It is neither silver nor water that reflects the coldness of the window. Try to see the clear sky protecting the jade plate. The faint fragrance of plum blossoms is ready to be dyed, and the silky willow ribbons are just drying. I just suspect that the remaining powder is coated with gold, as if light frost has been applied to the jade railing. When I woke up from the dream, no one was around in the west building, but the remaining faces could still be seen through the curtain. ——Cao Xueqin, Qing Dynasty, "Xiangling Odes to the Moon, Part 2" Xiangling Odes to the Moon, Part 2 It is neither silver nor water that reflects the cold window, try to see the clear sky protecting the jade plate. The faint fragrance of plum blossoms is ready to be dyed, and the silky willow ribbons are just drying.
I just suspect that the remaining powder is coated with gold, as if light frost has been applied to the jade railing. When I woke up from the dream, no one was around in the west building, but the remaining faces could still be seen through the curtain. Translation and annotations of Ode to the Moon
Translation
Unlike silver or water, the moonlight casts a cold light on the window. Looking up from a distance, I look up at the clear night sky, which supports a round jade plate. . The sparse plum blossoms in the moonlight exude a rich fragrance, and the silvery willow branches seem to be drying with dew. I thought that the light white powder painted on the golden steps seemed like a thin layer of frost flying on the jade railing. When I woke up from a dream, the west building was completely silent. Only the waning moon in the sky could be seen through the curtain. Appreciation
This is the second poem about the moon written by Xiang Ling.
In the creation of this poem, Xiang Lingling kept Daiyu's words firmly in mind: "Just let go of your courage and do it." As a result, "letting go" was achieved, but it went to the other extreme - "being too penetrating". Just as Baochai commented. "It's not like chanting poems about the moon. Adding the word 'color' under the word "month" makes it better. You can see that every sentence is the color of the moon."
The first line of the first couplet of the poem: "It is neither silver nor water reflection." "The window is cold" is written about the moonlight, but it doesn't really hit the point. Only in the second sentence: "Try to see the jade plate protecting the clear sky" does the original meaning of Yongyue officially enter. The metaphor of "protecting the jade plate" in this sentence is more vivid and vivid. However, this comparison did not originate from Xiangling. In Li Bai's poem "Gu Lang Yue Xing", there is already the sentence "I don't know the moon when I was young, and I called it a white jade plate", but Xiangling borrowed it here. That’s all. Compared with the words "jade mirror" and "ice plate" in the previous poem, this borrowing is obviously more clever and the meaning expressed is more elegant.
The jaw couplet of the poem uses the technique of drying and dyeing, and uses the fresh and elegant language of "the faint fragrance of flowers is about to be dyed, and the silk willow ribbons are just drying" to describe the soft and moist moonlight. Indeed, It's quite sentimental. However, since it is about the moonlight rather than the moon wheel, it still inevitably leaves the subject. The neck couplets of poems also have this problem. In particular, these two sentences should have a change in meaning in order to conform to the characteristics of the rhythmic poetry. However, this problem has not been solved well. "I only suspect that the remaining powder is coated with gold, as if light frost has been applied to the jade railings", still stuck to the moonlight. In this way, the white powder coating the steps and the light frost floating on the jade railings are relatively clear in image, and also appear ethereal and melancholy in the poetic realm. However, because the author still failed to develop a deeper level of emotion and interest, Therefore, the content of the poem is not deep enough, and the meaning is not rich enough.
Cao Xueqin, whose given name is Zhan, also known as Mengruan, also known as Xueqin, Qinxi and Qinpu. A famous litterateur and novelist in the Qing Dynasty. His ancestors were Han Chinese from the Central Plains and were born in Baoyi, Zhengbai Banner, Manchuria. He has a free-spirited nature, and he was once an actor and actress but was forced to live in an empty house. He has a wide range of hobbies: epigraphy, poetry, painting, gardening, traditional Chinese medicine, darning, crafts, diet, etc. He was born in a "hundred-year-old noble family" of a big bureaucratic landlord family. He suffered the hardships of the world due to the decline of his family. Later, with perseverance and perseverance, he created the great ideological and artistic work "Dream of Red Mansions" after many years of hardship.
Cao Xueqin The grass in the long forest enters the autumn wasteland, and its unique beauty brings out the evening fragrance. Every time I look forward to the wind, I feel proud, and I want to stay fragrant after the frost. The appreciation of celebrities is still admirable, and the empty valley has a good reputation. A kind of loneliness has been there forever, Xiangjiang's poems and poems were played in the Qing Dynasty and Shang Dynasty. ——Ming Dynasty·Jing Nuo's "Ode to Autumn Orchid"
Ode to Autumn Orchid The grass in the long forest enters the autumn wilderness, with its unique grace and fragrance in the evening.
Every time I look forward to the wind, I feel proud, but I want to stay fragrant after the frost.
The appreciation of celebrities is still admirable, and the sound quality of the empty valley is self-proclaimed.
A kind of loneliness has been there for eternity, Xiangjiang Ci and Fu were played in the Qing Dynasty and Shang Dynasty. In autumn, when I chanted about things and wrote about flowers, there was a clever man called Wang Shuyuan who could use wood of an inch in diameter to shape palaces, utensils, people, and even birds, beasts, wood and rocks, regardless of the situation, and each had its own mood. I tasted the remaining nuclear boat, and the clouds covered the red cliff. The length of the boat from head to tail is about eight minutes, and its height is about two millimeters. The open one in the middle pavilion is the cabin, covered with a awning. There are small windows on the side, four on each side and eight on the left. Open the window and look at each other with carved railings. If it is closed, the right side will be inscribed with "The mountain is high and the moon is small, and the water will come out," and the left side will be inscribed with "The breeze is coming slowly, and the water waves will be sluggish." The stone will be green and gritty. (Ruo Peng 1st work: Zhu Peng) There are three people sitting on the bow of the boat. In the middle, the one with the crown of E and many beards is Dongpo, Foyin is on the right, and Lu Zhi is on the left. Su and Huang *** read the first-hand scroll. Dongpo held the scroll in his right hand and stroked Lu's back with his left hand. Lu Zhi held the end of the scroll in his left hand and fingered the scroll with his right hand, as if he had something to say. Dongpo's right foot is shown, and Lu Zhi's left foot is shown, each slightly sideways, with the two knees facing each other hidden in the folds of the clothes at the bottom. The Buddha's seal is very similar to Maitreya's, with his breasts exposed, his head raised and his eyes raised, his expression is not that of Su and Huang. He lay down on his right knee, right arm bent up to support a boat, and put up his left knee, hanging a rosary on his left arm and leaning on it - you can count the number of beads clearly. There is a stick lying across the stern of the boat. There is one boatman on the left and right. The person on the right has her back in a bun, with her left hand leaning on a rung, and her right hand holding her right toes, as if whistling. The person on the left is holding a palm fan in his right hand and stroking the stove with his left hand. There is a pot on the stove. He is looking up and looking calm, as if listening to the sound of tea. The back of the ship is slightly flat, and there is an inscription on it, which reads: "On the autumn day of Renxu, Wang Yishu of Yushan was just carving it when he was far away." The outline is as thin as a mosquito's foot, the outline is clear, and its color is dark.
Another seal seal is used, and the text is "People from Pingshan at the beginning", which is red in color. A total of one boat, for five people; for eight windows; for the bamboo canopy, for the 楫, for the stove, for the pot, for the hand scroll, for the rosary; for the couplets, titles and seal scripts, there are four of the characters ***thirty; and It's not enough to measure its length. This is done by covering the peach core and repairing the narrowness. Hee, your skills are amazing! ——Ming Dynasty·Wei Xuezhen's "The Story of Nuclear Boat"
The Story of the Nuclear Boat
Ming Dynasty: Wei Xuezhen
There is a clever man in the Ming Dynasty called Wang Shuyuan, who can use wood of an inch in diameter , for palaces, utensils, people, as well as birds, beasts, wood and stones, regardless of the situation, each has its own mood. I tasted more than one nuclear boat, and the clouds covered the red cliff.
The length of the boat from head to tail is about eight minutes, and its height is about two millimeters. The open one in the middle pavilion is the cabin, covered with a awning. There are small windows on the side, four on each side and eight on the left. Open the window and look at each other with carved railings. Close it and engrave on the right: "The mountain is high, the moon is small, and the water falls and the rocks come out."
There is a clever man named Wang Shuyuan who can use wood an inch in diameter to build palaces, utensils, people, and even birds, beasts, wood and stones. Depending on the situation, each image has its own mood. I tasted more than one nuclear boat, and the clouds covered the red cliff.
The length of the boat from head to tail is about eight minutes, and its height is about two millimeters. The open one in the middle pavilion is the cabin, covered with a awning. There are small windows on the side, four on each side and eight on the left. Open the window and look at each other with carved railings. If it is closed, the right side will be inscribed with "The mountain is high and the moon is small, and the water will come out," and the left side will be inscribed with "The breeze is coming slowly, and the water waves will be stagnant." The stone will be green and gritty. (Ruo Peng, 1st work: Zhu Peng)
There are three people sitting on the bow of the boat. The one with the crown of E and many beards in the middle is Dongpo, Foyin is on the right, and Lu Zhi is on the left. Su and Huang *** read the first-hand scroll. Dongpo held the scroll in his right hand and stroked Lu's back with his left hand. Lu Zhi held the end of the scroll in his left hand and fingered the scroll with his right hand, as if he had something to say. Dongpo's right foot is shown, and Lu Zhi's left foot is shown, each slightly sideways, with the two knees facing each other hidden in the folds of the clothes at the bottom. The Buddha's seal is very similar to Maitreya's, with his breasts exposed, his head raised and his eyes raised, his expression is not that of Su and Huang. He lay down on his right knee, right arm bent up to support a boat, and put up his left knee, hanging a rosary on his left arm and leaning on it - you can count the beads clearly.
The stern of the boat lies horizontally. There is one boatman on the left and right. The person on the right has her back in a bun, with her left hand leaning on a rung, and her right hand holding her right toes, as if whistling. The person on the left is holding a palm fan in his right hand and stroking the stove with his left hand. There is a pot on the stove. He is looking up and looking calm, as if listening to the sound of tea.
The back of the ship is slightly flat, and there is an inscription on it. The text reads: "On the autumn day of Renxu, Wang Yishu of Yushan just carved it when he was far away." Another seal seal is used, and the text is "People from Pingshan at the beginning", which is red in color. Junior high school classical Chinese, chanting things, praising skills has nothing to do with being obsessed with appearance, and is preferred in cold places. It has no roots and buds, it is not a flower of wealth in the world. Who can cherish Xie's mother after she says goodbye and drifts to the end of the world? The cold moon is sad, the west wind is thousands of miles away, and the sea is sandy. —— Nalan Xingde of the Qing Dynasty, "Picking Mulberries and Chanting Snowflakes on the Wall"
"Picking Mulberries and Chanting Snowflakes on the Wall" It is not about the appearance but also the preference for cold places. It has no roots and buds, it is not a flower of wealth in the world.
Who can cherish Xie’s mother after leaving her and drifting to the end of the world. The cold moon is sad, the west wind is thousands of miles away, and the sea is sandy.
Chanting objects, writing about snow, character, expressing sentimentality