Farewell to the viceroy and go to Shu for his post.
A Comparison of Wang Bo's Translations in Tang Dynasty
Across the wall of Sanqin, across a layer of fog, across a river.
We said goodbye sadly, and our two officials went in opposite directions.
After all, the world is just a small place.
Why are you wandering at the fork in the road? The child is holding a towel.
Vernacular translation
The majestic Chang 'an guards the land of Sanqin and sees Wujin through the clouds.
When I left you, I had infinite affection in my heart, because we were all floating in the sea of officials.
As long as there is your confidant in the world, even if you are far away, you are like a close neighbor.
Never break up at a fork in the road, like a child, sad and wet with tears.
Sending Du to Shu is the work of a poet in the Tang Dynasty. This poem is to comfort friends not to be sad when they leave. The first pair of couplets depicts the scene and style of parting places and friends' parting places, implying the feeling of parting and strictly confronting each other; Couplets are words of relief, pointing out the inevitability of parting, inheriting with scattered sounds, turning reality into emptiness, ups and downs of literature and feelings; The sudden peak of the neck joint highly summarizes the scene of "deep friendship, which sublimates friendship to a higher aesthetic realm"; The couplet points out the theme of "seeing off" and continues to encourage and remind friends, which is also an emotional confession. The beginning and end of this poem are depressing, with flowing atmosphere and broad-minded artistic conception. It is an unparalleled classic in farewell poems. The whole poem is only forty words, but it is full of changes, as if on a small picture scroll, it contains countless mountains and valleys, with endless scenery, which has been widely circulated so far.
Poems by Teng Wangge
Tang Dynasty: Wang Bo
Wang Teng Linjiang Zhu and Ming Luan went dancing.
The painted building faces Nanpu Cloud, and the bead curtain rolls up the rain in the western hills at dusk.
The shadow of the idle cloud pool is long, and things change for a few years.
Where is the emperor in the cabinet today? Outside the threshold, the Yangtze River flows by itself.
Distinguish and appreciate
This poem is attached to the author's famous preface to Wang Teng-ting, which outlines the content of the preface. The first part points out the general situation of Wang Teng Pavilion, and thinks about the grand banquet when it was built. Julian followed the second sentence to write that Nanpu painting building flew into the clouds, and the bead curtain of Xishan was involved in the rain, showing the elegance of the pavilion; When the neckline changes from space to time, it points out the length of time, which naturally gives birth to the feeling that the scenery changes seasons and the constellation shifts, thus leading to the tail couplet; William thinks that when people go to pavilions, the river will flow forever and the whole article will be closed. The whole poem begins to chant Wang Teng-ting from two dimensions: space and time, with vertical and horizontal brushwork, poor form, concise language and deep feelings. The high tolerance and grand realm can be said to be in the same strain as the preface to Wang Teng-ting, which complement each other.
The first sentence of this poem comes straight to the point, pointing out the situation of Teng Wangge with simple and old brushwork. Wang Tengting was built by Wang Teng Li Yuanying, the son of Gao Zu Li Yuan, when he was governor of Hongzhou. Therefore, it is located at the gate of the newly-built Xizhanghe River in Jiangxi, facing the Ganjiang River. You can look at it from a distance. The following "Nanpu", "Xishan", "idle clouds", "Tanying" and "Yangtse River beyond the threshold" all come from the first sentence "Zhu". The Wang Teng Pavilion is in good condition, but who will visit it now? Wang Teng, who built this pavilion, has passed away. He came to the pavilion, held a banquet and sat in a carriage full of beautiful Yu Pei with phoenix bells. The scene of luxury is gone forever. The first sentence is about space, the second sentence is about time, the first sentence is full of enthusiasm, and the second sentence is depressed. The poet's technique of "sweeping it from the vertical" naturally makes readers feel ups and downs. A few sentences contain the theme of the whole poem.
The third and fourth sentences follow the second sentence, further describing the loneliness of Wang Teng Pavilion. Beams carved with exquisite pictures, jade curtain accompanied by the rain of Yunxi Mountain in Nanpu. These two sentences still imply a contrast. In the past, the pavilion with carved beams and painted buildings added the momentum of the prince's residence, and the bead curtain added a gentle and noble jade face. But now people are empty and desolate.
The last four sentences express the sigh that life is short, prosperous and perishable, and life is impermanent. Readers who have read Su Shi's Red Cliff Fu can't help but think of the sentence "(Cao Cao) was a hero in the world, but is he safe now?" This is the expression of the poet's negative emotions. The lyrical techniques here are wonderful, not only the scenery in the first four sentences paves the way for feelings, but also the perfect integration of scenery and feelings, such as "the shadows of the leisurely clouds and pools linger day by day" and "the Yangtze River flows freely outside the threshold". In this way, the emotion is full, strong and true, which makes the reader have to immerse himself in it and grieve with the poet.
The last two sentences express "where is the emperor in the pavilion now?" "The Yangtze River flows freely outside the threshold" leads people's eyes to a broader space and leads people's thoughts to a deeper history. The Yangtze River flows relentlessly, and time is cold and eternal. No matter how brilliant and illustrious life is in history, it is doomed to die quietly. "Empty" expresses the sad feelings to the extreme, and condenses the repressed thoughts to the apex, which is rich and empty, with bad reputation and empty love morality.
This poem has only fifty-six words, including pavilion, river, building, curtain, cloud, rain, mountain, pond shadow; If it belongs to time, the long day, things change, a few autumn days, where is it now These words are mixed together, and there is no feeling of overlapping bedsteads. The main reason is that they all revolve around a center-Wang Teng Pavilion, and each one plays its own role in the Moon Arch.
Tang poetry mostly uses nominal words (nouns), which is obviously different from Song poetry which likes to use function words (especially turning words). For example, in three or four sentences, except the word "Fei" and the word "Juan" are verbs, the other twelve words are content words, but the two function words bring them together, which shows that the Tang people make good use of content words, which are real but not real.
In addition, the end of the poem is antithesis, which is very distinctive. Generally speaking, antithetical sentences are mostly used in the middle section, which plays the role of arrangement. This place is used for ending, and it is not juxtaposed like two doors (the term is fan pair), but is open and closed. The reader only feels its flow, but does not feel that it is double, which shows Wang Bo's extraordinary talent. Later, Du Fu's seven-character poems, even seven-character quatrains, often used this technique, such as "coming back from this mountain, passing another mountain, coming up from the south, and then going north-to my own town!" , "oral powder medicine is kind, jade tube silver poppy is under the sky", "butterfly always dances, and the charming warbler just crows" and so on. Wang Bo's influence on the development of Tang poetry can be seen.