The first time I saw him, he was in the middle of the night, and he was in the middle of the night, and he was in the middle of the night, and he was in the middle of the night, and he was in the middle of the night, and he 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, and 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, and 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, and I was in the middle of the night, and I was in the middle of the night, and he was in the middle of the night. The first time I saw the company, I had to go back to the office, and I had to go back to the office, and I had to go back to the office, and I had to go back to the office, and I had to go back to the office, and I had to go back to the office, and I had to go back to the office, and I had to go back to the office, and I had to go back to the office, and I had to go back to the office, and I had to go back to the office, and I had to go back to the office, and I had to go back to the office, and I had to go back to the office, and I had to go back to the office, and I had to go back to the office, and I had to go back to the office, and I had to go back to the office, and I had to go back to the office, and I had to go back to the office, and I had to go back to the office, and I had to go back to the office. 挽子精善狸------- ------------ ---------精品word文档 值得下载 值得拥有-------- ------------ ------------ ------------ ------------ ------------ ------------ --《汉书-艺文志》所列出199篇 在《汉书-艺文志》中 In the "Art of War" section of the "Art of War" category, martial arts are introduced, and there are 13 families and 199 articles, of which "six articles on hand-to-hand combat" are also mentioned in addition to the shooting method, There are 13 families and 199 articles, in which, in addition to the shooting method, there are also "six articles on hand-to-hand combat", "thirty-eight articles on swordsmanship", "four articles on Po Tho Zi Ge Fa", and so on. These are the most ancient Chinese martial arts writings, although they have been lost, but can be seen in China as early as the Han Dynasty, boxing, swordsmanship and other martial arts skills have been handed down in writing.
horse lance spectrum author unknown, is China's Sui dynasty book of marksmanship, and later anonymous, the content has been unknowable, but its preface in the ancient and modern book integration have included. JiaoLi ji (A book of jousting) by Song dynasty tiao lu zi is a historical book about jousting and boxing from the Five Dynasties and Ten Kingdoms of China to the beginning of the Song Dynasty, with a description of the purpose, names, sources, and miscellany of articles. In the song history - art and literature, song zhengqiao "through the zhi", qing "linlang secret room series of books" and other books are included. The General Essentials of Wushu Jing (《武經总要》) was written by Zeng Gongliang of the Song Dynasty in 1044, a military work edited by the Northern Song Dynasty with the power of the state, but it involves quite a lot of martial arts. Wushu Zhi (武编), compiled by Tang Shunzhi of the Ming Dynasty, introduces the practice of various martial arts equipments and boxing styles before the Ming Dynasty, and, like Ji'ei Xinshu (纪 效新書), compiled by Qi Jiguang of the Ming Dynasty, it also introduces the situation of the various schools of martial arts in China. Tang Jingchuan wenji (Collected writings of Mr. Tang Jingchuan) A collection of essays and writings by Tang Shunzhi of the Ming Dynasty, in which some of them are related to martial arts, such as "Touring the Shaolin Temple in Songshan Mountain", "Song of the Yang Teacher's Gun", "Song of the Omei Taoist's Boxing", etc. The collection also contains a series of articles by Mr. Tang Shunzhi of the Ming Dynasty. Tang Shunzhi (1507-1560), with the character Yingde and the name Jingchuan, was a native of Wujin County, Jiangsu Province, and was a famous general in the Ming Dynasty who fought against Japanese invasion. The Collection of Zhengqitang (《正气堂集》) was written by Yu Dayou in the Ming Dynasty, with the titles of "Yu Collection" and "Sequel Collection", also known as "Jealousy of the Northern Captives". This book "Yu set" volume 4 contains "sword scripture", chi jiguang in the "ji kao xin shu" transcription. Jiangnan Strategy" Ming Zheng Ruozeng, Ming Wanli forty-two years (1614) published. The book Volume 8 "General Theory of Weapons" describes the schools of martial arts, its content and "renewed literature" almost the same Tang Shunzhi profile, only Zhaojiaquan a description of the contents of a slightly different.
"Jixing Xinshu" by Qi Jiguang in the Ming Dynasty, there are a variety of publications, catalog content is not the same. Such as Zhou Shixuan this 18-volume chapter on martial arts, long soldiers, cards, brushes, short soldiers, shooting, boxing scriptures; Wang Xiangqian this 14-volume chapter on martial arts, martial arts chapters are hand and foot chapter, describing the gun, cards, brushes, sticks, palladium, shooting, boxing and other martial arts; JiKeXinShu includes the "Yang family of the six mother of the eight gun," YuDaYou's "Sword scripture" and the "Sword scripture" of QiJiGuang self-compiled. Qi Jiguang self-compiled "boxing scripture" 32 potential diagrams, etc. This book is the most important book in the study of martial arts for many years. This book is an important document for the study of martial arts and has been reproduced in books such as "Wushu Zhi" and "San Cai Tu Hui" published later. Joseon compiled a book called "Mugyo Tongji" on the basis of this book, and Hirayama Gyokuzo, a military strategist in the Edo period of Japan, also reprinted and published it. In addition, this book was published in Japan under different titles such as Early Learning of Martial Arts, Military Law and Military Records, and The Upanishad of the Art of War. The Five Miscellaneous Books was written by Shieh Zhaozhe of the Ming Dynasty. This book part of the content of the description of the martial arts at that time, and the shaolin boxing called "shaolin temple boxing". This book has Wanli such as reed xuan book, China bookstore had reprinted. The Dinjian was written by He Liangchen of the Ming Dynasty in four volumes, of which the second volume, "Techniques", describes the martial arts of shooting, apprehending, punching, sticking, shooting, brushes, cards, knives, swords, and short arms. This book was included in the Siku Quanshu. The book is written by Wang Qi of Ming Dynasty, and it describes various schools of martial arts such as guns, knives, bows, crossbows, sticks, and miscellaneous weapons in the chapter of "General Discussions on Military Weapons" in this book. Sancai Tu Hui" by Wang Qi of Ming Dynasty, published in 1607, the thirty-fifth year of the Wanli reign of Ming Dynasty. This book "personnel department" contains "shooting method diagrams", "horse arrow diagrams", "boxing diagram", "gun method diagram", "stick method diagram", "side card potential diagrams "and so on, mostly recorded from the Jixingxinshu.
The book "instrumental part" and from the "General Summary of martial arts" transcribed a number of illustrations of martial arts equipment. This book has the photocopy of Qianha Tang and the photocopy of Zhou Yueran, and in recent times, it was renamed as "Four Books of National Art" and published. The Chung Block Small Pieces by Zhu Guozhen of the Ming Dynasty. Volume 12 of this book contains martial arts content, describing the martial artists and boxing at that time. The martial arts record of the Ming dynasty Mao Yuan Yi 15 years, with reference to more than 2,000 kinds of military books written, *** divided into 5 parts of 240 volumes, of which the 84th to 92nd volume contains bow, crossbow, sword, knife, gun, palladium, cards, brushes, sticks, fists and other martial arts illustrations, and includes Qi Jiguang, Cheng Zongyou part of the martial arts works. The New Book of Wushu (《武备新書》) is a revised version of the New Book of Jixing (纪效新書》), the content of which is similar to that of the New Book of Jixing (纪效新書》) with the addition of an article on "Secret Short Strike Methods". The arm record" Qing dynasty Wu Shu, the first year of Kangxi (1662) published. This book is famous for its explanation of the gun method, which is included in the books published in later times, such as "Borrowing the Moon Mountain Room Collection" and "Sea of Fingers". The four volumes of this book are followed by one volume, except for the "Illustrated Description of the Single Sword" in Volume 3 and the "General Description of All Weapons", "Description of the Fork", "Description of the Wolf Brush", "Description of the Vine Brush", "Description of the Rattan Brush", and "Description of the Vine Brush", which are found in Volume 4. ", "The Vine Waist Sword", "The Big Stick", "The Sword Record", "The Song of Double Swords ", "after the sword", are talking about the gun, and with illustrations. Wu Shu (1611 ~ 1695), also known as Qiao, No. Cangduanzi, Ming survivors, Loujiang County, Jiangsu Province (said Taicang County people), when he was a young man, love martial arts, hard work, from the Shi Jing Yan learning gun, from the old man learning sword from the fisherman, from the Zheng Huazi learning horse gun, from Zhu Xiongzhan learning Emei gun, etc., to a variety of weapons, and more insights.
After the fall of the Ming Dynasty, Wu Shu did not want to pursue a career, specializing in martial arts, fifty years old, but also to others to learn the actual sword, and wrote a book to explain the sword has been lost. Wanbao quanquan (The Encyclopedia of Wannbao) was compiled by Smoky Water Mountain Man in the Qing Dynasty, and later revised and published by Mao Huanwen. This book describes sports, arts and culture, games, health care, etc., which involves martial arts, such as "boxing and stick drop method" and "to family in danger method", and introduces boxing and grappling and body protection method. Yin Fu Gun Spectrum Author unknown (according to Tang Hao test, is the Qing Dynasty Shanxi Wang Zongyue by). This book describes the secrets of the gun, such as high and low, left and right, rigid and flexible, real and virtual, in and out, static and dynamic, yin and yang, sticky with the theory, and taijiquan theory is completely consistent. Boxing scripture" Ming dynasty shaolin temple xuanji monk taught, Chen Songquan, Zhang Ming osprey written Tang Shunzhi introduction, the Qing dynasty Kangxi early Zhang Kongzhao supplement, Qianlong years CaoHuanDou and supplement, the Republic of China period, has been renamed "xuanji secret teachings of acupuncture point boxing secrets" and "boxing scripture boxing method preparation" printed. This book is a famous book on Shaolin boxing. The author of Taijiquan Jing is unknown (according to Tang Hao, it was written by Wang Zongyue of Shanxi in the Qing Dynasty). This book describes the principles of Taijiquan, and is also known as "Taiji Quan Shu" (Record of Taijiquan). Internal Boxing by Huang Baijia from Zhejiang Province in the Qing Dynasty. Huang Baijia learned Neijia Quan from Wang Zhengnan when he was a young boy, and wrote this book seven years after Wang's death, describing the "five impossibilities", "fighting methods", "acupuncture points", "forbidden diseases", "prohibited diseases", and "the way to fight". The book contains the "five no-nos", "striking method", "acupuncture point method", "forbidding sickness", "35 hands", and "18 steps". Carambola's Book of Martial Arts by Carambola Nai Zhou, a native of Henan Province in the Qing Dynasty. The whole book *** 6 volumes, the 6th volume describes the gun, monkey stick, double sword and other equipment practice, the remaining 5 volumes are described boxing and boxing theory, the Republic of China period by Xu Zhedong revised reprints.
Military Battle Records
Renhe Wang Uworld Danlu in the Qing dynasty, in the Zhaodai series of books A collection of Volume 47, this book describes about the construction and use of various instruments such as ga, spears, shu, halberds, halberds, car halberds, lances, snake spears, swords, apprehend, apprehend, daggers, guns, knives, palladium, forks and bores, hammers, rods, axes, whips, maces, shovels, wolves brush brushes, rattan tiles and other instruments. Qing taolu class copy" compiled by Xu Ke in the Qing Dynasty. This book is a collection of notes on the historical facts of the Qing Dynasty, the book is divided into 92 categories, of which the skills of the brave class describes the martial arts more, such as "Ye Hongju fine internal boxing", "Jiang Zhi good gun skills", "grass-am monks with an iron staff ", "Dezong thirteen rattles gun", "Jiangyin Frying Sea monk used iron knife weighing eighty pounds" and so on. Chen's Taijiquan Illustrated by Chen Xin of the Qing Dynasty, describing the movements and theories of Chen's Taijiquan, with illustrations. Chen Xin (1849-1929), word Pin San, in addition to Chen's Taijiquan Illustrated, also authored "Taijiquan introduction into the road", "San San boxing spectrum" and other books. It took Chen Xin more than 10 years to write Chen's Taijiquan Illustrations, which was published in 1933 and is one of the most important works on taijiquan. Li Cunyi compiled this textbook with reference to the Five Elements Fist Record, the Lianhuan Fist Record, and the Bouncing Legs. Li Cunyi (1846-1921), formerly known as Cunyi and Su Tang, later changed his name to Cunyi and was a native of Shen County, Hebei Province, and was a famous martial artist in the late Qing Dynasty and early Republic of China. Since his childhood, Li loved practicing martial arts, and learned all kinds of martial arts, and opened a dart board in Baoding for a long time. 1912, Li was employed as the director of teaching affairs of the Chinese Warriors Association in Tianjin, and then went to Shanghai, and served as a martial arts teacher in the Nanyang Public School (the predecessor of the University of Transportation and Communications).
The following is an appreciation of ancient texts, and those who don't need it can download it and edit it to delete it! Thank you! Nine Songs - Xiangjun Qu Yuan Recitation: Lu Yingjun can not Ruoxi Yijiu, Jian who stay Ruoxi Zhongzhou. The beauty is to stare at Ruoxi and to repair, and Pei I take Ruoxi's gui boat. I will make Yuan Xiang Ruoxi free of waves and the river flow peacefully. I look forward to my husband's future, and who will think of him? Driving a flying dragon, I am marching to the north, but I am not making progress on my way to Dongting. Ficus cypresses and cymbidium silks, and the pithy coppice and orchid gleam. Looking at the rainwater, we can see the river and the spirit of Yangling. Yangling is not yet the end of the world, and the woman Canyanyuan is breathing heavily for me. The river is rushing with tears, and I am thinking of you. I have been playing on the rows of a guizhao or an orchid, hacking at the ice and snow. I am a man of the world, and I am a man of the world, and I am a man of the world, and I am a man of the world. The heart is different, the matchmaker is hard-working, and the favor is not very good, but light. The stone is shallow, and the dragon is flying. If you are not loyal to your friends, you will have long grudges, and if you don't believe in your expectations, you will have to tell them that you are not free. The day is to gallop towards the river, and the night is to repel the festival in the northern islet. With a smile, she sliced the turnips with ice chips, with a smile, she pulled out the wheat lees that the pigs ate with her hands, with a smile, she fanned the fire of the stewing stove, with a smile, she carried the dustpan to the square to dry the soybeans and wheat, the Dayan River, in order to make a living, after she ran out of her emulsion, she used both arms to hold over me, and labored. Dayanhe, who loved her baby; for whom she was busy slicing the sugar of winter rice during the festivals; for whom she used to walk quietly to her house at the edge of the village; for whom she called "Mom" when she came to her side; for whom she put his painting of Guan Yunchang in red and green on the wall beside the stove; for whom she would praise her baby to her neighbors; for whom she used to be a woman; for whom she used to be a woman; for whom she used to be a woman; for whom she used to be a woman; for whom she used to be a woman; for whom she used to be a woman; for whom she used to be a woman; for whom she used to be a woman. Dayanhe had a dream she couldn't tell anyone: in the dream, she ate her baby's wedding wine, sat on a brilliantly colored hall, and her beautiful daughter-in-law affectionately called her "mother-in-law." ......... ... The River Dayan loves her breast! Weir, who loved her breasts, died before she woke up from her dream.
When she died, her baby was not at her side. When she died, her husband, who usually scolded her, wept for her. Five sons, each crying very sadly. When she died, she softly called out the name of her baby. The River Weir went away with tears in her eyes! With forty years of abuse in human life, with the endless misery of slavery, with a four-dollar coffin and a few bundles of straw, with a few feet of land to bury the coffin, with a handful of ashes of paper money, Dayanhe went away with tears in her eyes. This is what Dayanhe doesn't know: her drunken husband is dead, her eldest son has become a bandit, the second died in the smoke of artillery, the third, the fourth, and the fifth, and I, I am writing a curse on this unjust world. When I returned to my homeland after my long wanderings, in the hillsides and fields, it was more than six or seven years before my brothers met. I donate my penannular jade ring to the river, and I leave my pelt to the river. I'm picking Fangzhou and Du Ruo, and I'm leaving them to the next girl. The time is not right for me to get it again, so I'm going to get away with it. ① Xiangjun: the god of Xiangshui, a male. It is said that Shun died in Cangwu while touring the south. ②Jun: Xiangjun. ①Jun: Xiangjun. ③ Jian (jian3 Jian): the word. Chau: land in the water. ④要眇(miao3 秒)：beautiful. ⑤ Pei: the water is big and strong. ⑤ Pei: water that is large and rapid. Gui Boat: a boat made of gui wood. ⑥ Yuan Xiang: Yuan and Xiang waters, both in Hunan. Waveless: no waves. (7) f: auxiliary word.
⑧ Jagged: uneven heights, this refers to the xiaojiao, which is said to have been created by Shun. ⑨ Flying Dragon: carved with a dragon boat. North expedition: northbound. ⑩邅(zhan1 沾): transformation. Dongting: Dongting Lake. (11) Ficus: trailing herbs. Bo (bo2 伯)：通 "foil"，curtain. Cymbidium: the name of the herb. Silk: drapery. (12) Sun: vanilla, that is, calamus. Radius (rao2 rao): short oar. 兰 (rao2 rao): orchid: gleam: ornament on the top of a flagpole. (13) rainwater (cen2 cen) yang: on the north shore of rainwater, northwest of Dongting Lake. Jipu: distant water's edge. (14) horizontal: crossing. Yang Ling: to show sincerity. One says that it is to raise the boat, to sail forward. (15) pole: to, arrive. (15) Woman: maid of honor. Cindy: fondness and affection. (16) horizontal: overflowing. (18) rushing: the slow flow of water. (18) "Sentimental" (pei2 pei2): a feeling of inner sorrow. (19) 櫂(zhao4 棹): same as "棹", long oar. The oar (yi4 弈): a short oar. (20) carve (zhuo2 琢): cut. (21) hem (qian1 千)：拔取。 Hibiscus: lotus flower. (21) Hibiscus: lotus flower. (22) Matchmaker: matchmaker. (22) Matchmaker: Matchmaker. (23) very: deep. Lightly cut off: easily cut off. (24) stone: stone rapids. Shallow (jian1 between) shallow: the appearance of rapid water flow. (25) Fluttering: light and fast appearance. (26) intercourse: intercourse. (27) period: to meet. No leisure: no leisure. (28) sea turtle (zhao1 招): the same as "morning", morning.
gallop (wu4 务): rush. Gao: high ground next to the water. (29) Repeat (mi3 m): stop. Section:策, horse whip. Islet: water. (30) times: stop. (31) week: weekly flow. (32) donate: abandon. Penannular jade ring (jue1 decision): ring-shaped jade pendant. (33) left (yi2 yi): left behind. Pei: wear jewelry. Li (li3 li): river, in Hunan, into the Dongting Lake. (34) Fangzhou: the grass in the water. Du Ruo: the name of the herb. (35) legacy (wei4 taste): gift. Under the female: refers to the side of the maidservant. (36) chat: temporarily. Yung and: the appearance of relaxation. Translation: The king can't do it, the god refuses to move forward, and who stays in the middle of the island? For whom are you stranded on an island in the water? I have a beautiful face and a beautiful decoration, and I'm just right, so I'm going to take a ride in my gui boat. I'll take a quick ride in my cinnamon boat. Let the waters of Yuan and Xiang be free of waves, let the waters of Yuan and Xiang be so soft that no waves arise, and let the waters of the Yangtze flow peacefully. Let the waters of the Yangtze River flow calmly and slowly. Looking forward to my husband's future, looking forward to you, why don't you come yet, blowing the dongxiao, who's thinking! Blow the dongxiao to express my longing! Ride the flying dragon to the north. Ride the boat with the flying dragon to the north, but not on my way to Dongting. Change my path and lead the boat straight to Dongting. Ficus cypress Ruoxi silk, Ficus cypress for curtains and cymbidium grass for bedclothes, Ficus coppice Ruolan gleam. Decorate the oars with fragrant pith and use orchids as flags. The first thing I want to do is to look at the rainwater and see the rainwater on the far side of the water, and then cross the big river to Yangling.
The river is spread out in front of you to show your power. The woman Canyuan Yuan is the one who breathes a sigh of relief for you! In my heart, I let out a long sigh for you. The tears in my eyes are like streams flowing down the river, and I think of you in secret. I am filled with sadness as I think of you in secret. I want to use oats made of osmanthus wood and rudders made of orchid wood, to cut through the ice and snow. I want to cut through the ice and snow in your heart. Ficus lilies are picked in the water, but it seems to be like collecting land ficus lilies in the water, and pulling down hibiscus to the end of the wood. It's more like climbing up a tree to pick water-born hibiscus. The heart is different, and the matchmaker is hard at work. The two hearts are not in sync with each other, making the matchmaker's efforts futile. If you don't have a deep love, it's easy to break it off. The shallow water on the sandy beach, the flying dragon, is waiting for you to ride the flying dragon. Waiting for you to come flying down in your flying dragon. If you are unfaithful, you will add to my grievances. If you are unfaithful, you will add to my grievances. If you do not believe in me, you will not tell me. I've made an appointment and broken my promise, but I said I didn't have time. In the morning I drove along the river, and in the evening I stopped my whip on the north bank. In the evening I stopped my whip and rested on the north bank. Birds perch on the roof of this empty house, and the water surrounds the hall. The empty house is surrounded by flowing water. Donate the jade jade ring and place it in the river. Put the jade pendant you gave me on the bank of the river. Picking the fragrant continent Ruoxi Du Ruo, picking herbs to decorate this fragrant continent, will bequeath it to my daughter. All these are the tokens you left me.
The first thing I'd like to do is to take a break from my worries. Appreciation In the Nine Songs created by Qu Yuan according to the folk rituals of Chu, Xiangjun and Xiangwu are two of the most interesting and romantic works. While people appreciate and marvel at their unique southern flavor and touching artistic charm, they are puzzled by the actual identities of Xiangjun and Xiangwu, which have been discussed and debated for a long time. From the relevant pre-Qin ancient texts, although the "Chu Rhetoric" mentions "Two Ladies" and "Xiang Ling" in the chapter of "Far Journey", and the "Classic of Mountains and Seas - Zhongshan Jing" says that "the mountains in Dongting... ...the two daughters of the emperor lived there, often swimming in the river and the abyss", but there is no sign that Xiangjun was Shun, who died on his southern tour, and Xiangwu was Ehuang and Nuying, the two concubines who drowned in the Xiangshui water after chasing after him, as in the later commentaries. The first book that combines the two is the Shiji (The Records of the First Emperor of Qin). It is recorded in the book that when Emperor Qin Shi Huang toured to Xiangshan Mountain (i.e. Junshan Mountain in Dongting Lake today), "he asked the doctor: 'What god is Xiangjun? The doctor said: 'I heard that Yao's daughter, Shun's wife, and buried here.'" Later, Liu Xiang's "Biography of Women" also said that Shun's "two concubines died in the river, between Xiang, commonly known as Xiangjun". This clearly pointed out that Xiangjun was Shun's two concubines, but did not involve Mrs. Xiang. To the East Han Wang Yi for the "Chu Rhetoric" as a note, in view of the two consorts is female, only suitable for the Xiang lady, so the Xiang Jun another reference to "Xiang water god. For this kind of explanation, Han Yu of the Tang Dynasty was not satisfied. Tang dynasty Han Yu is not satisfied, he in the "Huangling Temple monument" that Xiangjun is E Huang, because it is the main consort, so called "Jun"; female Ying is the second consort, because of the name "Mrs.". After the Song dynasty Hong Xingzu "Chu Rhetoric Supplement", Zhu Xi "Chu Rhetoric Collection Note" are from its say.
The advantage of this statement is that Xiangjun and Lady Xiang belong to two people, although to avoid the trouble of Lady Xiang also refers to the two consorts, but still did not solve the gender differences between the two people, thus leaving difficulties in interpreting the obvious love of men and women in the work. In view of this, Wang Fuzhi of the late Ming and early Qing dynasties took a more liberal approach in his "General Explanation of Chu Rhetoric", i.e., Xiangjun was said to be the god of Xiangshui, and Mrs. Xiang was said to be his spouse, and no longer constrained himself to refer to the realities of Shun's legend with the two concubines. It should be said that such an understanding is more in line with the reality of the work, and thus more desirable. Although the legend of Shun and his two concubines has brought a lot of hard-to-explain and complicated interpretations to the search for Xiangjun and Lady Xiang, if we take into account the fact that the legend had already been widely spread when Qu Yuan composed the Nine Songs, that the legend and the region in which it was composed coincided perfectly, and that the words "emperor's son" in Lady Xiang can easily remind people of Yao's two daughters, etc., then some elements of the legend can be considered to have been involved in the creation of this work. Taking these factors into consideration, it is not impossible that some elements of the legend, such as Shun and his two concubines drifting in the mountains and rivers, and the lack of a reason for their meeting, could be borrowed and absorbed by the work. Therefore, noting the possible influence of the legend on the work, but not being bound to the specific personnel of the legend, should be the base point for us to understand and appreciate these two works. From this point of view, it is not difficult to see that as songs for the gods, "Xiangjun" and "Lady Xiang" are an integrated whole, and can even be regarded as two parts of the same movement. This is not only because the two pieces are connected by the same location of Beizhu, but also because their final stanzas are almost identical in content and semantic meaning, and have been regarded as a chorus of singers at the time of the sacrifice (see Jiang Liangfu's "Qu Yuan Fugu").
The song Xiangjun, sung by the goddess, expresses the complex feelings of disappointment, suspicion, grief, and resentment when the male god fails to come as promised. The first paragraph describes how the beautiful Mrs. Xiang, after some careful dressing, came to the appointment place with Xiangjun in a boat with great excitement, but she did not see Xiangjun come, so she blew a mournful xiao in disappointment. The first two lines of the song start with a question, revealing the fact of love but not seeing with suspicion in the heart, making a clear prelude for the lyricism of the whole song. The next two lines say that for this date, she had made serious preparations, and trimmed her already beautiful appearance to the right advantage before she came in her boat. This shows that she valued the opportunity to meet Xiangjun very much and was full of love for him in her heart. It was under the domination of this mentality that she even prayed piously that the waters of the Yuan-Xiang river would be calm, so that Xiangjun would be able to go to the appointment without any problems. However, when she does not see him coming, she can only play the sobbing xiao to express her infinite longing for Xiangjun. The description of this paragraph gives a picture of a beautiful woman looking at the autumn water. In the second paragraph, Xiang Jun did not come for a long time, so Mrs. Xiang drove her light boat northward to Dongting Lake to look for her. She was busy running around the lake and the riverbanks, but the result was that there was still no trace of Xiang Jun. The work here closely combines Mrs. Xiang's journey of searching with her inner feelings. You see, she first drove her dragon boat north out of Xiangpu and turned to Dongting, at this time she was obviously full of hope to find Xiangjun; however, except for the vastness of the lake and the beautifully decorated boat, there was nothing to be seen; she was disappointed but still unwilling to give up, and so she looked into the distance and saw the rainwater, hoping to catch Xiangjun's whereabouts; however, all these were in vain, and then she crossed the big river again in her mind, searching for the vast area of waters in the area of Yuan-Xiang, and finally she still could not find her. She was not able to find it.
Such a fond hope and such a persistent pursuit made the maid beside her sigh for her. It is this sigh of the bystanders, y touched and *** Mrs. Xiang, the rolling waves of feelings in her heart all of a sudden pushed to the surging ***, so that she could not stop the tears, the thought of Xiangjun's missed appointments on the heart of the heart bursts of pain. The third paragraph is mainly a direct venting of the resentment of the extreme disappointment. In the first two lines, Mrs. Xiang wrote that after she failed to see Xiangjun through various efforts, she was still aimlessly rafting in the water, and although the oars, which were like cutting open the snow and ice, were still swinging, it only gave people the feeling that her actions were slow, heavy and mechanically repetitive. Then the metaphor of picking Ficus lycii in the water and collecting hibiscus on the tree not only summarizes that the above pursuit is nothing but a futile effort, but also provides a good basis for the following Xiangjun's "different heart", "not very kind", "not faithful to the fellowship", "not faithful to the period", "not faithful to the period" and "not faithful to the period". At the same time, it is also an introduction to a series of rebukes and complaints against Xiangjun for her "different heart", "not very kind", "unfaithful friendship" and "disbelief". This is Mrs. Xiang's angry words in the case of extreme disappointment, it is in the surface of the desperate and fierce reproach, deep in the hope of the intense pain of dashed again and again; and its driving force, and from the inescapable deep love for Xiangjun, as the saying goes, the deeper the love, the more the reproach, which is the bold pursuit of love of the woman's inner world expressed to its fullest extent. The fourth paragraph can be divided into two layers. The first four lines are the first layer, recounting the time when Mrs. Xiang floated across the lake and river from morning to night, and emphasizing again that when she returned to the appointment place "Beizhu" after a big circle, she still did not see Xiangjun. From "donating the jade ring" to the end of the piece is the second layer, and the final movement of the piece. The second is to throw the jade ring into the river.
Leaving the jade ring on the shore was a drastic action taken by Mrs. Xiang under the domination of her *** emotions. The jade ring and the jewelry are the love gifts from Xiangjun. Now that he has broken his promise again and again, what is the use of keeping these tokens of love and fidelity, and it would be better to throw them away. This action is also the inevitable result of the four "no" words mentioned above. When reading this, people sympathize and feel sorry, but also have more regret. In the last four lines, there is another twist: when Mrs. Xiang gradually calmed down, and collected Du Ruo on the grass in the water to give to the maid who consoled her, she felt that the opportunity could not be lost, and the time would not come again. So she decides to take a longer view of the situation, to think long and hard, to loosen her tense heartstrings, and to take her time to wait. This ending makes the whole story and the whole song have a lingering sound, and echoes with the question at the beginning of the piece, also leaving suspense in the imagination. Three Songs of Spring Visit to Fengle Pavilion Ouyang Xiu Recitation: Jiao Xiao Bird cries in the green trees, and flowers fly in the clear wind. The birds are singing and the flowers are dancing, and the guards are drunk, but tomorrow they will wake up and spring will return. The spring clouds are light and the sun is shining, and the grass is making the lapel flaps flicker. When I came to the pavilion, I met the governor and returned to the pavilion with a basket of flowers in my hand. The sun is slanting over the red trees and green hills, and the grass in the long countryside is green and endless. The tourists do not care that the spring is about to end, they come and go to the pavilion and step on the fallen flowers.
With the Tang Han Yu, Liu Zongyuan, Song Wang Anshi, Su Xun, Su Shi, Su Zhe, Zeng Gong, known as the "Eight Great Poets of the Tang and Song dynasties". Description of the poet in the Qingli six years (1046) in the outskirts of Chuzhou mountains and forests built Fengle Pavilion,? In March of the following year, the poet wrote three poems about his visit to Fengle Pavilion in spring, one of which is selected here. The poem describes the poet's enjoyment of the spring tour, as if he was drunk, and he simply refused to let go of spring. simply refusing to let go of the spring. It can be said that this is the "Painted Bird"? In the poem, it is a very visualized footnote of "crying at ease". Green trees and mountain birds cry, and flowers fly in the sunny wind. The birds sing and the flowers dance, but tomorrow the wine will wake up and spring will return. The spring clouds are light and the sun is shining brightly, the grass makes the lapel flap flick the clothes. When I came to the pavilion, I met the governor and returned to the pavilion with a basket and a carriage full of flowers. Spring at the Fengle Pavilion Ouyang Xiu The sun is slanting over the red trees and green hills, and the grass in the long countryside is green and endless. I don't care if the spring is getting old, I come and go in front of the pavilion and step on the fallen flowers. The first is the "Pavilion of Fung Le", which is located in the center of the city. Fengle Pavilion is located in the southwest of Chuzhou, backed by the Fengshan Mountain, with a scenic view of the Yougu Spring. The lower part of the valley spring, the scenery is elegant and beautiful. The view is elegant and beautiful. The green is endless - the green is endless. Spring is getting old - spring is almost over. This poem is about the endless and lush scenery in late spring, and about the characteristics of green grass and trees and red flowers on the ground. It expresses the feelings of love and fondness of the tourists. The poem can not be separated from the description of the scene, the mood of the poem is expressed through the scene.
Therefore, to appreciate the mood of a poem, you can start from the scenery described in the poem. Ouyang Xiu's "Fengle Pavilion Spring" describes the scenery around Fengle Pavilion in late spring and the feelings of tourists enjoying the spring, through the poem's "red trees", "green hills", "green grass", "falling flowers", "green grass", "green grass", "green grass", "green grass", "green grass", "green grass", "green grass", "green grass", "green grass", "green grass", "green grass", The poem expresses this mood through the scenery of "red trees", "green hills", "green grass", "falling flowers" and so on. This piece is about the feeling of regretting spring. The beautiful spring is coming to an end, and the fallen flowers are all over the ground beside the Fengle Pavilion. When the red sun slopes to the west, the tourists are still reluctant to give up, hovering in front of the pavilion, enjoying the twilight spring scenery. These two lines seem to be emotionless but have feelings, the same as he said in the "play reply to Yuan Zhen" "was a guest under the flowers of Luoyang, although the wild fragrance is late do not have to contend", as well as he said in the "crowing birds" "the body is free to wine and beautiful cherish the light scene, fear that the birds are scattered flowers drifting," written is the same feelings: this is the attachment to the beautiful spring scenery. The same feelings were written in his "Crowing Birds": the same feelings of attachment and pity for the beautiful spring scenery. After returning to Shanghai at the end of 1926, he presided over the publication department of the Creation Society, edited the monthly Creation Magazine and the bimonthly Flood, and published a large number of literary treatises such as Novels and Drama, etc. In 1928, he joined the Sun Society, and edited Popular Literature and Art with Lu Xun's support. 1930, in March, the League of China's Left-Wing Writers was founded, and he was one of its founding fathers; in December, his novel Late Gui Hua was published, and he moved to Shanghai in April 1933, and in April 1933, he moved to China.
In 1938, he went to Wuhan to participate in the anti-Japanese propaganda work of the Third Department of the Political Department of the Military Commission, and was elected as the executive director of the National Association of Literary and Artistic Circles Against the Enemy at its inaugural meeting.
In December 1938, he went to Singapore and edited the Sin Chew Daily and other newspaper supplements, and wrote a large number of political commentaries, short commentaries, and poems.194 On the memorial monument, the name of Yu Dafu's martyrdom will be engraved forever. The first thing that you need to do is to get a good deal of money to pay for the services you need.