Here we mainly appreciate Bai Juyi's Song of Dancing in Dress and Feather
This poem can be roughly divided into three paragraphs. In the first paragraph, it is described that during the Yuan and Yuan Dynasties, the poet had seen "Dancing in a Dress" at an internal banquet. The poet wrote: "There are countless songs and dances, and the best one is the neon dance." It can be seen that the poet has participated in the banquet more than once, and has also watched many song and dance programs. However, the most impressive and favorite one is the first one to promote this dance. Then, why can this dance music stand out among many imperial dances? As a result, it has aroused the interest and attention of readers.
The time and place of the performance are pointed out in "Cold food during dancing and spring breeze days, in front of the incense table under the jade hook bar". Bright spring is of course the best season to perform songs and dances, and "under the Jade Hook Bar" is even more incomparable than ordinary places. At this time and stage, there should naturally be good actors performing good plays. As for the actors, the poems only use two sentences: "Yan Ruyu, a dancer before the case" and "She seems to be unwilling to be Luo Qi". The former refers to her appearance, while the latter describes her posture, which can be said to be pitiable and concise. And the phrase "no worldly clothes" makes this actor with a jade-like appearance and light posture a fairy. In ancient myths and legends, the beauty of fairies is beyond doubt, and it is not comparable to human beings. She is wearing a rainbow-colored skirt and a shawl with flowing clouds and flowing clouds. She is full of flowers, Yu Pei Shanshan. The poem not only depicts the showily dressed dancers, but also vaguely reveals that this is a play with the theme of fairy tales.
The following six sentences are the introduction and description of the musical instrument accompaniment and dance performance of Nishang Dance. Qing Xiao Zheng Di, playing hand in hand, beating and playing, melodious and tortuous, this is the prelude. There is a poet's note under the sentence of "six plays without moving clothes, and the balcony is so careless that it doesn't fly": "There is no beat after six plays, so there is no dance." At this time, the goddess, who was fully dressed, was still standing in the corner of the stage, making it look like she was about to take off. Suddenly, the music changed from soft to hard, and it braked, as straight as autumn bamboo cracking and spring ice breaking. Look at the goddess at this time, dancing lightly, fluttering like a storm, hurtling like Youlong frightened. Sometimes waving soft wide sleeves, if weak willows are facing the wind; Sometimes gently drag the hem of the skirt, like flowing clouds. According to the poet's own note, these movements are "the initial state of nishang dance." The poem is clever in metaphor and vivid in color. The following "The smoke moth is in a terrible state, and the wind sleeves are low and affectionate" is the finishing touch, depicting that when the dancer performs the above actions, her eyebrows are graceful and the wind sleeves convey her feelings. Not only is the action itself beautiful, but more importantly, the actors convey certain feelings through her eyebrows and clothes. This kind of dance will move and infect people, and it will cause the effect of "gazing at the truth is not enough" below.
The above is the music accompaniment and performance of "Nishang Dance" described by Chongmo. The sentence "Go to the Yuan Dynasty to invite the calyx to be green, and the Queen Mother waved goodbye to fly to Qiong" briefly described the dance content, which was simple and proper, and was conducive to highlighting the description of the dance posture. The following "twelve times, dancing with pearls and shaking jade" is a summary description of dance music, indicating that the dance is over, in order to take care of the above "autumn bamboo poles crack spring ice" and so on. Faced with such wonderful music and dance, the poet was dumbfounded. "At that time, I was surprised at first sight, but I was not enough to stare and listen", which revealed the strong artistic effect of "Nishang Dance".
The second paragraph of the poem, from "I fell into the world in 1989" to "I heard that the stars are scattered now", is to the effect that the poet himself once rehearsed "Dancing in the Dress" in Hangzhou. Since the poet saw this dance in the court, the amazing performance effect has made him unforgettable for life. Therefore, in the years when I was transferred to Hangzhou Secretariat, I often enjoyed rehearsing "Nishang Dance" after my official duties. But as soon as the poet left, all the geisha scattered like birds, and several years of hard work went down the drain.
The following is the third paragraph "May this year to Suzhou". The poet never forgets the reappearance of "Dancing in Nishang". In Suzhou, he heard that many of his friends Yuan Zhen's subordinates can sing and dance well, so he asked them in books. Yuan Zhen replied with "Nishang Feather Spectrum". If the poet gets the most treasure, he expresses his joy with words such as "seeing the shape in front of him" and "suspecting from the dream". The vivid images written by Yuan Pu made him feel as if he had seen the various performances of the court beauties at the beginning, just like in a dream. Finally, he decided to re-coach Geisha's rehearsal in Suzhou based on the score. "But I'm afraid this dance will be abolished" expresses the thought of worrying about the loss of beautiful dance music.