Translation: Under the setting moon, dome-like tents are built along the mountain. The lonely guest can only return to his hometown in his dream, but when he wakes up, he is still at the end of the world. Wild geese are flying south, and white snow covers the grass as in previous years. However, people are already aging, and the elm trees are turning yellow, and you can only listen to the sound of teacups every night.
There are several roads leading from the station to the south, and the north is full of wind, sand and clouds. The spring clothes sent by my wife were already in vain because there were no flowers (buds) in May in the border town.
The author uses a combination of movement and stillness. "Flying geese" is a moving scene, and "white snow" is a still scene. The combination of movement and stillness creates a unique scene in the border area. In addition, audio and visual are combined. The "flying geese", "white grass", "snow" and "yellow elm" are what the eyes can see, and the sound of "笳" is what the ears hear. It mobilizes the visual and auditory sense and gives people an immersive feeling.
The author borrowed the word "empty" to write that because the border town was bitterly cold and the flowers had not bloomed in May, the spring clothes sent by his wife were left empty and unwearable. It expresses the poet's love and longing for his wife Baihua, and also expresses the poet's loneliness and helplessness in the bitter cold borderland.
Source: Wu Zhaoqian in the Qing Dynasty
Original text:
The moon sets over the mountains in the dome, and I dream of returning to a lonely guest at the end of the world. The wild geese fly and the white grass snows every year, and the old and yellow elm trees sleep every night.
The post road leads to several envoys from the Southern Kingdom, and the storms continue in the north. The young woman in spring clothes sends her love in the sky, but in May the flowers are not blooming in the border town.
Extended information:
Wu Zhaoqian wrote many works, but they have been published repeatedly and not many survive. His son Wu Xiechen published eight volumes of poems and essays in the "Qiujia Collection", which is almost less than ten. One or two. Contemporary Wang Mengbai compiled "Wu Zhaoqian Collection". Zhaoqian was deeply involved in the painful history of literati in the early Qing Dynasty, and his words and actions touched the hearts and minds of people from many levels. His own articles and poems could also prepare a generation of talents.
The poems of Shao Qizi are far away, but the fragrance is close. Chen Zilong and Wu Weiye were able to stand up on their own. After leaving the fortress, they "played Hu Jia Qiang pipes and played solo side sounds" and made outstanding works. Among them, the seven-character song line is the most Representative and an important descendant of the "Meicun Style". Later generations thought that this episode of "Qiuji" was "sad and depressing, with the sound of collapsing clouds and cracking rocks", so it was known as a "frontier poet".
Shen Deqian commented in "Collection of Qing Poems": "The poems are tragic and solemn, making readers feel as if they have met in the middle of nowhere. ... If you can read it with Lao Du's melancholy and frustration, it will be updated There are those who are of a higher standard. "The General Catalog of Sikuquanshu" says: "Zhaoqian's poetry is extremely talented and his character is outstanding."
”
Baidu Encyclopedia—Wu Zhaoqian