Li Shangyin [Tang Dynasty]
A person lives in seclusion, overlooking the city, spring is gone, summer is clear. The grass was drowned by the rain and finally got the love of God. The rain was sunny.
Climbing on the high shelf, overlooking the distance, the sky is high and the afterglow of the sunset passes through the window lattice. Birds' nests have been dried, and their bodies are light again.
translate
A person lives a secluded and quiet life, overlooking the city. Spring has passed, just in early summer.
God pity the grass in the secluded place, but pity the world in the evening.
After a storm comes a calm, pavilion Gao Lan, the line of sight is farther. The afterglow of the sunset flashed a ray of light through the low window.
The nest of the southern bird has dried up, and it flies very lightly when it returns to its nest at night.
To annotate ...
Jiacheng: a winding city outside the city gate.
Excellent grass: grass in the dark.
And: more. Singing: refers to the pavilion where the poet lives. Tim: Gao Yuan.
Micro-note: the reason why we say "micro-note" is because the light is weak and soft because of dusk.
Vietnamese bird: the bird of the south.
Make an appreciative comment
It may not be too difficult to describe the scenery of yat sen villa in detail, but if the poet's unique feelings and mood are to be integrated into the description of the scenery, especially if he does not reveal a positive attitude towards life, so that readers can be inspired ideologically, this requires the poet to "go up a storey still higher" in his ideological realm and artistic skills.
"Deep in the city, spring and summer are still clear." The first pair of couplets means that a person lives a quiet life in seclusion, overlooking the city, and goes to Xia Qing in spring.
The first couplet said that he lived in seclusion, overlooking Jiacheng (Qucheng outside the city gate), and the season was early summer in Qinghe. At first glance, it seems irrelevant, and the upper and lower sentences are not related. In fact, the "deep house" overlooking the city is the foothold overlooking yat sen villa, and the quiet early summer further points out the specific season of yat sen villa, which can be said to concretize the poem from two aspects: time and place.
"God has pity on the grass, and the world is sunny." Turning lotus means that the grass is flooded by rain, and finally it gets the love of God, and the rain clears up.
It was rainy in early summer, especially in Lingnan (at this time, the poet was working in Zhengya shogunate in Guilin). After a long rain, it cleared up, and in the evening, everything suddenly became clear and people's spirit was completely new. This kind of sight and feeling is familiar to ordinary people. The poet's uniqueness lies in that he does not write the scene of yat sen villa in general, nor does he describe it in detail, but writes his understanding and feelings about yat sen villa from the grass that grows unnoticed in the dark. The grass, which has been tortured by rain for a long time, suddenly meets the sunset and bathes in the afterglow of the sunset, increasing business. When the poet touched the scene, he suddenly had the whimsy of "God's will pity the grass". This makes this common grass actually personalized and gives people rich associations. The poet himself had a similar fate, so he naturally found himself in the grass. Here is the poet's life experience. While he was gratified by his current fortune, he unexpectedly showed his sadness about the bad luck in the past, which naturally led to the "reunion of sunny days on earth" and gave "Yat Sen" a special meaning in life. Yat sen villa is beautiful, but short-lived. But the poet doesn't care about its brevity, but only emphasizes "emphasizing the sunset". From here, we can experience a feeling of cherishing beautiful and ephemeral things and a positive and optimistic attitude towards life.
"Add a high shelf and micro-note a small window." Tie means that when you climb the high pavilion and overlook the railing, the sky is wide and the afterglow of the sunset Ran Ran passes through the window lattice.
The parallel couplets are vague, comprehensive and deeply entrusted, and the necklaces turn to yat sen villa paintings. In this way, reality and density alternate with each other, and poetry appears relaxed, dull and monotonous. After the rain, the clouds cleared away, and with Gao Lan overlooking, the line of sight was even farther away, so it was said that "a shelf was added" (this shelf is the pavilion where the poet lived). This sentence is written from the side and the scenery is written from the inside out. The afterglow of the sunset streamed down the small window, bringing a ray of light. Because it is a twilight scene, the light is weak and soft, so it is called "micro-note" Nevertheless, the afterglow of this pulse still brings joy and comfort. This couplet writes a clear and happy state of mind through a detailed description of the evening scene.
"After the bird's nest is dry, the flying body is lighter." The tail joint indicates that the Vietnamese bird's nest has been dried and its posture has recovered lightly.
At the end of the couplet, the bird returns to its nest with a light and agile posture. This is what you can see from a distance. The return of birds usually touches the traveler's mind, but it has become a foil to the happy sunshine mood here. What is written here is that birds return to their nests, indicating their own situation. If "Youcao" is a symbol of the poet's humble and difficult life experience, then "Moonbird" seems to be the embodiment of the poet's refreshing eyes.
Here, I want to explain something about the author before and after he entered Guimu. Since Li Shangyin's adoption in 838, Wang Maoyuan (regarded as the Li Party) has fallen into the narrow valley of party struggle and has been hated and excluded by the Niu Party. Xuanzong succeeded to the throne, and the Niudang dominated the state affairs, which made the situation even worse for him. He had to leave Chang 'an and follow Zheng Ya to Guilin as an adjutant. Zheng Ya trusts him. He can feel some warmth in the curtains. At the same time, leaving Chang 'an, the vortex of party struggle, can temporarily avoid the supercilious look of the Niu Party, which is also a kind of spiritual liberation. Because of this, there is a feeling in the poem that the grass meets the sunset and the birds return to the nest.
As a poem with meaning, the writing of Yi Xian Qing is closer to "Xing" consciously or unconsciously, so it is particularly natural and has no trace.