kingdoms period. He became a general at the age of twenty-four, and people called him "Zhou Lang". He is proficient in music. When listening to someone playing a wrong song, even if he is half drunk, he will turn to see the performer. At that time, people said, "Song was wrong, Gu."
Pluck the strings.
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This little poem is free and easy, and in a few words, it shows a smooth and dynamic sketch of stage characters in front of readers.
"Her hands as white as jade are shining under the snow window on the golden thread piano." The woman playing the guzheng is playing it with her hands. Zheng is a stringed instrument. Judging from the Zheng described in Tang poetry, it is thirteen strings, such as: "Colorful clouds sit in the jade building, thirteen strings are temporarily sad" (Bai Juyi's "Listening to Cui Qi's Zheng"). "The boat is a hundred feet high, and the sound is clear to promote the thirteen strings of the column" (Liu Yuxi's "Listening to the Commercial Boat Zheng at Night"). This poem is a sketch, of course, we should grasp the part that can highlight the theme best. The most striking thing is, first of all, the instruments fiddled by guzheng players, especially the gorgeous strings with small gold dots. Then, the poet's eyes naturally fell on the white hands that were beating on the strings and the playing environment. A clean and elegant piano room naturally has a unique flavor. From the picture, "golden millet", "plain hand" and "jade room" are in sharp contrast, with bright colors and luxury. Although it is a sketch, the color is very heavy and gives a very strong impression. After all, painting is a visual art, while the music played by guzheng is an auditory art. The pictures painted in one or two poems are wonderful, from which readers can catch a glimpse of the flashing piano pillars, delicate white hands and elegant piano room, but they can't hear the sound of the piano. Perhaps the exquisite craftsmanship, graceful charm and noble environment made the poet too addicted.
"In order to attract Qiu Yu's keen eyes, she touched the wrong note from time to time." The poet finally noticed the music itself. In the first two sentences of this poem, the woman is playing the guzheng. According to this writing, it seems that the next step should be to describe women's playing skills, or to show Qin Zheng's highly infectious musical image. Surprisingly, the third and fourth sentences did not follow the usual writing, but described that the woman deliberately misplaced the zither strings in order to attract the attention of her confidant. According to legend, Zhou Yu in the Three Kingdoms period, when someone else played wrong, he looked back. This poem was obviously inspired by this story. "From time to time" means that this is not an accidental mistake, nor is it a low skill, because this mistake is obviously intentional. Some people interpret her intentional misspelling as "a woman showing off her identity and being good at teasing" (once "Two Tang Poems"). It seems that the subtle psychology of a woman playing the piano is just an invitation; In fact, this deliberate mistake is due to the painstaking search for a bosom friend. She is also a person who has fallen into the dust. For ordinary street children, her deliberately misspelled words are full of ridicule and contempt for this class, but one day, the real bosom friend-her "Zhou Lang" will recognize the meaning of that song, and thus cast a knowing "Gu" on her. Here, "Zhou Lang" refers to the listener, and "Want" means that "Zhou Lang" sitting next to her didn't look at her. Why not look at her? Probably the listener has been completely intoxicated by the wonderful guzheng sound. Originally, this should be the most desired effect and the most gratifying moment for performers. However, this scene is not the effect that this woman wants most at this time, because she has other ideas in her heart, not the appreciation of the listener, but a kind of "concern". What should I do? She had a brainwave and deliberately mispronounced one or two sounds from time to time, so a dramatic scene appeared: the discordant melody suddenly alarmed Zhou Lang who was intoxicated in the musical realm. He frowned subconsciously and looked at her, only to see that instead of the slightest regret and apology for "misoperation", her eyes flashed a trace of satisfaction-it turned out to be misoperation. For the sake of my beloved, I deliberately dialed the wrong string, and the lovely image of the girl playing the Zheng came to my eyes. These two sentences show that the bomber hides his cleverness in clumsiness, while the back implies that the listener attaches importance to falsehood, and this cleverness and clumsiness, falsehood and truth have achieved a wonderful unity in that silent care. It not only shows that the performer is a master and the listener is a confidant, but also vividly shows their psychological expression, which is endless in interest and charm.
3. Simple Tang Poems 300 ancient poems on early childhood education
Xue Jiang
Liu Zongyuan [Tang Dynasty]
There are no birds flying over those mountains, and there are no traces of people in those paths.
A boat on the river, a fisherman wearing his webworm moth; Fishing alone is not afraid of snow and ice.
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On all the mountains, birds are gone, and on all the roads, there are no traces of people.
On a lonely boat on the river, an old man in a bamboo hat was fishing alone on the cold river covered with heavy snow.
To annotate ...
Absolutely: no, no.
Wan Jing: Virtual refers to thousands of ways.
Footprints of people.
Loneliness: loneliness.
Su Li: Bi Yi, Li: Bamboo hat.
One person: One person.
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The landscape poems written by Liu Zongyuan have a remarkable feature, that is, the objective realm is relatively quiet, while the poet's subjective state of mind is relatively lonely, sometimes even too lonely, too cold and cheerless, without any human fireworks. This song "Jiang Xue" is like this. The poet painted a quiet and cold picture in only 20 words: on the snowy river, a boat and an old fisherman were fishing alone on the cold river.
What the poet shows his readers is this: the world is so pure and silent, spotless and silent; The fisherman's life is so noble, and his character is so aloof. In fact, this is an imaginary realm created by Liu Zongyuan because he hated the declining society of the Tang Dynasty at that time. Compared with the characters in Tao Yuanming's Peach Blossom Garden, I'm afraid they are still illusory and far away from the world. What the poet wants to describe in detail is very simple, but it is just a boat, an old fisherman wearing hemp fiber and Li hat, fishing on the snowy river, and that's all. However, in order to highlight the main description object, the poet did not hesitate to use half of the space to describe its background, and made the background as broad as possible, almost to an infinite extent. The wider the background, the more prominent the main description object.
First of all, the poet used the words "Qianshan" and "Wanjing" to set off the following two pictures of "boating alone" and "fishing alone". Without the words "thousand" and "ten thousand", the words "loneliness" and "independence" at the back will appear bland and uninspiring. Secondly, birds flying on the mountain and people walking on the road are very common things and the most general image. But the poet put them under the "Qianshan" and "Wanjing" and added the word "absolutely" and "extinct", which suddenly turned the most common and summarized dynamic into extreme silence and absolute silence, forming an unusual scene. So the following two sentences used to be static descriptions. Because it is placed in this absolutely quiet background, it is exquisite, lively and lively. It can also be said that the first two sentences were originally a foil. According to the general understanding, it is enough to outline the outline, and there is no need to make great efforts to carve it. However, poets just don't handle it this way. It's like making a movie. How many close-ups are used to explain and reflect every corner of the background? The more specific and detailed you write, the more exaggerated you are. The last two sentences, originally the object of the poet's intentional description, turned into a long-distance lens, which was reduced many times, giving readers an ethereal feeling, visible and intangible. Only by writing in this way can we express the lofty and detached thoughts and feelings that the author is eager to show to readers. As for the formation of this sense of remoteness, it is mainly the effect that the author adds a word "snow" at the end of the whole poem, which is connected with the word "Jiang".
The word "snow" covers the whole poem. "Qian Shan" and "Wanjing" are all snow, which makes "birds fly away" and "people disappear". Even the awning and fisherman's hat are covered with snow. But the author did not explicitly associate these scenes with "snow". On the contrary, in this painting, there is only Jiang and only Rulu. Of course, the river will not store snow, and it will not be covered by snow. Even if it falls into the river, it will immediately become water. However, the author only used the word "cold river snow" to connect the two farthest images, giving people a vague, distant and narrow feeling and forming a long-distance lens. This makes the main object described in the poem more concentrated, dexterous and prominent. Because even the river seems to be covered with snow, even the places where there is no snow are covered with snow, which completely describes the dense and thick snow and completely sets off the atmosphere of water and sky. As for the word "cold" used above, it is of course to point out the climate; But the poet's subjective intention is to write the fisherman's spiritual world quietly. Imagine, in such a cold and quiet environment, the old fisherman is not afraid of the cold and the snow, forgetting everything and devoting himself to fishing. Although his body is lonely, his personality is lofty and aloof, even a little awe-inspiring.
This illuminated and beautified image of the fisherman is actually the sustenance and portrayal of Liu Zongyuan's own thoughts and feelings. It can be seen that the word "Hanjiangxue" is the "finishing touch", which organically links the front and back parts of the whole poem, not only forming a concise and general picture, but also shaping a complete and prominent image of the fisherman. Describe the background in a concrete and meticulous way, and depict the subject image in a long-distance picture; Fine and extremely exaggerated generalizations are intricately unified in a poem, which is the unique artistic feature of this landscape poem.
4. Simple Tang Poems 300 Ancient Poems on Early Childhood Education
Chai Lu
Wang Wei [Tang Dynasty]
No one can be seen in the silent valley, only the voice is heard.
The shadow of the sunset shone into the depths of the forest, and the scenery on the moss was pleasant.
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There was no one in the silent valley, only people's voices were heard.
The afterglow of the sunset reflected into the depths of the forest and shone on the moss in the dark.
To annotate ...
Luzhai (zhài): One of Wang Wei's other commercial attractions in Wangchuan (southwest of Lantian County, Shaanxi Province). Firewood: a fence surrounded by trees, connecting "village" and "hill".
But: only.
Jǐng: Sunshine.
Answer: Again.
Distinguish and appreciate
This poem is about a lonely empty mountain and towering ancient forest, which is intended to create an ethereal and profound realm. The first sentence first describes the empty mountain positively, focusing on the empty mountain and cold mountain. After that, the second sentence comes out, using local and temporary "sound" to set off the whole and long-term emptiness. The third and fourth sentences describe empty mountains and then deep forests, from sound to color.
Generally speaking, writing landscapes is inseparable from specific scenery, or describing rugged rocks, or depicting towering ancient trees, or rendering waterfalls and suspended springs, with the focus on the strangeness of the scenery. "There seems to be no one on the empty mountain, but I think I heard a voice." We all have this experience when we walk into the deep mountains and forests: there is no one in the mountains, and suddenly we hear someone talking and look around, but we can't see a trace of people. The first two sentences of this poem were written under such circumstances. If you can hear the words, it should be not far away, but you can't see them. It can be seen that the mountains are dense and deep. The deeper the mountain, the denser the Lin Yue, and the quieter it is. According to common sense, although the silent empty mountain "does not see people", it is not dead silence. Whistling wind, gurgling water, chirping birds, chirping insects, the sounds of nature are actually very colorful. However, the poet suppressed all these voices and only caught the occasional human voice. In the silence, this sudden "voice ringing" is particularly clear and sharp, which seems to break the silence in the mountains at once. However, as described in Wang Ji's poems in the Southern Dynasties, "the cicada forest is quieter and the Yingong Mountain is more secluded", and the empty valley will only become more and more empty. This short-lived "ring" reflects a long-lasting and even eternal emptiness and silence. When people speak loudly, the mountains return to silence, because the "sound" just now will make the emptiness even more moving.
"Sunlight enters the grove and reflects to me from the green moss." "Scenery", "Sunlight", "Returning to the scenery", the afterglow of the sunset. The depths of the dense forest are already dark, and moss grows under the trees in the forest, which emphasizes its darkness. The setting sun shone obliquely into the depths of the forest and reflected on the moss through the cracks in the branches and leaves. When you first read it, you will feel that this afterglow brings a ray of light to the dark forest and a touch of warmth to the cold moss. But a little experience, you will feel that the reality is just the opposite. The small piece of light and shadow brought by oblique illumination is in sharp contrast with the boundless darkness, which makes the darkness of the deep forest more prominent. It's like painting, where a little warm colors are mixed into a sharp and cool picture. Under the strict package of surrounding cool colors, warm colors will only appear weak and helpless, and will never change the tone of the whole painting. On the contrary, cool colors will give people a deeper feeling.
This poem creates a deep and bright symbolic realm, which shows the author's sudden enlightenment in the process of deep meditation. Although there is Zen in the poem, it does not resort to discussion and reasoning, and is completely permeated in the vivid description of natural scenery.
Wang Wei is a poet, painter and musician. This poem embodies the combination of poetry, painting and music. Based on the musician's perception of sound, the painter's grasp of light and the poet's refinement of language, it depicts the unique silence and thought-provoking moment of the empty valley people's language and oblique photos.
5. Simple Tang Poetry 300 Ancient Poems on Early Childhood Education
Stork tower
Wang Zhihuan [Tang Dynasty]
The sun sets slowly near the western hills, and the Yellow River flows into the East China Sea.
By going up one flight of stairs, look further.
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Standing on the tall building, I saw the sunset slowly sinking next to the mountains, and the surging Yellow River rushed to the sea.
If you want to see the scenery thousands of miles away, you must climb a higher tower.
To annotate ...
Guque Building: The former site is in yongji city, Shanxi, with Zhongtiao Mountain in front and the Yellow River in the bottom. Legend has it that storks often inhabit here, hence the name.
Day: the sun.
Yi: Depend.
Do: disappear. The sun sets near the mountains.
Desire: the desire to obtain something or achieve a certain purpose, but it also refers to hope and want.
Poverty: fishing with exhausted resources, and doing it to the extreme.
Qianli: Broad vision.
More: Come again.
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The extraordinary ambition of the poet in this poem reflects the enterprising spirit of the people in the prosperous Tang Dynasty.
The first two sentences of the poem are written and seen. "The Mountain Covers the Day" is about the view, the mountain and the scenery seen when climbing the building, and "The River with the Ocean Discharging Gold" is about the close-up view, the water is spectacular and magnificent. Here, the poet captured the rivers and mountains of Wan Li in a very simple and plain language with just ten words; Later, when people read these ten words a thousand years later, they felt like they were underground. If they see the scenery, they will feel that their minds are open.
Looking into the distance, a touch of sunset sank to the endless rolling mountains in front of the building and disappeared into Ran Ran at the end of the field of vision. This is the sky view, the distant view and the western view. The second sentence is about the Yellow River flowing through the front and bottom of the building, roaring south, then turning east in the distance and flowing to the sea. This is from the ground to the horizon, from near to far, from west to east. When these two poems are combined, the scenery of up and down, far and near, and things are all contained under the pen, which makes the picture look particularly broad and distant.
As far as the second poem is concerned, the poet can't see the Yellow River entering the sea from the stork building. The sentence is written in the middle of the poem, which is a way to combine the foreground with the sky. This writing increases the breadth and depth of the picture. Calling the sun "daytime" is a realistic style. The setting sun holds the mountain, and the clouds cover the fog. At this time, the brightness of the weakened sun is even dimmer, and the poet directly observes the wonders of the sun. As for the "Yellow River". Of course it is also realistic. It flies like a golden ribbon in the mountains.
Write the last two sentences. "But you have broadened your horizons by 300 miles", a poet's endless pursuit, wanting to see farther and see where his eyesight can reach. The way is to stand higher and "go up a flight of stairs". It can be inferred from the second half of the poem that the first half of the poem may have been written on the second floor (not the floor), and the poet wanted to see the distant scenery as far as possible, and even climbed to the roof. The word "Lou" at the end also plays the role of a point, indicating that this is a poem about climbing stairs.
This poem seems to describe the process of climbing stairs straightforwardly, but its significance is far-reaching and people can explore it. "A thousand miles" and "the first floor" are imaginary numbers, which are both vertical and horizontal spaces in the poet's imagination. The words "to be poor" and "to be better" contain many hopes and longings. These two poems are not only novel and unexpected, but also very natural and close to the first two poems, thus pushing this poem to a higher level and showing readers a broader vision. It is precisely because of this that these two sentences with simple philosophy have become famous sentences that have been passed down through the ages, and this poem has also become a swan song.
This should only mean that poetry should not be blunt, boring and abstract, not that philosophy cannot be revealed and promoted in poetry. Just like this poem, it perfectly dissolves truth, scenery and events, making readers feel comfortable instead of reasoning. This is a mode to express the philosophy of life through thinking in images according to the characteristics of poetry. The writing of this poem has another feature: it is a quatrain full of antithesis. In the first two sentences, the nouns "daytime" and "Yellow River" are relative, the colors "white" and "yellow" are relative, and the verbs "one" and "ru" are relative. The last two sentences are the same, which constitutes a formal perfection.
When Shen Deqian selected this poem in the Collection of Tang Poems, he pointed out: "All four languages are correct, and you can read it without doubt, so you have high backbone." There are only two couplets in the quatrains, both of which are antithetical sentences. If it is not full of momentum and clear-cut, it will easily appear dull or fragmented. In this poem, the previous combination is the opposite name, the so-called "right and wrong", and the sentence is extremely neat, heavy and powerful, which shows the greatness of the scene written; The latter combination is that although the two sentences are relative, there is no trace of confrontation. Therefore, the poet's dual skills are also very mature.