1. Translation of Qingjialu’s Lantern Riddles in Classical Chinese
Some people who like liveliness wrote elaborate riddles and pasted them on the outside of the lantern. One side of the lantern was next to the wall, and riddles were posted on the other three sides. Questions are asked to be discussed and figured out, and this kind of game is called "playing lantern riddles". The riddles are all quoted from classics, poetry, various schools of thought, and legendary novels. The answers involve proverbs, various objects, birds, fish, insects, flowers, plants, and vegetables, and the questions are randomly selected. If you guess correctly, you can use ink blocks, paper, brushes and inkstones, towels, fans, sachets, fruits and food as gifts, which is called "mystery gifts". Wherever there is a place for guessing lantern riddles in the city, people from far and near gather together, shoulder to shoulder. At night, there are crowds of people guessing lantern riddles everywhere, and it doesn't end until summer.
Jia Zhentao (name of a person in the Qing Dynasty) wrote in a poem "Playing Lantern Riddles": "A lamp like a bean is hung on the door, and the grass and fields can be busy with the art garden. If you want to ask distant questions, you will always linger, "Why fame and fortune?"
Extended information:
"Qing Jia Lu" was written by Gu Lu, a scribe from Suzhou during the Daoguang period of the Qing Dynasty. This book is prefaced by December. Describes the seasonal customs in Suzhou and nearby areas. The book quotes a large number of ancient and modern topographies, poems, classics and history, and examines them one by one. It has beautiful writing style and detailed narrative. It has the function of preserving local documents and is an important material for studying the local and social history of Suzhou in the Ming and Qing Dynasties.
Monographs on temples, mansions, monuments, handicrafts, etc. There are twelve volumes in the book. Volumes 1 to 2 are: landscapes, scenic spots, temples, and ancestral halls. Volume 5 is about tombs, pagodas, and memorials. Volume 6 is about squares, memorials, and guild halls. Volume 7 They are floodplains, dikes, bridges, and alleys. Volumes 8 to 11 are: houses, historic sites, shops, and work. Volume 12 is for boats, gardens, markets, medicinal products, and fields.
And there is a saying that ""Qing Jia Lu" uses time as the meridian, and "Tongqiao Yichao Lu" uses space as the "weft", so later generations merged them into one volume, and they misunderstood The author is the same person; in fact, they have different names and are more than 200 years apart. "Qing Jia Lu" is based on the scenic spots in Suzhou and the relics of ancient and modern celebrities. It is a collection of architecture, anecdotes, and poems. "Records" have different perspectives and complement each other. 2. Answers to Jia Yin's response in classical Chinese
Tang Jia Jia Yin was seven years old and was summoned as a child prodigy.
Changsun Wuji and Xu Shiji were summoned to the court. In the hall, Xu Xizhi said: "What tree am I leaning on?" Said: "Pine tree." "
Xu said: "This locust tree, how can it be said to be pine? "Jia Yin said: "If you match the wood with the public, how can you get the non-pine evil? Changsun asked again: "What tree am I leaning on?" Said: "Locust tree." "The eldest grandson said: "You are not going to correct the evil again? "Jia Yin said: "Why bother to correct it, just take the ghost to the fungus. "
On the eleventh or twelfth year of the year, he was elected in the year of Zhenguan. Although he was handsome and eloquent, his appearance was ugly. He tried to advance and stop in the court, and the court officials retreated and came out.
When the rest of the people didn't say anything, the British Duke Li Ji first said: "This child looks like a wolf-faced man, how can he be so smart? Before anyone could report, Jia Jiayin immediately responded and said: "Hu Tou is still the prime minister, how can he lose his intelligence with his savage face?" "Everyone in the court laughed.
Question 1 The underlined word in the following sentences has an incorrect interpretation: ( ) (3 points) A. What tree do I rely on (rely on) B. You will no longer correct yourself (sophistry) C. Try to make progress in the court (once) D. See it all the time (go) Question 2 The two underlined words in the following sentences have the same meaning ( ) ( ) (4 Points) A. Make a speech in the northeast corner of the hall B. Although there is a good argument, although the person has a hundred hands C. But the ghost is against the fungus, but the sound of the Yellow River water splashing D. Summoning the prodigy is considered a wonderful topic 3 Write the meaning of the following two sentences in modern Chinese (4 points) (1) Tang Jia Yin was seven years old and was summoned as a child prodigy
(2) How could it be that he was paired with a tree? ? Question 4: Based on the article materials, try to analyze what kind of person Jia Jiayin is? (4 points) Reference answer: Question 1B (3 points) Question 1A C (4 points, 2 points each) Question 1 (1) Jia Jiayin was seven years old in the Tang Dynasty At that time, he was summoned as a child prodigy. (2) Use the character "公" with the character "木", why is it not the character "松"?
(4 points, 2 points based on the material, character evaluation. 2 points) Answer analysis: In question 1B, "correction" is a correction. In question 1A, both are "in"; in question C, both are "only".
The classical Chinese translation of question 1 requires the correct meaning. , The meaning of the sentence is complete and the sentences are fluent. Pay attention to the understanding of the key words in the sentence and the adjustment of key sentence patterns. For example: "Yi" in (1) and "Yi" in (2). Focus on understanding the words. Question 1: Students understand the central theme of the text and the characters' ideological and personality characteristics.
Students learn to conduct specific analysis based on the text content. 3. Ask. : Translation of the classical Chinese text "Longxi Journey" in Ancient Yuefu
Here is an annotation and analysis based on which it can be translated. Where is the white elm in the sky in "Longxi Journey to Yuefu"?
< p> The osmanthus tree grows along the road, and the green dragon faces the corner of the road. The phoenix sings and chirps, and a mother brings nine young.It is a special pleasure for a good woman to come out to welcome guests. .
Stretch your waist, kneel down and ask if the guest is okay? Invite guests to the north hall, where guests sit on blankets and blankets. There are different bottles of innocence, and the wine is pure and beautiful.
Drink wine with the guest, and the guest will talk to the host. Queluo knelt down again and held a cup.
Before they could finish talking and laughing, they turned to the chef. If you are urged to serve rough meals, be careful not to leave them behind.
Waste gifts are used to send guests out, and Yingying's house is in full swing. It's not far to see off guests, no more than the door hub.
Qi Jiang is not as good as Qi Jiang when it comes to getting a wife. A healthy woman who maintains her family is better than a husband.
"Longxi Journey" is a tune that is both a Yuefu Xianghe Gese tune and a Daqu. It is also called "Stepping out of Xiamen Journey". The meaning of the first eight lines of this song and the last twenty-four lines are not connected.
About the first eight sentences are erotic words, which have nothing to do with the main song that follows. This is a common phenomenon in Yuefu songs.
The first eight sentences describe the scenery in the sky. If you want to understand these sentences, you must first clarify their metaphorical meaning.
"White Elm" refers to the Yuheng star. "Guishu" refers to the laurel star.
Weishu says: "Jiao and Gui are born together with Gang Yang." The annotation says: "Jiao and Gui are born from the essence of Yang star."
Tao, the ecliptic. "Hanshu Astronomical Chronicles": "The middle way is the ecliptic, which is called the light path.
... When the sun moves in the middle way, the moon and the five stars follow it." The ancients believed that the sun orbited the earth. Well, the ecliptic is the imaginary orbit of the sun.
Qinglong, the general name of the Eastern Qisu. Phoenix is ??quail fire.
Weishu's "Spring and Autumn Yuan Mingbao" says: "Huoli is the phoenix." "Historical Records Tianguan Shu": "The tail is nine sons."
Quoted from "Suoyin" Song Jun said: "It belongs to the harem, so if you have two sons, the number of sons must be nine, and the tail will have nine stars." (The case heard that Yiduo said: The tail of Dongguansu should be the tail of the dragon.
This eight-sentence poem is quite unique in its performance.
First, the name borrows something and gives it form. Certain constellations were originally named after animals and plants. The poet picked them up and transformed them into the images of the animals and plants themselves. He also used the "zodiac" as a thoroughfare (there was an ancient saying of "the thoroughfare of heaven") to transform these animals and plants into images. The images are arranged in an orderly manner on both sides of the "road", thus creating a "wonderland" that is very different from the human world.
Poets are selective in borrowing objects to give form. The "laurel tree" reminds people of the legendary "laurel", and the "dragon" and "phoenix" are legendary spiritual creatures in the sky.
Even "white elm" is different from ordinary elms in the world. These things are indispensable to set off the "wonderland".
Secondly, this kind of fairyland comes from the poet's imagination and does not exist. However, everything in it has a real meaning, just like playing lantern riddles. But it can be realized. The third is wonderful imagination.
All poetry comes from imagination. Otherwise, the names of several constellations cannot constitute poetry.
These eight lines of poems are written in a humorous and interesting style, so although they are in the form of poems about immortals, they are not intended to write about immortal things. This writing method of using the constellations as animals, plants and people as poetic images existed before "Longxi Journey", such as the "Dadong" chapter of "Xiaoya" and "Dongjun" of "Nine Songs".
Although "Dongqun" is quite magnificently written, it still cannot create a complete artistic conception like this article. The following twenty-four lines of "A Good Woman Comes Out to Welcome Guests" praise a "healthy woman" with a unique personality, which is the main theme of the song "Long West Journey".
It is impossible to determine why the poem was written. Volume 37 of Guo Maoqian's "Collection of Yuefu Poems" quotes "Yuefu Jietie" as saying: "The first statement is that a woman has good looks and can answer the door and receive guests.
The second statement is that she is good at giving gifts, and the last statement is that she is polite in sending and greetings." That's just literally.
In terms of writing, there are three points worth noting. The first is to use the pen carefully.
For example, when writing about the host's hospitality to guests, first write "treat guests to the north hall" to indicate the direction where the guest seats should be installed, and then write "sit on guest felts and 氍湹" to express respect for the guests, which also includes the greetings. customer's specifications. The wine should be presented in both "clear" and "white" styles. Although it cannot be said to be rich, it is to avoid monotony and it can be seen that the host is considerate.
All of these can show the protagonist's emphasis on etiquette. Some details are very well written.
For example, when the protagonist welcomes guests, he says "stretch his waist and then kneel down." When socializing in front of a banquet, he says "drink wine with the guest, and the guest greets the host." But he bows slightly and kneels again, and then holds a glass. ” are all continuous actions; this kind of sentences can be used to depict characters and express their emotions.
Another example is writing about the host entertaining guests with good wine, saying "the wine is pure and beautiful". When the wine poured into the cup pours out of the water and forms stripes, it shows that the wine is good.
This way of writing should be said to be more vivid. It is rare for Yuefu poems to use pen and ink that depicts shapes and colors like this.
The second is the neatness and orderliness of the narrative. The first two sentences, "A good woman comes out to welcome guests, her color is just right, making her happy" concisely depict the appearance and posture of the protagonist.
Next, she writes about her courtesy and greetings to the guests, letting them into the main room, then setting up a seat for the guests, then writing about serving wine to accompany the guests, then writing about drinking and preparing meals, and finally seeing off the guests with courtesy, which seems to be meaningful. Very organized. Writing in this way is consistent with the poem's expression of the protagonist's gracefulness and steady and sophisticated handling of things.
The third is the simplicity of the text. Simplicity is the unique characteristic of Yuefu's narrative chapters, and this chapter is particularly outstanding. When describing each thing, everything must be based on reality; and it must be simple but vivid and expressive.
Words such as "Zuo Gu", "Edict", "Xu Ling", "Ying Ying", "Chun", etc. are all very expressive. What kind of typical character is the protagonist? The poet sincerely praised that the ancient virtuous woman Qi Jiang was inferior to her, saying that she was a "strong woman" better than her "husband".
In a society where men are superior to women, this kind of praise can be said to be very high. This is exactly what made her stand out among women in feudal society.
But in the poem, it is written that all her actions not only did not transcend, but also strictly followed feudal etiquette. This point is the core of the protagonist's character.
The way the poem is written is centered on the word "rite" from beginning to end. (Qi Tianju). 4. The original translation of "Xia Di Hou Shan Yong Gao Shilang"
There is a story about this poem, see "The Biography of Talented Scholars of the Tang Dynasty": "(Gao Chan) failed to win the exam at first, so he wrote a poem to save the wall Jian said: "There are several icicles against the sun, and there are several locks on the sky gate. There is no root in the spring, relying on the east wind to blow." Poetry omitted). "There were many shortcomings in the imperial examination in the late Tang Dynasty, which were reflected in many poems, and this poem is one of the famous ones.
In the Tang Dynasty, the imperial examinations were particularly important for Jinshi, so the treatment for new Jinshi was very generous. Every year, the Qujiang Meeting was crowded with spectators, which was extremely honorable. At the beginning of this poem, "green peach in the sky" and "red apricot in the sun" are used as metaphors. "Heaven" and "Sunbian" symbolize that the winner will be worth ten times as soon as he climbs the dragon gate, which is an unusual status; "Heluzhong" and "Yunzhong" are metaphors that they have something to rely on and receive special favor; "Peach" and "red apricot" flowers are in full bloom, which means they are happy and have a bright future. These two sentences are not only magnificent in terms of words, but also in harmony with the neatness and precision of workmanship, which is exactly the same as the extraordinary phenomenon described by the winners.
Chapter 80 of "Flowers in the Mirror" is about playing lantern riddles. One riddle about the name of a flower borrows this couplet to form a poem. The answer is "Lingxiao Flower". Very relevant. "Peach in the sky" and "red apricot on the edge of the sun" are extraordinary, isn't it because of the "high sky" where they are located? Here you can experience another hidden meaning of the poem. According to the practice of the imperial examination in the Tang Dynasty, before taking the examination, the candidate must first submit his own papers (submit poems and essays) to high-ranking officials for recommendation, otherwise there is no hope of being admitted. This so-called method of combining recommendation and selection later became very harmful, especially in the late Tang Dynasty. When Gao Chan was promoted to junior high school, he said that he "had no roots in youth", which shows that there were many people who became famous by relying on personnel "relationships" at that time. This is exactly the situation where "Bitao" is in the sky, and "Red Apricot" has recently become "harmony with dew" and "leaning on the clouds". How can it be compared to the helpless "Hibiscus" living alone on the Qiujiang River?
The autumn river hibiscus in the third sentence is obviously the author's own comparison. As a figurative image, hibiscus is derived from the metaphor of peach and apricot. Although they are both famous flowers, their status in "Heaven", "Sunbian" and "Qiujiang" is extremely different. This contrast is similar to the famous sentence in Zuo Si's "Ode to History", "The pines at the bottom of the gloomy stream, the seedlings on the Lili Mountains", which implies that the difference between high and low is "made by the terrain." There is another layer of meaning here. The beauty of the hibiscus on the Qiujiang River lies in the style of Fengshen, which is different from the beauty of the peach and apricot in the spring breeze on the coquettish color. "The Biography of Talented Scholars of the Tang Dynasty" states that "Toad was a poor man... he was suave and isolated from the crowd, and he had a little respect for his integrity. He had nothing to do with his daughter, even if he died," it was also said that "his chest was second to none" and so on. The aloof style of Qiujiang Furong is consistent with the author's character. The last sentence, "If you don't complain to the east wind, you won't complain", the words are thorny. On the surface, it is just that Furong was born in the wrong place (on the Qiu River) and at the wrong time (in the east wind), but it also implies the sadness that he was not born at the right time. It is the same as "Yangchun has no roots, relying on the east wind to blow one after another", which is "resentful and full of resentment", but this poem is all in metaphorical style, with profound meaning.
When the poet wrote to the "big man", he was neither humble nor arrogant, and had no flattering attitude, which was rare in the feudal era. We say "not blooming" instead of "not blooming" because hibiscus has to wait until autumn to bloom. This seems to show the author's confidence in his own talents. By the way, Gao Chan finally won the title of Chan Palace in the second year after he wrote the poem, and he got his wish. 5. The answers to the reading of Yongzhongshilang after the next step
The Gaojiangshilang after the next step
Gao Chan
The green peaches and dew seeds in the sky,
Red apricots are planted against the clouds by the sun.
Hibiscus was born on the Qiu River,
If you don’t complain to the east wind, you won’t complain.
(1) Explain what the first and second sentences of this poem symbolize. (3 points)
(2) Briefly analyze the main artistic techniques of the poem and the author’s thoughts and emotions. (4 points)
Answers to the test questions:
(1) Those who win the first place have something to rely on, receive special favors, be proud of themselves, have a bright future, and advance smoothly.
(3 points, 1 point for each answer)
(2) Technique: All poems use metaphors
(answers to analogy, metaphor, contrast , each can be given 1 point).
Thoughts and emotions:
The poem implies the sadness of not being born in the right time.
It is neither humble nor arrogant, and there is no flattery or flattery.
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At the same time, he also showed confidence in his own talents.
(3 points, 1 point for every answer)