There is no grass anywhere in the world, the past events of the Six Dynasties flow with the water

"Guizhixiang·Jinling Nostalgia" by Wang Anshi, a poet of the Song Dynasty.

Full text:

I am here to see you off. It is late autumn in my motherland and the weather is beginning to calm down. Thousands of miles of clear river looks like a train, and the green peaks are like clusters. Return to the sail and go to the setting sun, with the west wind at your back, and the wine flag standing slantingly. The clouds are light on the colorful boat, the herons are rising on the stars and rivers, and it is difficult to draw a picture.

Thinking about the past, the bustling competition, sighing at the building outside the door, filled with sorrow and hatred. For thousands of years, I have been proud of this. The old events of the Six Dynasties flow with the flowing water, but the cold smoke fades and the grass turns green. To this day, Shang girls still sing this song all the time, leaving behind songs in the backyard.

Translation:

Climb high and look at the ancient capital of Jinling in the distance. It is late autumn, and the weather is gradually starting to become crisp and cool. The clear Yangtze River is like a white line, and the green peaks are like arrowheads. Under the setting sun, the shadow of the sail wall shuttles across the river waves, and the west wind passes by the Jiusiqing flag and flutters. On the painting boat, there are light clouds and egrets flying in the Milky Way. It is difficult to depict this beautiful scenery in pictures.

Recalling the past when the Jinling emperors rejoiced here, it is a pity that the beauties were singing and dancing on the top of the building when the soldiers came to the city, and the sorrow and sorrow of the country's subjugation came one after another. Since ancient times, how many people have climbed up to pay homage to this, sighing in vain about the rise and fall and the honor and disgrace. The old events of the Six Dynasties have disappeared with the flowing water, and only the cold fog and withered vegetation are still green. To this day, there are still singers from the teahouses and restaurants who still sing the old song in the backyard.

Appreciation:

The upper part of this word depicts the magnificent scenery of Jinling, and the lower part turns to nostalgia, revealing the decadent life of the ruling class of the Six Dynasties who were "prosperous and chasing", and has a profound meaning to the rise and fall of the Six Dynasties. sigh. Climbing high, looking far, and expressing one's feelings after seeing things are common and favorite methods of ancient Chinese literati. Liu Xie of the Southern Dynasties said: "The original husband's purpose of climbing high was to express his emotions after seeing things." ("Wen Xin Diao Long·An Fu"). The word begins with the four characters "denglinshuomo", "denglin" refers to climbing the mountain and facing the water, and "sendsmu" means looking far away, which opens up a lofty vision for the word. "In the late autumn of my motherland, the weather is beginning to be calm" points out the location and season. Because it is the old capital of the Six Dynasties, it is called "the motherland". "Late Autumn" is opposite to the "early calm" in the next sentence. The autumn wind rustles and everything withers, showing a kind of "motherland". "Sad Autumn" atmosphere. At this time, in this scene, when you climb the tower, your emotions will be transferred to things, and your words will be emotional. This pave the way for the distant time described in the nostalgia for the past in the next film. "Thousands of miles of clear river seems to be practiced, and green peaks are like clusters." The word "Qianli" is the continuation of the first sentence "climb to see me off" - you can see thousands of miles when you climb high; Large panoramic scan, the scene is broad and far-reaching. "Chengjiang is as quiet as training" is derived from Xie Tiao's poem "Chengjiang is as quiet as training". Here it is opposite to "Chengjiang is as quiet as training". Not only is the contrast in words rigorous and neat, but the composition also uses continuous curves ("Chengjiang is as quiet as training"). ") and scattered dots ("green peaks like clusters") complement each other interestingly. It has both a two-dimensional spread and a three-dimensional presentation, and a picture of Jinling's splendid mountains and rivers unfolds before your eyes. "The sails are sailing in the setting sun, and the wine flag is leaning against the west wind" is a specific description of the scenery under the general background. The "setting sun" and "west wind" point out that it is dusk now and have typical characteristics of autumn scenery. "Wine flag" and "Sail expedition" are secretly written about the coming and going of travel in the autumn dusk. People are in a hurry. The purely natural moving scenery is written to the activities of people, and the picture suddenly becomes vivid. "The colorful boats and clouds are pale, and the stars and rivers are full of egrets" is the highlight of the generous painting. "Caizhou" and "Galaxy" have bright contrasting colors; "Clouds are light" and "Herons are rising", showing movement and stillness. The ship far away in the sky is covered with a layer of mist, and the egrets on the water are rising from the Milky Way. It not only vividly displays the entire autumn scenery of Jinling, but also further expands the horizon of observation - in the vast space, with the sailing Gradually going away, the water and the sky have merged into one, and it is difficult to tell where is the water and where is the sky. Such a majestic and broad demeanor, such a broad and far-sighted vision is comparable to Wang Bo's "Preface to Tengwang Pavilion", "The setting clouds and solitary owls fly together, the autumn water lasts for a long time and the sky is the same color". It can be said that the magnanimity and vision displayed by the two are comparable. Different approaches but similar results. Just as Lin Bu said, "Autumn mountains cannot be painted, and autumn thoughts are boundless." What we see in front of us is overwhelming and it is difficult to describe it in full. Therefore, we always say, "It is difficult to paint a picture" and end the last chapter.

Xia Qian is nostalgic and lyrical. The phrase "Thinking about the past" naturally transitions from what you see when you come to visit to what you think about when you come here. "Race to Prosperity" covers stories of rise and fall through the ages. It reveals that the bustling surface of Jinling hides a life of extravagance and extravagance. Then there was a sigh, "Sighing at the top of the building outside the door, sorrow and hatred continue." This phrase comes from Du Mu's poem "Taicheng Song": "Outside the door, Han captures the tiger, and above the building Zhang Lihua". It uses its meaning and typical technique to reproduce the tragedy of the Sui soldiers approaching the city, but Empress Chen actually turned a deaf ear to state affairs and continued to have fun with his concubines in times of crisis. This is the epitome of the tragic art of national subjugation, with deep regret in the mockery. "Sorrow and hatred continue" means that the subsequent ruling class did not take this as a lesson, spent extravagantly, indulged in wine and sex, and the dynasties in the south of the Yangtze River fell one after another: they were filled with regrets and sighs. The two sentences "Ping Gao Gao through the ages" are directly lyrical, paying homage to historical sites, recalling past events, and expressing dissatisfaction with previous generations' nostalgia and nostalgia for the past. The two sentences "Old Events of the Six Dynasties" are adapted from the meaning of Dou Gong's "Sad and wanted to ask about the events of the previous dynasty, but saw that the river flowed away and never returned. At dusk, the east wind favored the green grass, and the partridges flew up to the Yuewang Terrace", borrowing the meaning of "cold smoke and decaying grass" Express melancholy. What has gone has gone after all. The old events of the Six Dynasties have disappeared like flowing water. Now apart from some decaying natural scenes in front of us, we can no longer see anything. What is even more sad is that "to this day, businesswomen still sing the legacy of "The Back Courtyard"." It melts the poetic meaning of Du Mu's "Poetry at Qinhuai", "Business girls don't know the hatred of their country's subjugation, but they still sing the flowers in the backyard across the river". The remaining song in the backyard is "Flowers in the Back Courtyard of Yushu" composed by Empress Chen.

"Sui Shu·Five Elements Chronicles" says: "In the early Ming Dynasty, the emperor created a new song with very sad lyrics, which made the beauties in the harem sing it. The poem said: 'The flowers in the backyard of the jade tree will not bloom for a long time.' People at that time thought The song prophecies, this is a sign that it will not be long." Later, "Yushu Backyard Flower" became the sound of the country's subjugation. This sentence expresses the poet's deep emotion: It is not the merchant women who have forgotten the hatred of the country's subjugation, but the ruler's drunken life and dreams that make the sound of the country's subjugation fill the streets of Jinling.

At the same time, this poem also has artistic achievements. It embodies the author's literary proposition of "washing away the old habits of five generations." The lyrics originally depended on the sound, but Wang Anshi said: "The ancient singers all composed the words first, and then the sounds. Therefore, it is said that 'poems express aspirations, songs last forever, sounds last forever, and rhythms and harmony'. Nowadays, the tune is written first, and then the lyrics are written. , but it is also 'Yong Yisheng'." (Zhao Lingji's "Hou Zhenlu" Volume 7 Quotation) Apparently he is not satisfied with just treating Ci as a work that relies on sound. This was a heretical theory at the time, but today it seems that it still retains its keenness and foresight. Although there were a number of famous writers such as Yan Shu and Liu Yong in the Ci world in the Northern Song Dynasty, they did not break through the barrier of "ci is a Yanke", and the style of Ci was weak and weak. After reading Yan Shu's short poems, he once sighed: "How can the prime minister do this?" (quoted in Wei Tai's "Dongxuan Records"). Therefore, when he wrote his own lyrics, he tried his best to avoid this shortcoming and "wash away the old habits of the Five Dynasties" (Volume 4 of Liu Xizai's "Art Summary"), pointing out the upward path, laying a solid foundation for the full stage of the lyrics of Su Shi and other scholar-bureaucrats.

First of all, the scenery described in this poem is magnificent and broad, which fully shows the author's high foothold and broad mind. The first three sentences are written in general terms. In just a few words, the season, location, and weather are explained clearly, and the whole poem is placed in a perspective of leaning on a railing and overlooking the distance. In the solemn atmosphere of autumn colors, the momentum is extraordinary. The following "Thousands of miles of clear river seems to be practiced" describes the water, and "The green peaks are like clusters" describes the mountains. The mountains and rivers of Jinling are described in general, and they also describe a broad background for the whole poem. The two sentences "Zhengfan" are specific descriptions of the scenery under this background. On the surging river, countless sails hurried away in the sunset. Compared with "outside the setting sun, jackdaws are swarming, and flowing water surrounds the isolated village" (Qin Guan's "Man Ting Fang"), although both are vast, the former is magnificent, while the latter is desolate, with completely different styles. The numerous uneven wine flags on both sides of the Yangtze River are fluttering in the west wind. Compared with Du Mu's "Shui Cun Shan Guo Wine Flag Style", the difference between strong and cool is obvious. As for "The clouds on the colorful boats are pale, and the herons on the stars and rivers are rising", it is like the further opening of the movie lens. As the sails gradually go away, the poet's vision also expands, even integrating the water and the sky into one, in a broader The space depicts the Yangtze River’s myriad forms. The distant Zhengfan seemed to be floating in the light white clouds, and the flying egret seemed to rise from the Milky Way. Reading this, one can't help but think of Wang Bo's "Preface to Prince Teng's Pavilion": "The setting clouds and solitary swans fly together, and the autumn water is the same color as the sky." One is a parallel prose aphorism that has been passed down through the ages, and the other is an unprecedented creation of a poem. In fact, they are different but have the same purpose. The sceneries in this poem are both real and virtual, the colors are thick and light, the distance is intertwined with the near, the virtual and the real are combined, and the shades are appropriate, forming an ingenious Jinling scenery. Its far-reaching, fresh realm, vigorous and majestic style are incomparable to those works such as "Fragrant Path in Small Garden" and "Falling Flowers under the Waning Moon".

Secondly, the idea is novel and far-sighted, showing the insights of a sober politician. The comments about the second film of "Cinnamon Sticks" are by no means lamenting personal joys and sorrows, separations and sorrows, but reflect his concern and anxiety about the destiny and future of the country. The first three lines, "Thinking of the luxurious competitions in the past, sighing at the buildings outside the door, the continuous sorrow and hatred", what is being read is to reveal that the rulers of the Six Dynasties who established their capital in Jinling took advantage of the beautiful mountains and rivers in the south of the Yangtze River to compete in luxury and harm the country with their debauchery; Those who lamented despised them for performing one scene after another of "outside the building" style tragedies. It was really both sad and hateful. The two sentences "Ping Gao through the ages" criticize the literati and poets for thousands of years who only lamented the rise and fall of dynasties when facing the mountains and rivers of Jinling. They failed to jump out of the small circle of honor and disgrace. They could not stand at the height they should have, and it was difficult for them to overcome the six dynasties one after another. draw lessons from history. But now, the old events of the Six Dynasties have passed away with the flowing water, and there are only a few lifeless decaying grasses shrouded in cold smoke. This "cold smoke fades and the grass turns green" obviously reveals the author's dissatisfaction with the Northern Song Dynasty's inability to make great efforts to govern. The focus of the whole poem is on the concluding sentence: "To this day, Shang women still sing songs from the backyard." The so-called "legacy from the backyard" is the beautiful song "Flowers in the Garden of Yushu" composed by empress Chen. Du Mu, a native of the Tang Dynasty, also wrote about this: "Shang girls don't know the hatred of their country's subjugation, and they still sing songs in the backyard across the river." However, the author does not blame the business girls for being ignorant like Du Mu, but refers to the mulberry trees and the locust trees. The implication is that the singing girls still sing to this day. The sound of national subjugation is precisely because those in power indulge in wine and sex, and live in a state of intoxication. However, "the flowers in the backyard of the jade tree will not bloom for long." If we do not change our ways and take measures to enrich the country and strengthen the army, we will inevitably continue to suffer and hate like the Six Dynasties. This conclusion is tantamount to a warning to the Northern Song authorities. Some people say that Zhang Wei's "Li Tingyan" is a copy of Wang Anshi's "Guizhixiang". From the perspective of language and syntax, Wang Ci was indeed greatly influenced by Zhang Ci. However, Zhang Min only had a negative sentiment about the rise and fall of the Six Dynasties: "How many of the rise and fall of the Six Dynasties were just gossips among fishermen and woodcutter. Looking up at the building with regret, the cold sun is silently setting in the west." The ideological realm of the two words is simply different. And words.

Third, the composition pays attention to the succession, transition and integration, with well-organized layers, which is very similar to prose writing. The first sentence of the film, "Come here to see me off," covers the whole story, and an article was born from there. The word "motherland" in the second sentence points to Jinling, laying the groundwork for the nostalgic discussion in the next film.

The following description of the scene starts with the overall picture, then close-up, long-range, and finally ends with "it is difficult to draw a picture". It not only summarizes the above description of the scene, but also naturally moves into the discussion of the next film. The arrangement is very appropriate and natural. The next film opens up a layer of discussion: Jinling is so magnificent, but it is the historical witness of the successive demise of the Six Dynasties. The three sentences "thinking about the past" express the attitude towards the rise and fall of the Six Dynasties, and the two sentences "paying tribute to the high through the ages" express the views on the works that have always paid tribute to Jinling. The following transitions to reality, and the conclusion returns to today. The head and tail are rounded, the structure is rigorous, and it is unfolded layer by layer with every detail. Some of the poems are based on scenery, such as Yan Shu's "Treading on the Sand": "When I wake up from a sad dream, the setting sun shines deep in the courtyard", which describes the inexplicable spring sorrow; some are based on complex, such as Liu Yong's "Feng Qi" "Wu": "The clothes are getting wider and wider, but I don't regret it anymore, and I feel haggard because of Yi." It expresses single-minded and sincere love. However, "Cinnamomum Fragrance" ends with a discussion, which entrusts the author's views on major real-life political issues. These characteristics of the composition and structure of "Guizhixiang" reflect the characteristics of the development of Ci poetry after entering slow Ci poetry, and then prose was introduced into Ci poetry.

Fourth, the allusion is appropriate and natural. "Thousands of miles of Chengjiang is like practicing" is adapted from Xie Tiao's poem "Climbing Three Mountains at Night and Looking at the Capital City": "The remaining clouds are scattered into clouds, and the Chengjiang River is as quiet as practicing." "The Heron Rises in the Galaxy" is adapted from Li Bai's "Climbing the Phoenix Terrace of Jinling": "Three mountains are half-fallen outside the blue sky, and two waters are divided into Bailuzhou" poetic meaning. "Sighing outside the building, sorrow and hatred continue" is an allusion to the Sui Dynasty's destruction of Chen: when the Sui Dynasty general Han Qinhu came to the city with his troops, the heartless empress Chen was still singing and dancing with his beloved concubine Zhang Lihua. Du Mu's "Taicheng Song" once sang about this incident. Wang Anshi cleverly used only the four words "menwailoutou". "Outside the door" means that the army is pressing down on the situation, and "loutou" means debauchery and shamelessness, which expresses the collapse of the Six Dynasties in an extremely concise and vivid way. The four words "sorrow and hatred continue" summarize the history of the Southern Dynasties. The conclusion uses Du Mu's poem "Poetry at Qinhuai", but gives it more profound and penetrating ideological content. A short poem with four allusions was rare before Wang Anshi.