Fu De Gu Caoyuan Farewell
Author: Tang Bai Juyi
Original text:
The long grass is so lush that the withered grass will thicken the color of the grass every autumn and winter. Wildfire can't burn it out, but the spring breeze can revive it.
Weeds and wild flowers are all over the ancient road, and the end of the grass in the sun is your journey. I once again sent my bosom friend, and the thick grass represented my deep affection.
1. Fude: The word Fude is added to the title of any designated or limited poem.
2. Separation: Describe the appearance of lush weeds and long drooping leaves swaying in the wind.
3, wither: wither
4. Rong: Prosperity.
Poetic:
Weeds grow vigorously on the grassland, and they go through the process of withering and flourishing every year. Wild fires never go out. When the spring breeze blows, it will grow again. The smell of weeds comes from far away, and the green weeds lead to the desolate town in the sun. Farewell to my best friend again, and this lush grassland is also full of feelings of parting.
Appreciate:
The first sentence is the word "Gu". How lush (transcendent) the original grass is, grasping the vitality of spring grass, it can be said that it was born from spring grass without trace, which opened a good idea for the following. As far as ancient grass is concerned, why not open a deep path in Qiu Lai (Gu Huai monk in the Original Autumn Grass), and the whole story will be another kind of weather. Weeds are annual plants, which flourish in spring and wither in autumn. Come and go, the meaning of each season seems so much. However, writing withered-glorious is very different from writing glorious-withered. If the latter is autumn grass, you can't make three or four good sentences. Two sentences overlap, forming a sigh, first showing an endless affection, followed by three or four sentences.
Wildfire can't burn it out, but the spring breeze can revive it. This is the development of the word "death and glory", from a concept to an image. The ancient grass is characterized by tenacious vitality. You can't cut or hoe. As long as a few roots are left, the next year will be greener and longer, and will soon spread to Yuanye. The author grasps this feature, not to mention endless chopping and hoeing, but writing wildfire never consumes them completely, creating a heroic mood. Wildfires start a prairie fire, and the flames are terrible. In an instant, a large area of hay was burned to the ground. Emphasizing the power of destruction and the pain of destruction means emphasizing the power of regeneration and the joy of regeneration. Fire can burn all weeds, even stems and leaves. But the author says it is inexhaustible and of great significance. Because no matter how fierce the fire is, there is no way to help the roots buried deep underground. Once the spring breeze melts into rain, the life of weeds will revive and cover the earth again with rapid growth in response to the abuse of fire. Look at the endless grassland on the plain. Isn't this a green flag of victory? They are tall again in the spring breeze, their language is concise and powerful, and the word "three points" is meaningful. Song He's "Notes on Changing Zhai" says that these two sentences are not as concise as Liu Changqing's "Spring Burn Marks", but they are also missing.
These two sentences not only describe the character of the original grass, but also write an ideal model of regeneration from fire. One is dry, the other is glory, and how it sings and sighs when it burns endlessly and blows again. Confrontation is also natural, so it is outstanding through the ages. Although Liu's sentences are similar in meaning, they lack charm and are far less than white sentences.
If these two sentences inherit the ancient grass and focus on writing grass, then these five or six sentences will continue to write ancient grass and focus on writing ancient grass, which leads to the farewell problem, so it is a turning point. Running water is natural for the final combination; And this combination is right, the beauty lies in seiko, and it is quite changeable. Both Fiona Fang and Cui Jing write about grass, which is more concrete and vivid than the original grass image. Fang Yue is far away, and the ancient plains are full of fragrance; When the green sun is shining, the green grass is bathed in sunshine, which is beautiful. The words "invasion" and "connection" were born again and again, showing a spreading trend, once again highlighting the image of the strong weeds in the competition for survival. Ancient roads and abandoned cities are extremely tangent to the ancient plains. Although the ancient Taoist city was deserted, the growth of grass restored its youth. Compared with the chaos in the ancient ravine, the old monk in Taiwan Province gave birth to the autumn plain, which is full of vitality.
The author did not write about the ancient plain for the sake of writing about it, but arranged a typical farewell environment: the sandy ancient plain full of spring in the earth is so charming, and the farewell took place under such a background, so melancholy and poetic. The word "Wang Sun" is borrowed from Chu Ci and generally refers to monkeys. The prince and grandson are wandering around, and spring grass is growing. It's about people who miss their trip when they see lush grass. However, here, it is used in different ways. It is about the sadness of seeing the lush grass send away. It seems that every blade of grass is full of special feelings. Really: hate like spring grass, but still live farther (Li Yu's "Qing Ping Le"). What a meaningful ending this is! At this point, the poem clearly said goodbye, concluded the meaning of the topic, and integrated the whole article. The ancient original, grass and others were integrated into one, and the artistic conception was extremely muddy.
The words used in the whole poem are natural, smooth and neat. Although it is a propositional poem, it can be integrated into profound life feelings. Therefore, every word contains true feelings, and the language has a aftertaste, which is not only appropriate, but also unique, and can be called the swan song in proper fu.
Li Shu in The Book of Songs
The Book of Songs: Li Shu
He is separated from Xiaomi. He is a seedling of Xiaomi.
The line is decadent and the center is shaken.
People who know me worry me;
What do I want if you don't know me?
Tiandaochang, who is this?
Millet is separated, and the ears of millet are separated.
Walking is decadent and the center is drunk.
People who know me worry me;
What do I want if you don't know me?
Tiandaochang, who is this?
The separation of millet is the reality of millet.
Walking decadent, center suffocation.
People who know me worry me;
What do I want if you don't know me?
Tiandaochang, who is this?
Precautions:
1, Xiaomi: the name of five grains. Leave: In the first row.
2, millet, grain name.
3. Go ahead: Go ahead. Decadence: the appearance of walking slowly.
4, the center: in my heart, shaking: the appearance of anxiety in my heart.
5. Hey, I'm so depressed that I can't breathe.
Translation:
In the field, the millet grows into rows, and the seedlings grow as green as embroidery.
How slow the pace is, the heart is in a trance.
Those who understand me say I'm worried, and those who don't understand say what I want.
The sky is just above your head. Who caused this scene?
In the field, the millet and his party grew up, and the millet blossomed and headed.
How slow the pace is, my heart is drunk.
Those who understand me say I'm worried, and those who don't understand say what I want.
The sky is just above your head. Who caused this scene?
The millet in the field has grown into rows, and the millet has seeded.
How slow the pace is, I feel depressed.
Those who understand me say I'm worried, and those who don't understand say what I want.
The sky is just above your head. Who caused this scene?
Appreciate:
Please believe that this is not an alarmist.
This is a stray song. As he roamed, he sang his melancholy. We don't know why we are depressed, but we certainly don't worry about trivial things like daily necessities.
Isn't this a little mysterious? Not mysterious. Sadness in our hearts is often inexplicable, and melancholy cannot be rationally analyzed. It is a state of life itself: inexplicable troubles, inexplicable sadness, inexplicable sadness and inexplicable despair.
Of course, it may be ignited by a specific thing like a fuse, such as a look, an action, a sentence, a scene, an object. But the inducement is not equal to melancholy and sadness itself. What's more, a tramp is always in a highly sensitive state, and he is most likely to be moved by the sight and feel sad. He has no clear purpose and seems to be looking for something. He has no sense of belonging, but he is guided by something in the dark.
In fact, this is people. He not only lives in the material world, but also wants to ask himself why he lives. He also cares about things that are not directly related to material life, such as why the sun and moon shine, why the stars shine, why it rains in the sky, why it thunders and thunders, and why some people are born princes and others are born poor. Does the earth and the ocean have an end? It makes people sad and sigh at the thought of questions that these substances can't answer.
True and profound sadness and melancholy are always associated with the above problems, which are insoluble and eternal. The sorrow of not having enough to eat, the sorrow of not wearing warm clothes, the sorrow of losing loved ones, and the sorrow of working hard in foreign countries are all limited, short-lived and can be overcome, and they are all superficial. The distress of ordinary people in ordinary life, the impassioned passion of people with lofty ideals, the pain of businessmen losing money and the frustration of politicians' official career can also be classified as limited, short-lived, surmountable and superficial sorrow.
What makes a girl nobler than a miser is that she will cry for the loss of love in her heart, which is different from a miser crying for gold.
The Yellow River is far above the white clouds.
The Yellow River is far above the white clouds.
Liangzhou Song
Author: Wang Zhihuan
Original text:
The Yellow River is getting farther and farther away, because it flows in the middle of the Yellow River, and Yumenguan is located on a lonely mountain.
Why use the elegy of willow to complain about the delay of spring, old Yumenguan, a spring breeze is not blowing!
Precautions:
1. Liangzhou Ci: The lyrics of a popular tune (Liangzhou Ci) at that time.
2. The Yellow River is far away: looking at the source of the Yellow River.
3. Lonely city: refers to the lonely castle guarding the border.
4. Qi: ancient unit of length. One breath is equivalent to seven or eight feet.
5. Qiang flute: Qiang musical instrument.
6. Liu Yang: It refers to a song called Folding Liu Yang. There is a custom of breaking willows to bid farewell in the Tang Dynasty.
7. Degree: crossing. The last two sentences are: Why did Qiangdi play such a sad tune as "Folding Willow", complaining that the willow didn't grow and spring came late? You know, the spring breeze outside Yumenguan can't blow!
Poetic:
Looking around, the Yellow River is drifting away, as if it were running in the middle of winding white clouds, on the high mountain of Wan Ren in the upper reaches of the Yellow River, an isolated city, Yumenguan, stands tall and isolated. Why do you want to use Qiangdi to play sad willow songs to complain that spring has not come? It turns out that the spring breeze around Yumenguan can't blow!
Appreciate:
Liangzhou Ci is the lyrics of Liangzhou Song, not the title of a poem, but the name of a popular tune in the prosperous Tang Dynasty. During the Kaiyuan period, Guo Zhiyun, the Chinese ambassador to Longyou, collected a batch of western music scores and presented them to Xuanzong of the Tang Dynasty. Xuanzong handed it to Jiao Fang to translate it into China's music score, sang it with new lyrics, and took the place names produced by these music scores as the title of the song. Later, many poets liked this tune and filled it with new words, so many poets in the Tang Dynasty wrote Liangzhou Ci.
Wang Zhihuan wrote this poem about the homesickness of frontier soldiers. It is desolate and generous, sad without losing strength. Although he tried his best to exaggerate the resentment that the garrison soldiers were not allowed to go home, he did not feel depressed, which fully showed the broad-minded mind of the poets in the prosperous Tang Dynasty. The first sentence of the Yellow River captures the characteristics of the distance between white clouds and depicts a moving picture: on the vast plateau, the Yellow River flows down and looks to the west from a distance, as if it were flowing out of white clouds. The second sentence is an isolated city, Wan Ren Mountain, and it is an isolated city on a fortress. A lonely city located in the frontier fortress, standing tall by mountains and waters. These two sentences describe the majestic momentum of the motherland's mountains and rivers, outline the geographical situation of this important national defense town, highlight the desolate situation of foot soldiers guarding the border, and provide a typical environment for the latter two sentences to describe the garrison psychology.
In this environment, I suddenly heard the sound of Qiangdi, and the tune I played happened to be "Folding Willow", which aroused the sadness of the garrison. The ancients had the custom of parting and giving gifts. Liu and Liu homophonic, send Liu as a souvenir. In the Northern Dynasty Yuefu's "Blowing across the Drum Horn", there is "Folding Yang Liuzhi", and the lyrics say: If you don't catch the whip when you get on the horse, you will be an enemy of Yang Liuzhi. Dismount and play the flute for fear of killing travelers. It is mentioned in the song that pedestrians break willows when they walk. This kind of farewell wind was very popular in the Tang Dynasty. Thus, there is a close relationship between willow and parting. Nowadays, when the frontier soldiers hear the sad tune of "Folding Willow" played by Qiangdi, it is inevitable that they will feel sad but not hate it. Therefore, the poet explained in an open-minded tone: Why does Qiangdi always play the sad tune of "breaking willow"? You know, outside Yumenguan is a place where spring breeze can't blow, so there are no willows to fold! Why do you complain? It's not that you don't complain, nor that you advise the guards not to complain, but that it's useless to complain. The use of the word "why complain" makes poetry more economical and meaningful. Three or four sentences, which Yang Shen in Ming Dynasty thought contained irony: this poem was not as cordial as frontier fortress, and the so-called monarch was far more than Wan Li. China's ancient poetry has always had a prosperous tradition, not to mention the lack of expression. We think that readers will involuntarily understand this, but we are not sure whether the author really has this intention.
The whole poem "Stone Path Inclines in the Distance of Hanshan Mountain"
The whole poem "Stone Path Inclines in the Distance of Hanshan Mountain"
Mountain travel
Author: Du Mu
Original text:
In the distance, there are cold mountains, oblique stone paths and people in the depths of white clouds.
Stop and sit in the maple forest late, and the frost leaves are red in February flowers.
Precautions:
1, hiking: walking in the mountains.
2, far up: on the far side.
3. Hanshan: A mountain in late autumn.
4. Stone Road: A stone road.
5. Oblique: This word is pronounced xi, which means oblique.
6. Depth: another version is made. Deep can be understood as being in the depths of fog; Life can be understood as the place where white clouds form)
7. Car: sedan chair.
8. Sit: Because.
9. Frost leaves: Maple leaves turn red after frost in late autumn.
10, Night in Maple Grove: Maple Grove in the evening.
1 1, red is: redder than, which means that frost leaves are redder than February flowers.
Poetic:
A winding path winds to the top of the mountain, and there are several places where white clouds float. Stop and enjoy the scenery of this maple forest. The fiery maple leaves are redder than the flowers in February in Jiangnan.
Appreciate:
This poem depicts the colors of autumn and shows a touching autumn color map of mountains and forests. The poem describes mountain roads, people, white clouds and red leaves, forming a harmonious picture.
A harmonious and unified picture. These scenes are not juxtaposed in the same position, but are organically linked, with the master and the slave, some in the center of the picture and some in the background. To put it simply, the first three sentences are the object, the fourth sentence is the subject, and the first three sentences describe the background, which creates an atmosphere for the fourth sentence and plays a role in paving the way and setting off the background.
Stay away from the cold mountain, the stone path is oblique, write mountains and write mountain roads. A winding path winds to the top of the mountain. The far word describes the length of the mountain road, and the oblique word echoes the above word to write a high and slow mountain.
There are people in the depths of white clouds, writing about clouds and writing about people. The poet's eyes have been looking up along this mountain road. Where the white clouds float, there are several stone houses with walls made of stone. People here take care of the stone road in the previous sentence. This mountain road is the passage for those families to go up and down. In this way, the two landscapes are organically linked. There are white clouds around, which means the mountain is very high. The poet used the technique of crossing the clouds and breaking the mountains, so that these white clouds covered the reader's sight, but left room for imagination: above the white clouds, there are mountains outside the clouds, and there must be different scenery.
The poet is only describing these scenery objectively. Although a cold word is used, it just sorts out the following late words and frost words, and does not show the poet's emotional tendency. After all, it is only to prepare for the following description to outline the environment where Fenglin is located.
Parking and sitting in the maple grove at night is different, and the tendency is obvious and strong. Mountain roads, white clouds and others did not impress the poet, but the evening scenery of Fenglin surprised him. In order to stop and enjoy the scenery of this mountain forest, I don't care to continue driving. The word "late" in this sentence is exquisitely used and contains multiple meanings: (1) points out that the first two sentences are seen during the day and the last two sentences are scenes at night. (2) Because there is a sunset glow in the evening, the gorgeous sunset glow and the flaming maple leaves reflect each other, and the maple forest is particularly beautiful. (3) The poet lingered, and in the evening, he reluctantly boarded the bus and left, showing his love for red leaves. (4) Because of the long parking time and careful observation, I can appreciate the fourth sentence, which is full of rational and interesting epigrams.
The scenery written in the first two sentences is already beautiful, but the poet loves the maple forest. Through the background, I have made a good preparation for describing the maple forest, so it comes naturally and leads to the fourth sentence, pointing out the reasons for loving the maple forest. Frost leaves are red in February flowers, which complement the third sentence and show a beautiful view of maple forest in late autumn. The poet was pleasantly surprised to find that under the sunset glow, the maple leaves were about to drip and the forest was dyed. It's full of colorful clouds, such as bright rosy clouds, which are more fiery and gorgeous than the spring flowers in February in Jiangnan. What is commendable is that the poet saw the vitality of autumn as spring through this piece of red, which made Lin Qiu present a warm and vibrant scene.
Unlike ordinary feudal literati, this poet did not sigh sadly when autumn came. He praised the beauty of autumn in nature, embodied the spirit of being bold and uplifting, and showed the poet's talent and insight with a wave of his pen. This is an autumn hymn.
The fourth sentence is the center of the whole poem, written by the poet with strong colors and coherent brushwork. Not only did the first two sentences set off the gorgeous autumn scenery, but even the seemingly lyrical narrative of stopping to sit and love maple trees late actually played a role in setting off the scenery: the poet who stopped to watch, Tao Ran drunk, became a part of the scenery, and with this scene, the autumn scenery became more charming. After a rewriting, it came to an abrupt end, and it seemed melodious and memorable.
The whole poem is novel in conception and exquisite in layout. It absorbs gorgeous autumn colors in the bleak autumn wind, competing with spring, pleasing to the eye and making people more energetic. The language is clear and fluent, and the phonology is harmonious.