What we did and what we thought.
What I think and do.
Inevitable diffusion
It's fading.
Like milk spilled on a stone.
Spill milk
We've done and thought about it,
People who think and act,
Must roam, lost weight.
Like milk spilled on a stone.
There are many autumn leaves, but only one root. When I was young, I showed off in the sun, and now I shrink back to the truth-Ye Zhi.
Chengdu, only your disappearing side is enough to make my life brilliant-sunset glow.
Blaming the bottom is double depression, half pity and half trouble-A Dream of Red Mansions.
Twenty-four hibiscus flowers are in the city, and the golden crown has been called prosperous since the past.
I don't know when people began to emphasize sentences instead of chapters. They like to read some beautiful sentences and write some sentences that look very tall and groaning, but forget that the sentences themselves depend on the original text and can never be divorced from it. You ask how long the fruit is? You won't know until you see the tree.
The original text of this sentence comes from Rilke in Autumn.
autumn
Lord, it's time. Summer is its peak.
Put your shadow on the sundial,
Let the wind blow through the pasture.
Let the last fruit of the branch be full.
Give the south two more days of fine weather,
Let them mature and press the last sweetness into the spirits.
No one needs to build a house at this time.
At this time, whoever is lonely will always be lonely.
Wake up, read, write long letters,
On the tree-lined road,
Wandering and falling leaves.
(Translation: Feng Zhi)
(The following is taken from the North Island: "Rilke: I recognized the storm and was as excited as the sea")
Autumn was written in Paris on February1,1September, 902, when Rilke was only 27 years old.
At first, I decided that the object of the dialogue was God: Lord, it's time. This tone is short and solemn, and there is even an imperative tone. Summer is its peak. When it comes to the topic, it is obviously a sigh, that is, the arrogant summer has finally passed. It's time to "put your shadow on the sundial/let the wind blow through the pasture". Release? Resettlement and surrender are necessary extensions. There is a wonderful counterpoint between these two images, that is, your shadow and the wind, the sundial and the pasture echo each other in the context and are mutually causal. Your shadow is tangible, and the sundial determines the time by its position; The wind is invisible, and the pasture is an extension of the sundial in time and space. Generally speaking, similes are horizontal, relying on "like", "like" and "like"? Like "to connect; Metaphor is vertical, depending on the context. In addition, when it comes to the directionality of poetry, this poem is a good example, spreading from near to far and from the center to the edge. The sundial is the center, and the shadow of God locates everything. The wind blows from here to the vast pasture.
The second paragraph is still an imperative sentence that maintains the beginning. It is the wind that drives this change, and it is the wind that facilitates the transition between paragraphs. As I said before, the most subtle thing in this paragraph is the progression of a series of mandatory verbs: let? Here? Urged? News. This is actually the whole process of wine brewing, which is vividly outlined by these verbs. Let the last fruit of the branch be full; /Give the south two more days of fine weather,/Let them mature and squeeze the last sweetness into spirits. If further extended, it seems that what is said here is not just brewing, but life and creation.
The third paragraph is the climax of this poem. Whoever has no house at this time will not need to build a house/whoever is lonely at this time will always be lonely. These two famous sayings almost sum up the theme of Rilke's life, that is, he has no hometown and is destined to look for it forever. About two years ago, he wrote in a letter to his girlfriend who later became his wife: "Do you know? If I pretend to find my home and hometown elsewhere, it is disloyal. I can't have a cabin, I can't live in peace, all I have to do is wait for roaming. " Perhaps these two sentences are the best annotations. Just wake up, read a book, write a long letter,/continue to wander on the tree-lined road, falling leaves. From the first two philosophical self-summaries to the objective sketch, we distance ourselves from ourselves, like the focal plane pushing away from the close shot, from indoors to outdoors, and end up with a symbolic wandering image. The last three sentences are all dynamic: wake up, read, write and wander. Fallen leaves strengthen this dynamic, highlighting the sense of desolation of loneliness and wandering. This reminds me of Su Shi's famous sentence: "Turn to Zhuge, low household, no sleep." Its focal plane switching has the same effect.