Gao Zhu translation

There are many graves on the mountains in the south and north. During the Qingming Festival, later generations came to pay homage, coming and going in an endless stream. The burnt paper money ash in front of the grave danced with the wind, like a white butterfly, crying and crying, as sad as a cuckoo weeping blood. When the sun goes down, the fox sleeps on the silent grave; At night, carefree children laugh in front of the lamp. When there is wine, eat, drink and be merry; Even after death, even if there are descendants offering sacrifices to sweep, how can the sacrificial wine reach the grave? The first two lines of a poem are visions, one is about scenery and the other is about people. On this basis, we might as well think that the poet came to pay homage in Tomb-Sweeping Day on this day, not to the place where the tombs gathered, that is, to witness the scene. Because the cemetery is often deep, he is afraid of blocking the way, so he must look to the future at a glance. So what kind of scene is this? "There are many graves and fields in the north and south" and "north and south" are empty meanings, meaning in all directions. Can it be interpreted as "there are many graves on the hills in all directions" Don't we realize the infinite sadness when the poet said this sentence: "(Look! There are so many graves on the mountains in all directions. (Those are dead people! ) "This scheme is much fuller. The following scenery is very logical, there are many cemeteries, and there are many people who come to sweep: "Tomb-Sweeping Day is different." However, there is a problem here. "Every" means that each family has nothing to do with each family, and "numerous" means that there are many people. Then, since there are so many people, why should we "sweep the snow in front of the door"? Won't there be scenes of mutual help and comfort? You know, people generally only respond to each other under what circumstances, that is, they have been so bitter that they know each other well that they don't need to say much. In the couplets, the poet stepped forward, zoomed in, and described the scenery and characters in detail: "The paper ash flew into a white butterfly, and the tears dyed into a red cuckoo." Literally, it's easier said than done, that is, ghost paper turns to ashes, and the ashes fly all over the sky like a white butterfly; Acacia into tears, tears into blood, like a red cuckoo. But why do you want to make butterflies out of paper ashes and cuckoos out of tears, instead of things beside you? As we all know, in the beautiful myths of ancient China, there are examples of Zhuang Zhou, Die Bian and Du Fu's weeping for blood. Then it is clear: the butterfly is the messenger of communication between yin and yang, and the tomb paper certainly plays such a role; Similarly, how to express acacia is the most sincere, not always like "I miss you like running water, how can I be poor?" This is superficial. "I" want to tell the people in the underworld that "we" miss you so much that our tears are dry, and now it's blood! This shock is beyond words. According to the development of time, the Necklace continued to write what the poet saw and thought: "When the sun sets, the fox sleeps on the grave, and in the dead of night, the children smile and watch the lights." Of course, that sentence is a virtual scene. Where can a poet meet such a coincidence that a fox sleeps in a cave? It just means that the day's sacrifice is over and everyone goes home at sunset, but "I" know that there is only one animal that will not leave, and that is the fox. What makes you say that? Although "I" didn't see it, "I" didn't even understand the truth that "the fox must die first". You people were crying when sweeping the goods. Where are you sad to see you on weekdays? Foxes are different. They will always be loyal to their companions and "family". Even if you die, aim your head in the direction of the mound! It's really "foxes are like this, why can't people compare"! This kind of strong contrast can't be obtained without careful scrutiny. But I don't know, this contrast is even stronger: when I come home at night and see the children playing in front of the lights, how can they know the sadness of "me" and the pain of "where are you going?" This is another great shock to us. But more than that, we dig deeper and find that these children are still so weak and naive, but they will grow up, get old and die. This is fate, how regrettable and sad. You see, this is just in line with the idea that poets are tired of death mentioned in the first couplet. Isn't it surprising that there are so many connotations in just fourteen words, and they are all touching and thought-provoking? To sum up, the poet at the end of the League expressed his attitude: "There is wine to drink in life, and a drop of Jiuquan is not exhausted." It should be said that this is a common psychological normal of literati, eating, drinking and having fun in time. After reading this, we can't help but think of the systematic singing method in Nineteen Ancient Poems, "Life is less than one hundred, and the total worry is chitose." The days are short and the nights are long. Why not travel by candlelight? "Or you may think more directly that" if you have wine today, you will be drunk today and worry about tomorrow tomorrow. "But is it really that simple? In this regard, I think there is a misunderstanding: that is, we have not distinguished and judged whether the idea of expressing carpe diem has been realized, whether it is empty-minded or helpless. This is a very important issue and can be studied as a special topic. As far as the poem Gao Zhu is concerned, it is obviously pretending to be broad-minded. You see, the poet is still dead. He has thought of not tasting a drop of wine offered to him after his death, which shows how much he yearns for this world! Laozi said: "Five colors are blind, five tones are deaf, five flavors are refreshing, and they are crazy about hunting. "This shows that desire can make people lose their id and gradually become dependent.