What ancient poems are there?

Song of Eternal Sorrow (1) The emperor of China, eager to shake the beauty of an empire (2), has been in office for many years, looking for it, but never found it (3). Until a child of the Yang family grew up in the inner room, almost before she grew up, and no one knew her. Bai Juyi, the author of Song of Eternal Sorrow, made a statue.

However, due to God's gift and undisguised grace, he was finally elected as a member of the royal family one day (4). If she just turned her head and smiled, a hundred spells were cast, and the powder and paint in six palaces disappeared without a trace. It was early spring. They let her bathe in a pure pool to warm and smooth her creamy skin. Because she was tired, a maid lifted her up when the emperor first noticed her and chose her as his bride. When she moves, the clouds of her hair, the petals on her cheeks, and the golden ripples on her crown (10) are covered by warm hibiscus curtains on spring nights (1 1). But the night in spring is short and the sun rises too fast. Since then, the emperor has given up his early hearing. He wastes all his time on parties and revelry. He is the lover of spring and the tyrant of night. There are other ladies in his court, 3,000 of whom are stunning beauties, but his love for 3,000 is concentrated on one person. The Golden House is dressed as a beautiful girl (12). When the table in the Jade Tower is cleared, she will wander and drink slowly. Sisters and brothers are in the soil (13), and because she illuminates and glorifies her clan (14). When she gave birth to a girl instead of a boy, she brought happiness to every father and mother in the whole empire (15). ... =' class1' > Rose Plum Palace, into the blue clouds (16), overlooking the breeze with magical notes. Soft songs and slow dances, strings and bamboo music (17), the emperor's eyes can never be enough to stare at her. Yang Yufu (pí) came at his instigation (18), and he was shocked by "Chang Yu Ge" (19). Jiuchong City Que (què) smoke (20), with thousands of troops heading southwest (2 1). The imperial flag opened the way, suddenly moving and stopping, 30 miles from the capital and passing the west gate. The troops stopped, and none of them would stir. Emei died before the horse (22). Dion's land has not been collected (23), and there is a green and white emerald tassel and a golden hairy bird (24). The emperor couldn't save her, so he had to cover his face. Later, when he turned to look, there was blood and tears. Clouds (yíng) and Yao Deng Jiange (yū) hidden in the yellow dust blown by a cold wind. Under Emei Mountain. The last few came (26), and the flags and banners lost their colors in the fading sunlight. But the water in Shu is always green and the mountains are always blue, so your majesty's love is constant and deeper than the sky. He stared at the desolate moon from his temporary palace, and he heard the bells in the late rain cutting his chest. On that day in last contact, when the dragon car came home, the emperor clung to it and refused to leave. That memory, that pain. Where is her white face? (30) in the soil under Mawei slope (wéi). Rulers and lords, when their eyes meet, cry on their coats. They ride horses, loosen the reins and slowly return to the capital (3 1). Pool, garden, palace, everything is the same as before, Taiye Furong Lake, Weiyang Palace Willow (32). But the petals are like her face, and the willow leaves are like her eyebrows. Whenever he looks at them, what can he do but cry? ? Peach and plum trees are in bloom. In the spring wind, after the autumn rain, the leaves fall to the ground. Autumn grass in Xigong Nanyuan (33) is piled with red leaves on the steps. Li Yuan's disciple Bai Fuxin (34 years old) and eunuchs are thin-eyed in her pepper garden; Fireflies were flying on the throne while he was meditating in the twilight. He will extend the wick to its end and still never fall asleep. (36). Bells and drums slowly sounded the long night (37), and the river of stars in the sky became clear the day before dawn (38). And the porcelain mandarin ducks on the roof grow thick morning cream (39), and the jadeite (Q and N) is cold, who is cold ***(40)? Year after year, the distance between life and death, but no beloved soul has visited his dream (also called "dreaming"). Lin Qiong (qióng) is a Taoist from Hongdu (4 1), and he is absorbed (42). People were moved by the emperor's constant meditation, and they begged the Taoist priest to see if he could find her (43). He blazed his own trail in space, cutting through the sky like lightning, ascending to heaven, drilling underground and looking around. Above, he looked for the green void, below, the yellow spring (45), but he didn't find the one he was looking for in either place. Then he heard a story about a magical island at sea, which is part of the invisible world. The pavilions are exquisite (also called "exquisite pavilions"). Five clouds rise (46), and the exquisite immortals move back and forth (47). And one of them-they call it forever true, has a face like her snow and flowers (48). So he went to the Golden Gate of the West Hall, knocked on the Jasper Gate (Ji not ng) (49), and asked a girl named Xiaoyu to tell Shuang Perfect (50). This lady woke up from a dream in her nine-flowered canopy (5 1) after hearing the news of Emperor China's envoy. She pushed open the pillow, dressed herself, shook her drowsiness, and the pearl foil (bó) and the silver screen (yǐ) opened (52). Because she was in a hurry (jué)(53), her turbid hair ornaments hung aside, and when she came along the platform, her flowered hat was loose. The wind blows the fairy (mèi) floating (54), as if she were dancing in a rainbow skirt and feather coat. Tears fell from her sad pale face, like spring rain on pear flowers. Affectionate Xie (56), since they separated, her body and voice have become strange. Because happiness ended in the courtyard of the sun (57), the moon and dawn became very long in the palace of Xianshan (58). Looking back at the world (huán) (59), try to see the capital, only fog and dust. Only show affection for the old things (60) and send them to Dieng Chai (6 1). However, one branch of the hairpin and one side of the box (62), Chai Bo (bò) and Di An (63) are kept. But your heart is as strong as gold. Somewhere, at some time, on earth or in heaven, we will. She sent him a word through his messenger, reminding him (64) and swearing, only the hearts of the two of them know. On the seventh day of July, in the Palace of Eternal Life (65), we secretly told each other in the quiet midnight world. We hope to fly in heaven. Two birds grow together on the earth with the wings of a bird (66), two branches of a tree. (67). The earth endures, and the sky endures; Sometimes both will end (also called "sometimes"), and this endless sadness will last forever.

works appreciation

Huang Yan's calligraphy Song of Eternal Sorrow

Song of Eternal Sorrow is a famous masterpiece in Bai Juyi's poems. Written in the first year of Yuanhe (806), the poet served as county magistrate in yi county (now Zhouzhi, Shaanxi). He visited Xianyou Temple with his friends Chen Hong and Wang Zhifu, and wrote this poem because of the story of Emperor Xuanzong of the Tang Dynasty and Yang Guifei. In this narrative poem, the author describes the love tragedy of Xuanzong and Yang Guifei in the Anshi Rebellion with refined language, beautiful images, narrative and lyricism: their love was destroyed by their own rebellion, and they were endlessly eating the bitter fruit of this spirit. Tang Xuanzong and Yang Guifei are both historical figures. Poets do not stick to history, but rely on a little shadow of history. According to the legend of the people at that time, the singing of the neighborhood has degenerated into a tortuous and touching story, which is described and sung in a reciprocating and touching art form. Because the stories and characters in the poem are artistic, and they are the complex and true reappearance of people in reality, they can ripple in the hearts of readers in past dynasties. The song of everlasting regret is the song of everlasting regret, which is the theme of the poem, the focus of the story and a touching seed buried in the poem. As for what you hate, why do you hate it for a long time? The poet does not tell and express directly, but shows it to readers layer by layer through his poetic stories, so that people can guess, remember and feel for themselves. The first sentence at the beginning of the poem: "The emperor of China longs for beautiful women who may shake an empire" seems very common, as if the story should be written from here without the attention of the author. In fact, these seven words are extremely rich, which is the whole program, which not only reveals the tragic factors of the story, but also evokes and directs the whole poem. Then, in extremely frugal language, the poet described how Xuanzong of the Tang Dynasty emphasized color and sought color before the Anshi Rebellion, and finally got Yang Guifei, who said, "As long as she turns her head and smiles, there will be a hundred spells, and the makeup of the sixth palace will go up in smoke." It describes the beauty and charm of Yang Guifei. After entering the palace, he was favored by color. She not only "inherited her kindness", but also "listed all her sisters and brothers in the soil". Repeatedly rendering how Tang Xuanzong indulged in debauchery, how to have fun, and how to indulge in singing, dancing and drinking in the palace all day. All this led to the Anshi Rebellion: "Until the drums of war exploded from Yuyang, shaking the earth and breaking the tune of rainbow skirts and feather clothes". This part describes the internal cause of "long hatred", which is the basis of the tragic story. Through the realistic description of this court life, the poet ironically introduced the hero and heroine of the story: an emperor who valued the country and despised the people, and a charming and pampered concubine. This also vividly implies that the misunderstanding of Tang Xuanzong is the root of this tragedy. Below, the poet specifically described the scene that the emperor's military forces fled to the southwest after the Anshi Rebellion, especially the destruction of the love between Tang Xuanzong and Yang Guifei in this turmoil. "People in the army stop, and no one will move until under their hooves, and they may trample on those moths. The gorgeous hairpin fell to the ground, and no one picked it up, a green and white Hosta and a golden hairy bird. The emperor couldn't save her, so he had to cover his face. Later, when he turned to look, the land of blood and tears wrote their scene "Where are you going, Maweipo". The "Sixth Army refused to send" and demanded the execution of Yang Guifei, which was an anger against Tang Xuanzong's infatuation with women and brought disaster to the country and people. The death of Yang Guifei is a key plot in the whole story. After that, their love turned into a tragedy. Then, from "hiding in the yellow dust blown by a cold wind" to "there is no beloved spirit to visit his dream", the poet seized the "hate" in the spiritual world of the characters, described the loneliness and sadness of Yang Guifei in Shu after her death, and also recalled the past on the way. The lingering lovesickness is heartbreaking. It is precisely because the poet exaggerates the feelings of the characters to such an extent that the arrival of Taoist priests and the appearance of fairyland behind them give people a sense of reality and will not think that they are purely castles in the air. From "There lived a Taoist priest in Lingqiong who was a guest in the sky" to the end of the poem, Taoist writers helped Xuanzong find Yang Guifei. The poet used a romantic technique. Suddenly he went to heaven and then to the ground. "Above, he looked for the green void, below, the yellow spring, but he didn't find the person he was looking for in either place." Later, Yang Guifei was found on the ethereal fairy mountain at sea, and was allowed to reappear in the fairyland with the image of "tears falling down her sad white face, like spring rain on a pear flower", warmly welcoming the envoys of the Korean family, expressing their feelings, sending a symbolic message, reaffirming the previous vows, taking care of Tang Xuanzong's thoughts about her, and further deepening and rendering the theme of "long hatred". At the end of the poem, use "the earth lasts forever, and the sky lasts forever;" One day both will end, and this endless sadness will last forever "to end the pen, point out the theme, respond to the beginning, realize" silence ",and give readers room for association and aftertaste. The Song of Eternal Sorrow first gives us the enjoyment of artistic beauty, a moving story in the poem and a delicate and unique artistic conception. The center of the whole article is "Song of Eternal Sorrow", but the poet tries his best to write and render it with "thick ink and heavy color" as the starting point. "Work at sunrise and rest at sunset", "Don't go early", "Stay up late", "I can't get enough of it" and so on. , appear extremely happy, like a comedy. However, that kind of extreme joy is only in contrast to the endless hatred behind it. The dissoluteness of Emperor Xuanzong of Tang Dynasty led to a political tragedy, which in turn led to a love tragedy between him and Yang Guifei. The maker of the tragedy finally becomes the hero of the tragedy, which is a particularly tortuous part of the story and the reason why the hero and heroine in the poem have to "hate" for a long time. Many people used to say that Song of Eternal Sorrow has a moral, and this poem is the moral. So, how does the poet express "long hatred"? After the death of Yang Guifei in Majipo, the poet described it very delicately, showing the inner contradictions and painful feelings of Tang Xuanzong who could not bear to give up love and wanted to save it. Because of this "blood and tears" death, there will be endless hatred. Later, the poet used a lot of pen and ink to repeatedly render Tang Xuanzong's yearning for Yang Guifei from all aspects, but the story of the poem did not stay at an emotional point, but with the gradual progress of the inner world of the characters, he perceived the constant changes of their scenery, pushed forward the time and story, and used the thoughts and feelings of the characters to develop and promote the development of the plot. After his death, Emperor Xuanzong of Tang Dynasty went to Shu and felt very sad. Still on the road, revisiting the old place has evoked sad memories; After returning to the palace, I experienced physical injury during the day and insomnia at night. I miss it day and night, so I hope to have a dream, but it is "the distance between life and death year after year, but no beloved soul has visited his dream". At this point in the poem, the "hate" of "long hate" has been written very touching, and it seems that the ending of the story is OK. But the poet's pen is curved. With the help of the colorful wings of imagination, he conceived a charming fairyland, which pushed the plot of the tragic story to a climax and made the story more tortuous, ups and downs. This turning point is both unexpected and reasonable. Due to the constant contradiction and collision between subjective desire and objective reality, poetry vividly shows the psychology of the characters, and the story is more moving. Song of Eternal Sorrow is a narrative poem with strong lyrical elements. The poet adopted the expressive techniques that China's traditional poems are good at telling stories and portraying characters, and harmoniously combined narrative, scenery description and lyricism, thus forming the characteristic of the poem's lyricism. Poets sometimes inject the thoughts and feelings of the characters into the scenery, and use the refraction of the scenery to contrast the mood of the characters; Sometimes we grasp the distinctive scenery and things around the characters, express their inner feelings through their feelings, and render them layer by layer, appropriately expressing the unspeakable feelings hidden in the hearts of the characters. On his way to the southwest, Emperor Xuanzong of the Tang Dynasty was surrounded by yellow dust, plank roads and high mountains. The sun is dim, the standard is dull, and autumn scenery is desolate. This is a sad autumn scenery to set off the sad thoughts of the characters. In Shu, facing the green mountains and green waters, we still can't forget ourselves. The mountains and water in Shu are beautiful, but in the lonely and sad eyes, the "green" of the mountains and the "green" of the water are also sad. The beauty of nature should be appreciated with a quiet mind, but he didn't, so he increased his inner pain. This is to write sad feelings through beautiful scenery, so that feelings are deeper. The moonlight in the palace and the bell on a rainy night are already very exciting. The poet grasped these unusual but distinctive things and brought people into the realm of sadness and heartbreak. In addition, when they see and smell, they are intertwined, which also shows the sadness and sadness of the characters in language and tone. This is another floor. Still on the road, "everything is spinning" was originally a happy thing, but the old place ended and Yu Yan disappeared, so I couldn't help crying. In the narrative, another layer of painful memories is added. After returning to Chang 'an, "ponds, gardens, palaces, everything is the same as before, Taiye Lake hibiscus, Weiyang Palace willow. But the petals are like her face, and the willow leaves are like her eyebrows. Whenever he looks at them, what can he do but cry? ".During the day, caused by the environment and scenery, people are associated with the scenery, and the scenery remains the same, but people are gone. I can't help bursting into tears. From the hibiscus flowers in Taiye Pool and the weeping willows in Weiyang Palace, I seem to see the appearance of Yang Guifei, showing the extremely complicated and subtle inner activities of the characters. "Fireflies were flying on the throne, and he was meditating in the twilight. He will extend the wick to its end and still never fall asleep ... bells and drums will slowly ring the long night, and before dawn, the Milky Way in the sky will become clear. " From dusk to dawn, the focus is on the scene where you can't sleep for a long time because of emotional troubles at night. This bitter yearning is like "peaches and plums bloom and the spring breeze blows" and "after the autumn rain, the fallen leaves return to their roots". It is sad to see that the "disciples of Liyuan" and "A Jian Qing E" in those days were all white-haired and their faces were withered, which reminded us of the happy thoughts of the past. From the rambling of Huang Chen to the lush of Shushan, from rainy night in the palace to triumphant return, from day to night, from spring to autumn, we are moved by things everywhere, always thinking of people, and repeatedly rendering the protagonist's hard pursuit and search from all aspects. If you can't find it in real life, you will find it in your dreams. If you can't find it in your dream, go to fairyland. This kind of ups and downs, layer by layer rendering, let the characters' feelings swirl up and reach a climax. It is through such layers of rendering that the poet repeatedly expresses his feelings and goes back and forth, which makes the characters' thoughts and feelings more profound and rich, and the poetry is "delicate in texture" and more artistic. As an immortal narrative poem, Song of Eternal Sorrow has a high artistic achievement. Throughout the ages, many people have affirmed the special artistic charm of this poem. What infected and seduced readers with the art of Song of Eternal Sorrow? Touching, I am afraid, is its greatest artistic personality, and it is also the power that it can attract readers, make them infected and tempted for thousands of years. Appreciation four people have been arguing endlessly about the theme of Bai Juyi's Song of Eternal Sorrow, including the so-called love theory, political theme theory, dual theme theory and so on. The author of this article holds the theory of love. First of all, from the analysis of four aspects of the work, it is affirmed that Bai Juyi did not describe Li Yang's story in a didactic way like Chen Hong's Song of Eternal Sorrow, but took "emotion" as the main theme, so that the hero's emotion moved the reader and made him produce a * * * sound, which achieved great aesthetic success. Based on the author's life experience and social history, this paper also analyzes his uniqueness in dealing with the relationship between historical themes, political themes, humanistic themes and psychological themes from the people, and further explains the aesthetic significance of Yang Guifei's image in the Tang Dynasty. As soon as Song of Eternal Sorrow came out, its theme has always been the focus of debate among readers. There are also very different views. There are generally three kinds: one is the theme of love. It is a love poem praising Li Yang. And affirm their sincerity and persistence in love; The second is the political theme theory. It is believed that the focus of the poem lies in allegory, exposing the "endless hatred" inevitably brought by "the emperor of China, whose lust may shake the beauty of an empire", and condemning the debauchery of the Tang and Ming emperors that led to the Anshi Rebellion, so as to admonish the later monarchs; The third is the dual theme theory. It is believed that it is a mixture of exposing and praising unity, irony and sympathy, which not only shed tears of sympathy, but also blamed on political misconduct and resentment. How, still want to analyze from the work itself. Poetry can be divided into four levels: the first level is from "the emperor of China, eager to shake the beauty of an empire" to "the emperor's eyes can never fix enough on her", describing how Tang Xuanzong emphasized color and sought color before the Anshi Rebellion, and finally got Yang Guifei, "as long as she turned her head and smiled, there were hundreds of spells". After the imperial concubine entered the palace, she was arrogant and extravagant. She not only "inherited her kindness", but also "listed all her sisters and brothers in the soil". After repeatedly rendering the imperial concubine of Emperor Xuanzong of Tang Dynasty, she was completely addicted to singing, dancing and drinking. The first sentence of the book not only implies the tragic factor of the story, but also plays a role in arousing and guiding the whole poem; The second layer, from "until the war drum, from the boom of Yuyang, the earth shook" to "when he turned to look later, it was a land of blood and tears", describing the Anshi rebellion, Xuanzong's escape, being forced to give the imperial concubine the death penalty, and writing the "Song of Eternal Sorrow" is the basis of the tragic story. The poet deliberately played down the Anshi chaos caused by Xuanzong's extravagance and wrong country, and deliberately described where they would go. Readers are infected by the tragic atmosphere, rather than rational criticism of history. Chen Hong's theory of "punishing stunners and suppressing chaos" in Song of Eternal Sorrow cannot be used as the writing motivation of this poem. The third layer, from "hiding in the yellow dust blown by a cold wind" to "not dreaming", describes the loneliness and sadness in Shu after Yang Guifei's death, which is a kind of "sad color" and "heartbroken sound". When Chang 'an returned to Korea after the recovery, that depression was more important than Ma Wei and that memory. Where is her white face? . After returning to the palace, Chi Yuan remained the same, and things were different, and the lingering acacia made people sad; The fourth layer, from "there is a Taoist who lives in Lingqiong" to "this worry is endless", describes that Xuanzong sent alchemists to find Yang Guifei's soul, focusing on her lonely and sad memories of her past love life. The poet used romantic methods to go from heaven to earth, and finally let the imperial concubine reappear the fairyland on the illusory fairy mountain with the image of "tears running down her sad white face like spring rain hitting pear flowers". The catharsis of "emotion" has gone beyond the emotional entanglement between emperors and concubines, and is more of a poet's subjective ideal element, which has already gone beyond the scope of historical facts, showing the contradiction and conflict between subjective desire and objective reality. The last sentence "everlasting, everlasting; One day both will end, and this endless sorrow will last forever "is a sigh and cry of love, which is a lament that love is spread by fate and destroyed by political ethics." This hatred has transcended time and space and entered an infinite realm. In this way, the poet expressed eternal love with "everlasting regret", that is, pointed out the theme of the whole poem. It should be said that Bai Juyi at the beginning of writing, at least subjectively, agreed with Chen Hong's theory of "punishing stunners and smothering chaos". Later, he repeatedly emphasized the themes of "stunner confusing people" and "fawning on others" in Li Furen and Gu Jia Fox written by New Yuefu, clearly proclaiming the harm of sex, but admitting that "people are not wooden stones". However, in the actual writing of Song of Eternal Sorrow, he obeyed the human instinct and emotional desire for beauty expressed in folk love stories. In this way, the whole story has a deeper and more complicated meaning: it depicts both beauty and evil, and directly links the two; There is a passage in the books "Love Collection" and "Song of Eternal Sorrow": My uncle said to my mother, "It's beautiful, and it can be evil." Li Yannian sang, "Give the country back to the city. "This is also called. This passage can probably represent the final thinking of scholars in the middle Tang Dynasty on this issue. One of the basic principles that Bai Juyi followed when writing Song of Eternal Sorrow is that "beauty" cannot be erased just because it is "evil". Although its theme finally seems to deviate from the condemnation of "very evil", the content of "very evil" itself has not been erased, which in turn enriches the meaning of "very beautiful". On the one hand, Song of Eternal Sorrow is an important historical and political theme, on the other hand, it is a human and psychological theme with a long tradition from the people. Bai Juyi followed the national cultural psychology and the poet's personality thought in his creation, that is, the traditional mode coexisted with the author's subjective initiative, which was inseparable from the poet's life experience and outlook on life. Bai Juyi's life spanned the middle and late Tang Dynasty. His thought, bounded by the relegation of Jiangzhou Sima, experienced two stages, from active entry into the WTO to passive birth, and practiced the Confucian life mode of "helping the world and the people" that he believed in. The basic connotation of Bai Juyi's so-called "loneliness" is that he is happy and know life, complacent and peaceful, and thus connected with Shi and Lao, and his attitude towards the world is natural. In his whole ideological system, "being alone" and "helping the world" go hand in hand. "Giving is Lu Yi's career, and accumulating is the way to repair the old morality" ("a gentleman does not give tools"), which are two sides of a complete outlook on life. Before his relegation, he worked for Yunlong and Peng Feng, and together with Yuan Zhen, he vigorously advocated the New Yuefu Movement. It is precisely because he had great ambitions when he was young and had the political spirit to help the Tang Dynasty decline and save the people from fire and water that he had enough courage to deal with such a major historical theme, summed up the political gains and losses of Tang Dynasty in his later years with "no confusion" and wrote the Song of Eternal Sorrow. In this way, in his mind, Tang's dichotomy will inevitably be reflected in the shaping of the image. It is precisely because of the unity of opposites between Tang, who loves deeply, and Tang, who values the country and despises the people, that Bai Juyi wrote this story as a tragedy of a good emperor. The good emperor was confused, which finally caused sorrow for himself and the people. We can see from the works that the characterization of Tang Minghuang rejected idealization, which is another result of idealization. What is excluded is that the feudal ruling class added enough aperture to the emperor's head, making it an idealization of demigods. And this kind of exclusion itself contains another ideal of urban residents. Starting from the soil where the emperor's authority declined in real life, they imagined the leader of the feudal ruling class as an ordinary person like themselves, an infatuated emperor with love, distress, mistakes and shortcomings, no different from the protagonist in general love stories! They idealized the emperor from another angle. An idealized emperor should be a person like the people, not a god! Bai Juyi, on the other hand, conditionally accepted the citizens' idealization of Tang and discarded it, thus completing the shaping of Tang's image. After the poet was relegated to Jiangzhou, the status of "being independent" and "helping the poor" changed. His spiritual life and official career gradually changed, and finally "ji ji" was released as "immune". In the process of spiritual self-rescue, Bai Juyi gradually turned from paying attention to social politics to paying attention to individual life, and his love for free personality gradually surpassed his obsession with moral personality.