Teng [Tang]?
Wang Teng Linjiang Zhu and Ming Luan went dancing. ?
The painted building faces Nanpu Cloud, and the bead curtain rolls up the rain in the western hills at dusk. ?
The shadow of a floating cloud pool is long, how many years do you change stars? ?
Where is the emperor in the cabinet today? Outside the threshold, the Yangtze River flows by itself. ?
In 676, in the third year of Tang Gaozong's reign, the poet went all the way to visit his father, passed through Hongzhou (now Nanchang, Jiangxi), attended the banquet of the governor of Yan, and improvised Preface to Wang Tengting. At the end of the preface, he attached this concise and implicit poem, summarizing the contents of the preface. The first sentence comes straight to the point, pointing out the situation of Wang Teng Pavilion with simple and old brushwork. Wang Tengting was built by Wang Teng Li Yuanying, the son of Gao Zu Li Yuan, when he was governor of Hongzhou. Therefore, it is located at the gate of the newly-built Xizhanghe River in Jiangxi, facing the Ganjiang River. You can look at it from a distance. The following "Nanpu", "Xishan", "idle clouds", "Tanying" and "Yangtse River beyond the threshold" all come from the first sentence "Zhu". The Wang Teng Pavilion is in good condition, but who will visit it now? Wang Teng, who built this pavilion, has passed away. He came to the pavilion, held a banquet and sat in a carriage full of beautiful Yu Pei with phoenix bells. The scene of luxury is gone forever. The first sentence is about space, the second sentence is about time, the first sentence is full of enthusiasm, and the second sentence is depressed. The poet adopts the technique of "standing and sweeping", which naturally makes readers feel ups and downs. A few sentences have covered the theme of the whole poem.
Three or four sentences follow the second sentence and play more. Since no one comes to visit the pavilion, it is of course pitiful to draw a bead curtain in the pavilion. Only the rain from Yunxi Mountain in Nanpu is accompanied by it. These two sentences not only describe Wang Teng-ting's loneliness, but also describe Wang Teng-ting's height, the rain rolling bead curtain in the western hills, Wang Teng-ting's distance and the blending of scenes.
At this point, the poet's intention has been completely covered, but the expression technique is still relatively hidden and incomplete. Therefore, after the first four sentences used three relatively calm rhymes of "Zhu", "Dance" and "Rain", they immediately became three long and soft rhymes of "You", "Autumn" and "Liu". Together with the coordination of composition and meaning, they put special emphasis on time and exert their strength, which is in the same strain as the first half sentence. The word "idle cloud" is intentionally or unintentionally associated with the above-mentioned "Nanpu cloud", and the word "pool shadow" deliberately avoids the word "river" and deepens the "river" into a "pool". There are clouds in the sky, pools in the ground, and I leaned down and wrote about the space, but then I used the word "day long", and I immediately turned the space into time, pointing out that time is long, not a day or two, but over the years, naturally giving birth to the feeling of changing the scene and changing the constellation orientation, and naturally thinking of the people who are building pavilions now. Here, a "minority" and a "why" ask questions continuously, expressing compact emotions. Finally, it turns from time to space, pointing out that things will change, stars will move, Di Zi will die, and the Yangtze River outside the threshold will flow eastward endlessly. The words "threshold" and "river" responded to the first sentence, and the spirit was exhausted.
Wang Hai Lou [Song] Mi Fei?
The iron urn between the clouds is close to the sky and flies a hundred feet. ?
The sound of the Three Gorges River flows at the bottom of the pen. Six Dynasties sails stand in front of the bottle. ?
I drew a corner several times to remind Red Sun that nothing happened in Cangzhou. ?
I suddenly remembered where the spring breeze and the autumn moon were. ?
The first couplet is the main picture-Wanghailou. In order to set off the height of Wanghai Building, Zhenjiang City is written first. The "clouds" and "near the sky" are extremely high, laying a solid foundation for overlooking the dangerous building with a hundred feet of sea. The reason why you can fly upstairs is because the eaves are tilted, such as dancing in five colors, and "ethereal" means fairyland.
The close-up of the Yangtze River written by Zhuan Xu is the most wonderful one in this poem. The poet seems to be drinking, painting and reciting poems. The Yangtze River flows through the bottom of the pen with the sound of the Three Gorges, and the sails of the Six Dynasties in the cup are drunk with wine. He couldn't help but make a masterpiece of poetry and painting, painting pieces of white sails and memorizing this poem. ? Neck couplets write a vision-red sun and white smoke. The setting sun gradually sinks under the urging of gurgling corners, and the quiet riverside in the distance is filled with white smoke. Among them, there is no lack of artistic conception of "the long river sets the yen" and "there is a layer of sad fog on the river waves"
Planning to travel to Taiwan Province [Song]?
The platform is ethereal and pressing the city, leaning on the stick to see the mighty spring. ?
Put a bottle in a thousand miles, and wash it for ten years. ?
Walking back to the water, holding peace, the plain mountain is like a person. ?
I'm even more glad that the machine is not here, and the gull heron on the sand side is also dating. ?
The first link points out the terrain and boarding time of the quasi-viewing platform. "Vague" refers to the height of the platform, and "mighty" refers to the width of the spring in the Ming Dynasty. Both adjectives are used properly. But in contrast, what is more fascinating is to push the word "pressure". City, city, city, city, city, city, city, city, city, city, city, city. The poet accurately expresses this feeling with the word "pressure", which not only shows the sublimity of the platform, but also makes the platform and the city change from static to dynamic, from mutual isolation to seamless integration, making the whole sentence feel flowing. A Qing poet Chen Xu said in his Selected Poems of Jian Nan: "When you read Weng Fang's lyrics, you must think deeply about the wonderful effect of refining words and sentences to get its true color." The words used in the first couplet are simple and easy, but the following word "pressure" will arouse the spirit of the whole couplet, such as trying to use words such as "Chu", "Jump", "Li" and "Lian", all of which complement each other, but the realm is not as good as after all. This can be seen in releasing the beauty of Weng and refining the beauty of characters.
The third sentence takes care of the first sentence. The platform is high and steep, allowing you to look as far as possible and travel thousands of miles. The fourth sentence gave birth to the second sentence, because of the mighty spring, I was relaxed and happy, and I was worried for ten years. Couplets are both a link and a link. At the moment when you are satisfied with your eyes, the scenery in front of you changes unconsciously, that is, the neckline "lingers around the water to embrace harmony, and the plains and mountains are like people." In the eyes of the "clothes" that washed away the dust, the winding river flows away, but it is full of harmony without surging; The gentle mountain peaks move slowly, but they are not steep and steep, but like deep philosophers. Write the scenery on the neck. However, it is not purely a landscape painting, but a poet's subjective thoughts and feelings. Wang Guowei's "Words on Earth" said, "There is a place for me, but there is no place for me. If you have my own environment, you can see things with me. Everything is my color. " The two poems "Let the Weng Wander" created my realm. In spring, my heart is quiet, so I see that the mountains and rivers are so diluted and so leisurely. Similarly, the scenery of Taiwan Province should be planned. In another poem "Auspicious Symbol of Watching and Looking at Autumn Night", there is a sad atmosphere of "suddenly looking back at the temple when the rain is faint, and the mountains are cold in autumn night". What is the reason? It turns out that "the Central Plains has not shed tears, and my hometown wants to be an official". The country hates home, and there is no solution. How can the scenery in its eyes not change color sadly! It is very infectious to convey feelings to the scenery, or to express one's heart through the scenery, so the couplet of "going back to the original mountain" can be called the warning strategy of the whole poem.
The last two sentences say that she is heartless, so Sha Ou can spend her honeymoon with her blind date.
Heng Bo Ge [Jin] Yuan Haowen?
The lonely pavilion suddenly plunged into the rapids, and the air pressure in Long Yuan was as high as 100 feet. ?
Wan Lifeng Tao meets Yinghai, and a thousand-year-old hero is a magnificent mountain and river. ?
Sparse stars, moon, fish dragons, night, old wood, clear frost, red rock and autumn. ?
Relying on the sword, Long song has a glass of wine, and China is in the northwest of the cloud.
The Seven Laws of Yuan Haowen were written before the death of Jin Aizong Tianxing in the third year (1234). At that time, General Ella of Chimel led the troops stationed in Qingkou (now Ganyu County). "Henglang Pavilion" is located in the highland southeast of Qingkou Town. "Fu", do (poetry).
The first pair of couplets is about the aloofness of Hengbo Pavilion, which has a reputation for being handsome and heroic. "Abrupt" towering appearance. "Long Yuan Hundred-foot Building", the reflection of Canon? Shu Wei? Chen Dengchuan. Chen Deng, the word dragon, was born in the late Eastern Han Dynasty. "Chen Dengchuan" cloud, talking with Liu Bei, said that he had seen Chen, but Chen ignored him, and "since he went to the big bed, he made the guest lie down"; Liu Bei said, "When you ask for land and home, you have nothing to say. This is a taboo in Long Yuan. Why talk to you? " If you are a villain, you want to lie 100 feet upstairs and 100 feet on the ground. Why is it evil to get on and off the bed? Later, "Long Yuan Hundred-foot Building" was used to refer to a boarding place, where strong feelings were expressed.
Zhuan Xu wrote about the magnificent scenery he saw on the pavilion and the outstanding figures he thought. "Yinghai", the vast ocean, "Ying" means the sea. "Hero" actually refers to heroes including "handsome guy".
Write poems on the pavilion on the neck couplets, when it is autumn. "Night of the Fish and Dragon" refers to autumn. One of Tang Du Fu's Qinzhou Miscellaneous Poems: "Water falls on night ichthyosaurs, birds and mice fall on mountains." Du Xiu can quote "Notes on Water Classics": "Fish and dragons take autumn as the night. Long Qiu falls at the bisection and sleeps in Yu Garden, so autumn is night. " These two sentences are sad and clear, implying the author's portrayal of the situation at the end of Jin Dynasty.
William wrote down the tragic feelings of Long song in the pavilion, and expressed the expectation of Qingkoushuai to defend the State of Jin. "Shenzhou", during the Warring States Period, Zou Yan called Chi County, China as Shenzhou, and later called it China. This refers to the state of Jin.
This poem has a broad realm, long lasting appeal and profound meaning. In particular, the couplets of "Wan Lifeng Taoyu meets the sea, a thousand-year-old hero is a strong mountain and river" have written all the wonders of mountains and seas and the humanistic heritage of outstanding people in the area of Hainan and Jiangxi, which can be regarded as an epigram to praise the port city. ?
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