Li He, the author of The Golden Tongxian Song of Han Dynasty? the Tang Dynasty
Maoling Liulang is a guest in the autumn wind, and I heard Ma Si's ignorance at night.
The osmanthus tree in the painting column hangs autumn fragrance, and the soil in the thirty-six palaces is green.
Wei Guan led the car thousands of miles, and the sour wind in Dongguan shot at his eyes.
Empty sent John out of the palace door, thinking of your tears like lead water.
Declining orchid to send guests to Xianyang Road, if the sky is old.
The lonely moon is bleak, and the acropolis is low.
Translation:
Liu Lang buried in Maoling seems to be a passer-by in the autumn wind.
I heard him scream at night and disappeared at dawn.
The osmanthus tree next to the painting column still exudes the fragrance of late autumn.
The thirty-six palaces in Chang 'an are now a moss green.
Wei officials drove the bronze man to another place thousands of miles away.
Just out of the East Gate of Chang 'an, the cold wind hit the bronze man's eyes.
Only John, who lived together day and night, accompanied Tong Ren out of the official residence.
I miss the former monarch, and the bronze man tears like lead water.
Withered bluegrass bid farewell to distant guests on the ancient road leading to Xianyang.
If heaven has feelings, it will grow old with sorrow.
Alone in Chang 'an, I am lonely in the bleak moonlight.
Seeing Chang 'an drifting away, the sound of Wei Shuibo is getting smaller and smaller.
Content tasting:
Jin Ping Mei Han Fu is a poem written by Li He, a poet in the Tang Dynasty, on his way from Chang 'an, Beijing to Luoyang. Poets express their feelings of rise and fall, the pain of home and country, and the sadness of life experience through the historical events in which immortals spoke to Han.
In the poem "Poems of Ren Xian in Jin Tong", Jin Tong Ren Xian burst into tears when he left, mainly expressing the grief of national subjugation. This poem expresses a solemn feeling that the pain of home and country and the sadness of life experience are intertwined.
The poet sometimes imitates the appearance of the bronze man from the front, and sometimes puts pen to paper from the side to describe the scenery around the bronze man and paint them with a layer of sad tones. The interactive use of the two techniques makes the opening and closing of poetry turbulent and changeable, but it always revolves around a word "sorrow", with orderly patchwork, unified tone and distinct theme.