With my broken palm
I feel this vast land:
This corner has turned to ashes,
The other corner is only blood and mud;
This lake is supposed to be my hometown,
(In spring, the embankment is like a brocade of blossoms,
The tender willow branches are broken off with strange fragrance)
I touch the coldness of the floating algae and the coolness of the water;
The snowy peaks of Changbai Mountain are cold to the bone;
The snowy peaks of Changbai Mountain are cold to the bone.
I touch the yellow floating heart and the water's coolness;
The snowy peaks of this Changbai Mountain are cold to the bone,
The water of this Yellow River slips out of my fingers with mud and sand;
The watery fields of the south of the Yangtze River were so soft that they are now only covered with artemisia;
The lychee flowers of the south of the Yangtze pined away in loneliness.
End yonder, I dip into the bitter waters of the South China Sea without fishing boats ......
The invisible palm sweeps over the hateless rivers and mountains,
Fingers stained with blood and ash, palms stained with gloom,
Only that far-off corner of the world remains intact,
Warm, bright, sturdy and vigorous spring.
On that, I caressed it with my crippled palm,
like the soft hair of a lover, the milk of a baby's hand.
I put all my strength in the palm of my hand
Attached to it, with love and all hope,
For there alone is the sun, the spring,
Which will banish the gloom, and bring forth the rebirth,
For there alone we do not live like cattle,
Die like ants... ...there, eternal China!
This is a heartfelt poem written by the poet in 1942 in the dark and damp earthen prison of the Japanese invaders, expressing the poet's heartfelt concern and sincere love for the disaster motherland, and at the same time expressing the yearning for the liberated areas under the leadership of the Chinese ****anufacturing party. In the first half of the poem, "I" touch the vast land of the motherland under the ravages of the enemy's iron hooves with my "mutilated palms": "This corner has turned into ashes, / That corner is just blood and mud! ". Then, the invisible palm of the poet touched a blue lake in his hometown, now "slightly cool" lake water and the former "embankment prosperity such as brocade barriers" of the beautiful spring formed a strong contrast, showing the poet on the enemy trampled on the homeland's incomparable indignation. In order to make the theme of the poem not superficial and narrow, the poet imagines the world from near to far, from north to south, from the snowy peaks of Changbaishan Mountain and the mud and sand of the Yellow River to the paddy fields of Jiangnan, lychees of Lingnan and seawater of South China Sea. The poet chooses the most typical landscapes in each region to color, which are both symbols of the people's sufferings and misfortunes and witnesses to the invaders' evils. The lines "fingers stained with blood and ash, / palms stained with gloom" summarize the first half of the poem and echo the first three or four lines.
The second half of the poem is still unfolding in the world of imagination, depicting a picture of the heart's longing that contrasts greatly with the preceding scene of disaster: although it is a "far corner", the mountains and rivers are intact, and there is no gloom and blood stains. Instead, it is full of warmth, light and vitality, "there is the sun, there is spring". Compared with the mournful and sad tone of the first half of the poem, this part beats with the poet's uncontrollable joy and excitement; compared with the fast-flowing lyricism of the imagery in the first half of the poem, the second half is quiet and soothing, which makes the poem a perfect unity of feelings in terms of sorrow and joy, and the lyrical style appears to be varied and colorful. In an era when artistic contemplation was replaced by furious roaring, this poem is like a beautiful and never-fading wonder: the imagery is highly condensed but not obscure, the feelings are delicate but not dark, and the profound realistic content is perfectly intertwined with the modern lyrical style.
Shu Ting's "Motherland, My Dear Motherland"
I am the worn-out old waterwheel on your river
spinning a tired song for centuries;
I am the smoky miner's lamp on your forehead
illuminating you as you snailed your way through the tunnels of history;
I am the parched ear of the rice plant; I am a disrepairing roadbed;
I am a barge on the silt beach
I am a barge on the river bank
I am the barge on the silted beach
that strangles the rope deep into your shoulders
- O Motherland!
I am poor,
I am sad.
I am the hope of your grandparents'
pain,
the flower that has not fallen to the ground for thousands of years between the sleeves of the "Flying Sky";
--O motherland!
I am your new ideals,
fresh from the cobwebs of myths;
I am the germ of the ancient lotus under the blanket of snow;
I am the smile of your tears;
I am the freshly-painted, snow-white starting line;
the crimson dawn
spewing out;
--O Motherland! -- O Motherland!
I am one billionth of you
the sum of your nine and six hundred thousand squares;
with your bruised breasts
you feed
the perplexed, the thoughtful, the seething me;
then from my flesh and blood
go and gain
your; riches, your glory, your freedom;
- O motherland,
my dear motherland!
This poem borrows from the Soviet poet Voznesensky's "Goya" in the circular syntax "I am Goya, ...... I am ......", but with creative development. The circumflex is mostly found in works expressing strong emotions, and it is most suitable for rendering sad and painful moods. Shu Ting is writing about the relationship between "I" and the motherland, using this syntax increases the depth of pain and love. The first stanza is a reflection on the history of the motherland, and five sets of images are carefully chosen to symbolize the backwardness, poverty and disaster of the motherland for thousands of years: the first four lines are smooth and deep, rich in sound and color, giving people a sense of deep thought and heaviness; the fifth and sixth lines are short, not descriptive; and the last three lines are elongated, and the shortness of the lines is tight, which shows the ups and downs of the emotion, and the emergence of the main word. The second stanza carries on the previous and the next, revealing that the flower of hope hidden in the soul of the Chinese nation has never faded, although the disaster is heavy, the ideal will always be there, just not yet realized. This section of the first short sentence after the long sentence, and then the main word reappeared, seems to be not yet finished, a deep sense of regret will be diarrhea in the end. The third stanza pours out hope and passion, and uses five sets of imagery to depict the face of the motherland waiting for a hundred things to be done during the turning period of history. Each image has its own unique significance, and the use of the five groups forms a metaphorical prose, which strengthens the exuberant and enthusiastic mood and expresses the poet's joyful and encouraging feelings. The first two lines of the fourth stanza use "one billionth" and "nine million six hundred thousand square feet" to form a contrast between small and large, implying that "I" am a part of the motherland, but "my" heart is not in the right place. "I am a part of the motherland, but the whole motherland is embraced in my breast. Then the breast to raise "me" and from "my flesh and blood to get" and into a contrast, highlighting "I" with the motherland's blood and milk relationship; and even confusion, deep thought, seething, and abundance, Even confusion, deep thought, and boiling, and abundance, glory, and freedom, are also opposites in nature, so as to show the infinity of pain and joy. If the first three stanzas are about the relationship between "I" and the motherland, the fourth stanza is about the relationship between the motherland and "I" in turn. The syntactic juxtaposition is a manifestation of the extreme excitement of the mood, and it culminates in a double call to the main word that concludes the whole piece.
There is not a single word of discussion in the whole poem, but all of them are depicted by imagery and penetrated by feelings. The imagery chosen is both simple and distinctive, unique and relevant, and each word closely matches the scene being depicted. The lyricism is not a sweeping outpouring, but pays close attention to its fluctuating rhythm, from sadness, low to joy, high, and from exuberance to deep, which is entangled with pathos, sorrow, intensity, disappointment and hope, sighing and pursuing a variety of complex and heavy feelings, reflecting the poet's unique euphemistic and deep, soft and timeless lyrical personality
Kuomo Ruo, "Coal in the Furnace"
Ah, my young woman!
I will not fail you in your solicitude,
and you will not fail me in my contemplation.
I have burned to this likeness for my beloved
!
Ah, my young lady!
Thou shouldst have known my former self?
Do you not think me a nigger reckless?
It is in my nigger's breast
that I have a heart of fire.
Ah, my young woman!
I think my predecessor
was a useful man,
I have been buried in the earth for many years,
and now I see the light of day again.
Ah, my young lady!
Since I have seen the light of day again,
I have often thought of my native land,
and I have burned in this shape for my beloved one
!
The poet compares himself to the burning "coal in the furnace" by using anthropomorphism, and compares the motherland to "my beloved" "young woman" by using anthropomorphism. The whole poem is built on this set of core images. The image of "coal in the furnace" has rich aesthetic connotations: firstly, the burning coal in the furnace symbolizes the poet's passion to sacrifice his life for the motherland; secondly, under the black appearance of "coal in the furnace", there is a "fire-like heart". Secondly, under the black appearance of "coal in the furnace", the "fire-like heart" symbolizes the "lowly" status and great personality of the toiling masses. Secondly, the "fire-like heart" under the black appearance of "coal in the furnace" symbolizes the "lowly..." status and great personality of the toiling masses, and the "coal in the furnace" refers to both the "little self" and the "big self"-the working people that the poet is Thirdly, the predecessor of "Coal in the Furnace" was "originally a useful pillar" and finally "saw the light of day" after being "buried alive in the ground for many years", symbolizing the poet's "greatness" and "greatness". It symbolizes the poet's desire to make a difference instead of living a mediocre life, as well as the great energy of transforming the world latent in the toiling masses that will be released. The imagery of "girl" implies that the poet's love for the motherland is as passionate as love, and the word "young" implies that the motherland is full of vigor and vitality in the era of May Fourth Revolution. Guo Moruo said in "Ten Years of Creation": "China after May Fourth is like a very handsome and enterprising girl in my mind, she is just like my lover. ...... Coal in the Furnace is my love song for her." This passage clearly illustrates the significance and role of simile in this poem.
"Coal in the Furnace" is an image that melts the characteristics of the object, the temperament of "me" and the spirit of the times in one furnace; writing about the burning of "coal" is to express the spirit of "me". Writing about the burning of "coal" expresses "my" passion, as well as the feelings of the people and the times. The art form is very harmonious with the lyricism. From the chapter point of view, the first stanza summarizes the patriotic feelings and the will to repay the country, the second stanza focuses on the patriotic feelings, the third stanza focuses on the will to repay the country, the last stanza and the first stanza take the form of a duplicate superposition, echoing each other back and forth, and pushing the whole poem to the climax. In terms of format and rhyme, each stanza has 5 lines, and the syllables of each line are roughly even; the first, third, and fifth lines rhyme with each other, one rhyme to the end; and each stanza starts with a kind, gentle, and affectionate call, "Ah, my young lady", which creates the melodic beauty of repetition. The poem's mood follows the rhythm of the poem and has a long and deep flavor.
Wen Yiduo's "Sun Chant" (excerpt)
The sun, the golden bird of God's speed, the sun!
Let me ride you around the earth once a day,
and I will be able to see home once a day!
Wen Yiduo's "Sun Chant" (excerpt)
This is a poem written by the poet during his study in the United States from 192 to 1925. The poet's fervent longing for his motherland gave rise to such marvelous and magnificent imaginations. In Qu Yuan's "Li Sao", there is a saying that "A team of jade gnarls will ride on the river, and the wind will blow on the expedition. The team's "Lei Sao" has the following words: "A team of jade gnarls will ride on the quail, and the wind will go on the expedition." "The team breeds in Cangwu, and the team arrives at the hanging garden at night". However, Qu Yuan only imagined driving a phoenix bird ("鷖') in the universe, while the author of this poem even wanted to ride the sun to sail, the boldness of his imagination even more than the ancients.
Wen Yiduo's "One Sentence"
There is a sentence that is a curse when uttered,
there is a sentence that can light a fire.
Don't look at the five thousand years without saying it,
Can you guess the silence of the volcano?
Maybe it's suddenly possessed,
Suddenly a thunderbolt in the blue sky
exploded:
"Our China!"
What am I supposed to say today?
If you don't believe in the blossoming of the iron tree,
then there is one thing you should listen to:
When the volcano can't hold back its silence,
don't shiver, stick out your tongue, and pause your feet,
wait until there's a thunderbolt from the blue sky
Blasting out:
"Our China. "
Mr. Wen once said, "The poet's chief gift is love, love of his country, love of his people." When he returned home from his stay in the U.S. in 1925, he saw the dark reality under the rule of the feudal warlords and the sight of the people living beyond their means, and thus, the abject love was transformed into a strong dissatisfaction with the status quo and a passionate longing for a change in the old China. This emotion is fully realized in this poem. The whole poem is centered on the idea of "our China", using a combination of realistic and metaphorical techniques, repeated chants, and great effort in rendering and accentuating. In the first stanza, a metaphor is used to expose the suppression of public opinion by the dark reality through the realism and simile of "woe" and "fire", as well as to symbolize the great power accumulated by the people. Then, the poet further compares the volcano with a volcano, which has been silent for thousands of years, but once it breaks out, it will produce a force that will turn the world upside down. This metaphor shows the poet's confidence in the people's power of resistance. In the second stanza, the poet warns against those who are pessimistic about China's future and don't believe in the people, and uses the metaphor of "the iron tree blossoms" to show that building "our China" will not be easy, but will come true in the end. Through the contrast between "I" firmly believe and "you" don't believe, it triggers the panic and resentment of those who don't believe in the people, which further sets off the inevitability and suddenness of the people's resistance and shows that the poet firmly believes in the potential power of the people to emancipate themselves and transform the old China, and that the poet has no doubt about the potential power of the people. This shows that the poet firmly believes in the potential power of the people to liberate themselves and transform old China, and wholeheartedly supports it. He compares the people's resistance and cry to "a thunderbolt in the blue sky", which not only echoes the imagery of "fire" and shows infinite power, but also is a kind of praising tone B "bursting out: / 'Let's China! Our China!" The two repetitions of "China!" strongly express the expectation and pursuit of an ideal China.
If I were a bird,
I should also sing with a hoarse throat:
This land battered by storms,
This river that is always raging with our grief,
This land that is endlessly blowing,
This land that is battered by storms,
This river that is always raging with our grief,
This river that is endlessly blowing,
This river that is endlessly blowing,
This river that is always raging with our grief,
and the unmistakably gentle dawn from the forest ......
-and then I die,
and even my feathers rot inside the land.
Why do I often have tears in my eyes?
Because I love this land so much ......
The opening line of the poem, "If I were a bird," is not a simple comparison of images, but an emotional virtual. The bird's wishes to express the poet's sincere love for the motherland, euphemistic lyrical techniques are blended with the poet's deep feelings and sincere emotions. Then the poet arranges a set of imagery to express the content of his song, the poet's strong inner passion into the imagery is full of vivid and rich connotations: "land" is struck by the storm, "the river" is grieving, "the wind" is the wind, "the wind" is the wind, "the wind" is the wind. The "wind" is angry, and the "dawn" is gentle. In connection with the time when the poet wrote, we can realize that the poet's writing shows a tragic time when the mountains and rivers are broken and the country is sinking. The precious thing is that the poet did not despair because of this, he was still full of hope in the darkness, so the dawn is "gentle". "Then I died, / Even my feathers rotted inside the land," the poem cleverly borrowed the bird's natural, passive end to show the poet's active pursuit, more truly express the poet's dedication. Finally, the poet expresses his feelings of worry and patriotism in a straightforward manner, which not only clarifies the purpose of the title, but also logically and logically forms a cause-and-effect echo with the first half of the poem. If the first eight lines are the accumulation of feelings, the last two lines are the opening of the floodgates of feelings, the rush of feelings
Taiwan]Huang Yonglian, Chinatown
is a harbor
specializing in the Chinese accent
No need to inquire about the place where the guest comes from
Light yellow skin color is brightly lit
Yangzhou's stagecoach
Changan's Palace
The Chinese people have been in the city of Chang'an for many years.
The palace of Chang'an
After the annihilation has become a kind of affinity
The wind is the sound of history
Listening to it like
A dreamy song
It is a castle that will never be garrisoned
The twenty-four flowers of China
Thou art an orchid that takes root without clay
Drinking the frost of snow and ice.
Blossoming the fragrance of the Orient
The flag standing distinctly like
The waves of the Yellow River flowing eastward, always facing the sunny side
is a splendid relief
Bright with the yellow glaze of Yinxian Yangshao
The smoke and clouds are changing
Like the messengers going out of the Jade Gate Pass in the west
The sea is the Silk Road in your heart
The sea is the Silk Road in your heart
The sea is the Silk Road in your heart. The Silk Road
The distant shadow of a lonely sail
The bright moon in your hometown is the magnetic field of the Big Dipper
You have become a meticulous collector
You were once poor and pawned off your money
You just refused to pawn off your family's belongings that you had brought from the motherland
The 5,000 years of the world's history is not a piece of antiquity that can be auctioned off at any time
But rather, it is a divine lamp that will bring happiness
This is the first time I've ever seen the moon in my life. bring happiness to the lamp
Poet Huang Yonglian wandering overseas, the heart of the motherland, bitter can not always be with the motherland together, so a cavity of patriotic thoughts to Chinatown, and a pure "Tang" pen and ink, constructed this poem of "Chinatown "The poet and poet-critic, Zhao Zhao, was a great poet and poet-critic. Zhao Guotai, a poet and poetry critic, once made an insightful artistic analysis of this poem. He said, "Chinatown is a window of Chinese history and culture in the West. In order to accomplish this high level of generalization and presentation, there is no other way to accomplish it artistically than to make a wide range of metaphors and lists. The application of this method makes the work full of connotation but not congested, elegant but not stagnant. In order to achieve this, it depends on the formal structure of the poem, which is based on the beauty of multiple perspectives, so that the connotations are embedded in layers and layers, and the language images of oriental mood are widely planted, and the subject-object conversion method is used, so that the mood is free from the ethereal, and the first stanza of the poem is particularly good. The whole poem gives a wide-screen effect."
How nice it is to hear, "Chinatown", a harbor of unfrozen Chinese accent, a castle of peaceful spring orchids and autumn chrysanthemums, a bas-relief of Eastern culture that destroys the bath. Chinese tune to send Chinese feelings, written in Chinese ink Chinese meaning, the Tang Dynasty strikes the prime minister Zhang Jiuling "little away from home, the oldest back" sigh of regret, the Southern Song Dynasty relics Zheng Shonan orchid grass roots under the soil of the painting, the high man Wang Wei in the morning rain in the city of Wei, farewell friends out of the west of Yangguan disappointment, the Poet Li Bai stood on the banks of the Yangtze River to send off the old man sails in the distance of the sadness, as well as Yangzhou stagecoach stance. Chang'an Palace style, the South twenty-four flowers greetings, Yin Ruins Yangshao pottery glaze call ...... this series of typical Chinese complex of imagery group of natural overprints, gorgeous and elegant, Chu Chu moving. In one chant and three sighs, rising higher and higher is the overseas Yanhuang children's heart to the motherland of the seven rainbow bridge
Pang Yuliang "in the center of the cornfield"
In the center of the cornfield
I am a youthful general
Looking at the ground full of red tassels tumbled green swords fluttering about
the fruits are hidden in the red tassels and the green swords under the
exposed their
We can read their language
Ordinary days without the old man
Only the wind blows, blowing the corn's endless hair
In the middle of the cornfield
We gain the strength to overcome tomorrow
The corn leaves are still lashing at me
Golden cobs rolling in boiling water
How much more is it that we can see?
What a beautiful day
Then we remember what a beautiful **** and country
In the center of the cornfield
The cornfield tilts down on the map of **** and country
Countless battles and victories
Shine on us forever
This poem shows patriotic feelings with the help of the ordinary and simple imagery of corn. patriotic feelings. Planting corn, watching corn, eating corn, this is the most basic labor and life of the common people, very plain and peaceful. I am afraid that those who are used to digging out patriotic themes in wars would not be able to imagine the spirit of patriotism contained in it. So in the second and third stanzas of the poem, the author twice directly points out "**** and the country" to make the theme clear.
In fact, the real patriotism is an ordinary heart, especially in the peaceful times, there is no enemy, there is no bloody fighting, there is no magnificent victory and heavy defeat; without all these circumstances, but can keep the patriotic spirit, which is not easy, so it is invaluable.
The most important battle is not a face-to-face battle, but a battle without an enemy; or rather, that enemy is just time. In peacetime, people are prone to muddle through, unknowingly overcome by time, and become the prisoners of time. As it is, we are always postponing some action, because we are always trusting in tomorrow and believing that tomorrow will bring everything and will accomplish everything. And standing in the center of the cornfield, we can overcome time, overcome ourselves, because the corn leaves in the wind are like whips, lashing us, keeping us on our toes, keeping us in a fighting stance and mindset even in the midst of peace
--"If We Don't Go To War
If we don't go to warThen the enemy kills us
and has to point a bayonet
at our bones
and say
Look,
This is a slave!
A patriotic poem by Qiu Fengjia
It is hard to look at the mountains in springtime,
The past is frightening and the heart weeps,
Four million people cry in the same way,
Last year, today, we cut off Taiwan.
In May 1896, one year after Taiwan was occupied by Japan, the poet, on behalf of the four million compatriots on the island at that time, wrote this poem entitled "Spring Sorrows," which consists of only four lines of twenty-eight words, all of which were written in blood and tears.
Qiu Fengjia (1864-1912) was a native of Changhua, Taiwan. He graduated with a bachelor's degree in 1888 and served as the head of the Ministry of Public Works of the Qing government.
The Sino-Japanese War took place in 1894. Japan launched an invasion of Korea, and provoked China's army and navy, the Chinese army fought bravely, but due to the corruption of the Qing government and the lack of resolute opposition to the invasion of the preparations, so that the Beiyang Navy was wiped out, China's defeat. 1895 April 17, Li Hongzhang, on behalf of the Qing government signed the humiliating Treaty of Shimonoseki with Japan, China was forced to cede Taiwan to Japan. Qiu Fengjia heard of the news in Taiwan to actively organize the volunteer army to resist Japan to protect Taiwan, as Taiwan to resist Japan to protect Taiwan volunteer army of the general, commanding the anti-Japanese. However, he was outnumbered and defeated, and had no choice but to leave Taiwan for the mainland. Thereafter, he founded a school in Guangdong to promote the New Learning and had dealings with the League of Alliance. His poems, most of which are for the recovery of Taiwan, snow and national humiliation, generous and tragic, robust and energetic, worried about the country and the people of Taiwan's nostalgia for the mood remains unchanged, until his death in 1912, still his last words: "I do not forget Taiwan," requiring that when he died and was buried must face Taiwan.
1. Du Fu's "Spring Hope": "The country is broken, the grass is deep in the city. Tears are splashed on the flowers in times of sadness, and the birds are frightened when they hate to say goodbye. The beacon fire lasts for three months, and the letter from home is worth ten thousand gold. The white head is even shorter, and I wish I could not win the hairpin."
2. Li Qingzhao's "Summer Day" (夏日绝句)："Being born as a man of greatness, I die as a ghost. To this day, I think of Xiang Yu and refuse to cross the Jiangdong River."
3. Fan Chengda's "The Bridge of the State": "North and south of the bridge is the street of heaven, and the fathers and elders wait for the return of the driver every year. The old people waited for the return of the driver every year. They asked the messenger with tears in their eyes: 'When will the six armies really come'"
4. Lin Sheng's "The Question of Lin'an Residence": "Beyond the green hills and mountains, beyond the buildings, when will the songs and dances of the West Lake cease? The warm wind makes the tourists drunk, and they treat Hangzhou as Bianzhou."
5. Lu You's "Showing Children": "I know that everything is empty when I die, but I am sad that I do not see the same in the nine states. When the king's divisions are set in the center of the plains, family sacrifices will not be forgotten and will be told to their fathers."
6. Lu You, "Autumn night will be dawn out of the hedge door to meet the cool feeling": "30,000 miles east of the river sea, five thousand still Yue on the sky. The remnants of the tears in the dust of Hu, looking south to the king's division for another year."
7. Wen Tianxiang's "Crossing Zero Dingyang": "The hard work of the world has been a long time in the making, and the stars are all around. The mountains and rivers are shattered and the winds are fluttering, the world is floating and the rain is hitting the ping pong. I am afraid to say I am afraid at the beach, and I am afraid to say I am afraid in the zero-ding ocean. Life from ancient times who have no death, leave the heart of Dan Zhi Zhaoqing."
8. Yu Qian's "Lime Chant": "Thousands of hammers and ten thousand chisels come out of the mountains, and the fire burns as if it were idle. I am not afraid of breaking my bones, but I want to leave my innocence on earth."
9. Gong Zizhen, "Miscellaneous Poems on the Occasion of the 60th Anniversary of the Birthday of the Lord" (Part V): "The sun is slanting in a wave of sadness, and the whip is pointing eastward to the end of the world. The falling red is not an unfeeling thing, but turns into spring mud to protect the flowers."
Autumn in the Motherland
Author Cao Yuxiang
Today you hike into the square of autumn
It's late autumn, the sky has turned cool, and the chrysanthemums are opening
The wind transports the four blue lakes into the air
In the air, a fleet of cloudy ships sails slowly by
In the air, the geese wings paddle the paddles of the seasons
With the sound of song Meet the undulating song of the earth
In the clear fall you see all the people
The city, the countryside, the waves of the Pacific
Even your distant childhood, grandmother
The haystack, a child ringing a bell
The wilderness, the river, the leaves, the fruit
Every day a flag is raised in the square
Every day the land grows a flag
Every day, the land grows a round of light
Everything is worth it, inner happiness
You smile, remembering a dream you once had
Who can't love their motherland
"Motherland", when you softly say the word
It is the same as saying your destiny,
And when you say "fall" with your eyes
That's years, life, far
Qu Yuan - Li Sao
The emperor Gao Yang's seedling Ruoxi, I Huangkao said Beryong;
Reception of Tizhen in the Mengzhuoxi Ruoxi, but the Gengyin I to descend;
The emperor viewed Yu in the beginning of the first
The emperor viewed Yu in the beginning of the first
The emperor viewed Yu in the beginning of the first
The sun and the moon are not inundated, and spring and autumn are in their order;
But the grass and trees are falling, and I am afraid that the beauty of the world will be in its twilight;
If you don't want to be strong and give up the filth, why don't you change your mind?
Riding on a piebald steed to gallop Ruoxi, come to us to guide the first road.
The purity of the three queens in the past is the place of the fragrance;
Mixing pepper and fungus with osmanthus, is it not possible to thread the dahurica;
People of Yao and Shun have been following the path and have found their way to the road;
Why is Jiezhu and Zhou so rampant and in distress over shortcuts;
But the party's pleasure is stolen and the road is hidden and narrow;
Why is it not possible to fear disaster and the defeat of the emperor's carriage?
The first time I spoke to you, I regretted having to leave;
It was not hard for me to leave, but I was saddened by the spirituality.
You have a nine-field orchid and a hundred acres of cymbidium;
Bordering on the razor wire, the asarum and the dahurica;
I hope that the branches and leaves will grow tall and lush, and I hope that I will be able to mow them down when I am ready to do so;
Though I am dying, I am saddened to see that all of my friends have gone to pot;
Many people are competing for greed and want to get ahead.
All of us are competing for greed, and we are not tired of seeking;
Qiang Nei forgives himself and measures others, and each of us is jealous;
Suddenly, we are chasing after him, and we are not in a hurry to do so;
Old Ran Ran will be here soon, and I am afraid that we will not be able to repair our name;
When I am drinking dew from the Magnolia tree, and when I am dining on the chrysanthemums in the autumn, I will be eating the fallen flowers in the evening;
Gouyu's feelings for him are very strong, and he is very happy to be here.
Going to the letter [female qua] ("夸")以练要兮，长[咸页]（音 "咸"）颔也何伤；
Range the wood root to knot dahuric acid Ruoxi, through Ficus Lychee's falling stamens;
Correcting fungus laurel to sewing celandine Ruoxi, rope of the hu rope of the [armature?
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