Pipa lines, etc., the poems are better and have room for imagination.
Noisy and wrong miscellaneous bombs
——Le: The poems that describe music in the Tang Dynasty
Preface
The Tang Dynasty was the era of poetry. The era of music...
In the vast Tang poetry, there are many works depicting the beauty of music. Genius artists used their intelligence to create a dazzling and dazzling art for us. realm. It is a great initiative to make the beauty of music, which is audible but invisible, transcend the boundaries of time and space, be remembered for eternity and bequeathed to future generations. We might as well pick out a few pieces from this group of magnificent symphonies and appreciate the charm.
First Movement: Resentment in the Sound of Pipa
——Pipa on the River in Baixiang Mountain
In June of the 10th year of Yuanhe (815), Li Shidao Sect People came to preside over Prime Minister Wu Yuanheng who quelled the rebellion in the feudal town. Bai Juyi served as the crown prince Zuo Zanshan at that time. Although he was not a remonstrating officer, he still wrote a letter of remonstrance first, requesting that the murderer be found. As a result, he was tortured by his political opponents and demoted to Jiang Sima. As he himself said: "It may get its name from the article, but it will eventually offend the article." This blow left deep wounds on Bai Juyi's mind. This poem was written in the autumn of the following year after he was demoted to Jiangzhou. After the poet experienced the cruelty of society and the hardships of the world, he had nowhere to express his resentment. He happened to meet the pipa girl who was "also a fallen person in the world"; after listening to his emotional playing, the long-repressed feelings surged out. came out and composed this eternal song. The poet was moved by the scene and inspired by the incident, integrating his own feelings into the misfortune of the Pipa Girl, and using the Pipa Girl to express his anger. Then it exposes various unreasonable phenomena in feudal society, expresses sympathy for the Pipa Girl and indignation against the dark society.
The most outstanding achievement of "Pipa Xing" lies in its description of music. How does the author express the elusive musical image through language? He used four techniques:
First, he used multiple metaphors.
Use a series of metaphors to describe the complex and subtle sound changes in the pipa music. "Jiyu" refers to the complex and thick sounds of a large string, "Autumn Language" refers to the fineness and denseness of small strings, beads falling on a jade plate symbolizes the harmonious, crisp and pleasant sound of music, the words of orioles under the flowers represent the flow and gentleness of music, and springs flowing under the ice represent the flow of music. The throat is thick with condensation. The beautifully repeated melody and rhythm are clearly and perceptibly expressed.
The second is to convey feelings through sound.
Integrate the changes in the pipa sound with the emotions of the player and the listener, blending the sounds and emotions. In the poem, sometimes it flows happily, sometimes it is high and exciting, sometimes it pauses temporarily, sometimes it is deep and somber, and the pipa girl's emotions are either joyful, sad, sad or sad. Moreover, the sound of the pipa is also a medium for emotional communication between the performer and the listener. The performer conveys emotions in the music, and the listener becomes emotional when hearing the music. There is emotion in the composition of the tune, "Talking about the failure of one's ambitions in life", "Telling all the infinite things in the heart", "There is a special emotion", "Everyone in the house burst into tears after listening to it". But it makes people feel that there is the image of the pipa girl in the music, and there is also the scream of the listener. In this way, the combination of sound and emotion, and the use of emotion to paint the sound, not only make the music described more artistically charming, but also help to deepen the theme of the poem.
The third is to see reality from the imaginary.
Not only written with sound, but also written without sound, "There is no secret feeling and hatred, silence is better than sound at this time"; "The east boat and the west boat are silent, only the white autumn moon can be seen in the heart of the river", both are silent Set off the sound and use rest to emphasize the effect of the music. If the art of seal cutting "calculates white to treat black", then the art of opera uses the stage. This method of expression, in which reality emerges from the imaginary, and the imaginary and the real complement each other, is a traditional feature of ancient Chinese art. It is similar to Wang Wei's "People in the deep forest don't know, but they will take pictures tomorrow".
The fourth is to use verbs skillfully.
Using accurate verbs to express the player's skillful fingering of "picking, gathering, twisting, wiping, and picking" verbs accurately expresses the changes in the pipa girl's playing movements, and combines the changeable The fingering turns into a visual image, which deepens the reader's impression of Pipa Girl Xianwang's playing skills and makes the musical image more concrete.
Bai Juyi was a great poet who wrote more than 3,000 poems in his life. He was proficient in music theory and had a unique understanding of performance techniques. He is proficient in pipa, sheng, zither, harp, harp, harp and other musical instruments, and has researched folk music and foreign music. He especially enjoyed playing the lyre. He once said, "I have a good nature, and when I hear it, it will be empty." Quite happy with it. Before writing "Pipa Xing", I had described the playing of Xiansuo music many times. For example, "The four strings are not like the sound of the pipa, but the real pearls are written randomly to shake the bell" ("Listening to Pipa in Spring and Brief Introduction to Sun Sihu"). "The first and second strings are loose and loose in the autumn wind. The third and fourth strings are cold, and the cranes are singing in the cage at night." ("Wuxian Tan"). This description reminds people of the most wonderful text in "Pipa Xing". In addition, works such as "Listening to Li Shiliang's Pipa", "Listening to Pipa", "Listening to Pipa Plays", etc. all indicate that he was exposed to pipa playing. The wonderful sentences are not accidental. As a result, he wrote the masterpiece "Pipa Xing". This description of the musical image has been popular for thousands of years. Not only in China, but also in the world literary world, he is very outstanding. Therefore, Fang Funan's "Annotations to Li Changji's Poems" calls it "the best text for imitating sounds."
Second Movement: The Subconscious in the Sound of the Qin
——Han Yu’s “Listening to Master Ying Playing the Qin”
One of Han Wen Gong’s poems titled “The Decline of Eight Dynasties of Literature” A famous poem describing music is "Listening to the Teacher Playing the Piano". This article best reflects the "strange and dangerous" style of Korean poetry. This "Zhiwen of imitating sounds" once caused a lawsuit over pen and ink. Wen Zhonggong (Ouyang Xiu) thought it was not a qin but a pipa, but Song Dynasty people Cai You and Xu Yanzhou ("Poetry of the Western Qing Dynasty", "Poetry of Yanzhou") thought it was a pipa. He wrote poems about the qin and praised it: "It is deeply interesting to retreat" and "these sounds are the most difficult for those who are good at playing the qin".
We also believe that this article is indeed about listening to the qin, and we can hear and describe the wonderful sound of the qin. The sound of the piano also conveys the author's subconscious mind at that time.
We might as well come and take a look.
The sound of the piano sounded, and the thoughts and resentments were like the love words of young men and women, warm, soft, and full of tenderness and sweetness; after a sudden sound, it changed into a tenor and became a warrior march; Teams of warriors rushed to the battlefield with high spirits; for a while, they became catkins between the sky and the earth; then they became birds chirping and sang to the phoenix; finally, they climbed to the peak, using both hands and feet, walking with difficulty and difficulty; suddenly, it was difficult to move up. The momentum plummeted, and the sound of the piano suddenly stopped. It seems broken but not broken, continuous and vague, with lingering sounds.
Obviously, the author first used a series of metaphors (ten sentences, seven image metaphors) to describe the beautiful melody of the piano sound. The changing rhythm of the sound of the piano is high and low, slow and urgent, slippery and astringent, faint and vague, all without words. Most of them use synaesthesia techniques to turn the fleeting sound of the piano into concrete and perceptible images. This kind of conjunction is a great opening for Han Yu. For example, his "Nanshan" uses eleven novel metaphors in one go. Another example is that in "Send Cui Twenty-six Li Zhi", "Collecting subjects year after year, it's like picking off the moustache"; in "Pecking at the lanterns and waiting for the eleventh day", "Golden grains are arranged in gold, hairpin heads are decorated with jade insects"; "Jingtan" "There is no need to avoid fish and shrimps, they are just looking out for the dragon." They are all novel metaphors created by Gaga, and the same is true in this article.
Li Bai also wrote "Listening to Shu Monk Rui Playing the Qin". The whole poem only uses three sentences and two images, "Waving your hand for me is like listening to thousands of pines. The guest's heart is washed by running water, and the remaining sound is like a frost bell." In comparison, one is like a meticulous painting and the other is like a landscape painting. The thick ones are perfect, the light ones are just right, each has its own merits and cannot be compared.
This writing method of using figurative metaphors to sound was inherited and developed in "Lao Can's Travels" in the late Qing Dynasty. The white girl in Liu E's works sings in a high pitched voice. After three or four verses, people seem to see the scene of climbing Mount Tai. It is really "the more dangerous it becomes, the more dangerous it becomes, the more strange it becomes." This description can be seen as "the climb is too high to reach the limit" "The inspiration, artistry and vitality can be glimpsed from this.
However, this is only one end. The brilliance of Korean poetry lies not only in writing the wonderful sound of the piano, but also in hearing the wonderful sound of the piano. The author has a myriad of emotions, the state of the world, and his clothes are wet with tears. He "stops it" and does not let it play again, so as not to "set my intestines like ice and coal". How can I withstand the combination of cold and heat. On the one hand, this is undoubtedly an exaggeration (intentional exaggeration), saying that the sound of the piano is deeply touching; on the other hand, the author highlights the resonance of the soul from specific feelings. The theme of the piano music also seems to express Han Yu's heart and life. Because the poet combines his time with his half-life experience, the ups and downs of political affairs and the ups and downs of officialdom. Especially the sound of the piano reminds me of the past days when he was reprimanded, demoted, banished, and prepared to die... Isn’t this the reflection of the projection of the times in poetry? We can clearly feel the subconscious existence of the heart trembling at that time from the author's subtext.
This may be the reason why Su Shi weighed his weight and rated it as the best among his Qin poems.
The third movement: The magical kingdom in the sound of the harp and harp
——Li Ping's "Li Ping harp and harp introduction"
The poetic ghost Li He is worthy of being a bitter poet. "Zhao Yueqiu's twilight clothes are broken, and the east is white all night while reciting poems." His "Li Ping Kong Hou Yin" depicts to us a magical and colorful musical kingdom in a unique way. Its artistic quality is far higher than that of his contemporaries Gu Kuang's "Songs of Li Ping Playing the Harvest" and Yang Juyuan's "Two Songs of Listening to Li Ping Playing the Harvest". It is not an exaggeration to say that the predecessors also called it "the most literary".
The outstanding achievement of this poem in describing music is not to describe its rich content, graceful melody, and bright rhythm; rather, it uses allusive music to describe the effect of music through various myths and legends. ; Creates an artistic realm where heaven, earth, and immortal figures are intertwined. Take readers into the colorful magical kingdom of music. He described the sound of the harp like this: as crisp as broken jade from Kunshan, as loud as the phoenix's cry for nine days, as sad as the weeping dew of a lotus flower, and as joyful as the smile of a fragrant orchid. The sound made the fish dance, and even Wu Zhi in the Moon Palace was so moved that he could not sleep; the vault of the warehouse was shattered by the sound of the harp; the gravel that Nuwa patched up the sky turned into autumn rain.
Although the author's brilliance lies in the use of various beautiful and moving legends and facts to express the magical realm of music. There are three artistic achievements in his metaphorical music:
The first is the hidden and flexible use.
This poem uses allusions to metaphor music, which is flexible and diverse, with endless explicit and implicit uses.
For example, "the clouds on the empty mountain are falling and not flowing" are allusions to "Liezi and Tang Wen", and the story of Qin Qing's "elegiac song that shakes the forest trees and stops the moving clouds" is alluded to; "Jiao Sacrificial Records" is a covert use; "Dream into the Holy Mountain to teach Laoji" is a covert use of "Sou Shen Ji" to record that the lady can play the konghou; "Old Fish Dances with Waves and Thin Dragon Dance" is a covert use of "Liezi, "Tang Wen" Allusions about Huba Guqin. As for "Shi Po Tian Jing", "Jiang'e Crying Bamboo", "Feng Ming" and "Lan Xiao", they are all in harmony with each other, and there is almost no trace to be found. But one thing is clear. The author randomly mobilized the historical sea and put it into the pen, as if he picked it up at his fingertips. In fact, he carefully considered it to express his needs. This article uses allusions to music, most of which are related to music. It can be seen from this that the author is full of thoughts and ideas. Even when Nuwa was invited, experts had different opinions. I think the word "making autumn rain" in Li He's poem cannot help but remind people of the story of Shi Kuang playing the piano and a heavy rain followed ("Art and Literature Collection"). The metaphor of "rain" here shows that Li Ping can also call for wind and rain by playing the harp, which is as good as Shi Kuang's. In order to exaggerate the intensity of the rain, I remembered that the sky broke and the rain poured down. Tian Po also associated it with Nuwa's mending of the sky recorded in "Huainanzi Xiaoming Xun"; in turn, Shi Po Tian Jing greatly strengthened the momentum of the rain, which made people feel that Li Ping's power seemed to exceed that of Shi. The heavy rain followed, which showed the high level of playing skills. However, Zhao Yi thinks that although this sentence is dangerous but meaningless, he only thinks it is "unreasonable". The author thinks it is biased. "Sky-breaking" has become an idiom, which shows that its image is still enough to move people's hearts.
The second is that the same thing has multiple meanings.
In addition to general uses, the real functions have multiple information storage. The general intention is virtual and metaphorical, indicating unusual performance effects. It shows that Li Ping can be compared with Qin Qing's tragic song, Jiang'e's joyful harp, Sunu's sorrow and resentment, Shi Kuang's piano playing, Mrs. Cheng's harp and harp, Huba drum and harp, or even surpass them. Due to its flexible use, its effects are not limited to this. Sometimes it can also play a role in rendering the atmosphere. For example, "The clouds on the empty mountain are falling and not flowing", which not only resembles the empty and desolate real environment when Li Ping played the harp, but also resembles the musical effect of the music. The virtuality of "sounding, stopping and moving clouds" complements the reality of the musical effect, and is rich in meaning. Even allusions that do not directly produce music contain multiple meanings. "Twenty-three silk threads move the purple emperor" is realistic. Li Ping's playing of the harp indeed moved the emperor, and this is well documented. But we can also imagine that Li Ping's Konghou moved what Taoists call the Purple Emperor in the Taiqing Palace, and had a great influence on the world of gods. This is not a bad idea. The former is nothing more than using fictitiousness to metaphorize reality and gods as metaphors for people. The latter also turns reality into fictitiousness and uses humans to metaphorize gods, which has endless charm. Other allusions such as "Autumn Rain" and "Wu Zhi" in the poem also have similar meanings.
The third is full of emotion.
Li He is a passionate romantic poet. His poems are full of emotion and passion. Many allusions in the poem are also dyed with heavy emotional color. Sad clouds condense in the sky, autumn rain falls suddenly, Jiang E cries, fish and dragons dance, immortals stay awake, ghosts and gods are emotional, broken jade and phoenix scream, flowers weep and orchids laugh, all are felt in the heart and revealed in the form. Just as Yao Wenxie's "Notes on the Poems of the Valley" said, "Gods and beings in heaven and earth, and spiritual creatures in mountains and rivers are all inspired." It makes people feel powerless to leap, but they dance in waves, why? Music is deeply moving. "The clouds are falling and not flowing" has been changed from the passive of "the clouds are moving with loud noises" to the active ones. The clouds have become emotional things, and the harp made him yearn for love, so that he didn't want to move. It can be seen that in this poem, whether they are people, gods, ghosts, or immortals, living or inanimate, they are either decadent, sad, crying, crying, laughing, startled, or dancing. , or leap, all with strong emotional color and full of the poet's passion.
Li He is also a poet who is proficient in music. "When the sick guest hears the strings in the cool hall, the medicine bag leaves the dragon's beard for the time being." He loves music and even cures diseases. With this kind of life foundation and magical imagination, Honghou's music kingdom is extraordinary. The wings of imagination transcend the boundaries of time and space, calling for wind, rain, thunder and lightning, driving people, gods, ghosts and immortals, enslaving plants and trees into fish, mobilizing the sun, moon and stars, creating a grotesque world of music, and giving people beautiful artistic enjoyment.
Su Shi was deeply familiar with the three flavors. The sound of Xiao in the cave in his Red Cliff poem, "The hidden dragon dancing in the deep valley, the concubine weeping in the lonely boat" cannot but be said to be the result of learning from Li He. As Du Mu said, "Whales croaking, cows, ghosts, and snakes are not enough to make it fictitious and illusory."
Fourth movement: noisy and miscellaneous bombs
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When we appreciate these beautiful beauty After the moving music, we were deeply impressed by the poets' superb art. The reappearance of this kind of art seems like we are hearing the wonderful music of the music artists of the Tang Dynasty and witnessing their dazzling style. This is the art of reappearance. Poetry and music are from the same family. They can both express emotions and create images, but in different forms; but art is connected. With their outstanding talents, poets have reproduced the art of magical music. We might as well listen to their symphony and, in turn, see the art of their reproduction.
Austrian Hanslick said in "On the Beauty of Music" that "all fanciful descriptions, character portrayals and explanatory explanations of musical works are metaphorical or wrong. of". Expressive music is often metaphorical, and he is absolutely right about that. "Book of Rites and Music" says, "The singers are as numerous as a string of pearls."
Kong Yingdashu "The sound moves people and makes people think that the shape is like this". Ma Rong's "Flute Fu" also talks about "listening to sound types", which means this. Therefore, Chinese poetry is good at using metaphors when expressing music. These three poems are certainly no exception. Although they both write about music, the subject matter is the same, but they use metaphors. However, because the poets have different conceptions and writing methods, the artistic conception and style are also completely different.
First of all, the focus of metaphors is different.
White poems focus on sound as a metaphor for music, Korean poems focus on shapes as metaphors for music, and Li poems focus on metaphors for music. Of course, they cannot be generalized. It is obvious that the writing methods are interchangeable, but the emphasis is different. This point has already been explained and needs no further elaboration.
Secondly, the materials used to create artistic images are different.
In "The Song of the Sepa", the moving performance of the Sepa girl is described with a series of images such as "noisy and urgent words", "whispering", "the voice of the oriole in the pass", "the quiet throat of the spring", etc. metaphor. Such metaphors are based on common things in real life. It can be seen that the poet Bai Juyi's image thinking activities are in the soil of real life and within the scope of things that people are familiar with. Therefore, his metaphors are relevant and easy to understand, and have a strong flavor of life; Li He's "Li Ping Konghou Yin" uses The mythological materials are used to describe the beautiful music. In the poem, "Jiang'e cries about the female resentment of bamboo", "Kunshan jade breaks into pieces and the phoenix cries", and "the hibiscus weeps and the dew fragrant orchid laughs" are all surreal scenes. The poet attracts people with his rich imagination, mythological colors and novel artistic conception; while Korean poetry is different from the first two. The author describes music not only with various tones, such as the words of children and birds, but also with the high-spirited voices of warriors. Comparing the spirit, the flying catkins, and the climbing and falling movements, this belongs to synaesthesia in rhetoric, just as Han Yu's description in "Synapesthesia" said "that is the shape of the mind" and "the shape of hearing sounds", Transform hearing into vision. He also said, "Perhaps not only hearing is connected to vision, but also hearing is connected to muscle movement. With the up and down of the sound, the ups and downs of the body feel the feeling of 'resistance', 'fall', 'pull', and 'fall'", which can be described as a sentence. in. The poem also describes the sudden change of the tune from low to high. Bai Shi uses the metaphor of "the silver bottle is broken, and the water slurry bursts out, and the iron cavalry stands out and the swords and guns are heard"; Li Shi describes it from "the place where Nuwa refines the stone to mend the sky, the stone breaks the sky and makes the autumn rain". , and Korean poetry imitates it with "Suddenly it becomes majestic, and the warriors go to the battlefield." It also writes about touching artistic effects. In Bai's poem, "The boats in the east and west are silent, only the white autumn moon in the middle of the river is seen." It is a description of the real scene in front of you. The music ends and the moon is in the sky. The beautiful performance attracts many people. The boats on the river moved many listeners on board. Li's poem "Wu Zhi sleepless and leans on the osmanthus tree, flying wet cold rabbits with his bare feet" is about the aftertaste of the konghou that moved the heaven, and even Wu Gang was intoxicated, forgetting the cold dew in the clear sky, leaning on the laurel tree without sleeping, his thoughts were flying, and he was fantasizing. Wings. However, Han Shi started from his personal experience of "pushing my hands to stop suddenly, and there was no ice and charcoal in my intestines", which highlighted the passion of the soul.
Furthermore, each poem has its own characteristics in terms of its structure and expression methods.
The White Poetry is a complete narrative poem. The poet first writes about his meeting with the sepa girl, then writes about her wonderful performance, and finally writes about her life experience and his own emotions. Writing about the performance of the sepa girl also starts with the tuning and tuning, followed by the "low eyebrow letter formalities to continue playing". Finally, the "End of the Music" narrates the whole process of the performance, the changes in the melody, the performer's demeanor, the musical effects, and the description of the characters and musical images in a slow and gentle scroll, with a smooth and smooth flow. distinct. The writing rules of Li's poems are completely different. Except for the first two sentences of the whole poem, which provide the necessary introduction to the time, place, characters and musical instruments, the main space is used to describe the performance and artistic effect of the music. The poet does not have any narrative or explanatory words, only a vivid picture of beating, such as the two sentences "Kunshan Jade Broken". The first sentence describes the exciting and crisp sound when the big string is played high, and the second sentence is about the small string played low. You Yan's gentle tune, "without a word, all the romance". Although there is no external link, the whole poem is coherent and the internal rhythm is closely connected. The pictures in the poem are often displayed in front of us in a jumping style, like a montage using film and television techniques. Han Shi has a different approach. He wrote ten sentences in one breath, using seven metaphors in a row to describe the twists and turns of the rhythm during performance, turning the invisible into tangible, allowing readers to experience the specific scenery. When it comes to the charm of music, it is just as Hong Mai said, "The articles of Han and Su are repeated and coherent with metaphors, and there are seven or eight turns" (Volume 6 of "Rong Zhai's Three Strokes"). Then the author stopped writing, focusing on describing his own personal feelings, and highlighting the artistic effect of music from the side. In contrast, the three poems are all famous for their excellent musical descriptions, but one is within reason, one is unexpected, and the other is within reason. Even things with the same image can be written in two different ways. For example, a Korean poem describes the cry of a phoenix, "A hundred birds are chirping noisily, and suddenly a solitary phoenix is ??seen." The cry of the phoenix stands out from the hundreds of birds, while Li He writes Otherwise, he combined the "phoenix cry" with the mythical Kunshan jade fragments, the purple emperor in the sky, Nuwa's stone refining, and Jiang'e's crow of bamboo to create a fantasy world, which is more romantic.
Finally, the styles are different.
As the backbone of the New Yuefu Movement, Bai Juyi advocated a simple, natural and smooth poetic style, so he was unique. His poems "mostly touch the scene and evoke emotions, and are self-motivated due to events, sights, and spoken language." It is refreshing and enjoyable to chew" (Zhao Yi's "European Poetry"). Li He wrote poetry, managed the business in a miserable way, and worked hard, but he was able to come up with his own ideas. He has rich imagination and is often not limited by form and rhyme. He is a person who capitalizes on "free verse".
Therefore, he writes about emotions and nature, with rich flavor and content, continuous fantasy and novel ideas, which always show his grace of misty clouds and long flowing water. The style of poetry is desolate, cold, sad and sad, resulting in a cold and grotesque style. It also developed in the Song Dynasty. Du Mu once said that Li He's poem "Gai Sao's Miao descendants, although the reason is not reasonable, the words may be exaggerated." This is very insightful. Han Yu, who was opposite to Bai Juyi, was of a different school. He advocated "going to Chen Yanwu" and did not follow the footsteps of his predecessors. He emphasized careful writing, good use of strange words, dangerous sentences, dangerous rhymes, and the use of words as poetry, with obvious prose. Cultural tendency, thus forming a strange and dangerous style. Sikong Tu once described the art of Korean poetry in vivid language in "Poems": "Han officials sang hundreds of poems, and they drove the momentum, like setting off thunder and lightning, holding their palms between the sky and the earth. The shape of things It's strange that I have to encourage him to breathe." Ye Xie's "Original Poems" also said that "he is powerful, and his thinking and rise are the originators", which is a fair statement. Combining these works about music, it is not difficult for us to see the different styles.
Epilogue
Not only poetry was developed in the Tang Dynasty, but music was also very developed. Many poets are masters of music. Li Bai, Wang Wei, Bai Juyi, Li He and so on. Their artistic quality is very high, so they have created a vast musical world for us, which is colorful, bizarre, and beautiful. It is precisely these wonderful musical poems that constitute a set of magnificent symphonies, which also corresponds to the description in "Pipa Xing":
"Noisy and jumbled with bullets, big beads and small beads." Pearls falling on a jade plate."
May we all be pearl-seekers and understand the truth, goodness and beauty of the art of life.
Attachment:
1. Pipa Xing
Bai Juyi
In the 10th year of Yuanhe, Yu Zuo moved to Sima, Jiujiang County, and sent him there next autumn. When I was visiting Pukou, I heard someone playing the pipa in the boat at night. Listening to its sound, it sounds like the sound of Kyoto. When asked about the person, I was originally from Chang'an and advocated women. I tried to learn pipa from Mu and Cao, two talented people. She was old and beautiful, and she committed herself to being a wife of a Jia family. Then he ordered the wine envoy to play several songs quickly. The music ends with pity. He talks about the joyful things he did when he was young; now he is drifting and haggard, wandering around the rivers and lakes. I had been out of office for two years, and I was peaceful and contented. I was grateful to the people who said that I began to feel the intention of relegation in the evening. Because the sentence is long, the song is given as a gift. Every six hundred and twelve words is called "Pipa Xing".
The Xunyang River sees off guests on the first night, and the maple leaves and flowers are rustling in autumn.
The master dismounted and was on the boat. He wanted to drink wine but there was no orchestra.
We will say goodbye sadly when we are too drunk. When we say goodbye, the vast river is soaked in the moon.
Suddenly I heard the sound of pipa playing on the water, and the host forgot to return the guest.
Who is asking questions secretly? The sound of the pipa stopped and it was too late to speak.
Moving the boat closer to invite us to meet each other, adding wine, turning back the lights, and re-opening the banquet.
After calling for a long time, he came out, still holding the pipa and half covering his face.
The three or two sounds of the strings being plucked by the rotating shaft indicate feelings before the tune is formed.
The strings muffle the sounds and thoughts, as if complaining of failure in life.
The formalities of the letter were continued with a low eyebrow, telling all the infinite things in one’s heart.
Lightly gathered, slowly twisted and wiped, and then picked again, at first it was a colorful dress and then it was six pieces.
The big strings are noisy like the rain, and the small strings are like whispers.
Noisy and jumbled bullets, big and small beads falling onto the jade plate.
The orioles in Guan Guan are talking at the bottom of the flowers, and the spring water is flowing down the beach.
The water spring is cold and astringent, the strings are condensed, and the condensation will never pass, and the sound gradually stops.
Don’t be sad and resentful. Silence is better than sound at this time.
The silver bottle bursts out, and the water slurries burst out, and the cavalry stands out with swords and guns.
At the end of the song, the plucked strings are carefully drawn, and the sound of the four strings is like cracking silk.
The east boat and the west boat were silent, except for the white autumn moon in the middle of the river.
While chanting and plucking the strings, I straightened my clothes and gathered my features.
She said that she was originally a girl from the capital city, and her family lived under the Xia Toad Mausoleum.
On the 13th, he learned the pipa and became the first member of the teaching group.
Qu Ba often teaches talented people how to dress well and make up so that Qiu Niang is jealous of her.
When Wuling was young, he was struggling with his head, and he could not count the number of red silk songs.
The silver grate on the tin head was smashed into pieces, and the bloody skirt was stained by wine.
The laughter of this year will return to the next, and the autumn moon and spring breeze will pass easily.
My younger brother left to join the army, and my aunt died.
There are few cars and horses in front of the door, and the boss is married to a businessman.
Businessmen value profit over separation. The month before last, they went to Fuliang to buy tea.
Going to and from the mouth of the river to guard the empty boat, the moon is shining brightly around the boat, the river is cold.
Late at night, I suddenly dreamed about my youth. I cried and cried, and my eyes were red with tears.
I sighed when I heard the pipa playing, and I groaned again when I heard the words.
We are both fallen people at the end of the world, so why should we have known each other before?
I resigned from the Imperial Capital last year and was relegated to Xunyang City where I was sick.
There is no music in the remote place of Xunyang, and the sound of silk and bamboo is not heard all year round.
The land near Fankou is low and humid, and yellow reeds and bitter bamboos grow around the house.
In the meantime, I heard something at dawn and dusk. The cuckoo sang and the blood ape screamed.
When the flowers on the spring river face the autumn moonlit night, I often drink wine alone.
How can there be no folk songs and village flutes?
Tonight I hear your pipa music, and my ears suddenly become clear as if I were listening to fairy music.
Mo Cigen sat down to play a piece of music and translated it into a pipa line for you.
I feel like I have been saying this for a long time, but sitting down makes the strings turn sharply.
The sad sound is not like the forward sound, and everyone in the house is crying after hearing it again.
Who cried the most? Jiangzhou Sima's green shirt is wet.
2. Listening to Master Ying playing the piano
Han Yu
The affectionate words between your children and your daughter, the kindness and resentment between you.
Suddenly the situation became tense and the warriors went to the enemy's field.
Floating clouds and catkins have no roots,
The sky and the earth are vast and far away.
A hundred birds were chirping noisily, and suddenly a solitary phoenix was seen.
If you can't climb high, you can't reach it.
If you lose ground, you will plummet.
I have two ears, but I don’t know how to listen to silk bamboo.
After hearing Master Ying play, he got up and sat aside.
The push-hand stopped suddenly, and the clothes were wet with tears.
You are sincere and capable, but you can’t put me to death
3. Li Ping Konghou Yin
Author: Li He
Wu Silk trees and tung trees bloom high in the autumn sky, and the clouds on the empty mountain are stagnant.
Jiang'e cries about the sorrow of the bamboo girl, and Li Ping plays the konghou in China.
The broken jade in Kunshan screams as a phoenix, and the hibiscus weeps and the fragrant orchid smiles.
The cold light melts in front of the twelve doors, and the twenty-three silk threads move the purple emperor.
Where Nuwa refines stones to mend the sky, the stones break the sky and make Qiu Yu startle.
I dreamed of entering the sacred mountain to teach the goddess, and the old fish danced the thin dragon dance.
Wu Zhi is sleepless and leaning on the osmanthus tree, flying wet and cold rabbits sideways with bare feet