Rose dew, such as cold in a crying hut, green tendrils, such as small money.
Jiao stood in the sky like a floating cloud, embracing the western sky until dawn.
Pillow is the stone of Dragon Palace, which can share the color of eyes.
Yuchan lost her tender skin, but she saw Monroe.
Recalling the previous spring, I wanted to spend it with my sadness.
We can't meet again when we return, only Jinse lies on the ground.
Today is like a pine with a sharp bottom, and tomorrow is like a phellodendron amurense on a hill.
I am afraid that when the earth turns upside down, we will never meet again.
Label: miss the emotion
Roses are weeping, living in seclusion, and green vines are dotted with flowers as small as money.
Jiaolang stood in the sky like a helpless cloud, embracing the day and staying under the curtains of the west until dawn.
Pillow is the sacred stone of Dragon Palace, which can share the color of eyes.
Her tender skin can no longer be seen on the vegetarian dining table, but the quilt covered is miserably blue.
Recalling the spring of the year before last, Zeng Xiangyu was already very sad.
I can't see each other again when I come back, only Jinse will lie on the ground forever.
Today is like a pine tree at the bottom of a ravine, and tomorrow is like a phellodendron amurense at the top of the mountain.
I'm afraid that when it turns upside down, I'll never know each other again when I meet you.
Notes on Music in the Room (1) Music in the Room: the name of Yuefu Music. The Book of the Old Tang Dynasty: "Pingdiao, Qingdiao and Sediao are all remnants of Zhou Fang's music."
(2) Rose: Deciduous shrub, also refers to the flower of this plant. Su You: Quiet, quiet.
(3) Cui Dai: refers to the green branches and vines of roses. Spend money: the corolla is as thin as money.
(4) Jiao Lang: People refer to themselves.
5] Embrace the sun: describe infatuation and sorrow during the day.
[6] Dragon Palace Stone: Here, the pillow used by my wife is compared to the dragon palace gem to show my treasure.
(7) Eye contact: it is a metaphor for the eyes and eyes of a beautiful woman, which are clear and bright.
⑻ Dion: A kind of bamboo mat as smooth as jade. Soft leather: refers to the king's jade body.
(9) Monroe: wearing a green robe.
⑽ Jinse: A musical instrument painted with brocade.
⑾ Pines at the bottom of ravines: Pines at the bottom of ravines. Refers to people with high moral integrity and low official position.
⑿ Berberis (bò): Berberis, deciduous trees, whose bark can be used as medicine, tastes bitter. Often used to describe human suffering.
[13] Tianchi: Heaven and Earth. Heaven and earth turn: refers to a big change.
Appreciation of Song in the Room This is a poem that clearly accuses and mourns Li Shangyin's mourning for his dead wife Wang. In the spring and summer of the fifth year of Dazhong (85 1), Wang was seriously ill and died. When Li Shangyin left office and returned to Beijing, he did not see his beloved wife for the last time. There are only the gold wares played by Wang before his death in the room. In a person's life, birds of a feather flock together, and seeing things increases sadness. It is deeply touching to continue the life experience in mourning.
"Roses cry quietly, and green belts spend less money." Rose branches are slender and soft, like a green belt, and round flowers are like money lines on the belt; Pale flowers mixed with crystal dew seem to be crying, giving people a cold feeling. When I came back from behind the curtain, I saw the lovely rose in the past, and now I am as listless, tearful and sad as myself, and I can't get up. After the death of his beloved wife, the poet inadvertently moved his sad mood to the roses in the courtyard, which stained the flowers without feelings with sadness and created a sad atmosphere. In addition, the slender and delicate rose branches remind the poet of Wang's green belt with rich patterns, which makes him seem to see Wang's beautiful image again. However, his wife has passed away, and the scenery in the courtyard can only deepen his sadness. The word "you su" in the first sentence sets the tone of bleak Leng Yan for the whole article. "The charming waves are like clouds, supporting the sun and the west curtain." The first two sentences are outside the curtain, these two sentences are written from outside the curtain to inside the curtain, and from flowers to people. The sun rises high, the curtain falls slowly, and Joule is young and ignorant. She still doesn't understand her mother's grief, but sleeps with a pillow without any worries. The poet Yang Bensheng said that he met a little boy in Chang 'an for a week, which was a "delusion of losing his mother" and also showed his ignorance of losing his mother as a "delusion". After the word "pool" in this poem, "ruoyun" is added-like a mist, which shows that children are not sensible. Here, children can't share their worries for adults and double their troubles. This writing is the same as Wei's mourning poem "Going Home", which says, "I don't know what to say, I will play when I come to the DPRK." The first two sentences exaggerate flowers and plants, while the last two sentences contrast the ignorance of anxious waves and write the grief of his wife's death from different angles.
Write four sentences about pillows and reeds in the back room. People die when things are there, and they are sad when they see things. "The pillow is a dragon palace stone with eyes carved on it." The dragon palace stone is said to be owned by the dragon lady. Poet Xixi: "The phoenix girl plays the Yao ware." Poets love their wives very much, so they are compared to dragon girls or phoenix girls. Autumn Color describes a woman's bright eyes, and Li He's Song of the Second Tang Dynasty: "A pair of pupils cut autumn water." The word "cut" in this poem seems to be influenced by it and thoroughly remoulded. The pillow stone is bright, and the metaphor is novel. Seeing the pillow is like seeing the eyes of my dead wife, bright and affectionate, as if communicating with myself and talking with eyes. The eyes are the windows of the soul, and the poet can't help feeling sad. "Yuchan lost her soft skin, but she saw Monroe." There was no body of Wang on the mat, only a green bed of Luo Zhou was placed on the bed. It is conceivable that how many times the poet met Wang in a dream in the dead of night, "I was alone in the incense, but I didn't feel that I was still singing" Night Rise "("First Month Worship the House "), talking to the incense she left behind, and I seemed to hear her singing. However, when I woke up from my dream, she was still the same, and the Iraqis were already lonely and embarrassed. These four sentences, one gains and one loses, are not true, and the loss is true. It is more painful to set off the real loss with unreality.
"I remember the year before last spring, nothing sad. When I am away, Jinse is longer than people. " Thinking of the spring of the year before last, when Wang didn't say a word, her face was full of sadness. Now, nothing seems to have happened. It turned out that she had a hunch that she would die soon, but she was too careless to notice. It is a pity to recall the past today. When Xu Mu came back, he was gone, but he saw the Iraqi people's favorite brocade. "long", long; The length of Jinse is because the life is short and the life of the king is short. The sadder I feel when I see someone I remember. These four sentences, one in the past and one in the present, one person and one thing, are more sad when writing in the past and more sad when people die.
"Today, the foot of the mountain is loose, and tomorrow, the mountain is tillering." "Loose at the bottom of the ravine" comes from Zuo Si's Ode to History: "Loose shade at the bottom of the ravine leaves seedlings on the mountain. With an inch in diameter, I can cover this hundred feet. " A pine tree at the bottom of the ravine is a metaphor for a talented person with low status and poverty. Li Shangyin's career is ups and downs, and his life is long, so he also has this sigh. Huangtiller tastes bitter, and puns are often used in ancient Yuefu to refer to the bitterness of Huangtiller, such as: "Huangtiller was born in spring, and the bitterness is increasing day by day." This poem "Tillering on the Mountain" means growing pains. These two sentences seem like the poet lamenting his own life experience, but they are actually related to mourning. The poet and Wang have been married for 14 years, and the couple love each other deeply. Wang is Li Shangyin's bosom friend and his greatest confidant. Li Shangyin suffered many setbacks and blows in politics, but Wang Neng was in the same boat with him, which gave the poet great comfort. When Shang Yin came last in the exam, Wang sent a message to comfort him. Therefore, the poet has a poem: "Jin Changshu is solemn and his eyebrows are fine and hateful" ("Untitled"). Now that the king is dead, who can give him warmth and share the wind and rain with him on the sinister road of life! With this in mind, the poet can't help feeling that it will be much more bitter in the future. Today is bitter, and tomorrow is more bitter. All this was caused by the death of the king. Although he wrote about his misfortune, his intention was to mourn. The last two sentences "I'm so worried that I don't know." For this idea. "Evil" Han Yuefu: "Heaven and earth are one, but dare to separate from you." "heaven and earth turn over", extremely write its worries, this one; Second, even if it is turned upside down, it will not be separated from you. It is really "forbearance in the earth, forbearance in the sky;" One day both will end, and this endless sorrow will continue forever! " Life is worse than death now, and we will meet one day in heaven or in the afterlife! However, times have changed and the universe is vast. Even if we meet, we may not know each other. Returning to "people not seeing" and "strangers" in the future will turn sadness into another layer. Liang Qian chose to comment on these two sentences and said, "It is extremely important to think without thinking, to act without worrying, and to grieve without hurting." These four sentences, one today, one tomorrow, one reality, one future, tomorrow and the future, have undoubtedly deepened the sadness of today's reality. Tomorrow's future is virtual, and today's reality is real. When people are extremely sad, they often place their hopes on the future and the afterlife. In the poet's view, there is no hope for the future and the afterlife, which is really sad.
It is common in mourning poems that people die and things remain, and things are borrowed and given. Pan Yue's Mourning Poem says: "If there is nothing on the screen, there are traces of calligraphy. The incense has not stopped, but it is still on the wall. Shen Yue's "Mourning" said: "Since the curtain screen was destroyed, the curtain mat is more open. Dust covers an empty seat, while solitary account covers an empty bed. "Li Shangyin's poems are no exception. Touching things are the most sentimental. But this poem is also different from Pan and Shen. The poems of Pan and Shen are simple and quite archaic. The words "jade" and "Robbie" in this poem are vivid and vivid in Leng Yan. The pillows of this poem are all related to the dead wife, such as Pan's screen and calligraphy, Shen Shi's screen and curtain mat, but Shang Yin not only wrote something, but also remembered Wang's eyes (eyes) from the pillow and Wang's posture (soft skin) from the pen. Structurally, "gone forever" is its theme, and "crying for silence" is its keynote. Space first, time later, space first, outdoor and indoor; Time is the present before the past, then the present and finally the future. There are sixteen sentences in the whole poem, four of which rhyme as one section; Each section mourns from different angles, but they are interrelated and complementary. As mentioned earlier, this paragraph has two meanings: right or wrong, gain or loss, present or past, or virtual or real, to write right in reverse, to write wrong in virtual, to be realistic in virtual, to be interlocking, and to be clear and oppressive.
Creation background of Song in the Room Author: Anonymous Li Shangyin, in the winter of the third year of Dazhong (849), his wife Wang was seriously ill and left her for Xuzhou in the late spring and early summer of the fifth year of Dazhong (85 1). When Li Shangyin left the Wuning Army in Xuzhou, Lu Hongzhi stopped the shogunate. ...
Li Shangyin, the author of Qu in the Room, was born in Xingyang, Henan (now Xingyang, Zhengzhou, Henan) in the Tang Dynasty, originally from Hanoi, Huaizhou (now Jiaozuo, Henan), and was a famous poet in the Tang Dynasty. He is good at poetry writing, and his parallel prose also has high literary value. He is one of the most outstanding poets in the late Tang Dynasty. Together with Du Mu, it is called "Xiao", and together with Wen, it is called "Wen Li". Because his poems and essays are similar to the paragraphs and essays of the same period, all three of them rank sixteenth in the family, so they are also called "Thirty-six Style". His poems are novel in conception and beautiful in style, especially some love poems and untitled poems are touching, beautiful and moving, and are widely read. However, some poems are too obscure to be solved, and there is even a saying that "poets always love Quincy and hate that no one writes about Jian Zheng". Caught in the struggle between Niu and Li, I was frustrated all my life. After his death, he was buried in his hometown of Hanoi (now the junction of Qinyang City and Aibo County in Henan Province). His works are included in Li Yishan's poems.
Li Shangyin's Other Works ○ Chang 'e
Untitled time was long before I met her, but even longer after we broke up.
A short message to a friend in the north on a rainy night.
A. gold
Frost moon
○ More works by Li Shangyin