Xia Chengtao's Main Experiences

A native of Wenzhou, Zhejiang Province, he devoted his life to the study and teaching of lexicography, and was a pioneer and founder of modern lexicography. His series of classic works are undoubtedly milestones in the history of lexicography and excellent cultural and academic achievements of the 20th century. Hu Qiaomu has repeatedly praised Mr. Xia Chengtao as "a generation of words" and "the master of lexicography".

Chinese name: Xia Chengtao

Alias: Xie Yu, Meng Xusheng

Nationality: Chinese

Ethnicity: Han Chinese

Birthplace: Wenzhou, Zhejiang Province

Birthdate: February 10, 1900

Death date: May 11, 1986

Occupation: Wordsmith, master of lyricism

Graduate School: Wenzhou Normal School

Major Achievements: Pioneered the Genealogy of Lyricists

Representative Works: The Chronicle of Tang and Song Lyricists, Tang and Song Lyrics, Jiang Baishi's Lyrics Chronology Paper School

Sex: Male

Overview

At the age of fourteen he was admitted to the Wenzhou Normal School with excellent grades. There were a lot of classes at the school, but he devoted himself to the study of ancient classics. During his time at school, he tried to write poems and lyrics, and the ending line of "Ru Meng Ling", "Parrot, parrot, do you know the words in the dream", was y appreciated by his Chinese teacher, who added a dense circle of vermilion beside the line, which gave Mr. Xia a great deal of encouragement. After graduating from Wen Shi, he began a sixty-year teaching career. During this period, he actively participated in the activities of his hometown's poetry society, and fellow poets to discuss poetry, discernment of yin and yang, laying the foundation for a lifetime of research and treatment of word study. Since 1930, Mr. Xia has been a professor at Zhejiang University, Zhejiang Normal College and Hangzhou University, and a special researcher at the Institute of Literature of the Chinese Academy of Sciences (later the Chinese Academy of Social Sciences). In nearly half a century, Mr. Xia has been presiding over the Southeast Lyrics Chair, and with the sound of words at home and abroad, scholars, teaching words, many achievements, and become famous at home and abroad, a generation of masters of words.

Biography

Born on February 10, 1900, and died on May 11, 1986, he graduated from Wenzhou Teachers' Training School in 1918, and in 1930, he was transferred to Zhijiang University as a professor of Zhejiang University from the Ninth High School of Zhejiang Province (i.e., Yanzhou High School of Zhejiang Province). He was a professor at Zhejiang University. After the liberation of China, he was a researcher at the Institute of Literature of the Chinese Academy of Sciences, director of the Language and Literature Research Office of the Zhejiang Branch of the Chinese Academy of Sciences, editorial board member of the Journal of Literary Studies, editor-in-chief of the Journal of Lyrics, and advisor to the Chinese Society of Tang Dynasty Literature.Xia Chengtao died on May 11, 1986 in Beijing due to an illness. Mr. Xia was a member of the Standing Committee of the Chinese People's Political Consultative Conference of Zhejiang Province and a member of the Chinese Writers' Association. As an outstanding lexicographer, Mr. Xia Chengtao was both the summarizer of traditional lexicography and the founder of modern lexicography.

After the age of 20, Mr. Xia went to Jijin in the north and Chang'an in the west, expanding his horizons and deepening his experiences, and wrote many works of sorrow and indignation; around the age of 30, he put his main efforts on writing the "Annals of Tang and Song Lyrics", "Tang and Song Lyrics Series", and "Jiang Baishi's Lyrics Chronological Notes and Schools", but did not give up his singing; and after the age of 30, he specialized in the study of the lyrics, which was so profound that it played a significant role in the development of the lexicography of our country. He specialized in lexicography at the age of 30 and played a significant role in the development of Chinese lexicography.

In the nearly ten million words of Mr. Xia Chengtao's life's work, there are nearly 30 kinds of published monographs on lexicography, more than one hundred papers have not been collected, and there are still many kinds of works to be compiled and published. Among them, "The Chronicle of Tang and Song Lyricists", "Tang and Song Lyrics Series", "Jiang Baishi's Lyrics Chronological Notes", etc., are rare monumental works since the establishment of lexicography. He also created a large number of poems, its representative as "Xia Chengtao word collection", "Tianfengge poetry collection", and wrote a unique "Tianfengge study word diary". Mr. Xia Chengtao's academic achievements have been highly praised internationally, and he has been the honorary president of the Chinese Rhyme Society and the editor-in-chief of Lexicography since 1981.

The Past

Mr. Xia Chengtao taught at the Ninth Middle School from 1927 to 1930. He started his career here, pioneering a new style of lexicography, making traditional lexicography scientific and systematic, and becoming recognized as "a generation of lexicographers" both at home and abroad.

In the second half of 1927, Xia Chengtao found a wealth of books in the library as soon as he arrived at the Ninth High School, which made him overjoyed and dive into the sea of books. He wrote down in his diary his feelings of joy: "in the library of the division school of old books, Hanfen Lou photocopied 24 history, Zhejiang Bureau 'three passes', Xiaoyuan series of books, etc., borrowing 20 or 30 to return to the Yenzhou got this, such as the acquisition of a treasure carry on. Night turning "Sui book", "Song history", "three passages", as "white stone word test", got a few things, very pleased. Eleven o'clock to bed." In his later years, he recalled this past event, still remembering: "Every day after class, into the bookstore reading. There, I read a large number of notes about the Tang and Song lyricist line novels, Phi sand sorting gold, often see the treasure."

Xia Chengtao didn't go to university, but he went on to take the university pulpit and became a famous educator, scholar and poet. His learning was all self-study. Summarizing his reading experience in his later years, he said, "Stupidity is the principal of my study." He believed that there is no shortcut to study, no trickery, only stupid efforts to achieve success. He said that the word "stupid" is very interesting, with a bamboo book on his head (the book is a strung bamboo, is an ancient book), is to teach people to use their strength. To use one's strength is the foundation of a human being, so the character "笨" comes from "竹" (bamboo) and "本"(ben). I have a very low natural ability, because of this, prompted myself to strive to learn hard. From the age of seven or eight years old school, over the decades, in addition to serious illness, not a day to leave the books. The most important thing is to read more. "Read a thousand times, and the meaning will come to you."

After discovering the "treasure trove" of the bookstore, he enjoyed traveling in the sea of books. Teaching during the day, the night and holidays will be buried in hard reading, reading a lot of books, the diligence of its efforts, for the ordinary people not as much. In the diary often have such a record: "Woods all day, eyes for dim." "Day after day, overworked, mouth and tongue for dry." And so on. When there are insights and insights, forget the hard work of reading: "Great joy out of the house. Vegetarian moon flowing sky, the court leaves no sound, a few three more carry on." "Sunny day full of windows, messy book sitting, Xiao Ran self-complacency." According to the surviving diary statistics from the second half of 1928 to the end of 1929, in this one and a half years, he read, zaji recording all kinds of ancient, modern, Chinese and foreign books amounted to as many as 368 kinds of books, and created more than one hundred poems and essays.

Later published in the Peking University Yanjing Journal of his famous work "White Stone Songs by the side of the spectrum to identify" as well as an important work to establish the status of his lexicography titan "Tang and Song Lyrics Annals", are in the Ninth High School within the three-year period of time to teach written. May 11, 1986, due to illness, died in Beijing.

The Teacher of Peach and Plum

Graduated from Wenzhou Normal School in 1918. He was a professor at the Zhijiang College of Arts and Sciences in Hangzhou and Zhejiang University before liberation. After liberation, he served as a part-time researcher at the Institute of Literature of the Chinese Academy of Sciences, and as director and researcher of the Language and Literature Research Office of the Zhejiang Branch of the Chinese Academy of Sciences (LSSDJTCOM). He was a member of the Standing Committee of the Chinese People's Political Consultative Conference (CPPCC) of Zhejiang Province and a director of the Chinese Writers' Association.

Mr. Xia Chengtao, who is known as the "Master of Lyrics", has been teaching for more than 60 years, and is good at rewarding talents and fostering advancement. Mr. Xia has been teaching for more than 60 years, and he is good at rewarding talents and fostering the future. However, he "but open the wind not as a teacher", never as a teacher. Out of Mr. Xia's door, are y gifted and not limited, some in the academic independent development. Mr. Xia is a wholeheartedly for the motherland to cultivate talents of the tutor, the study of Chinese classical poetry of foreign scholars in admiration of the name of a long way to come to him for advice, an endless stream. Today he has students at home and abroad.

Lyrics became a school

Lyrics is a specialized discipline separated from poetics, which emerged in the Song Dynasty and flourished in the Qing Dynasty. The old lexicography is long in the word of the external form of the examination and verification of the word collection, but sparse in the history of the word and the theory of the word of the systematic study, so the word of successive generations of writings, although rich, the study of the road is not inevitably cramped, difficult to get the essence of the integration of the purpose of the word. It was only after entering the 20th century that the study of lexicography gradually stepped into a scientific, systematic and modernized track, and achieved multi-faceted results. Mr. Xia Chengtao is an outstanding representative of modern lexicography. Mr. Xia Chengtao inherited the remnants of the revival of lexicography in the late Qing Dynasty, drew on scientific research methods and modern concepts, combined his profound traditional knowledge with solid research efforts, persevered and explored diligently, and made breakthroughs in the annals of lexicographers, lexical theories, history of lexicography, lexical music, lexical laws, lexical rhythms, and lexical notes, constructing a rigorous system of lexicography that surpassed that of his predecessors, expanding the frontiers of lexical research, and raising the overall level of lexical research. The main purpose of this work is to expand the boundaries of lexicographic research and improve the overall level of lexicographic research.

Major Achievements

The greatest achievement of Mr. Xia Chengtao's lexicographic research lies in the creation of the genealogy of the lyricist, which was not emphasized by the lexicographic circles before the 20th century; the biographies of the lyricists in historical books and collections of lyrics were mostly sketchy and unspecified; and various kinds of miscellaneous books and notebooks tended to rumorize and contradict each other, or to pass on the falsehoods without any examination, so that many of the lyricists' backgrounds were uncertain, and there was no way to examine their lives, and many of their works were therefore obscure and unknown. Many of the works are also hidden, difficult to find out. In recent times, Wang Guowei wrote "Mr. Qingzhen's Chronology", which was the first way to guide for the examination and verification of lyricists. However, the systematic creation of the genealogy of lyricists and the laying of the scientific cornerstone of modern lexicography actually began with Mr. Xia. As early as around the age of 30, Mr. Xia is dedicated to the study of the lyricist, he searched far and wide introduction, careful examination and analysis, rectify errors and resolve doubts, over the years into the "Tang and Song Dynasty Lyricist Genealogy" ten kinds of twelve, which Tang and Song Dynasty lyricist biography if the rope through the pearl, clearly identifiable, reliable, part of the difficult works are also a good interpretation. After the release of the ten kinds of genealogies, it caused great repercussions in the academic circles. Mr. Zhao Baixin praised that "ten kinds of parallelism can replace a history of lyrics"; Mr. Tang Guizhang praised it as "an unprecedented work"; Japanese scholar Professor Shimizu Mao pointed out in an article that "this must be one of the most important references for the study of lyrics today.

In addition to the book, Mr. Shimizu also wrote that "the book is an important reference for the study of diction.

Besides the annals of lyricists, Mr. Xia has explored the field of lexicography in many directions and achieved comprehensive research results. His "Tang and Song Lyrics Series", "Moon Wheel Mountain Lyrics Collection", "Jiang Baishi Lyrics Chronicle Paper School", "Longchuan Lyrics School Paper", "Lyrics Journal" and so on are the classic works that carry on the precedent and make outstanding achievements. Mr. Xia is particularly diligent in the study of rhyme, music, and genealogy, and his writings on the sounds and rhythms of the Tang and Song dynasties are highly sophisticated and full of inventions. In the collection of words, Mr. Xia's paper school of Baishi, Longchuan, Mengwu, Fangweng's collection of words and "Origin of Words" is profound and outstanding; especially the paper school of Baishi's words, the superb explanation, the informativeness of the examination and verification, and the richness of the collection are unmatched, and the academic circles have regarded it as the "small encyclopedia of the acoustic study of Baishi", which is not a false reputation. In terms of lexical commentaries, Mr. Xia absorbed the essence of the old lexical theories and broke through the limitations of the old lexical theories, with a torch-like vision and a penetrating exposition, indicating the direction of the development of modern lexical theories. His overview of the development of Tang and Song lyrics and their forms of expression is comprehensive and precise; his comments on Yi An, Baishi, Jiaxuan, Longchuan, and Fuangweng are unique and out of the ordinary.

Mr. Xia Chengtao's outstanding poems and lyrics also proved and enriched his theories of lexicography. His "Tianfengge Words" is a rare collection of contemporary words, showing that the poet has been in and out of Baishi, Jiaxuan, Wushan, and Bishan schools, and that he has taken the best of the best and used the best of the best, with a unique personality and the characteristics of the times.

Mr. Xia Chengtao's contribution to the construction of contemporary Chinese lexicography is quite remarkable. Compared with his predecessors and peers, Mr. Xia has made unique contributions to the construction of contemporary Chinese lexicography, whether in terms of lexicography, lexicography, or the creation of words:

In terms of lexicography, Mr. Xia is the backbone of the school of Zun Shi (尊体派). He inherited the unfinished business of his predecessors, but also added to it and developed it. Especially the genealogy, but also fruitful. If Wang Pengyun and Zhu Xiaozang founded the collation study for Chinese lexicography, Mr. Zhu is the founder of the genealogical study of lexicography. Moreover, Mr. Wang also pushed the revision work into the field of lexical music and the field of lexical law, and he "analyzed the sound and rhythm of the words of the Tang and Song dynasties in such a subtle way that no one had ever done so before".47 His summarization of the word examples would open countless doors for those who would come after him. Mr. Wang's unique construction of the lexicography will play an immeasurable role in the construction of Chinese lexicography.

In terms of lexicographic exposition, Mr. Kao is good at embodying certain results of lexicographic examination into the study of writers' works, which not only gives Mr. Kao the advantage of transcending the flow of time in his exposition, but also provides a reference to the mode of thinking and research methodology during the stage of reflection and exploration, and Mr. Kao's unique construction has a certain value of the time.

When it comes to the creation of words, Mr. Li does not limit himself to the genre of his own, but rather embraces it all and creates a new genre. In other words, he not only "wanted to combine Jiaxuan, Baishi, Wushan, and Bishan into one family", but also "wanted to combine Tang lyrics and Song poems into one body".48 In this respect, Mr. Li can be called the "leftist" of the Zunyi school. In this respect, Mr. Li can be called a "leftist" among the Zunyi school. Therefore, in the contemporary word world, Mr. Qu's words are hard to be reached by ordinary writers.

The above three aspects are both the new contents added by Mr. Qu to the development of Chinese lexicography and the true transmission of Mr. Qu. Of course, after more than sixty years of efforts, Mr. Li did not finish all his work, the so-called unfinished business, which needs to be further inherited and developed by those who came after him. But Mr. Xia Chengtao, as the "Scholar of Lyrics", his name will be forever associated with contemporary Chinese lexicography.

Bibliography

Tang and Song Lyricists' Chronicle (Shanghai Classical Literature Publishing House, 1955)

Tang and Song Lyrics Series (Shanghai Classical Literature Publishing House, 1956), and Zhonghua Shubu (China Book Publishing House, 1962)

Jiang Baishi's Lyrics: A Collection of Poems and Lyrics by Jiang Kui (Song Dynasty), and Xia Chengtao's edited by People's Literature Publishing House, 1959)

The Collected Poems and Lyrics by Baishi (Song Dynasty), and Xia Chengtao's edited by People's Literature Publishing House. The People's Literature Publishing House, 1959

The Source of Words by Zhang Yan, annotated by Xia Chengtao, People's Literature Publishing House, 1963, 1981

The Collection of Words of Yuehlushan, 1979, China Shuju Bureau

Qu Bei's Discussions on Words and Absolute Sentences, 1979, China Shuju Bureau

The Appreciation of the Lyrics of the Tang and Song Dynasty, 1980, Tianjin Hundred Flowers Literature and Arts Press

Reading Words and Words by Jiang Kui, edited and edited by Xia Chengtao. p>

The Common Sense of Reading Words, China Bookstore, 1981

The Collection of Xia Chengtao's Words, Hunan People's Publishing House, Changsha, 1981

The Selection of Extraterritorial Words, Selected by Xia Chengtao, Bibliographic Literature Publishing House, 1981

The Founder's Words: A Chronological Note (Song Dynasty), written by Lu You, with the annotation of Xia Chengtao, Wu Xionghe, and the annotations of the Shanghai Ancient Book Press, 1981

Selection of Jin, Yuan, Ming, and Qing Words. The Selected Words of the Jin, Yuan, Ming and Qing Dynasties, People's Literature Publishing House, 1983

Jiang Baishi's Words, by Jiang Kui, Xia Chengtao and Wu Wuwen, Guangdong People's Publishing House, 1983

Tianfengge Poetry, by Xia Chengtao, Wu Wuwen, Zhejiang Literature and Art Publishing House, Hangzhou, 1984

Tianfengge Diary of Lyrics, Zhejiang Ancient Books Publishing House, Hangzhou, 1984

Tianfengge Diary of Lyrics, Zhejiang Ancient Books Publishing House, Hangzhou, China 1984

Xia Chengtao Collection (8 volumes) Hangzhou, Zhejiang Ancient Books Publishing House, Zhejiang Education Publishing House

Selected Works of Xin Qiji and his works, Shanghai Ancient Books Publishing House 1998

From 1979 to 1984, Xia Chengtao's writings in one edition, reprinted, **** published more than a dozen kinds. Among them, "Qu beard on word absolute sentence", "moon wheel mountain word collection", "Tianfengge study word diary", "appreciation of the words of the Tang and Song Dynasty", "overseas word selection", "Jin of the Ming and Qing Dynasty word selection", "Weizhuang word annotation", "Fangweng word annotation", "Jiang Baishi word annotations" as well as the "Xia Chengtao word", "Tianfengge word set" and so on is the first edition of the publication, and "Tang and Song Dynasty word chronology", "common sense", "Jiang Baishi word annotation", "Longchuan", "the word annotation", "the word annotation", "the word annotation", "the word annotation", "the word annotation", "the word annotation", "the word annotation", "the word annotation", "the word annotation". The "Paper School", "Longchuan Words School Paper" and so on are reprinted or rearranged for the new edition. Mr. large number of writings came into being, for this stage of the construction of the word industry added luster.

Selected Words

Ching Pingle

Hongmen Road (1921)

The whip is pointing to the west. The sound of reed rises from outside, and a gust of soldiers' air from Guanhe River. The dust and sand from the horse's head is ten feet high, and countless winds and flowers in the south of the Yangtze River. The geese have no hatred for each other, and they fall to the end of the world every year.

The Partridge Sky

The Zhengzhou Troop Stopper (1925)

The drums and horns of the city were beating towards the end of the night, and the moon at the top of the building was curving. The dreaming souls of the dangerous road _ yuanyuanqu_, the grass and trees of the army sound the cold battle mountain. It's easy to die, hard to live, who can bear the tears to ask the dying. The paper ash has not been swept away to the military book, a burst of sadness around the ancient customs.

The Magpie Bridge Immortal

Through the county of Xiexian, I remember Huang Zhongze (1925)

Meibian mountain store, the pillow side of the city corner, yesterday's dream met with the strange and wonderful. The Jiuyuan Jingshuang by people, there is a piece of horse head yellow moon. The lights in the high hall, the voice and mouth of my childhood, I can learn from the azaleas and apes. The wind in front of the bones to ask who cold, is full of eyes in the strips of snow.

The Wave of Sand

Crossing the Chiritaki (1927)

The sky is clear, and the autumn wants to be three nights. The short canopy shakes the dream of crossing the river city. It is a pity that there is no iron flute on the upper floors of the building. I'm not sure who will listen to me, but I'm sure I'll be able to find a way to make it work for you. I'm not sure who will listen to me, but I'm sure that I'll be able to do it. The geese are not flying and the clock is not moving, only the sound of the beach.

"Sprinkled River Moon"

(1928 Autumn)

1928 Autumn, I live in Jiande Ziminfang honk, since the Song Dynasty to the Qing Dynasty, the old light house also. Occasionally read the "Dec. Xin Miscellany" cloud "first son in the Shao Ding four years Xinmao out of Fuchun, nonchen years Yu was born in the county lenticular" cloud, is known to be the birth of Zhou Cao window. When I was compiling the lyricist's chronology, got this surprise. Cool night sitting in the moon, that is, with "applesauce fishing flute spectrum mid-autumn to the moon" rhyme for this, from the grass window of the birth of six hundred and ninety-six years.

What is the word fairy? A silver decorative star filled, dreaming of the traces of the ginshang. The first time I saw this, I was in the middle of the night, and I was in the middle of the night, and I was in the middle of the night. Who will share the autumn colors of the rivers and mountains? Here the underground word flow, the libertine Lai old, high singing long silence. I want to take the mountains and rivers on the back of the luan, and all the gentlemen cross the flute. Liaohe returned late, Jiangcheng is cold and early, and I remembered him from afar. The ancient people like to see, the sea and sky shocked to vomit lonely soul.

Ching Pingle

Yanzhou snow, early morning walk all over the city and outside, the end of the day to return. (Spring, 1929)

The furs of my body were lightly lifted, and I was sent away in a cool breeze. I was surprised to see that there was no place to look for poetry, but the sky was a few peaks away. I'm not sure if I'm going to be able to get a good look at this, but I'm sure I'm going to be able to get a good look at this. I'm not sure if you're going to be able to get the best out of me, but I'm sure I'll be able to get the best out of you," he said.

Yi Qin'e

Yanzhou West Lake (Spring, 1929)

The long embankment is curved, and the east wind is gradually unfolding the green of spring traces. The spring traces of green, a river of willow shadows, tanyin city and castle. The evening cold suddenly realized that the spring shirt is thin, crying warbler to solve the peach blossom fall. The peach blossom falls, the slanting sun is wet, half of the lake cold jade.

Ching Pingle

Tonglu (Spring, 1929)

Wind and smoke are beautiful, and at first it's a sunny day. I want to take the spring river for a drink, people say that the east flow is water. The river and lake sky far flat boat, dreaming of lights and tall buildings. The only thing is a branch of red apricot, teaching people hard to avoid spring sorrow.

Bu Suan Zi

Listening to the Rain in Yanzhou (Summer, 1929)

How many clouds have crossed the river? I was in a flat boat all night, and the autumn tide was rising. The coolness of the pillow, autumn in the hearts of the people. The first thing you need to do is to burn the smoke in front of the wind, and then you can see how much you have to worry about it.

The Partridge Sky

From Hangzhou, I returned to Yanling to sit in the rain (in the fall of 1929)

Five dramas of dust and cars want to sit in oblivion, and a few Hong with the rain fell Dingjiang. I'm not sure how much I'm going to be able to do, but I'm sure I'm going to be able to do it," he said. The piano is wrapped around the couch, the peepers are singing on the porch, and the two or three poles of bamboo are cool in the fall. Longchu Yandang home mountain is good, but **** gulls and eiders love the water town.

Nan Ge Zi

Yanzhou Road (1929)

How can I live with fishing, and how can I live with flying gulls? I've seen the mountains of eastern Zhejiang for two years, and every time I arrive at Xidai, I smile and forget to return. I'm not ashamed to say that I'm still surprised by the coldness of my thin sleeves. South to the north has nothing to do with the death of the six bridges with a slice of the moon, over the Yan Tan.

Buddha Barbarian

(1929)

The east wind is only being felt by the silk poplar, and the idle worries are already at the corner of the low appendage. The village girls are laughing and talking. I'm not sure if I can avoid the world, but I love the taste of idleness. The first thing I'd like to say is that I don't know what to do.

The Song of the Golden Wisp

(1933)

Hu Tinglu Painter's collection of the words of the Song of the Golden Wisp sent by Gu Liangfen to Wu Hanchu was inscribed by Xie Yuchen.

Spreading the volume of the cold man standing. There were the year, the river Liang miserable tears, look at the wet. Than the redemption of moth-eyebrows difficult things, more than a few lines of this oblique ink, will be the ancient God mute ghosts cry. What is a little bit of love on earth, long look at each other, the absence of robbery through the breath. Bringing wine and asking, "Guan Hua Shi". I can still bear to count the autumn reed clippings. I miss Su Qing, I can't get the letter from the geese, and it is hard to whiten my head. I will let you enter the Jade Gate to know how much I know about my head. The sky is going to be colorful with the word world. I am grateful to my late friend for bending my knees lightly. The East Pavilion wine, throat neighbor flute.

Looking at the South of the River

Self-titled Moon Wheel Tower (1933)

Qinshan Mountain is good, with water around the blue pond. An autumnal light descends from the sky, and the moon is pale at the fifth tide. The windows are hung with silver decorations.

The Qinshan Mountain is a good place to fly and look down on Xixing. The sea has not yet born the remaining night day, fish and dragons come to eat half of the river lights. I'm not sure if I'm going to be able to do that.

The Qinshan Mountain is good, face to face the river window. The first thing you need to do is to get a good look at the city, and the second thing you need to do is to get a good look at the city. I'm not going to be able to get a good look at it," he said.

Qinshan Mountain is good, clear green nine dragons ring. The first is the "Crown of the West", and the second is the "South Mountain". I'm not sure if I'm going to be able to do this, but I'm going to be able to do it.

The Qinshan Mountain is good, the top of the top love to find poetry. The stars and lamps outside the flowers ___, the rain on the railing by the clouds, the coolness of the thin Luo know.

The mountain is a good place to be, and you can hear the thunder in the background. The first thing you need to do is to get a good deal of money to pay for the services you need. The fall colors are coming in the rain.

The Qinshan Mountain is a good place to write about the clouds. Who sits in the autumn fragrance across a flute, full of light moon apricot yellow shirt, sing me looking south.