Dynasty: Tang Dynasty | Author: Li Bai
There used to be a phoenix on the phoenix platform, and the phoenix went to Taiwan, only Jiangdong returned.
Martial arts flowers were laid on deserted paths, and the number of relatives and friends in the Jin Dynasty has become a famine.
The mountains are shrouded in clouds, such as blue sky, and the river is divided into two.
There is always a traitor in power, like covering the sky, and Chang' an is depressed when he can't see it.
Introduction to ancient poetry
Going to Nanjing and Ascending the Phoenix Terrace is a lyric poem by Li Bai, a great poet in the Tang Dynasty. The whole poem is composed of eight sentences and fifty-six words, singing and sighing with what you saw and felt when you boarded the Phoenix Platform. It combines eternal historical changes with long-lost legends and stories to express deep historical feelings and sober realistic thinking. This poem has lofty charm and long style, which embodies the artistic characteristics of Li Bai's poems.
Translation/translation
Phoenix birds used to come here for recreation, but now they have flown away, leaving only this empty platform, which still flows from the east with the river. The magnificent King Wu Palace and thousands of flowers and herbs have now been buried in desolate and secluded paths. Even though the dignitaries of the Jin Dynasty once had brilliant achievements, they are now buried in ancient graves and have already turned into loess. I stood on the stage and looked at the three mountains in the distance, still standing outside the blue sky. Egret Island divides the Qinhuai River into two waterways. Clouds floating in the sky sometimes cover the sun, so that I can't see Chang' an, and I can't help but feel sad.
To annotate ...
1, Wu Palace: During the Three Kingdoms period, Sun Wu built a palace in Jinling.
2. Jin Dynasty: refers to the Eastern Jin Dynasty. After Nandu, it was also established in Jinling.
3. Dress: refers to Guo Pu, a writer in the Eastern Jin Dynasty. It is still in Xuanwu Lake Park in Nanjing. One refers to the wealthy families at that time.
4. Chengguqiu: The cenotaph built by Jin Mingdi for Guo Pu was luxurious for a while, but when the poets in the Tang Dynasty came to see it, it had turned into a ravine. Today it is called Guo Pudun, located in Xuanwu Lake Park in Nanjing.
5. Three Mountains: the name of the mountain. Sanshan Street is now its former site. When Zhu Yuanzhang built the city in the early Ming Dynasty, three nameless hills in the south of the city were also surrounded in the city. These three mountains just blocked the road from the north to the south gate-Jubaomen. Yanzi Lake, just east of the city, is building Miyagi, so these three mountains were filled into Yanzi Lake. After the three mountains were leveled, a street was built at the foot of the mountain, named Sanshan Street.
6, half-length: it is far away and can't be seen clearly.
7. Two waters: one is "one water". Qinhuai River flows through Nanjing, then flows westward into the Yangtze River, and is divided into two tributaries by Egret Island. Egret Island: A sandbar in the ancient Yangtze River with many egrets on it, hence its name. Now connected to land. Located outside the Shuiximen in Nanjing today, it has been turned into Bailuzhou Park, which is the largest park in the south of Nanjing.
8. Egret Island: The middle sandbar of the ancient Yangtze River, outside the Shuiximen in Nanjing, was named after gathering egrets.
9. Clouds cover the sun: a metaphor for evil. Metaphorically, I'm in power. Floating clouds: Lu Jia's "Shen Xinyu Micro-essay": "Evil ministers cover up the sages, and clouds are still obstacles to the sun and the moon."
Appreciation/appreciation
The theory of going to the Phoenix Terrace in Nanjing is a famous poem in the Tang Dynasty. In the first two sentences, Li Bai begins with the legend of Phoenix Terrace, expressing his feelings about the changes of time and space. "The phoenix that once played here, so that this place was named after them, has now abandoned it and come to this desolate river" is natural, lively and fluent. Although the fourteen words use three "phoenix" characters, they don't make people feel repetitive at all, and there is no such rigid problem as common poems. Phoenix Terrace is located in the southwest of Jinling Old Town. According to Jiangnan Tongzhi, "Phoenix Terrace is in the southwest corner of Jiangning Fucheng, and there is Toby, so you can still visit it. In the sixteenth year of Song Yuanjia, there were three birds in the mountain, which looked like peacocks, and there were countless birds attached to them, called phoenix. Starting from the mountain, it is called Phoenix Mountain and Phoenix Lane. " Li Bai's use of "Phoenix Terrace" is not an ordinary emotional expression, but an organic one. Since ancient times, the phoenix has always been regarded as auspicious, which is related to the development of society: in a beautiful era, the phoenix bird descended from the sky and made a sound of nature. Therefore, the appearance of phoenix birds mostly shows the meaning of praise. However, Li Bai first pointed out the Phoenix here, but it was just the opposite: what he expressed was the infinite emotion caused by prosperity and perishable, but prosperity was hard to exist. Gone are the Yuanjia era, which attracted the phoenix, and the prosperous Six Dynasties, leaving only the vastness of the Yangtze River and the towering Phoenix Mountain.
Starting from the changing time and space of "Phoenix goes to Taiwan", the three or four sentences of "the path of Wugong is crooked and the golden clothes are ancient dust" continue to explore its enlightenment significance. Wu Dadi, who gave birth to a child like Sun Zhongmou, a charming figure of the Six Dynasties and many rulers, were buried in graves and became historical relics. Even the magnificent palace has been abandoned and ruined, and it is a ruin. Neither the crane nor the flourishing age left anything memorable in history. This contains Li Bai's unique' historical regret'. Those noble philosophers who "laugh at the ancients, get heaven near the city" and "don't reward their merits, and go home for a long time" have won special respect from Li Bai. At the same time, Li Bai dared to despise feudal order and break the spiritual bondage of traditional idols, so that he despised Yao and Shun, laughed at him and made friends with princes on an equal footing, and made great efforts to this end. Therefore, Li Bai has no regrets about the disappearance of these emperors except some regrets. Then, when he focused his historical eyes on those emperors, his contempt was obvious. Flowers and plants flourish, the world remains the same, and everything changes and develops according to the law. This is history, and this is the rise and fall of the times.
The next two sentences show that Li Bai did not completely immerse his thoughts in mourning for history, but turned his profound eyes to his feelings about nature. Sanshan Mountain is also a place, which is said to be on the river southwest of Jinling. According to "Ding Jing Jiankangzhi", "Its mountains are lush, the three peaks are juxtaposed, and the north and south are connected, so it is named Sanshan". According to Lu You's "Entering Shu", "Three mountains are seen from the stone and the Phoenix Tower, and there is no middle ear, only more than 50 miles away from Jinling." Lu You's "making something out of nothing" just illustrates the looming scene description of "three mountains and half a fall". Especially the "Egret Island" in the middle of the river, which spans the west Yangtze River in Jinling, actually divides the Yangtze River into two halves. As a result, the huge and broad natural forces give people a strong momentum and broad mind, and also bring people back to reality from historical reverie and feel the eternity of nature again.
Although Li Bai has an ideal desire to transcend the secular world, he has always been concerned about real politics and social life, so after a cordial visit to history and nature, he turned his attention to real politics. He looked far and wide, trying to look from the imperial capital of the Six Dynasties to the power center at that time, that is, Chang 'an, the capital in his heart. However, his efforts failed because "a cloud appeared between the light of heaven and me" and he had to "hide his city from my melancholy heart". As a result, the clouds are long, the sorrow is infinite, the ambition is hard to pay, and the sorrow is like a wisp. Here, Li Bai used the saying in Lu Jia's Xin Yu that "evil officials cover up the wise, but the sun and the moon are still covered by clouds" and put it in his own bosom. His pain, his hatred of disease and evil, and his "we will drown the sorrow of generations!" " It seems easy to understand. In particular, the word "not seen in Chang 'an" contains the meaning of "climbing high and looking far", which not only echoes distant topics, but also smears infinite feelings into rivers with water and sky, towering green hills and clear and boundless sky. In this way, the feelings in my heart and the scenery in my eyes are also intertwined, so the mountains and rivers are beautiful and I miss the reflection for thousands of years. The river is surging, and today people are bitter and resentful, and the rhyme is endless.
Li Bai is a talented poet, belonging to a great poet full of creative genius. However, only Li Bai came to the Yellow Crane Tower, but failed to be faithful, and "Chizhi" took Wan Li Road. The reason is also very simple. As the saying goes, "there is a scene in front of you, and Cui Haoshi is on it." Therefore, the "fallen immortal poet" is uncomfortable and unwilling to compare with Cui Hao. So he "went to Jinling to write poems about the Phoenix Terrace" and didn't stop until he wrote "Climbing the Phoenix Terrace with the same name as the Yellow Crane Tower in Cui Hao in Nanjing".
Although this is a rumor, it is also quite suitable for Li Bai's character. "On Ascending Nanjing to Phoenix Terrace" won the praise of "similar to the Yellow Crane Tower in Cui Hao, but the rhythm is not easy". In fact, Li Bai's "Going to Nanjing and Going to the Phoenix Terrace" and Cui Hao's "Yellow Crane Tower" are both nostalgic Shuang Bao.
The artistic features of Li Bai's "Going to Nanjing to Phoenix Terrace" are first manifested in its bold spirit. Qi, originally a philosophical concept, has been widely used since the pre-Qin period. Cao Pi's articles on Qi in Wei and Jin Dynasties took Qi as an important content and applied it to many artistic categories. Although the theorists have different understandings of alignment, they are consistent in ideological temperament, personality spirit and artistic sentiment. Li Bai's "On Landing in Nanjing to the Phoenix Terrace" is obviously permeated with a vigorous and broad spirit, which makes Li Bai look at the past and read the present, instantly dominating the whole world, detached and free. The profound spirit makes Li Baiyuan's profound thoughts, incisive opinions and broad mind become the core and spiritual connotation of weaving great artistic realm. Just as we can feel the pulse of history and the poet's breath through the huge three-dimensional space-time of "three mountains and a half fall in the sky, so the egrets divide the river", we can also take advantage of his efforts to lift weights lightly and calmly, so as to make the whole poetic realm full of lofty heroism and further feel the artistic characteristics of his whole poetry.
The artistic feature of Li Bai's "Going to Nanjing to Phoenix Terrace" lies in the perfect expression of the concept of time and space. This is not only reflected in his understanding of history and nature, but also in his expression method of constructing the artistic realm of time and space. Li Bai emphasized the immortality of nature, on the one hand, he publicized his world outlook of "the unity of things and me" centered on nature, on the other hand, he exposed the ruling myth in history. Because since ancient times, almost all rulers have preached that their generations are immortal and their spirit is immortal, and they have also instilled such a model into people's ideology, which is convincing. However, Li Bai does not agree with this. He believes that even a very powerful ruler, such as Qin Shihuang, can "wield a sword and set the clouds, and the princes will come to the West." Judging from the apocalypse, it is inevitable that he will finally "see the cold ashes buried in the golden coffin under the three springs" ("Ancient style, Qin Wang sweeps Liuhe"). Therefore, in Li Bai's view, of all things in the universe, only nature can achieve eternal existence. All the prosperity and luxury will vanish. If they still exist, they seem to exist only as a contrast with nature. In addition, Li Bai chose the most typical thing, that is, the vast mixture of "Three Mountains and Half Falls" and "Two Water Points", to construct a broad realm, and to show the historical changes, that is, the changes of time and the same place, that is, the unchanging space, as a whole, and to inspire people to think deeper.
The artistic feature of Li Bai's On the Phoenix Terrace in Nanjing lies in its unique and natural language. Because poetry takes mountains and rivers as clues, it is particularly important to pursue the harmony between images and scenery. The soaring of "Phoenix" and the ethereal, clean and spacious of "Phoenix Pagoda" are consistent with the poet's natural and unrestrained temperament and slightly sentimental feelings, and their meanings are in harmony, playing the role of internal and external echo. In addition, the inner spirit of the whole song "Deng", the coldness of "Burying a Quiet Song", "Long Ancient Hill", the natural realm of "Three Mountains" and "Two Waters", the melancholy of "Floating Clouds" and the helplessness of "Chang 'an" are all closely linked by a proper word chain, so that they are just right.