The weather in Suijiang

Gui Zhi Huaigu Mausoleum written by Wang Anshi, a poet in the Song Dynasty.

Full text:

This is the late autumn in the ancient country, and the weather is very early. Thousands of miles are like a river, like clusters of Qingfeng. Sail back to the sunset, with the west wind on your back and the wine flag tilted. The colorful boat is cloudy, and the Milky Way heron rises, which is difficult to draw.

Miss the past, compete for prosperity, sigh outside the door, and continue to hate. Throughout the ages, it is a shame to look up to it. The past of the Six Dynasties flowed with the water, and the cold smoke faded the grass. Today, business women still sing from time to time, leaving a legacy in the backyard.

Translation:

It's late autumn when you board the ancient capital Jinling, and the weather is getting cooler and cooler. The Yangtze River, thousands of miles away, is like training in white and Qingfeng is like an arrow. At sunset, the shadow of the sail wall shuttles on the river waves, and the west wind sweeps over the green flag of Jiu Si. Even if the clouds on the ship are pale and the egrets fly in the Milky Way, it is difficult to draw this beautiful picture.

Looking back, the emperors of Jinling pursued happiness here, lamenting that the beauty on the roof of Enemy at the Gates was singing and dancing, and the sorrow of national subjugation followed. From ancient times to the present, how many people mourn for this, sigh for rise and fall, and sigh for honor and disgrace. The past of the Six Dynasties has faded away with the flowing water, and only the cold fog and vegetation are still green. Today, there is still the singer in the teahouse and restaurant, and he is still singing the old backyard song from time to time.

Appreciate:

This word depicts the magnificent scenery of Jinling for the first time, turns to nostalgia for the second time, exposes the decadent life of the ruling class in the Six Dynasties, and gives a meaningful sigh for the rise and fall of the Six Dynasties. Climbing high and looking far, seeing things and expressing feelings are the ways used and liked by ancient literati in China. Liu Xie of the Southern Dynasties said: "The original purpose of mountaineering is to cover things and make people interesting." (Wen Xin Diao Long Quan Fu). The word begins with "watching the mountain below", which means climbing the mountain and facing the water, and "watching the mountain below" means looking into the distance, which opens up a lofty vision for the word. "Old country in late autumn, weather in early autumn" points out the place and season. Because it is the old capital of the Six Dynasties, it is called "the old country". "Late autumn" is opposite to the next sentence "early autumn", and everything is dying, showing an atmosphere of "sad autumn". At this time, when you go to the temple building, you will be moved by things, and your words will have feelings, which will pave the way for the distant time described in the next movie. "A thousand miles into a river, like a practice, like a cluster of green peaks" and "a thousand miles" are the continuation of the first sentence "Climb high and look far and see clearly"-overlook a thousand miles; The panoramic scanning of "Chengjiang seems to be practicing, and Cuifeng seems to be clustered" has an open and lofty scene. "Chengjiang seems to be practicing" is different from Xie Tiao's poem "Chengjiang is as quiet as practicing". Compared with Cuifeng Cluster, not only the wording is rigorous and neat, but also the composition is so, the curve is stretched ("Chengjiang is like practice") and scattered points are spread ("Cuifeng is like cluster"). There is not only a flat development, but also a three-dimensional presentation, and a beautiful Jinling landscape is displayed in front of us. "Sailing towards the sunset and leaning against the west wind wine flag" is a concrete description of the scenery in the background. "Sunset" and "West Wind" point out that it is dusk, which has typical autumn scenery characteristics. "Wine Flag" and "Sailing" are secret journeys written in autumn dusk. People are in a hurry, and the pictures are vividly written from pure natural activities to human activities. "Colorful boats are cloudy, herons rise to the Milky Way" is a big finishing touch. "Colorful Boat" and "Galaxy" are brightly colored; "Clouds are light" and "herons rise", which are dynamic and static. A mist hangs over the hull in the distance in the sky, and the egrets on the water have started up from the Milky Way, which not only vividly shows the whole picture of Qiu Jingtu in Jinling, but also further broadens the field of observation-in the vast space, with the sails drifting away, water and sky have merged into one, and it is impossible to tell where water and sky are. Compared with Wang Bo's preface to Wang Teng-ting, and "Sunset and lonely Qi Fei, autumn water and sky are the same color", their tolerance and vision are comparable and similar. Just like Lin Bu said, "Autumn Mountain is not painted, Qiu Si is boundless", and what you see in front of you is too close to describe, so you always praise "drawing is difficult" and end uptown.

I am nostalgic and lyrical. The phrase "think before and after" naturally transitions from what you see when you board the plane to what you think when you board the plane. "Prosperous Games" covers the story of the rise and fall of the ages. Exposed the bustling surface of Jinling and covered up the drunken life. Then there was a sigh, "Sigh on the roof outside the door, and the sorrow and resentment continued", from Du Mu's poem "Taicheng Qu": "Outside the door, Zhang Lihua on the roof". With its meaning, it typically reproduces Chen Houzhu's distress in Enemy at the Gates, Sui Jun, turning a deaf ear to state affairs and still enjoying his concubines. This is the artistic epitome of the tragedy of national subjugation, and the irony contains deep regret. "Mourning is greater than dying in the heart" means that the ruling class in the future did not take this as a lesson, spending money like water and indulging in debauchery, and the dynasties in the south of the Yangtze River fell one after another: they lamented one after another. The phrase "always look at the height" is a direct lyric, a memorial to historical sites, a recollection of the past, and an expression of dissatisfaction with the nostalgia of the previous generation. The phrase "the past of the Six Dynasties" was translated into Gong Dou's phrase "I asked about the past sadly, but I didn't see the river flowing backwards. At dusk, the east wind is all green, and the partridge flies to Yuewangtai, which means "cold smoke decays grass" to send melancholy feelings. After all, the past of the Six Dynasties passed away with the flowing water. Now, nothing can be seen except some bleak natural scenes. What is even more tragic is that "strong women in business still sing from time to time, and" Backyard "is a legacy". It melted the poem "A merchant girl doesn't know how to die and hate her country, but she still sings flowers in the backyard across the river" in Du Mu's Bo Qinhuai. The posthouse remains the garden flower of Yushu in Chen Houzhu. " "Five Elements of Sui Shu" said: "In the early Ming Dynasty, my ancestors wrote new songs, and the words were very sad, which made the harem beauties learn to sing. Its word says:' Flowers in the backyard of Yushu don't last long.' At that time, people thought that songs were prophetic, which was a sign that appeared soon. "Later," yushu backyard flower "became the voice of national subjugation. This sentence expresses the poet's deep affection: it is not the merchant women who forget the hatred of national subjugation, but the rulers who lead a drunken life and let the decadent voice of national subjugation fill the streets of Jinling.

At the same time, this word also has artistic achievements, which embodies the author's literary proposition of "washing old habits in five generations" The word is based on sound, but Wang Anshi said: "The ancient singers all spoke first, and then sounded, so they said,' Poetry expresses ambition, songs always speak, sounds always follow, and laws are harmonious'. Now it's' always listen to the voice', write the cavity first and then fill in the words. " (Zhao Lingzhi's Backstreet Record (Volume 7) is obviously not satisfied with taking words as a kind of music. This was heresy at that time, but it seems sharp and prescient today. Although there were some famous poets such as Yan Shu and Liu Yong in the Northern Song Dynasty, they did not break through the barrier of "Ci is a colorful subject" and their ci style was weak. Looking at the fine print of Wan Yan Shu, he sighed, "Is this OK, Prime Minister?" (quoted from Wei Tai's Dong Xuanlu). So when he writes his own lyrics, he tries to avoid this disadvantage. His "Wash away the Old Habits of the Five Dynasties" (Liu Xizai's "Outline of Art", Volume IV) points out that all the way up laid the comprehensive stage of Su Shi's literati ci.

First of all, the scenery of this poem is magnificent and the weather is vast, which fully shows the author's high foothold and broad mind. The first three sentences are generally written. In a few words, the season, place and weather are clearly explained, and the whole word is put in a perspective overlooking the fence. In a crisp autumn atmosphere, the momentum is extraordinary. The following "A thousand miles into a river is like a practice" describes water, and "Qingfeng is like a cluster" describes mountains, which describes the situation of mountains and rivers in Jinling as a whole and depicts a broad background for the whole poem. Navigation is a concrete description of the scenery under this background. On the river, countless sails are sailing in a hurry in the afterglow of the sunset. Compared with "Western jackdaw is somewhat west outside the sunset, and the water flows around the lonely village" (Qin Guan's Man Ting Fang), the former is vast and magnificent, while the latter is sad and has a different style. However, many jagged wine flags on both sides of the Yangtze River are floating in the wind. Compared with Du Mu's "Wine Flag Wind in Guo Shan in Water Village", the difference between bodybuilding and bodybuilding is obvious. As for "colorful boats are cloudy, herons rise to the Milky Way", just like the focal plane is further pushed away, with the sails drifting away, the poet's vision is also expanded, so that water and heaven can be integrated into one, and the myriad manners of the Yangtze River are written in a broader space. The distant sails are like floating in the faint white clouds, and the flying egrets are like starting from the Milky Way. After reading this, I can't help but think of Wang Bo's Preface to Wang Tengting: "The sunset is lonely in Qi Fei, and the autumn water is the same as the sky." One is eternal parallel prose, and the other is unprecedented ci creation, which is really the same. The word scenery is mixed with reality, alternating with shades, interlaced with distance, combined with reality, and the shades are appropriate, which constitutes a wonderful landscape map of Jinling. Its broad, fresh realm, vigorous and magnificent style are incomparable to those works such as Small Garden Fragrant Path and Falling Moon.

Secondly, the idea is novel and far-sighted, which shows the insight of a sober politician. The comments made by Gui Zhixiang in his next films are by no means lamenting personal joys and sorrows, but reflecting his concern and anxiety about the future of the country and the nation. The first three sentences, "I miss the luxury struggle in the past, sigh on the roof outside the door, and complain constantly", were read by exposing the rulers of the Six Dynasties who built Jinling as their capital and took advantage of the beautiful mountains and rivers in the south of the Yangtze River to make a mistake. People who sigh are contemptuous of their tragedy after tragedy, which is both sad and hateful. The criticism of this sentence is that since ancient times, literati and poets have only lamented the rise and fall of dynasties in the face of Jinling mountains and rivers, failed to jump out of the small circle of honor and disgrace, and failed to stand at the proper height, so it is difficult to learn historical lessons from the successive collapse of the Six Dynasties. Now, the past of the Six Dynasties has gone with the flowing water, leaving only a few lifeless strands of hay shrouded in cold smoke. This song "Cold Smoke Rotting Grass Coagulating Green" clearly reveals the author's dissatisfaction with the failure to make great efforts to govern the country in the Northern Song Dynasty. The whole word focuses on the conclusion: "Today, business women still sing all the time, and the music stays in the backyard." The so-called "backyard heritage" is Chen Houzhu's colourful song "Flowers in the Back Garden of Yushu". In this sense, Du Mu, a man in the Tang Dynasty, also wrote: "Business women don't know how to hate the country, but they still sing flowers in the backyard across the river." However, unlike Du Mu, the author does not blame the ignorance of business women, but refers to scolding, implying that geisha is still singing the voice of national subjugation, precisely because those in power indulge in debauchery and lead a drunken life. However, it will be as sad and hateful as the Six Dynasties if we don't change our ways and take measures to enrich Qiang Bing. This conclusion is tantamount to warning the authorities in the Northern Song Dynasty. Some people say that Zhang Wei's "Leaving the Pavilion" is the original of Wang Anshi's "Guizhixiang". From the perspective of language and syntax, Wang Ci was really influenced by Zhang Ci. Zhang Fang is just a negative sadness about the rise and fall of the Six Dynasties: "How many things happened in the Six Dynasties? Looking at the floor, there is nothing to say when it is cold. " The ideological realm of these two words can hardly be mentioned in the same breath.

Third, the composition pays attention to the writing of prose, which is coherent and extremely similar. In the first sentence of the last movie, the word "seeing is wrong" enveloped the whole article, and an article was born. The second sentence "old country" points to Jinling, paving the way for the next discussion of homesickness. The following scenery is written from a general perspective, followed by close-up and prospect, and finally stopped at "painting difficulty", which not only summarizes the above scenery, but also naturally turns to the following discussion. This arrangement is very appropriate and natural. The following film opens a discussion: Jinling is so magnificent, but it is a historical witness to the successive demise of the Six Dynasties. The three sentences of "thinking about the past and thinking about the future" show the attitude towards the rise and fall of the Six Dynasties, and the two sentences of "leaning on the sky to shine through the ages" write the views on the works that have always paid tribute to Jinling. The following is to turn it into reality, and the sentence goes back to today. The head and tail are round, the structure is precise, and the layers are unfolded. There are scenes in the lyrics, such as Yan Shu's "Walking on the Sand": "A sad dream wakes up and the sunset shines deep in the courtyard", which is an inexplicable spring worry; There is a love complex, such as Liu Yong's "Wu Fengqi": "Clothes are getting wider and wider without regrets, and people are haggard for Iraq", which shows a single-minded and sincere love. Guizhixiang ends with a discussion, in which the author's views on major practical and political issues are entrusted. These characteristics of the text structure of Guizhixiang reflect that the development of Ci is characterized by prose after entering slow Ci.

Fourth, allusions are appropriate and natural. "A thousand miles into a river is like practicing" is a poem in Xie Tiao's "Going to Three Mountains at Night and Returning to Wangjing": "Yu Xia is scattered into beautiful scenery, and Chengjiang is as quiet as practicing." The Star River Herons Rise is based on a poem written by Li Bai when he boarded the Phoenix Terrace in Nanjing: "Three mountains and a half fall out of the sky, like this egret is divided into Dao Jiang". "Sighing on the roof outside the door, sorrow and hatred continue" is an allusion of the Sui Dynasty's destruction of the past: when Enemy at the Gates was in China, the heartless General Sui was still singing and dancing with his beloved concubine Zhang Lihua. Du Mu's Taicheng Qu once recited this matter. However, Wang Anshi skillfully only borrowed the word "building outside the door", saying that the army was under pressure and the building was decadent and shameless, which showed the collapse of the Six Dynasties very succinctly and vividly. The word "sorrow and hatred" summarizes the history of the Southern Dynasties. The end of the sentence is based on Du Mu's poem "Bo Qinhuai", but it is endowed with more profound and incisive ideological content. Before Wang Anshi, it was rare to use four allusions in one word.