Picking mulberry trees and taking photos of Baozhao
The plum blossoms begin to fall in spring. Female workers worked on silkworms.
Picking mulberry trees. He also played in the palace.
It will be cloudy in the morning. At the beginning of the night, the bamboo basket was untied.
The boudoir is full of mist. The scenery is full of harmony.
The baby swallows chase grass and insects. The wasp picks up the calyx.
This is the most beautiful time of the festival. Beautiful clothes are new again.
Mian sighs at the end of the road. Yang Ge and Chang Huo.
Play the piano to express your thoughts. Recommended Pei Guo Cheng Tuo.
Cheng Jun Ying Zhongmei. Be faithful to your righteousness for a long time.
Wei Feng is ancient and charming. Zheng's customs are old and superficial.
The soul is willing to cross Hunan in sorrow. Mi Fu laughed at Chan Luo.
It is difficult to regain prosperity. Who does the abyss mean to dry up?
Just tune the strings. My concubine is drinking cinnamon wine.
Supplementary note: According to "Song Shu Le Zhi", it is believed that "Cai Mulberry" is a model of "Mo Shang Mulberry".
"The plum blossoms begin to fall in the spring of the season", a mulberry picking song, begins with plum blossoms falling.
The logical connection between "Female fortification and silkworm farming" and the previous sentence is that the end of plum blossoms coincides with the beginning of silkworm farming. The poet's sensitive mind connects natural objects and artificial objects end to end, one leading to the other. Out, clear and confusing. The image of the "female worker" hints at the theme of mulberry picking (that is, the theme of mulberry picking on Moshang). However, in view of their obvious differences, the "female worker" in the couplet is either a vague vision of the whole poem, or a vague symbol of "concubine" .
“While picking mulberry trees, there is also a drama in the palace.” The poet naturally enters the mulberry picking space along the theme of mulberry picking, and uses the jump of space to create a sense of continuity in the scene. The lightness and joy of "returning to the opera" is close to that of Yuefu, but it contains a somewhat weird and frivolous undertone, which is different from the public eye.
"The clouds are forming in the early Pu, and the bamboo is beginning to unwind in the evening." In the vast wilderness, the poet's choice is quiet, detailed, and symmetrical: early Pu and late Huang.
"The mist fills the boudoir, and the harmonious scenery fills the curtain" naturally brings the poetic realm from the wilderness to the garden. The foggy effect of the boudoir can only be seen from a distance, but the harmony of the connected scene must be observed at the junction of indoor and outdoor. The rapid changes between two different positions are concealed in neat confrontations.
"The suckling swallow chases grass and insects, and the nest bee picks up the calyx." The bamboos and creepers are in pieces, which can only be seen when walking; The contrast between movement and stillness comes from the opposition between inside and outside. One is wandering in the wild, while the other is quietly observing indoors. Of course, it may be the change of the same lyrical protagonist's front and rear positions, that is, his (her) spatial changes in the time process, or it may be the opposition of two different spaces within the same time dimension, that is, two people in different places. It is difficult for us to know the poet's intention, because the couplet he used to connect it, "The mist of kindness fills the boudoir, and the scene of harmony fills the curtain" is full of peaceful hints, allowing us to see the changes, but not know where they are pointing.
"This is the most beautiful time of the festival", inheriting the smart creatures from the first couplet, pushing the joy of mulberry picking theme to the extreme.
"Good clothes are new again" is also a problem. Whose good clothes are they? Who feels new? Do the jumpers in the sun and the delighted observers become one, or do they each live in their own place? Theoretically speaking, four combinations are possible: 1. The best clothes for you, the conscious new sparkle. 2. The concubine’s beautiful clothes make her look new and bright. 3. You admire your concubine’s fine clothes. 4. I admire the king's fine clothes. The above arrangement seems boring and does its best to destroy the poetry, because beyond the hazy poetry, we want to pry into the secret of Bao Zhao, the secret of his poetry. Who is he narrating lyrically? Now we don't even know where he is and are trapped in a maze of words that Mingyuan has woven intentionally or unintentionally. Looking at the possibilities, №1 appears to be a narcissistic gentleman, №2 is a lively and cute girl, №3 is quite interactive, and №4 is the least likely for a male poetry appreciator. If the identity of the observer cannot be determined, the next sentence will be very troublesome.
In "Sighing at the Long Road", there is almost no opportunity and wording to suddenly change the lyrical protagonist. Therefore, the lyrical protagonist who previously praised the joy in the beautiful scenery of late spring follows tradition (at least on the surface). Sighing and thinking. "Yangge makes field hyacinth", if the readers of this poem are not familiar with the Book of Songs and can make do with it before, this place will definitely be confused. "The white colt eats my field hyacinth" (a word in the Book of Songs, explaining A poet never creates alone) The annotation mentions Zheng Xuan's explanation: "A white horse, a thorn cannot retain a talented person." This statement is very second-hand and can only be adopted reluctantly, although it makes sense. Bao Zhao's inner conflicts are fully reflected in his more than 200 poems, which are known to everyone on the street. Moreover, if the poet's own little secrets are not hidden in the poems, they may not be considered good poems.
"Playing the piano to express one's thoughts", playing the piano is Bao Zhao's old trick. Through this action, we can unmistakably identify him. Does "Jian Pei Guo Cheng Tuo" come from Han Shi Wai Zhuan? This is a story about Confucius. Scholars in Bao Zhao's era should be familiar with Confucius's gossip. "Confucius traveled south to Chu, and there was a virgin who was wearing a garland. Confucius said: That woman can talk to you. He took the harp and removed her strings, and gave it to Zi Gong, saying: "Good words." Pei 瑱 hooked up the originally strange man and woman. It gave them an opportunity to "speak". If read very roughly, this place can be seen as the place where the two narrators (jun and concubine) deliver their goods.
Obviously, it was this woman's turn to speak: "I will honor the king and praise China and the United States, and I will obey the righteousness and keep my heart for a long time." The allusion used seems to be quite specious on the surface, and the wording has also gone through an ups and downs. , "Wei style is ancient and beautiful, Zheng customs are old and superficial." Is it possible that underneath this complex expression is the stereotype of the mulberry picker rejecting the powerful in "Mo Shang Mulang"?
"The spirit wishes to cross Hunan in sorrow, and the poems laugh at Luo." Bao Zhao doesn't care whether his words sound like a mulberry picking girl. At this time, his literary quality and painful heart are on the side of "concubine" . The sad soul wishes to cross Hunan, and the smile is given to Chanluo. Bao Zhao has Qu Yuan's shadow and aspirations in his soul, and Cao Zhi's sigh and nobility.
“It’s hard to come back to prosperity, and for whom will the deep meaning be exhausted?” What clear meaning do you want to express by complaining like this? Let’s break it down a bit: Whose intention is it? Starting from "Sighing on the Long Road", the poem takes the path of a literati who has experienced happiness and sorrow, completely throwing away the Yuefu spirit of self-comfort and masturbation, and finally reaches the pinnacle of frustration in life through the words of a frustrated woman.
"Please tune the strings. Let me drink cinnamon wine." You should continue to play the piano and let me pour you a glass of cinnamon wine. Extremely resentful and quiet. There are two frustrated people in the poem: the king and the concubine. Of course, there is only Bao Zhao himself outside the poem. If this poem was written for others, is it necessary to be so entangled and confused? The depth he gives to both of them touches the pinnacle images in the history of Chinese poetry: the king sighs at being abandoned and wanders a long way, and turns to seeking beauty to extend his beauty (Qu Yuan); the concubine is noble and far away from the vulgar, and spends her prime years empty (Qu Yuan) Cao Zhi).