Four poems on pavilions and pavilions

Tengwang Pavilion [Tang Dynasty] Wang Bo

Tengwang's high pavilion is near the river, and he wears jade and sings the luan while singing and dancing.

The painted building is flying towards Nanpu clouds, and the bead curtain rolls into the west mountain rain at dusk.

The shadows in Xianyuntan Lake are long, how many autumns have things changed and the stars have moved?

Where is the emperor's son in the pavilion now? Outside the threshold, the Yangtze River flows freely.

In the third year of the Yuan Dynasty (676), Emperor Gaozong of the Tang Dynasty, the poet went to Jiaozhi to visit his father. He passed through Hongzhou (now Nanchang, Jiangxi) and participated in the banquet of Governor Yan. He impromptuly composed the "Preface to the Pavilion of Prince Teng". At the end of the preface, he attached this poem: A refined and implicit poem summarizes the content of the preface. The first sentence goes straight to the point, using simple and old-fashioned writing style to point out the situation of Tengwang Pavilion. Tengwang Pavilion was built by Tengwang Li Yuanying, the son of the great ancestor Li Yuan, when he was the governor of Hongzhou. The former site is located on the Jiangmen Gate of Xizhang, a new building in today's Jiangxi Province, next to the Ganjiang River. You can see it from a distance or overlook it. The words "Nanpu", "Xishan", "Xianyun", "Tanying" and "Yangtze River outside the threshold" below are all from the 1st. The phrase "a high pavilion is adjacent to the river" came out. The situation of Prince Teng's Pavilion is so good, but who in the pavilion comes to visit now? I think that the King of Teng who built the pavilion has died. He came to the pavilion in a Luanling carriage and hung jade pendants and held a banquet. Gone are the luxurious scenes. The first sentence is about space, the second sentence is about time, the first sentence is full of interest, and the second sentence is about waning interest. Compare the two. The poet uses the method of "standing and sweeping" to make readers naturally feel the uncertainty of ups and downs. In just two sentences, the theme of the whole poem is fully covered.

The third and fourth sentences follow the second sentence and are more expressive. Since no one is visiting the pavilion, the beaded curtains inside the pavilion are of course deserted and pitiful. Only the rain from Yunxi Mountain in Nanpu keeps company with it at dusk and morning. These two sentences not only describe the loneliness of Prince Teng's Pavilion, but also describe the height of Prince Teng's Pavilion as the painted pillars fly up to the clouds in Nanpu. The bead curtain is caught in the rain in the Western Mountains, and describe the distance of Prince Teng's Pavilion. The scenes blend together and express feelings. Far and deep.

At this point, the poet's intention has been fully included, but the method of expression is still relatively hidden and not clearly written, so the first four sentences are compared with "渚", "五" and "雨" After the calm rhyme, it immediately switches to three long and soft rhymes of "you", "autumn" and "liu". Using the cooperation of chapters and meanings, special emphasis is placed on time and play, which is consistent with the emphasis on space in the first half of the poem. changed. The word "Xianyun" intentionally or unintentionally connects with the "Nanpu Cloud" above, and the word "Tanying" deliberately avoids the word "jiang" and deepens "jiang" into "tan". The clouds are in the sky and the pond is underground. Every time you lean down and up, you are still writing about space, but then using the three words "rilong" immediately transfers space into time, pointing out the length of time, not just one or two days. But over the years, it is natural to feel that the scenery has changed, the constellations have changed their positions, and it is also natural to think of the people who built the pavilion. Here, one "several" and one "he" are asking questions in succession, expressing compact emotions. Finally, it turns from time to space, pointing out that things have to change, stars have to move, the emperor's son has to die, but the Yangtze River outside the threshold is eternally flowing eastwards. The word "sill" and "jiang" echo the first sentence of the high pavilion facing the river, which is full of energy.

Wanghai Tower [Song Dynasty] Mi Fu

The iron urn between the clouds is close to the blue sky, and the misty flying towers are hundreds of feet apart.

The sound of the Three Gorges River flows at the bottom of the pen, and the shadow of the sails of the Six Dynasties falls in front of the bottle.

Several times I draw a corner to remind me of the red sun, and white smoke rises from Cangzhou without incident.

Where is the sudden memory of enjoying the scenery? The spring breeze and autumn moon are at a loss.

The first couplet is the main picture - Wanghai Tower. In order to set off the height of the Wanghai Tower, Zhenjiang City is first described, and its height is described as "between the clouds" and "near the blue sky", which lays a solid foundation for the dangerous sea-viewing tower. The reason why the building can fly is because the eaves are raised, like a five-colored pheasant flying, and the "misty" has the meaning of fairyland.

The chin couplet describes the close-up view of the Yangtze River, which is the most wonderful couplet in this poem. The poet seems to be drinking, painting and reciting poems at the same time. The sound of the waves of the Yangtze River and the Three Gorges flows through the bottom of the pen. The shadows of the sails of the Six Dynasties in the cup are drank together with the wine. He can't help but write poems and paintings, and paint pieces at the same time. Bai Fan recited this poem. The neck couplet describes the distant view - red sun and white smoke. The setting sun gradually sinks under the urging of the whining painting corners, and the quiet riverside in the distance is filled with white smoke. There are many artistic conceptions here such as "the sun sets over the long river" and "the misty waves on the river make people sad".

Climbing to Xiantai [Song Dynasty] Lu You

The misty terraces press the city wall, leaning on the staff to watch the mighty spring.

Let go of the thousands of miles in front of the bottle, wash away the empty clothes and collect the dust for ten years.

The lingering water embraces the peaceful spirit, and the distant mountains seem to contain people.

I am even happier that my wits are gone, and the gulls and herons are also making love on the beach.

The first joint question is to figure out the topography of the virtual viewing platform and the timing of landing. "Piaomiao" refers to the height of the stage, and "mighty" refers to the vastness of spring. Both adjectives are quite appropriate. But in comparison, the word "pressure" is even more fascinating. The city is tall and precipitous, but the towers towering above it make the city look small and cramped. The poet uses the word "pressure" to express this feeling accurately and unswervingly. It not only shows the majesty of the platform, but also changes the platform and the city from static to active, from isolated to one, making the whole sentence come alive. A sense of flow. Chen Xu, a native of the Qing Dynasty, said in his "Inscription to Selected Poems of Jiannan": "To read Fang Weng's poems, one must think deeply about the magic of refining words, refining sentences, and vigorously hammering the stove, in order to understand its true face." The first two sentences are simple to express, but the next one is easy to understand. The word "press" will arouse the spirit of the whole couplet. For example, if you try to use the words "out", "leap", "stand", and "connect", they are all the same as Ping Ping, but the realm is inferior in the end. The beauty of Fang Weng refining calligraphy can be seen here.

The third sentence echoes the first sentence, only with high floors can you see far into the distance, thousands of miles away. The fourth sentence leads to the second sentence. Because of the majestic spring scenery, I feel relaxed and happy, and it washes away the worries of ten years. The two sentences in the chin couplet both connect the upper part and connect the lower part. While I was enjoying my sight, the scenery in front of me changed unknowingly. That is the neck couplet: "The water lingers in the embrace of peace, and the distant mountains seem to contain people." Looking at Fang Weng, who has washed away all the dust on his "clothes" Come, the meandering river flows gurgling away, without any turbulence and agitation, but full of harmony; the gentle peaks and mountains move in one after another, not steep and steep, but like a profound philosopher. The neck couplet depicts the scenery. But it is not a pure depiction of mountains and rivers, but also contains the poet's subjective thoughts and feelings. Wang Guowei's "Human World Ci Hua" says, "There is a state of me, and there is a state of not-me. In the state of me, when you look at things with me, they all have my color." These two lines of poem "Fang Weng" create exactly There is my realm. When spring arrives, my heart is filled with tranquility, so I can see the mountains and rivers looking so dilute and leisurely. It is also the scenery of Xiangsiutai, but in another song "Deng Xiangfu Temple in Autumn Evening", there is a desolate feeling of "Looking back at the palace in the dusk of rain, the remaining mountains are cold in the evening of autumn". The energy comes. What's the reason? It turns out that "the Central Plains has not returned to tears, and I want to return to my hometown to serve as an official." There is no way to resolve the country's hatred and family worries, and how can the landscape in my eyes not change its color miserably! It is very contagious to convey feelings into the scene, or to express the heart through the scene, so the couplet "Lingering on the backwater and leveling the distant mountains" can be called a warning for the whole poem.

The last two sentences say that there is love but no intention, so the gulls and mandarin ducks by the sand can be on a blind date,

Hengbo Pavilion [Gold] Yuan Haowen

Lonely The pavilion is abruptly inserted into the flying current, and the air pressure Yuanlong Baichi Tower is high.

Thousands of miles of wind and waves meet the Yinghai Sea, and thousands of years of heroes build the hills.

The sparse stars are shining in the moonlight at night with fish and dragons, and the old trees are clear with frost and wild geese are flying in autumn.

Leaning on the sword and singing a cup of wine, China is in the northwest of the floating clouds.

This Qilu poem by Yuan Haowen was composed before the death of Jin Dynasty in 1234, the third year of Tianxing reign of Emperor Aizong of Jin Dynasty. At that time, General Yila Nie led his troops to garrison Qingkou (today's Ganyu County) at the end of the Jin Dynasty. The original site of "Hengbo Pavilion" is on the high ground on the southeast river bank of today's Qingkou Town. "Fu", do (poetry).

The first couplet describes the aloofness of Hengbo Pavilion, and secretly praises the heroic spirit of Qingkou Commander. "Abrupt" and towering appearance. "Yuanlong Baichi Tower" is cited in "Three Kingdoms? Book of Wei? Biography of Chen Deng". Chen Deng, courtesy name Yuanlong, was born in the late Eastern Han Dynasty. "Chen Deng Zhuan" says that Xu Si and Liu Bei discussed Chen Yuanlong. Xu Si said that he had seen Chen, but Chen ignored him and "went up to the big bed and asked the guest to get out of bed." Liu Bei said: "You asked for land and asked for a house. It is Yuan Long's taboo to speak without words. Why should I speak to you? If a villain wants to lie down on the ground a hundred feet high, why should he lie between getting up and down the bed? "Chilou" refers to the place where one can express one's strong feelings.

The chin couplet writes about the magnificent scenery seen on the pavilion and the outstanding people I think about. "Yinghai" refers to the vast ocean. "Ying" means the sea. "Hero" actually refers to heroes including "Qingkou Shuai".

The neck couplet describes the scene of composing poems in the pavilion in autumn. "Yulong night" refers to autumn. One of Tang Du Fu's "Qinzhou Miscellaneous Poems": "The water falls at night for fish and dragons, and the mountains are empty for birds and mice in autumn." Du Xiuke quoted from "Shui Jing Zhu": "Fish and dragons use autumn as their night. Dragons descend at the autumnal equinox and sting. Sleeping in the abyss, so the autumn sun is the night." The desolate state of these two sentences implies the author's portrayal of the situation in the late Jin Dynasty.

The last couplet describes the tragic feelings of drinking and singing in the pavilion, expressing the expectation that Qingkou Commander will defend the Kingdom of Jin.

"Shenzhou", Zou Yan during the Warring States Period called China Chixian Shenzhou, and later generations called China accordingly. This refers to the Kingdom of Jin.

This poem is written with a broad realm, majestic charm and profound meaning. In particular, the couplet "Thousands of miles of wind and waves meet the Yinghai Sea, and thousands of years of heroes and majestic hills" describes the wonders of the mountains and seas and the cultural heritage of the Hai-Jiang area with outstanding people. It can be called an aphorism praising the port city.