Translation and appreciation of the ancient poem Denggao Pavilion

Song Dynasty: Huang Tingjian

Silly children don't do official business, and they rely on yat sen villa for quick things.

Qian Shan has a vast sky, and Chengjiang has a bright moon.

Zhu Xian is already a beauty, and her young eyes are chatting with wine.

Wan Li returned to the ship to play the flute, which is why we made an alliance with Bai Ou.

translate

I, a fool, boarded the express booth after finishing my work, leaned against the bar and overlooked it in the afterglow of the sunset.

Looking from a distance, there are countless autumn mountains and falling leaves, and the world is getting wider and wider. Under the bright moon, the Chengjiang River flows, making it more empty and clear in the moonlight.

My friends are far away, and I have lost interest in playing the string and flute for a long time, so I have to clear a bottle of wine, chat and solve my worries.

I came back from a long voyage thousands of miles away and played the flute on the ship; I really want to make friends with Bai Ou.

To annotate ...

Express Pavilion: Located on the Dongjiang River in Taihe County (now Jiangxi Province) of Jizhou, it is famous for its vast scenery and Tsinghua. This poem was written in the fifth year of Yuanfeng (1082) by Taihe Mausoleum.

Silly children don't do public affairs: it shows that they are not great, just perfunctory. Idiot, the author refers to himself. Finish: Finish.

Things: things. Look around in the pavilion.

Rely on: Rely on

Fallen wood: fallen leaves

Chengjiang: It refers to Ganjiang River. Clear, clear.

Zhu Xian: This refers to Qin. Beauty: beauty, extended to confidant and bosom friend.

Green eyes: black eyes are in the middle of the eyes, and looking at people with green eyes shows love or attention, respect and correction. White eyes mean showing white eyes to show contempt. Chat: Let me put it this way.

Get: Play.

Alliance with Bai Ou: This refers to unprofitable heart, and this refers to seclusion.

Make an appreciative comment

This is a lyric poem written by Huang Tingjian when he was sent to Taihe County Express Pavilion.

Generally speaking, the beginning of an article or poem is often so difficult that some writers often cut it off, because at the beginning, the author has not integrated with the situation of the work, so it is easy to pose. Huang's poems begin with colloquial expressions, but they can be wonderfully conceived and fascinating. The poet said, I, fool, boarded the express booth after finishing my official business. In the afterglow of sunset, I leaned against the fence and looked out. These two sentences seem popular and simple, but they contain extremely rich contents: the first sentence is based on Xia Houdun's words in Fu Xianchuan, the Book of Jin, "It is not easy to have children." I sat there in a daze, I almost heard it! "The last sentence is based on Du Fu's" Pay attention to the mountain pavilion in Leng Jiang "and Li Shangyin's" The soul of eternal chastity leans on the sunset glow ",and there are many amazing renovations. The word "idiot" reverses the meaning of predecessors and directly admits that he is "idiot", which is one of the humors; The word "give up" renders the poet's happy mood of relief and echoes the darkness of "fast song", thus adding a sense of unity. This is the second wonderful use; The word "leaning on yat sen villa" is beyond the previous stereotype. The "leaning" of Du Fu's poems, leaning on the mountain pavilion, is a realistic narrative; Li's "leaning", whose theme is "eternal chastity soul", is an illusory reality; Huangshi's "leaning" can be described as the combination of reality and reality; The poet's leaning is a real scene, but he leans on the boundless twilight sky. Look at these three houses, just like an artistic photography. In the afterglow of the sunset, poets and pavilions are behind them.

What's more, the word "leaning on yat sen villa" paved the way for the description of the next sentence, which made the poet generate give a swan song of "the mountains in front are vast and the moon is bright in the chengjiang River". Looking at countless autumn mountains from afar, the fallen leaves on the mountains have fallen, and the vast sky is wider at this time. Clear as jade, the Chengjiang River flows under the pavilion, and a crescent moon is reflected on the river, which is even more ethereal and clear. This is a description of the scenery the poet visited when he first boarded the pavilion, and it is also a portrayal of the poet's mind. Reading such poems can't help but remind people of Du Fu's "Fallen leaves are like waterfalls, but I think the long river is always rolling in" and Xie Tiao's "Yu Xia is scattered into qi, and the Chengjiang River is like a practice". And this sentence of Huang Gu not only absorbs the nutrients of predecessors to exercise and melt, but also represents a new realm. Therefore, predecessors have commented on this sentence: "Its artistic conception is epoch-making, so it can really split the mystery of ancient and modern times." (Zhang "Lu Zhai Xue Ji Ji Ji")

Five or six sentences are the middle sentences in which the poet skillfully uses allusions. In the previous sentence, I thanked my bosom friend with Boya holding the piano. "Lu Chunqiu's Taste" contains: "After Zhong Ziqi's death, Boya broke the piano and lost his string, and never played the piano again for life, thinking that the world was not enough to be a drummer." The last sentence uses Ruan Ji's blue eyes. In history, Ruan Ji was jealous, "when he saw people with customs, he looked at them with white eyes" and when he saw people he liked, "he looked at them with white eyes" (Biography of Ruan Ji in the Book of Jin). The poet's two sentences mean that because my bosom friend was absent, I broke the Zhu string on the piano and stopped playing, so I had to clear a bottle of wine to relieve my worries. The word "horizontal" is used incisively and vividly here, showing the image of the poet's helplessness, loneliness and boredom.

The poet said that he hoped to board the boat, play the melodious flute and return to his distant hometown-my heart, which had already made a covenant with Bai Ou. Judging from the structure of the whole poem, this ending is quite wonderful: at the beginning, the poet talks about "being stupid and giving up official duties", showing his boredom with officialdom and his desire to climb the pavilion to enjoy the natural scenery; Then, gradually getting better, the poet was intoxicated by the beautiful moonlight in Qian Shan and Chengjiang, which was in sharp contrast with the "ending" of the beginning "business"; In the beautiful scenery, the worries in the poet's heart come for no reason, and the poet feels the pain that his ambition cannot be realized and his heart is not understood. So where is the way out? This naturally leads to the poets' thoughts of "returning to the ship" and "Bai Ou". This ending not only echoes the beginning, but also ends with the trend, giving people a feeling of "hovering down in one breath" (Pan Boying's comments). And it is meaningful and imaginative.

The whole poem is as clear as words, lyrical because of the scenery, interlocking and appropriate use of allusions, which embodies the novel words and vigorous brushwork of Jiangxi Poetry School.

This poem was highly praised by later generations. Yao Nai called this poem "grand rhythm, which is too white to sing in the seven laws"; Fang commented: "start with four sentences, write them, one sentence is expensive, and five or six sentences are vulgar." Relax. This so-called one-way gas is between couples. " These comments are very pertinent. Weng Fanggang commented on the poem of Huangshan Valley: "Apart from Pogong, there is such an extremely high style, an extremely great realm, and the vitality of nature is exhausted." Reciting this poem is well deserved.

Further Reading: Huang Tingjian's Anecdotal Allusions and Yellow Light Monk

Huang Tingjian was in Hengzhou, and the place where he went the most and stayed the longest was Huaguang Temple.

The abbot of Huaguang Temple has a heavy responsibility, and Yuezhou (now Shaoxing, Zhejiang) gathers people. During the period of Yuan You in the Northern Song Dynasty (1086-1093), he came to Hengzhou and was called the Huaguang monk because he lived in Huaguang Temple. Ren Zhong likes plum blossoms. Whenever flowers bloom in spring, he sits in the greenhouse all day and recites and appreciates them. I once saw the plum shadow reflected in the window on a moonlit night. The thin shadow was swaying and quiet and lovely, so I happily wrote it down and imitated it. Since then, his plum blossom painting skills have greatly improved, and the charm of plum blossom branches has been vividly displayed, becoming the originator of ink plum blossom painting. Huang Tingjian lamented Zhong Ren's paintings and praised his plum blossoms as "tender as cold and bright as dawn, walking on a hedge, but lacking fragrance".

In Huaguang Temple, Zhong Ren took out the poems left by Qin Guan and Su Shi for Huang Tingjian to watch, and drew some plums to give to the distant mountains outside the smoke. Su and Qin Dou were close friends of Huang Tingjian in Beijing, but both of them died before him. In Changsha, Huang Tingjian met Qin Guan's son and son-in-law. Down and out, they are escorting Qin Guan's coffin north. When Huang Tingjian saw the two younger generations, he held their hands and burst into tears. He immediately gave twenty taels of silver as funeral expenses. Here and now, I saw the legacy of my old friend again, and I remembered that the official road had fallen, and I was no longer in my prime. I couldn't help but feel sad, so I wrote "Poem on the Flowers of Qin and Su, thinking that the two countries would never see each other again, and I never sighed when I opened the book, because the flowers made plum branches for me and painted the rhyme of distant mountains outside the smoke".