It's a long way to go in Xiu Yuan, and the palace is fragrant with grass. Sad to take the court, the old minister of the north.
Jinling, the capital of the Three Kingdoms to the Five Dynasties and Six Dynasties, is an important theme for poets to chant history. Sikong Shu's "Jinling Nostalgia" is typical in material selection, exquisite in application and unique in originality.
The first two sentences are more realistic. The author chose two typical scenes to describe what he saw in front of him. There is not much pen and ink, but it can show the decadent and desolate scene of the ancient capital Jinling very concretely and vividly. Chariot Road is the road that the emperor passed by car. When the emperor traveled, the flag was like a forest, the drums were loud, and he was crowding around. It should be very imposing. At this point, this scene no longer exists, leaving only Jiang Feng, who has experienced many vicissitudes by the roadside, growing tall and big, covering the sky and casting a heavy shadow, making the deserted road darker and more gloomy. The word "dark" in Jiang Feng Dark is both realistic and reveals the author's heavy mood at the moment. It's synaesthesia and pun, the finishing touch.
Along this road, you can see some remnants of the palaces of the Six Dynasties. "Six generations of Taicheng competed for luxury", and the palaces in the past were resplendent and magnificent, not to mention the spring when flowers were blooming and birds were singing and dancing. Now it's desolate here, and there are only weeds growing everywhere. It seems that the whole palace has become their world. In "Wild Grass Spring", the word "spring" not only points to the season, but also deliberately indicates that only this growing wild grass is dotted with spring. The antithesis of these two sentences is neat, and the Road Palace is in sharp contrast with Jiang Feng and Weeds, which inspires readers to compare their present situation with history, and the feeling of ups and downs naturally resides in it.
Next, with a turn of the pen, the physical object was transported to the virtual, and the story was used to express * * * in an ingenious way. Allusions are natural and appropriate, rich and intriguing.
First of all, the nature of Yu Kaifu is Yu Xin, because there was an official who opened the government for three departments, so it was called. Yu Xin was a famous poet in Liang Dynasty. He was an official in Jinling in his early years. Together with his father Yu Jianwu, he was deeply appreciated by Liang Wudi. The so-called "father and son are forbidden to enter and leave the East Palace, and they will not give in to each other." It is natural for poets to recall the past from roads and palaces. Of course, it is easy to think of Yu Xin, which is in line with the scene in front of the author.
In addition, during Yu Xin's mission to the Northern Dynasties and the Western Wei Dynasty, Liang died in the Western Wei Dynasty and was forced to stay in Chang 'an, which was appropriate. After the Northern Zhou and Wei Dynasties, he was forced to be an official in the Zhou Dynasty and stayed in the Northern Dynasty, and finally died in the first year of Emperor Wendi of Sui Dynasty. He experienced several dynasty changes in the Northern Dynasties and witnessed the downfall of the last two dynasties in the Southern Dynasties. His life experience can best reflect the turmoil and changes of that era. In addition, he traveled in the north for a long time and often missed his old country and hometown. Most of his poems have "homesickness", and the famous "Jiangnan Fu" is a masterpiece in this respect. There are some similarities between the poet's life and that of Yu Xin. He experienced the "Anshi Rebellion" and witnessed the decline of the Tang Empire from its heyday. During the An Shi Rebellion, he left his hometown and took refuge in the south. After the rebellion, he couldn't return to Chang 'an for some time and was very homesick. Therefore, the poet used Yu Xin's allusions, both lamenting the rise and fall of the Six Dynasties in history and the decline and fall of the Tang Dynasty, which included his yearning for his hometown and his understanding of life experience. It is indeed appropriate, stable and rich in connotation. The word "sad" falls heavily and is worth pondering. Yu Xin once wrote "Fu of Sorrow", which is sad and moving. He said, "Being hurt is a mourning thing, but I feel sad ..." It is natural to name it "Mourning for the Past", which not only summarizes Yu Xin's life experience, but also expresses the author's deep sympathy for this predecessor poet, and is also a confession of his sad mood here and now.
This poem is an epic masterpiece with 20 crosses missing, rich connotations and profound feelings.
Gui Zhixiang's appreciation of Jinling's nostalgia is difficult: painting can't describe it. It means scenery, scenery, etc. Very beautiful.
Share weal and woe: the feeling of ups and downs in the air
Gui Zhi Xiang Jin Mausoleum Nostalgia may have been written by Wang Anshi when he came to jiangning house in four years (1067). According to the records quoted from Ancient and Modern in Poems of Past Dynasties, at that time, more than 30 people used this tune to write Jinling's nostalgia poems. "Only Wang sang it."
First of all, the scenery of this poem is magnificent and the weather is vast, which fully shows the author's high foothold and broad mind. The first three sentences are generally written. In a few words, the season, place and weather are clearly explained, and the whole word is put in a perspective overlooking the fence. In a crisp autumn atmosphere, the momentum is extraordinary. The following "A thousand miles into a river is like a practice" describes water, and "Qingfeng is like a cluster" describes mountains, which describes the situation of mountains and rivers in Jinling as a whole and depicts a broad background for the whole poem. Navigation is a concrete description of the scenery under this background. On the river, countless sails are sailing in a hurry in the afterglow of the sunset. Compared with "Western jackdaw is somewhat west outside the sunset, and the water flows around the lonely village" (Qin Guan's Man Ting Fang), the former is vast and magnificent, while the latter is sad and has a different style. However, many jagged wine flags on both sides of the Yangtze River are floating against the west wind. Compared with Du Mu's "Wine Flag Wind in Guo Shan in Water Village", the difference between bodybuilding and bodybuilding is obvious. As for "colorful boats are cloudy, herons rise to the Milky Way", just like the focal plane is further pushed away, with the sails drifting away, the poet's vision is also expanded, so that water and heaven can be integrated into one, and the myriad manners of the Yangtze River are written in a broader space. From a distance, the sails are like floating in the faint white clouds, and the flying egrets are like starting from the Milky Way. After reading this, I can't help but think of Wang Bo's Preface to Wang Tengting: "The sunset is lonely in Qi Fei, and the autumn water is the same as the sky." One is eternal parallel prose, and the other is unprecedented ci creation, which is really the same.
The word scenery is mixed with reality, alternating with shades, interlaced with distance, combined with reality, and the shades are appropriate, which constitutes a wonderful landscape map of Jinling. Its broad, fresh realm, vigorous and magnificent style are incomparable to those works such as Small Garden Fragrant Path and Falling Moon.
Secondly, the idea is novel and far-sighted, which shows the insight of a sober politician. The comments made by Gui Zhixiang in his next films are by no means lamenting personal joys and sorrows, but reflecting his concern and anxiety about the future of the country and the nation. The first three sentences, "I miss the luxury struggle in the past, sigh on the roof outside the door, and complain constantly", were read by exposing the rulers of the Six Dynasties who built Jinling as their capital and took advantage of the beautiful mountains and rivers in the south of the Yangtze River to make a mistake. People who sigh are contemptuous of their tragedy after tragedy, which is both sad and hateful. The criticism of this sentence is that since ancient times, literati and poets have only lamented the rise and fall of dynasties in the face of Jinling mountains and rivers, failed to jump out of the small circle of honor and disgrace, and failed to stand at the proper height, so it is difficult to learn historical lessons from the successive collapse of the Six Dynasties. Now, the past of the Six Dynasties has gone with the flowing water, leaving only a few lifeless strands of hay shrouded in cold smoke. This song "Cold Smoke Rotting Grass Coagulating Green" clearly reveals the author's dissatisfaction with the failure to make great efforts to govern the country in the Northern Song Dynasty. The whole word focuses on the concluding sentence: "Today, the strong women in business still keep singing, leaving behind songs." The so-called "* * * posthumous song" is the colourful song "Yushu * * * Flower" written by Chen Houzhu. Du Mu, a Tang Dynasty man, once wrote: "A merchant girl doesn't know the national subjugation and hate, but she still sings flowers across the river." However, unlike Du Mu, the author does not accuse business women of ignorance, but refers to scolding, suggesting that geisha are still singing the voice of national subjugation, precisely because those in power indulge in debauchery and lead a life of drunkenness. However, it will be as sad as the Six Dynasties if we don't change course and take measures to enrich Qiang Bing. This conclusion is tantamount to warning the authorities in the Northern Song Dynasty. Some people say that Li is the prototype of Wang Anshi's item. From the perspective of language and syntax, Wang Ci was really influenced by Zhang Ci. However, Zhang Sheng is only a kind of negative sadness about the rise and fall of the Six Dynasties: "What happened in the Six Dynasties is gossip. Looking at the floor, there is nothing to say when it is cold. " The ideological realm of these two words can hardly be mentioned in the same breath.
Third, the composition pays attention to the writing of prose, which is coherent and extremely similar. In the first sentence of the last movie, the word "seeing is wrong" enveloped the whole article, and an article was born. The second sentence "old country" points to Jinling, paving the way for the next discussion of homesickness. The following scenery is written from a general perspective, followed by close-up and prospect, and finally stopped at "painting difficulty", which not only summarizes the above scenery, but also naturally turns to the following discussion. This arrangement is very appropriate and natural. The following film opens a discussion: Jinling is so magnificent, but it is a historical witness to the successive demise of the Six Dynasties. The three sentences of "thinking about the past and thinking about the future" show the attitude towards the rise and fall of the Six Dynasties, and the two sentences of "leaning on the sky to shine through the ages" write the views on the works that have always paid tribute to Jinling. The following is to turn it into reality, and the sentence goes back to today. The head and tail are round, the structure is precise, and the layers are unfolded. There are scenes in the lyrics, such as Yan Shu's "Walking on the Sand": "A sad dream wakes up and the sunset shines deep in the courtyard", which is an inexplicable spring worry; There is a love complex, such as Liu Yong's "Wu Fengqi": "Clothes are getting wider and wider without regrets, and people are haggard for Iraq", which shows a single-minded and sincere love. Guizhixiang ends with a discussion, in which the author's views on major practical and political issues are entrusted. These characteristics of the text structure of Guizhixiang reflect that the development of Ci is characterized by prose after entering slow Ci.
Fourth, allusions are appropriate and natural. "A thousand miles into a river is like practicing" is a poem in Xie Tiao's "Going to Three Mountains at Night and Returning to Wangjing": "Yu Xia is scattered into beautiful scenery, and Chengjiang is as quiet as practicing." The Star River Herons Rise is based on a poem written by Li Bai when he boarded the Phoenix Terrace in Nanjing: "Three mountains and a half fall out of the sky, like this egret is divided into Dao Jiang". "Sighing on the roof outside the door, sorrow and hatred continue" is an allusion of the Sui Dynasty's destruction of the past: when Enemy at the Gates was in China, the heartless General Sui was still singing and dancing with his beloved concubine Zhang Lihua. Du Mu's "Taicheng Qu" once recited this matter: "Han Qinhu is outside the door and Zhang Lihua is at the top of the building." But Wang Anshi skillfully only borrowed the word "building outside the door". "Outside the door" said that the army was besieged, and "Loutou" said that it was * * *, which was extremely refined and vividly showed the collapse of the Six Dynasties. The word "sorrow and hatred" summarizes the history of the Southern Dynasties. The end of the sentence is based on Du Mu's poem "Bo Qinhuai", but it is endowed with more profound and incisive ideological content. Before Wang Anshi, it was rare to use four allusions in one word.
The content of Wang Anshi's "Guizhixiang" is Jinling nostalgia. Shang que writes about scenery. Chengjiang, Cuifeng, Sailing, Wine Flag, Float Boat and Luqi constitute a magnificent late autumn picture of Jinling. Xia Gan revealed the luxurious life of the ruling class in the Six Dynasties through nostalgia. Summing up the sentence "Today, strong women in business are still singing, * * *" is a wake-up call for those in power. This poem has vigorous language and broad artistic conception, and has got rid of the influence of beautiful ci style at that time. In terms of artistic style, it is very original to get rid of the slender and elegant ci style and "sweep away the old habits of the Five Dynasties"; In terms of interest and cognition, it is Jinling's farewell song of nostalgia, because it stands high and looks far, which symbolizes reality and deeply cherishes the future. No wonder Su Shi saw it and praised "this old man is a wild fox."
The role of Wang Xi's Jinling Shoulian in the whole poem: the first couplet breaks the topic and points out the time and place. I "visited the ancient times" to solve my homesickness, but the past is like smoke, and it is difficult to chase after a long time. Wandering alone by the river in the ancient city, only a group of bleak Qiu Guang came into view. The whole poem was shrouded in a lonely and detached atmosphere from the beginning.
What is the function of flowers of war's "Looking at the Past Alone on the Yangtze River"? Jinling Huaigu Wang Xi
Visit the ancient times in homesickness, spend a long time, and be alone in the autumn.
A bird with smoke leaves a bamboo, and several sails return to the boat under the rain.
The rustling dusk blows the red leaves, and the miserable Leng Yun collapses the old building.
The old country is desolate, who asks, and the heart is more romantic and does not recover.
The title of this "Huayang Collection" is "Jinling Nostalgia".
The first question, time and place. I "visited the ancient times" to solve my homesickness, but the past is like smoke, and it is difficult to chase after a long time. Wandering alone by the river in the ancient city, only a group of bleak Qiu Guang came into view. The whole poem was shrouded in a lonely and detached atmosphere from the beginning.
Xihe Jinling reminisces about the past and Zhou Bangyan appreciates the beauty of Jiangnan.
There is probably no exact reference to the old country, just the rise and fall of history.
Old relics refer to the relics preserved in Nanjing as the capital.
The function of the sentence "Alone by the River ……" in Jinling Nostalgia: There are many ancient poems in Jinling Nostalgia. Are you referring to the role of "only the last month filled the autumn river" in the whole poem?
The first sentence is a topic, both time and place. Homesickness belongs to homesickness, but the past is like smoke, and it is hard to chase after a long time. At the beginning, the whole poem was shrouded in a lonely and desolate atmosphere.
Appreciation of Wang Jue's "Jinling Nostalgia" (Ⅱ)
Author: Wang Jue
Controlling the torrent of the ancient imperial city, trying to find the old things.
The mountains of the Six Dynasties were always green, and the eternal river sound was uneven.
Set up weeds in dangerous hills, and pick up new crops according to the village mulberry.
Ten years is so important that no one asks. It's a pity to be independent.
Please give me an appreciation (Wang Anshi). First of all, this poem is magnificent, magnificent and open-minded, which fully shows the author's high foothold and broad mind. The first three sentences are generally written. In a few words, the season, place and weather are clearly explained, and the whole word is put in a perspective overlooking the fence. In a crisp autumn atmosphere, the momentum is extraordinary. The following "A thousand miles into a river is like a practice" describes water, and "Qingfeng is like a cluster" describes mountains, which describes the situation of mountains and rivers in Jinling as a whole and depicts a broad background for the whole poem. Navigation is a concrete description of the scenery under this background. On the river, countless sails are sailing in a hurry in the afterglow of the sunset. Compared with "Western jackdaw is somewhat west outside the sunset, and the water flows around the lonely village" (Qin Guan's Man Ting Fang), the former is vast and magnificent, while the latter is sad and has a different style. However, many jagged wine flags on both sides of the Yangtze River are floating against the west wind. Compared with Du Mu's "Wine Flag Wind in Guo Shan in Water Village", the difference between bodybuilding and bodybuilding is obvious. As for "colorful boats are cloudy, herons rise to the Milky Way", just like the focal plane is further pushed away, with the sails drifting away, the poet's field of vision is also expanded, so that water and heaven can be integrated into one, and the myriad manners of the Yangtze River are written in a broader space. From a distance, the sails are like floating in the faint white clouds, and the flying egrets are like starting from the Milky Way. After reading this, I can't help but think of Wang Bo's Preface to Wang Tengting: "The sunset is lonely in Qi Fei, and the autumn water is the same as the sky." One is eternal parallel prose, and the other is unprecedented ci creation, which is really the same. The word scenery is mixed with reality, alternating with shades, interlaced with distance, combined with reality, and the shades are appropriate, which constitutes a wonderful landscape map of Jinling. Its broad, fresh realm, vigorous and magnificent style are incomparable to those works such as Small Garden Fragrant Path and Falling Moon. Secondly, the idea is novel and far-sighted, which shows the insight of a sober politician. The comments made by Gui Zhixiang in his next films are by no means lamenting personal joys and sorrows, but reflecting his concern and anxiety about the future of the country and the nation. The first three sentences, "I miss the luxury struggle in the past, sigh on the roof outside the door, and complain constantly", were read by exposing the rulers of the Six Dynasties who built Jinling as their capital and took advantage of the beautiful mountains and rivers in the south of the Yangtze River to make a mistake. People who sigh are contemptuous of their tragedy after tragedy, which is both sad and hateful. The criticism of this sentence is that since ancient times, literati and poets have only lamented the rise and fall of dynasties in the face of Jinling mountains and rivers, failed to jump out of the small circle of honor and disgrace, and failed to stand at the proper height, so it is difficult to learn historical lessons from the successive collapse of the Six Dynasties. Now, the past of the Six Dynasties has gone with the flowing water, leaving only a few lifeless strands of hay shrouded in cold smoke. This song "Cold Smoke Rotting Grass Coagulating Green" clearly reveals the author's dissatisfaction with the failure to make great efforts to govern the country in the Northern Song Dynasty. The whole word focuses on the concluding sentence: "Today, the strong women in business still keep singing, leaving behind songs." The so-called "* * * posthumous song" is the colourful song "Yushu * * * Flower" written by Chen Houzhu. Du Mu, a Tang Dynasty man, once wrote: "A merchant girl doesn't know the national subjugation and hate, but she still sings flowers across the river." However, unlike Du Mu, the author does not blame the ignorance of business women, but refers to scolding, implying that geisha is still singing the voice of national subjugation, precisely because those in power indulge in debauchery and lead a drunken life. However, it will be as sad as the Six Dynasties if we don't change course and take measures to enrich Qiang Bing. This conclusion is tantamount to warning the authorities in the Northern Song Dynasty. Some people say that Li is the prototype of Wang Anshi's item. From the perspective of language and syntax, Wang Ci was really influenced by Zhang Ci. However, Zhang Sheng is only a kind of negative sadness about the rise and fall of the Six Dynasties: "What happened in the Six Dynasties is gossip. Looking at the floor, there is nothing to say when it is cold. " The ideological realm of these two words can hardly be mentioned in the same breath. Third, the composition pays attention to the writing of prose, which is coherent and extremely similar. In the first sentence of the last movie, the word "seeing is wrong" enveloped the whole article, and an article was born. The second sentence "old country" points to Jinling, paving the way for the next discussion of homesickness. The following scenery is written from a general perspective, followed by close-up and prospect, and finally stopped at "painting difficulty", which not only summarizes the above scenery, but also naturally turns to the following discussion. This arrangement is very appropriate and natural. The following film opens a discussion: Jinling is so magnificent, but it is a historical witness to the successive demise of the Six Dynasties. The three sentences of "thinking about the past and thinking about the future" show the attitude towards the rise and fall of the Six Dynasties, and the two sentences of "leaning on the sky to shine through the ages" write the views on the works that have always paid tribute to Jinling. The following is to turn it into reality, and the sentence goes back to today. The head and tail are round, the structure is precise, and the layers are unfolded. There are scenes in the lyrics, such as Yan Shu's "Walking on the Sand": "A sad dream wakes up and the sunset shines deep in the courtyard", which is an inexplicable spring worry; There is a love complex, such as Liu Yong's "Wu Fengqi": "Clothes are getting wider and wider without regrets, and people are haggard for Iraq", which shows a single-minded and sincere love. Guizhixiang ends with a discussion, in which the author's views on major practical and political issues are entrusted. These characteristics of the text structure of Guizhixiang reflect that the development of Ci is characterized by prose after entering slow Ci. Fourth, allusions are appropriate and natural. "A thousand miles into a river is like practicing" is a poem in Xie Tiao's "Going to Three Mountains at Night and Returning to Wangjing": "Yu Xia is scattered into beautiful scenery, and Chengjiang is as quiet as practicing." The Star River Herons Rise is based on a poem written by Li Bai when he boarded the Phoenix Terrace in Nanjing: "Three mountains and a half fall out of the sky, like this egret is divided into Dao Jiang". "Sighing on the roof outside the door, sorrow and hatred continue" is an allusion of the Sui Dynasty's destruction of the past: when Enemy at the Gates was in China, the heartless General Sui was still singing and dancing with his beloved concubine Zhang Lihua. Du Mu's "Taicheng Qu" once recited this matter: "Han Qinhu is outside the door and Zhang Lihua is at the top of the building." However, Wang Anshi skillfully only borrowed the word "outside the building door", saying that "outside the building door" was under great pressure and "at the top of the building" was * * *, which showed the collapse of the Six Dynasties very concisely and vividly. The word "sorrow and hatred" summarizes the history of the Southern Dynasties. The end of the sentence is based on Du Mu's poem "Bo Qinhuai", but it is endowed with more profound and incisive ideological content. Before Wang Anshi, it was rare to use four allusions in one word.
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What are the lyrical features of Jinling's nostalgic poems? Please have a brief appreciation of Xu Hun?
Decadent music "Flowers in the Back Garden of Yushu" came together with Chen's fate; The lookout party in Jingyang Palace was filled with empty space.
The cemetery trees in the cemetery cover the graves of many officials in previous dynasties; High and low young crops filled the palaces of the Six Dynasties.
The snail spreads Yun Ni's wings, and it rains for a while and clears up for a while; The finless porpoise added fuel to the flames in the river. The night was deep and a cold wind came.
The emperors of past dynasties are gone forever, and the luxurious imperial life has disappeared without a trace. Only the surrounding green hills are the same as they were then.
This "Seven Laws of Nostalgia" is very skillful in choosing images and tempering words. For example, the two couplets in the middle reflect the changes of society with natural scenery, but the techniques and scenery are quite different: the couplets are portrayed intuitively by Fu, and the necklace gets the implied effect with the help of Bixing; Pine and millet are common plants in reality, while rock and finless porpoise are legendary magical and grotesque animals. In this way, not only a variety of colorful images are written, but also a mysterious and romantic atmosphere is set off. In terms of refining characters, taking the first couplet as an example, "disability" and "emptiness" reflect the corruption of the Chen Dynasty from two aspects: cultural life and military facilities, and their writing shows the scene of the decline of Jinling City before Chen's death: the word "harmony" overwhelmed Mount Tai, showing the power of Enemy at the Gates, an army of the Sui Dynasty; And "The End of Wang Qi" corresponds to the "luxury" of the last couplet describing Jinling.
Sima Shu's appreciation of returning to his hometown after rebellion
Poet: Sikong Shu Dynasty: Tang Dynasty
During the war, I fled to the south with you, and the situation was stable, but you were alone at home.
It has brought out all the white hair on its head, and only the green hills can be seen in its post-war home.
Xiao and his party must pass through many broken camps, and the night can only cover the desolate valley.
Birds and yellow weeds in the wilderness will accompany your sadness. To annotate ...
Together: together.
2 hometown: hometown.
(3) Residual base: residual fortifications.
translate
When the situation was turbulent, we went to the south together, and when we settled down, you went back to the north alone. White happened in a foreign country. When I returned to my hometown, I could only see the green hills as before. Against the backdrop of Xiao Yue, after breaking the barrier, the starry night can only stay in the original Guansai. Only cold birds and rotten grass, accompanied by sad faces everywhere.
Make an appreciative comment
The poet sent his friend back to his hometown, but unfortunately he couldn't come with him. He imagined the scene of his friend returning, reflected the pain caused by the war and expressed his feelings. The whole poem reveals sadness, lyrical and euphemistic.