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Chen Tingzhuo's White Jade Zhai Thorn: The beauty of Baishi's long tune was the highest in the Southern Song Dynasty; Short chapters are also inaccessible, such as "point crimson lips?" Ding Wei spent a winter reading Wu Songzuo. At first, he only wrote about the scenery in front of him until he came to the conclusion: "What is it now?" Looking back, the willows danced irregularly. "At that time, the feeling of hurting things was only advocated by the words" what is it now ".Under the words" nostalgia for the past ",I only sighed by the words" residual willow ",and the infinite sense of sadness was all in vain. It makes readers worry about the past and hurt the present, so they can't stop and push it out.

Yu Biyun's Selected Interpretation of Song Poetry in Tang and Five Dynasties: Waiting for "Shang Lue" and "Shang Lue" in the "several peaks" of "poverty" is a subtle thought of the poet. White stone boating on the Wujiang River, see the peaks on the west bank of Taihu Lake, gloomy and rainy. The word "by the aperture" means that the past has passed, leaving only Liu Ye. It is said that there are many regrets in ancient and modern times, but learning to dance is still a breeze. Qing Xu Yixiu, leisurely and elegant.

Wang Guowei's poems on earth: Baishi's landscape paintings, such as "Twenty-four Bridges are still there, the waves are swaying, and Leng Yue is silent", "Several peaks are bitter and the rain in Shang Lue is hazy", and "The cicada on the high tree tells the news of the west wind", although high in rhyme, are like watching flowers in the fog, separated by a layer.

Free translation

(1) The wild geese in the north are free and float away from the west bank of Taihu Lake with white clouds. Several peaks in the distance look bleak and sad, as if discussing whether there will be a heavy rain at dusk.

When I arrived at Ganquan Bridge, I originally planned to live with my son that day. But now, where is his old man's house? I leaned back alone, thinking about it, and only saw the broken branches and willow leaves flying up and down in the wind.

(2) In winter, the wild geese in the north will float away with the white clouds on the west bank of Taihu Lake. Several peaks in the distance are shrouded in dense fog, vaguely, as if brewing a storm at dusk.

I visited the fourth bridge where Lu Guimeng once lived. I wanted to live here and live in seclusion, but when and how is it possible now! I leaned against the railing, thinking about now and now. I looked around and could see the broken willow branches dancing in the wind.

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In the winter of Ding Weinian (A.D. 1 187), the poet passed by Wu Song, where he wrote this lyric poem in the footsteps of Lu Guimeng, a poet he admired all his life. He expressed his nostalgia for Tian Suizi, and incorporated the poet's sense of life experience, hatred of home and country, and thinking about nature, life, history, times and even the universe into his poems.

& gt Yan Yan has no intention, but the west bank of Taihu Lake goes with the clouds. Several peaks are bitter, and it is rainy in Shang Lue.

Ci is about scenery, but it is different from the general poetic mode. Some people say that Jiang Kui's poems are good at describing the sky, starting from imaginary writing. The beginning of the word is like this, which reads, "Yanyan has no intention, and the west bank of Taihu Lake goes with the clouds." The wild geese in the north floated away with the white clouds on the west bank of Taihu Lake. The poet wrote from the swan goose in the sky, ethereal and elegant. Hongyan is one of the most common images in ancient poetry, which is often a symbol of freedom, loneliness and wandering. Jiang Kui was trapped in a farm house all his life, wandering around the rivers and lakes and running for his life. Isn't the swan goose flying in front of you the embodiment of the poet?

The last two sentences describe the scenery, "Several peaks are bitter, and Shang Lue has yellow rain." With a strong poet's emotional color. The poet's line of sight is from top to bottom, from heaven to underground, from geese to distant mountains, from dynamic scenery to static scenery. Wang Guowei thinks that this sentence is "high in rhyme, like looking at flowers in the fog, separated by a layer." Wang Guowei admits that Jiang Kui's sentence is exquisite in style and rhythm, which means that it is better in words and phonology. However, I think this sentence is "like looking at flowers in the fog, separated by a layer." I think there is some truth in this view. "What can describe the scenery and true feelings is called the realm." The reason why Wang Guowei thinks this sentence is "separated" is because the scenery written in this sentence is not "true". "Counting the peaks" is a big scene. It is called "austere" here, which reminds people of that kind of bare mountain peak with little vegetation. Qunfeng discusses the next rain at dusk, which shows that Qunfeng is too stingy, not atmospheric enough, and the artistic conception and scenery are not natural enough to show the vivid side of the scenery.

The scenery enjoyed by Wang Guowei is as vivid and eye-opening as "the branches of red apricots are in spring" and "the clouds break through the moon". Only when people and scenery blend naturally can people feel inseparable. However, Tang Guizhang, a modern literary historian and poet, has different views on this sentence. He said, "Several peaks are bitter. Shang Lue is in the hazy rain, and Yunshan is quiet, and everything is silent. Shang Lue's hardships are all realized from mountains and clouds. They are extremely fine and wonderful and inseparable. " But I don't think it is appropriate to say "from sex" here. The subjective consciousness of the poets "austere" and "Shang Lue" here adds more intense color to the scenery, and it is incorrect to control the scenery with emotion. This sentence makes us more aware of the poet's own sorrow.

& gt Next to the Fourth Bridge, I plan to live with you every day. Why today? Looking back, the willows danced irregularly.

The next poem is lyrical, expressing the nostalgia for Lu Tiansui, nostalgia hurts the present and sentimental life experience. "Next to the Fourth Bridge, I plan to live with Lu Tiansui every day." I came to the place where Lu Tiansui once lived in seclusion, and I want to live here like Lu Tiansui. Tian Suizi was born in the late Tang Dynasty, and he tried every time and wandered the rivers and lakes. Similar to Jiang Kui's life experience, Jiang Kui is naturally regarded as a bosom friend who crosses time and space. "Zen meditation only envies Tian Suizi, and Li Yisheng is cold in the river", "Sansheng must be with Lu Tiansui, and he will come back as a guest", and Jiang Kui hopes to live in seclusion like Tian Suizi all his life, but the last sentence of the word tells us that the poet's desire for seclusion is impossible. Why can't the poet's desire to live in seclusion come true? Although there is no positive answer to the last sentence of this word, readers can already know it clearly. The last sentence of the word ends with the interrogative tone commonly used in China's ancient poems.

"What is this? Looking back, the willows danced irregularly. " What time is it now? So what? I leaned against the railing and thought about the past and the present. I looked around with my eyes and saw only rotten willow branches dancing freely in the wind. This sentence is similar to Wang Bo's "Poems of Wang Tengting", "Where is the emperor in the pavilion now, the Yangtze River flows freely outside the threshold." The integration of nature, history, time and space and personal experience has enhanced the realm of the whole word. Residual willows are ruthless, and people are affectionate. This willow flutters alone in the wind, as if the poet saw himself, wandering all his life, not knowing where to go. This last sentence makes the emptiness between the lines cut into the bone marrow, which makes people sad to read.

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A Cultural Journey of Buyi Nationality

-Articles from Jiangxi Daily, Jiangxi Net and China.

It is difficult to skip Jiang Kui when reading Song Ci. Jiang Kui (1155-1221), a native of Poyang, was a famous poet and musician in the Southern Song Dynasty. His name was Yao Zhang, whose name was Baishi Taoist. Among the 300 Song Poems compiled by Zhu Xiaozang in Qing Dynasty, 17 was composed by Jiang. Numbers may not prove more, but they are enough to prove a scholar's long journey.

Reading Jiang Kui, you can't get around Yangzhou Slow: "Huai Zuo, Zhu Jiachu, take off your saddle and leave the beginning ... The 24th Bridge is still there, the waves are swaying, and Leng Yue is silent. Read the red medicine by the bridge, who do you know every year? " At that time, he made his debut in the sky of Song Ci with his youth in his early twenties. A self-created divine comedy is refreshing, breaking the stale and falling snow. In the Southern Song Dynasty at that time, Lu You, Xin Qiji, Yang Wanli, Fan Chengda and other mentors were all sitting on the stage of China's good poems, while Jiang Kui, a student who stepped onto the stage, walked alone and failed all the way.

"Yu Weiyang. At the beginning of the night snow, the wheat is looking forward to it. Into its city, depression, cold water green, twilight gradually, sad corner; Huai Yu's sadness comes from it, feeling the past and the present, because he is enjoying this song. " After many scientific examinations and wandering around, he has a different spirit in his sermons. Xiao Dezao, an old man in Yan Qian, had tears in his eyes when he turned around. Talent is rare! Faced with this kind of cloth, Xiao Lao poets not only became unforgettable friends with Jiang Kui, but also betrothed their nieces to him. On his way to Huzhou, Xiao Dezao introduced Jiang Kui and his poems to the famous poet Yang Wanli. Yang Wanli, who also appreciated them, recommended them to another famous poet, Fan Chengda. At that time, Jiang Kui was famous, and celebrities and scholars rushed to make friends with him. Even Zhu and Xin Qiji regarded him with special respect and exchanged songs with each other.

At this time, Jiang Kui was also baptized in the spread of this culture. When he lived in Huzhou, he was awarded the title of "White Stone Taoist" because of the White Stone Cave near Yangshan. White ethereal, spotless, unshakable stone. As a self-styled figure in Wei and Jin Dynasties, he resolutely left behind the burden of pursuing fame and wealth, and Jiang Baishi, who was more focused on poetry and music, embarked on his lonely and unparalleled cultural journey. Don't! This should be a difficult journey. Because a piece of cloth, after all, is inevitable to make a living, which will complicate the changes in the Chen Zhe world. The difficulty of social identity and the strength of the things in the bag are two wounds hidden in his heart, which he dared not open once and never calmed down all his life.

"Don't book, don't needle and thread, away from the soul. Huainan Mingyue is cold in Qian Shan and nobody cares. " This is to Jinling; "Yanyan unintentionally, the west bank of Taihu Lake goes with the clouds. Several peaks are bitter. Shang Lue is yellow and rainy. " This is Suzhou. In this way, "cold" and "bitterness" followed him in his journey.

"Empty city dawn Angle, blowing into weeping willows devoted to. The sound was blown to the corner of weeping willow street by the wind. Seeing light yellow and green, they are all old acquaintances in Jiangnan. " This is going back to Hefei to find the love he left here. Xia, a contemporary master of ci poetry, made a textual research. Among Jiang Kui's more than 80 existing ci poems, more than 20 are related to Hefei women. It seems that the eternal theme of love has been hidden in Baishi's pen, but he is lonely and poor and has not enough ability and courage to marry happiness. Love is hard to write, but it is hard to calm down, so love is separated from one layer to another in his blurred eyes, such as "cold and fragrant poems".

In the second year of Shao Xi, it was another winter. In the fourth grade, Jiang Kui went through the snow to enjoy plum blossoms in Jia Fan, Suzhou. Fan Chengda, 65, asked him for a manuscript about Yongmei, and Jiang Kui immediately wrote the lyrics of Dimfragrance and Thin Shadow. As soon as the new song came out, the geisha sang, "In the old days, moonlight, take some photos for me and play the flute in the plum blossom. Arouse jade people, climb regardless of the cold ... "At that time, Mei Yan's branches were frozen by snow, and her voice was tactfully moving. Fan, an old poet, said with a smile: since ancient times, swords have been given to heroes, and red powder has been given to beautiful women. In this song, Xiaohong, a geisha, was led to Jiang Kui's boat by her hand. Under the rainbow bridge, "the rhyme of self-made new words is the most charming, Xiaohong sings and I play the flute", and laughter flies all the way on the waves.

This seems to be the most proud and chic moment in Jiang Kui's life. As a civilian, I'm afraid I have reached the peak of happiness. In his depressed heart, it is just another form of embellishment and support. After all, the pain of life is self-aware.

A person's cultural journey is still going on, and a person walks alone outside the system. The world has long been blurred into a meaningless background, and the way is even more empty and cold. Different from the light travel of modern literati, Jiang Kui of Buyi nationality is more like a preacher and creator of culture, and his journey is heavy and ethereal. His handwritten sentences are dotted with flowers flying all over the sky, simple and distant.

In the last journey, Jiang Kui still tried to move from a cultural manor to a political territory. However, the cruel fact is that he failed to use the heavy cultural stepping stones such as Da Yin Shu, Qin Qin Archaeological Map and Twelve Chapters of Song Ge to knock on the dilapidated imperial gate. As a result, the cultural master's long and arduous journey actually bypassed the entire Southern Song Dynasty court and spent his life in rags.

There is Liu Yong in white before, and Tang Yin at the meridian gate behind. Being a professional literati, not catching up with the good times, is the cruelty of history, but it is also an arrogance and elegance of culture, and the return of culture is unstoppable. Jiang Kui has achieved high cultural value and far-reaching influence in many fields such as ci, poetry, music and calligraphy. From 65438 to 0987, the International Astronomical Society named Jiang Kui as Mercury Crater, one of the cultural celebrities in China. Since then, Jiang Kui's name has shined in the sky with Li Bai, Li Qingzhao and Badashan people, reaching the most dreamy end and height in his life journey.

A poet praised Jiang Kui like this: "You and a tree/in the classical blank, blended with plum blossoms/turned into a word/on the online scroll/every word is a pearl/more magnificent than the one in the emperor's crown." The culture is so magnificent that Jiang Baishi's footsteps are unforgettable.

20 18 65438+ 10/0/6

PS: Punching in the 90-day Challenge Training Camp in the University Hall (19)