Jinling Nostalgia

[author] Liu Yuxi? [Dynasty] In the Tang Dynasty,

the tide was full of smelting cities and Zhu, and the pavilion was collected at sunset.

Cai Zhou's new grass is green, and the shogunate's old smoke is green.

it's up to people to make things better, and mountains and rivers are empty.

*** spend a song, and the bitterness is unbearable.

Tags: Ode to the History, Ode to the Ancient Poems and Other Feelings

Spring tide flooded Zhouzhu in Yecheng, and the afterglow of the setting sun shone obliquely in the Zhenglu Pavilion.

the new grass in caizhou is strong and green, and the shogunate hill is still misty and green.

The rise and fall of a country depends on personnel, and mountains and rivers also have steep terrain.

Yushu * * * spends this song of national subjugation, which is too sad to listen to. Notes on "Jinling Nostalgia"

(1) Yee City: a famous place for making weapons in Soochow. Smelting: a "Taiwan".

(2) Luzheng Pavilion: Pavilion name, in Jinling.

(3) Cai Zhou: the name of Jiangzhong Zhou. Cai: One is "Fang".

(4) shogunate: mountain name.

(5) Rise and fall: refers to the rise and fall of the country. Personnel: refers to people's actions.

[6] empty terrain of mountains and rivers: there is a dangerous situation of mountains and rivers in vain.

(7) * * * Flower: namely "Yushu * * * Flower", the name of a song written by Chen Houzhu. Appreciation of "Jinling Nostalgia"-"The tide is full of smelting the city, and the sun is inclined to levy the pavilion." The first couplet is about morning scenery and evening scenery. People came to the riverside to search for the remains of Yecheng, the place where Soochow was smelted in the past, just as the early tide rose, the water and sky were vast and the wind and waves were full of Sichuan. Where is Yecheng, a famous historical site in Wu Gou, which is based on smelting Wu Dao? The poet wandered around looking for it, but he was at a loss. Only the lapping sound of Jiang Tao and the desolate scene by the river. It seems to tell people that Yecheng and Wu's ambition have long since disappeared without a trace in the long river of time. In the evening, the Luting Pavilion stands lonely in the oblique light, accompanied by only a long shadow cast on the ground. The lively ostentation and extravagance of the aristocratic house of Xie Wang in the Eastern Jin Dynasty, which was once here for farewell, has long since disappeared. Although the pavilion and the sunset are still the same, the personnel are completely different. In the first two sentences of the poem, the contrast between prosperity and decline is skillfully revealed from the scenery, which makes the poem stick to the meaning of the topic as soon as it is written, and naturally reveals the feeling of mourning the past and hurting the present.

"Cai Zhou's new grass is green, and the shogunate's old smoke is green." Although the couplets are still about scenery, the scenery written here is not only a tribute to the historical traces, but also a testimony to express the poet's understanding of a historical issue. The poet said: Look, although the time sequence is chilly in spring, the warship Caizhou, which is not heavy in the heart of the river, has grown a new green grass; The shogunate mountain, which is called the gateway of Jinling, looks at the river, and smoke rises from the top of the mountain, and the situation remains the same. Facing the surging river, the poet remembered that Su Jun, a warlord in the Eastern Jin Dynasty, once attacked Jinling in an attempt to establish a hegemony by virtue of obstacles. Soon Tao Kan and Wen Qiao rose up and rebelled here, and sailed forty thousand times in Cai Zhou. At that time, we faced each other, covered the air with flags, and fought fiercely for days. Finally, we defeated Su Jun, which turned the Jinshi room into a safe place. He also remembered that the Shogunate Mountain was named because Prime Minister Wang Dao had set up a shogunate garrison here. But once upon a time, the Eastern Jin Dynasty was still replaced by Liu Song, and Liu Yiji, the king of Hengyang, became the secretariat of South Yanzhou. Since then, this mountain has become the ancestral home of the upstarts of Liu Song. The scenery of mountains and rivers has not changed in the ever-changing historical river. What the poet still sees is: spring grass is green every year, and old smoke is young every year. This combination of ancient and modern events and the prospect of the eyes is a whole, and the words "new grass green" and "old smoke green" are vivid and vivid, blending scenes and scenes, and paving the way for the following feelings.

"Prosperity and waste are caused by personnel, and mountains and rivers are empty." The neck couplet is connected with two couplets and turned to discussion. The poet revealed the secret of the rise and fall of the Six Dynasties in extremely refined language, and warned the world: Where did the prosperity of the Six Dynasties go? Where are the powerful people at that time now? The dangerous situation of mountains and rivers did not provide guarantee for their long-term stability; The rise and fall of the country should depend on personnel! In this couplet, the poet thought for thousands of miles, made his own great words, and put forward the outstanding opinion that the existence of a country is "in virtue but not in danger" Later, Wang Anshi's "Four Poems of Jinling Nostalgia" was the second: "The heavenly soldiers went south to this bridge river, and the enemy country pointed to Gu's surrender at that time. The mountains and rivers are majestic and empty, and the king SHEN WOO is unparalleled. " That is, from this. It shows that the discussion is high and the knowledge is outstanding.

The song "Flowers of * * *" in the end couplet is unbearable. The emperors of the Six Dynasties died by relying on natural hazards and indulging in pleasure, and the lessons of history were not remembered by later generations. The poet's "Flowers in Yushu * * *" is still popular, suggesting that today's rulers in the Tang Dynasty are indulging in sensual pleasures, following the footsteps of the Six Dynasties, and the consequences are unimaginable. Flowers in Yushu is recognized as the voice of national subjugation. The poem implicitly contains the meaning of warning from national subjugation in a musical phenomenon, which is meaningful. "Bo Qinhuai" by Du Mu, a poet in the late Tang Dynasty: "Businessmen don't know how to hate the country, but they still sing" * * * Flowers "across the river, which is based on this.

On Zhen Yizhai's Poems says: "You don't have to point out the facts when chanting poems, but you can see the masterpieces of the ancients. This is the case with Liu Yuxi's poem. The first couplet is swaying from the front of the topic, and the last couplet is lingering from the back. The first two couplets only point out the scenic spots and historical sites in Jinling related to the Six Dynasties, so as to hint at the reasons for the rise and fall of the ages, rather than to cherish one day, one emperor, one thing and one thing. In the last two couplets, the theme of the whole poem was revealed through discussion and emotion. This technique is quite clever when used in chanting epic poems and nostalgic poems. Appreciation of Er Jinling (now Nanjing, Jiangsu) has been the capital of the Six Dynasties since the Three Kingdoms and Wu Dynasty, and it 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 realistic. The author chose two typical scenes to describe what he saw in front of him, without much ink, but he was able to show the decadent and desolate scene of Jinling, the ancient capital, very concretely and vividly. The chariot road is the road that the emperor passed by car. Think of that year, when the emperor traveled, flags were like forests, drums and music were loud, and he was crowding around. How majestic it was! Now this scene no longer exists, only Jiang Feng, who has enjoyed the vicissitudes of the world by the roadside, grows tall and big, covering the sky and casting a dense shadow, making the deserted road even more dark and gloomy. The word "dark" of "Jiang Feng is dark" is not only realistic, but also reveals the author's heavy mood at the moment. Walking along this road, you can see some remaining buildings of the Six Dynasties Palace. "Six generations of Taicheng compete for luxury", the former palace is resplendent and resplendent, not to mention the spring when the flowers are flying red and the birds are singing and dancing. Now it's desolate here, only the weeds grow everywhere, and it seems that the whole palace has become their world. "Weeds spring", the word "spring" not only points to the season, but also deliberately indicates that only this growing weed adorns spring. The antithesis of these two sentences is neat, and the road and palace are in strong contrast with Jiang Feng and Weeds, which inspires readers to compare its present situation with history, and its sense of ups and downs naturally resides in it.

Next, with a change of pen, the real thing goes into the imaginary, and the allusions are used to express * * * with ingenuity. Allusions are natural and appropriate, rich and intriguing.

let's talk about nature first. Yu Kaifu is Yu Xin, because once an official opened the house with three departments, so it is called. Yu Xin was a famous poet in the 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 are not polite to each other." It is natural for a poet to remember the past from the road and the palace. Of course, it is easy to think of Yu Xin, which is in line with the author's immediate scene.

say it properly. 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. After the Wei Dynasty in the Northern Zhou Dynasty, he was forced to be an official in Zhou Dynasty and stayed in the Northern Dynasty, and finally died in the first year of Emperor Wen of Sui Dynasty. He experienced several regime 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. Besides, he has been traveling to the North for a long time, and often misses his old country and hometown. Most of his poems have "thoughts of homesickness", and the famous "Ode to the South of the Yangtze River" is a masterpiece in this respect. There are some similarities between the poet's life and Yu Xin's. He experienced the "An Shi Rebellion" and witnessed the Tang Empire fall from the peak of prosperity. During the Anshi Rebellion, he was far away from his hometown and took refuge in the south. After the rebellion, he failed to return to Chang 'an for a while, and he was very homesick. Therefore, the poet uses Yu Xin's allusions, which not only grieves the rise and fall of the Six Dynasties in history, but also expresses his sigh over the decline of the Tang Dynasty, including his own thoughts on his hometown and his sense of life experience. It is indeed appropriate and stable, with rich connotations. The word "sad" falls heavily and is worth pondering. Yu Xin once wrote "Sadness Fu", which is sad and moving, and said, "Being hurt is a matter of mourning, but I feel sad ..." It is natural to be named "Sadness", which not only summarizes Yu Xin's life experience, but also entrusts the author with deep sympathy for this predecessor poet, and it is also a confession of his sad mood here and now.

this poem is short of 2 crosses, rich in connotation and deep in emotion, and it is a masterpiece of epic poetry, integrating emotion with scenery, ancient with present, and things with me. A brief introduction to Liu Yuxi, the author of "Looking Back on the Past in Jinling"

Liu Yuxi (772-842) was born in Lushan Mountain in his later years, Han nationality, and was born in Luoyang, China in the Tang Dynasty (now Luoyang, Henan). The self-talk originated from Zhongshan (now Dingzhou, Hebei Province), which was preceded by Liu Sheng, the king of Zhongshan Jing, and claimed to be "a native of Xingyang and a native of Luoyang". Bian Xiaoxuan, a close friend, suggested that Liu Yuxi was a descendant of the Huns and was born in Jiaxing. According to Mr. Deng Shengbin's textual research, his father Liu Xu suffered an Anshi rebellion and moved his family eastward to settle in Pengcheng. Liu Yuxi was a scholar in the ninth year of Zhenyuan (793). At the beginning, he was appointed as a clerk in Du You's shogunate, an envoy of Huainan, and was valued by Du You. Later, he entered the DPRK from Du You to supervise the empire. At the end of Zhenyuan, he made friends with Liu Zongyuan, Chen Jian and Han Ye in Wang Shuwen and formed a political group headed by Wang Shuwen. Later, he was appointed as Sima of Langzhou, Secretariat of Lianzhou, Secretariat of Kuizhou, Secretariat of Hezhou, Doctor of Host and Guest, Doctor of Ritual, Secretariat of Suzhou, etc. Liu Yuxi's last post was a prince guest, so his poetry collection was named "Liu Guest Collection" in later generations. Bai Juyi praised Liu Mengde as a poet in Pengcheng, so Liu Yuxi was also known as a poet in the middle Tang Dynasty, and he was an outstanding politician, philosopher, poet and essayist in the middle Tang Dynasty. Liu Yuxi's other works

○ Humble Room Inscription

○ Autumn Ci

○ Reward Lotte Yangzhou's first meeting

○ Wangdongting

○ Langtaosha Jiuqu Yellow River Wan Li Sha

○ Liu Yuxi's more works.