The tide is full of smelting the city, and the pavilion is collected at sunset. Cai Zhou's new grass is green and the shogunate's old smoke is green. Prosperity and waste are caused by personnel, mountains and rivers and empty terrain. * * * spend a song, and the bitterness is unbearable. The spring tide flooded the zhouzhu in Yecheng, and the afterglow of the setting sun slanted in the Zhenglu Pavilion. The new grass in Caizhou is strong and green, and the shogunate mountain is still misty and green. The rise and fall of a country depends on personnel, and mountains and rivers also have steep terrain. Yushu * * * spends this song of national subjugation, and it is unbearable to listen to it.
note 1 ye city: a famous place of making weapons in Dongwu. Ye: one is a "Taiwan". 2 Luzheng Pavilion: Pavilion name, in Jinling. 3 Cai Zhou: the name of Jiangzhongzhou. Cai: One is "Fang". 4 shogunate: mountain name. 5 rise and fall: refers to the rise and fall of the country. Personnel: refers to people's actions. 6 mountains and empty terrain: there is a dangerous mountain and river situation in vain. 7 *** Flower: namely "Yushu * * * Flower", the name of a song written by Chen Houzhu. Appreciation of Jinling's nostalgia for the past
"The tide is full of smelting cities and Zhu, and the sun is inclined to levy Lu pavilions. The first couplet is about the morning scene and the evening scene. The poet came to the riverside in search of the ruins of Yecheng, the place where Soochow was smelted in the past, just as the early tide rose, the water and sky were vast and the wind and waves were full of Sichuan. Where is Yecheng, a famous historical site in Wu Gou, which is based on smelting Wu Dao? The poet wandered around looking for it, but he was at a loss. Only the lapping sound of Jiang Tao and the desolate scene by the river. It seems to tell people that Yecheng and Wu's ambition have long since disappeared without a trace in the long river of time. In the evening, the Luting Pavilion stands lonely in the oblique light, accompanied by only a long shadow cast on the ground. The lively ostentation and extravagance of the aristocratic house of Xie Wang in the Eastern Jin Dynasty, which was once here for farewell, has long since disappeared. Although the pavilion and the sunset are still the same, the personnel are completely different. In the first two sentences of the poem, the contrast between prosperity and decline is skillfully revealed from the scenery, which makes the poem stick to the meaning of the topic as soon as it is written, and naturally reveals the feeling of mourning the past and hurting the present.
"Cai Zhou's new grass is green, and the shogunate's old smoke is green. Although the couplets are still about scenery, the scenery written here is not only a tribute to the historical traces, but also a testimony to express the poet's understanding of a historical issue. The poet said: Look, although the time sequence is chilly in spring, the warship Caizhou, which is not heavy in the heart of the river, has grown a new green grass; The shogunate mountain, which is called the gateway of Jinling, looks at the river, and smoke rises from the top of the mountain, and the situation remains the same. Facing the surging river, the poet remembered that Su Jun, a warlord in the Eastern Jin Dynasty, once attacked Jinling in an attempt to establish a hegemony by virtue of obstacles. Soon Tao Kan and Wen Qiao rose up and rebelled here, and sailed forty thousand times in Cai Zhou. At that time, we faced each other, covered the air with flags, and fought fiercely for days. Finally, we defeated Su Jun, which turned the Jinshi room into a safe place. He also remembered that the Shogunate Mountain was named because Prime Minister Wang Dao had set up a shogunate garrison here. But once upon a time, the Eastern Jin Dynasty was still replaced by Liu Song, and Liu Yiji, the king of Hengyang, became the secretariat of South Yanzhou. Since then, this mountain has become the ancestral home of the upstarts of Liu Song. The scenery of mountains and rivers has not changed in the ever-changing historical river. What the poet still sees is: spring grass is green every year, and old smoke is young every year. This combination of ancient and modern events and the prospect of the eyes is a whole, and the words "new grass green" and "old smoke green" are vivid and vivid, blending scenes and scenes, and paving the way for the following feelings.
"Prosperity and waste are caused by personnel, and mountains and rivers are empty. "Neck couplet bearing two couplet into discussion. The poet revealed the secret of the rise and fall of the Six Dynasties in extremely refined language, and warned the world: Where did the prosperity of the Six Dynasties go? Where are the powerful people at that time now? The dangerous situation of mountains and rivers did not provide guarantee for their long-term stability; The rise and fall of the country should depend on personnel! In this couplet, the poet thought for thousands of miles, made his own great words, and put forward the outstanding opinion that the existence of a country is "in virtue but not in danger" Later, Wang Anshi's "Four Poems of Nostalgia in Jinling" was the second: "The heavenly soldiers went south to this bridge river, and the enemy was referring to Gu's surrender at that time. The landscape is majestic and empty, and the king SHEN WOO is unparalleled. "That is, it turns out. It shows that the discussion is high and the knowledge is outstanding.
The song "* * * Flowers" at the end of the couplet is unbearable. The emperors of the Six Dynasties died by relying on natural hazards and indulging in pleasure, and the lessons of history were not remembered by later generations. The poet's "Flowers in Yushu * * *" is still popular, suggesting that today's rulers in the Tang Dynasty are indulging in sensual pleasures, following the footsteps of the Six Dynasties, and the consequences are unimaginable. Flowers in Yushu is recognized as the voice of national subjugation. The poem implicitly contains the meaning of warning from national subjugation in a musical phenomenon, which is meaningful. "Bo Qinhuai" by Du Mu, a late Tang poet: "The merchant girl doesn't know how to hate the country, but she still sings" Flowers "across the river", which is born out of this.
On Zhen Yizhai's Poems says: "You don't have to point out the facts when chanting epic poems, but you can see the masterpieces of the ancients. This is the case with Liu Yuxi's poem. The first couplet is swaying from the front of the topic, and the last couplet is lingering from the back of the topic. The first two couplets only point out the scenic spots and historical sites in Jinling related to the Six Dynasties, so as to hint at the reasons for the rise and fall of the ages, rather than to cherish one day, one emperor, one thing and one thing. In the last two couplets, the theme of the whole poem was revealed through discussion and emotion. This technique is quite clever when used in chanting epic poems and nostalgic poems. Background of Jinling's nostalgia for the past
This poem is regarded as the third year (827) of Emperor Jing's reign in Tang Dynasty. In the winter of the second year of Baoli (826), Liu Yuxi returned to Luoyang from Hezhou and passed through Jinling. Judging from the scenery in the poem, this poem may have been written in the early spring of the following year, probably at the same time as the Five Topics of Jinling. Poems: Jinling Nostalgia Poetry Author: Tang Dynasty Liu Yuxi Poetry Classification: Writing Scenery, Singing History Nostalgia