Big strings hum like rain, and small strings whisper like secrets. Humming, whispering-and then mixing together, like pouring large and small pearls into a plate of jade. Between Guan Ying's words, the bottom of the flower is slippery, so you can't swallow the spring scenery and flow under the ice. The ice spring is cold and astringent, and the strings condense, and the condensation will never stop. The depth of sadness and the hiding of sadness are more told in silence than in voice. A silver vase suddenly burst, pouring out a stream of water, jumping out of the conflict and blow between armored horses and weapons. Before she put down the pick, her stroke was over, and all four strings made a sound, just like tearing silk. The east ship was silent, and the west ship was silent. We saw the white autumn moon entering the river.
2. Analysis: This part is about the pipa music played by the pipa girl, which vividly reveals the inner world of the pipa girl. Through the description of pipa timbre, the superb playing skills of pipa women are displayed. The big string is like rain, which not only uses the overlapping word "noisy" to describe the sound, but also uses "like a downpour" to visualize it. When copying music with the help of the phonology of language, various vivid metaphors are used to strengthen its image. Crisp and round, like a pearl falling on a jade plate, and like a flower-bottomed warbler, it is described from two angles of vision and hearing. Compared with "like pouring large and small pearls into a plate of jade", the visual image and auditory image are exposed at the same time, which is dazzling and dazzling. The melody is constantly changing, and there are two artistic conceptions: first "slippery" and then "astringent". Pipa girl has accumulated infinite strength in the process of playing, which can't be suppressed. Finally, like the beginning of the silver bottle burst, the water slurry burst, like an iron horse protruding, the sword roared, and the undercurrent of "solidification" was pushed to a climax at once. It came to an abrupt end at the climax. Although the song is over, the soul-stirring and soul-stirring musical charm has not disappeared. The poet takes the environmental description of "the east boat is quiet, the west is quiet, and we see the white autumn moon entering the heart of the river" as the side lining, leaving readers with a broad space with lingering charm.
About the author:
Bai Juyi (772-846), also known as Letian, was a layman in Xiangshan and a native of Xiayi. Realistic poet in Tang Dynasty. In Zhenyuan, he was a scholar, awarded the secretary of the provincial school book lang, and later moved to be an old man and a doctor who praised Zuo Shan. In the tenth year of Yuanhe (8 15), Prime Minister Wu was assassinated, and Bai Juyi advocated severely punishing the murderer. He was demoted to Jiangzhou Sima for exceeding his authority, and successively served as the secretariat of Hangzhou, the secretariat of Suzhou and the minister of punishments. In the sixth year of Huichang (846), he died and was given the right servant of Shangshu, posthumous title. Bai Juyi is an advocate of the new Yuefu movement. He advocates that "articles should be written in time and poems should be written for things". His poetic language is well known, and he is called "Bai Yuan" with Yuan Zhen and "Bai Liu" with Liu Yuxi. His representative works include Song of Eternal Sorrow, Charcoal Man, Pipa Travel and so on. And Bai Changqing's collection has been passed down from generation to generation. Later generations called it "the poet king" and "the poet demon".
reference data
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