Three Qingping Diao Ci poems by Li Bai
One of them
Clouds think of clothes, flowers think of face, and the spring breeze blows on the threshold and the dew is rich.
If we hadn’t met at the top of the jade mountain, we would have met under the moonlight at Yaotai.
Second
A branch of red dew is fragrant, and the clouds and rain in Wushan are in vain.
Who is similar to the Han Palace? Poor Feiyan relies on her new makeup.
Third
Famous flowers make the whole country happy, and they look so good that the king looks on with a smile.
Explanation: The spring breeze is infinitely hateful, and the agarwood pavilion leans against the railing in the north.
These three poems were composed by Li Bai when he was worshiping Hanlin in Chang'an, and were written during the prosperous period of Kaiyuan. One day, Xuanzong and Concubine Yang were watching peonies in the palace. They ordered Li Bai to write a new piece of music, and Li Bai complied with the order. In the three poems, peony (peony) and Concubine Yang are written interchangeably. Flowers are people, people are flowers, and the human face is blended with flowers, which are both blessed by Emperor Xuanzong of the Tang Dynasty. In terms of chapter structure, the first poem is written from the perspective of space, introducing the readers to the Toad Palace and Langyuan; the second poem is written from the perspective of time, introducing the readers to the balcony of King Xiang of Chu and the court of Emperor Cheng of the Han Dynasty; and the third poem returns to the current reality. , pointing out the north of the Agarwood Pavilion in the Tang Palace. The poems are not only written freely, but also connected with each other. The spring breeze in "One" and the spring breeze in "Third" echo each other.
The first poem has seven words together: "The clouds think of clothes and flowers think of appearance." The clothes of Concubine Yang are written as if they are colorful feathers, surrounding her plump jade face. The word "thinking" has both positive and negative meanings. It can be said that seeing clouds leads to thinking of clothes, seeing flowers leads to thinking of appearance. It can also be said that imagining clothes as clouds and imagining looks as flowers. In this way, there are mixed interactions. Among the seven characters, It gives people the feeling of a cluster of flowers. Next, "The spring breeze blows the threshold with Revlon", and further uses "Revlon" to dye the flowers. The beautiful peonies look more beautiful in the crystal dew, which makes the previous sentence more full, and also uses wind and dew as a metaphor for the king. The grace of beauty makes people look more energetic. Below, the poet's imagination suddenly rises to Qunyu Mountain and Yaotai where the Queen Mother of the West lives in heaven. "If not" and "will go to", the poet pretends to make a choice, but the meaning is certain: Such an extraordinary beauty can only be seen in the fairyland of heaven! Yushan, Yaotai, and moonlight are words with light colors that set off the face of a flower, making people naturally think of a person like white jade, and also like a warm white peony flower. At the same time, the poet did not show any trace, comparing Yang Fei to a goddess descending to earth, which is really subtle.
The second poem starts with the sentence "A branch of red dew condenses with fragrance", which not only writes about the color, but also writes about the fragrance; it not only writes about the natural beauty, but also writes about the beauty of dew, which is stronger than the previous poem "The dew is stronger" Take it one step further. "Yunyu Wushan broke his heart in vain" uses the story of King Xiang of Chu to humanize the flower in the previous sentence, pointing out that the King of Chu had his heart broken because of a goddess. In fact, the goddess in the dream could get the beautiful face of the goddess now! After further calculation, Zhao Feiyan, the empress of Emperor Cheng of the Han Dynasty, can be regarded as an unparalleled beauty, but Zhao Feiyan still has to rely on new makeup. There, she can match the beauty of Yang Fei in front of her. She does not need makeup, but she is naturally stunning. This poem lowers the goddess and the flying swallow to exalt Concubine Yang. It uses ancient metaphors to describe the present, which is also a way of honoring the title. According to legend, Zhao Feiyan had a light body and could sing and dance while standing on a crystal plate held by palace attendants, while Concubine Yang was fatter and had the reputation of "the ring is fat and the swallow is thin" (Yang Guifei's name is Yuhuan). Later generations made up the facts based on this, saying that Concubine Yang was very fond of these three poems and often recited them. Gao Lishi thought it was a great insult because Li Bai had ordered her to take off her boots, so he slandered Concubine Yang, saying that Li Bai was mocking Yang because he was as thin as a flying swallow. The concubine is so fat that she uses Fei Yan's affair with Chi Feng to ridicule Yang Concubine for her lack of discipline in the palace. If there was such an intention in Li Bai's poem, it could not have been concealed from Xuanzong, who was erudite and capable of writing, and Concubine Yang was not an uneducated person. Judging from the original poem, it is obvious that he suppresses the past and favors the present, and imposes misinterpretations, which is actually unreasonable.
The third song returns the ancients from fairyland to reality. The first two sentences are "Famous flowers overwhelm the country, the two are in love, and the king looks so beautiful." Of course, the beauty "overwhelming the country" refers to Concubine Yang. It is only at this point in the poem that the poem directly points it out, and uses "the two are in love" to combine the peony and the beauty. "Qingguo" is combined into one word, and the three words "looking at it with a smile" are unified again, making the trinity of Mudan, Yang Fei and Xuanzong merged together. Because of the "laughing" in the second sentence, the third sentence "explains the infinite hatred of the spring breeze". The word "spring breeze" is the pronoun of the king. In this sentence, the touching beauty of the peony beauty is full of interest. The king is smiling, Of course there is no hatred, all the hatred has been eliminated. The last sentence is the place where Concubine Yang of Emperor Xuanzong of the Ming Dynasty enjoyed the flowers - "North of Agarwood Pavilion". The flowers are outside the balcony and people are leaning against the balcony. How elegant and charming it is.
These three poems have rich language and flowing words, and the most outstanding thing is that they blend flowers and people together, such as "Clouds think of clothes, flowers think of faces", and they seem to be written The flowers are shining, and they seem to be writing on human faces. "A branch of red dew condenses with fragrance" is also about the blending of people and things. The words are here and the intention is there. When reading these three poems, one feels like the spring breeze fills the paper, the flowers fill the eyes, and the human face is blurred. Without any description, people naturally feel that these are peonies, the beauty of jade, and nothing else. No wonder these three poems were deeply appreciated by Emperor Xuanzong of the Tang Dynasty.