Jin Se

Li Shangyin

The Jin Se has fifty strings for no reason, each string and one column is reminiscent of the past.

Zhuang Sheng was obsessed with butterflies in his morning dream, and looked forward to the emperor's spring heart with cuckoos.

The moon in the sea has tears, and the sun in Lantian is warm and the jade produces smoke.

This feeling can be recalled later, but it was already at a loss.

This "Jin Se" is Li Shangyin's representative work. Everyone who loves poetry is happy to sing, and it is the most famous. However, it is also the most difficult poem to explain. Since the Song and Yuan Dynasties, there have been many speculations and no consensus.

The title of the poem "Jinse" uses the first two words of the sentence. In the old theory, it was originally believed that this poem was a poem about things, but recent commentators seem to maintain that this poem has nothing to do with the poem, and is actually an "untitled" work that uses the poem to hide the theme. I think it is indeed different from ordinary chants about objects, but it is also not an untitled poem that simply "cuts off the first two characters" to create a metaphor without any reference to the literal words. The love story it writes is clearly related to Se.

Many commentators have misunderstood the two sentences in the couplet, thinking that this can be used to determine that the poet was "in his fifties" or "nearly fifty" when this piece was written, so So much. Not really. "Unprovoked" means "without reason" or "for no reason". This is the poet's foolish words. There are so many strings in Jinse, and there is nothing "wrong" or "fault" in this. However, the poet insisted on complaining about it: Jinse, why do you have so many strings? In fact, there is no need to "examine" how many strings the harp originally had, and how many strings it actually had in Li Shangyin's time. The poet just used it to express his ideas. According to records, the ancient zither has fifty strings, so when writing zither in Yuxi, the number "fifty" is often used, such as "the rain hits Xiangling fifty strings", "because of the order of fifty strings, the middle way divides the palace", which can be proved. , the poet had no special intention here.

The key to "thinking about the Chinese years with one string and one pillar" lies in the word "Hua Nian". One string and one column are like one note and one verse. The zither has fifty strings, and the syllables are the most abundant. The complex sounds and rhythms often make the listener difficult to remember. The poet never meant for people to dig out "numbers". He said: Listening to the complicated strings of the brocade harp, thinking about the past of the Chinese years; the sounds are complicated and the thoughts are chaotic, and it is difficult to express the regret. The fifty strings set up are just to "create the atmosphere" to see the thousands of past events and the nine tunes of emotions. If you want to appreciate Yuxi's poem, you should first understand its purpose. You should not stick to the pillars and play the harp. He Zhu, a poet in the Song Dynasty, said: "Who can spend the golden years in the golden age?" ("The Sapphire Case") Yuan Haowen, a poet in the Yuan Dynasty, said: "The beautiful lady hates the golden years in the golden years!"

("On Poetry III") "Ten Poems") Hua Nian is the so-called beautiful youth in today's language. The most important "main focus" of this poem in Yuxi is the grand scene of the Chinese New Year, so the idea of ??recalling the "forty-nine years" after "the fiftieth year" is really just a roundabout way of thinking.

The intention of Qi Lian is clear, let’s see how he takes over the following.

The last sentence of the couplet uses an allusion from "Zhuangzi", which tells the story of Zhuangzhou dreaming that he turned into a butterfly and flew vividly... forgetting that he was "Zhuangzhou". But when he woke up from the dream, he was still Zhuang Zhou, and he didn’t know where the butterfly had gone. This sentence from Yuxi is written: The beautiful lady Jinse, a complex string music, awakened the poet from his dream, and he no longer fell asleep. Mi contains the meanings of getting lost, leaving, and not arriving. Let's take a look at what he said in "Evening Thoughts on an Autumn Day": "Watch the butterflies in Hanzhuang and leave." To leave means to leave and pass away, which is what he calls the lost. Although "Dawn Dream Butterfly" originated from Zhuang Sheng, once it was used by Yuxi, it was no longer just a "lifelike" problem. It vaguely contained beautiful scenes, but it was also an illusory dream. The Wangdi in the second sentence of this couplet is the legendary monarch of Shu in the late Zhou Dynasty, named Du Yu. Later, the Zen position retired. Unfortunately, the country was destroyed and the body died. After death, the soul turned into a bird. It cried bitterly in late spring, and the mouth bleeds. The sound was sad and sad, touching the heart, and was named cuckoo. Du Yu's cry of spring, what does this have to do with Jinse? It turns out that the brocade strings and mournful music arouse the poet's infinite sadness and unspeakable resentment, just like hearing the sad sound of the cuckoo sending spring home. The word "tuo" not only describes Du Yu's entrusting his spring heart to the cuckoo, but also describes the beautiful woman's entrusting her spring heart to the brocade. While waving his hands and looking away, the interest of flowers falling and flowing water, the poet's wonderful pen and strange feelings, have reached a level here. climax.

It seems that Yuxi's "Spring Heart Entrusts the Cuckoo" uses the wronged bird to express resentment, and "The Beautiful Lady's Jin Se Resenting the Chinese Years" uses the word "resentment", which is exactly true. The poem about Yuxi contains a brocade poem, which is different from ordinary leisurely emotions. There is a strange feeling and deep hatred in it.

As soon as the rhythmic poem passes through the couplet, after "starting" and "carrying", it is time to "turn" the pen. At this point, the previous text has probably reached a small pause, which seems to be a knot but not a knot. , the meaning is yet to be applied. Below this, I clicked the pen and dropped the ink, as if it was "rising" again. The writing style may be like a strange peak protruding, or like a lotus root being broken and connected, or pushing the pen to spread out, or being light and slow, dark and tight... The techniques can be different, but the spiritual context has twists and turns but is always focused. On this occasion, Yuxi wrote the famous saying "The moon in the sea has tears".

Pearls are born from clams, and clams live in the sea. Whenever the moon is bright and the night is quiet, the clam opens its mouth to the moon to nourish its pearls. When the pearls get the moonlight, they begin to shine brightly... This is a beautiful folk tradition. The moon is a bright pearl in the sky, and the pearls are like the bright moon in the water; tears are symbolized by pearls, which has been the case since ancient times. When a shark weeps, each pearl turns into a pearl, which is also a strange scene in the sea. In this way, the bright moon sets in the vast sea, and the bright pearl bathes in the boundary of tears. The moon, the pearl, and the tears, three yeses and one yes? One into three? Three equals one? In the poet's writing, a wonderful realm that is difficult to distinguish has been formed. When we read Tang Dynasty poetry, there are not many poems with such rich connotations and wonderful associations in one stroke.

So, is there any connection between Haiyue, Teardrops and Jinse that we can explore? Didn't Qian Qi's famous line of chanting Se say long ago, "Twenty-five strings play the moon at night, and all the grievances fly away"? Therefore, on a moonlit night, the grievances are particularly deep. In this way, isn't it possible to spy on the relationship between the vast ocean and the moonlight realm and Se?

For the poet Yuxi, the state of the moonlight in the vast sea has special and deep feelings. Once, because he was ill, he was unable to attend the "Le Ying Zhi Jiu" meeting with He Donggong, so he wrote the sentence "Only the moon in the sea, the high pressure of the clouds in Chicheng". From this point of view, he admired this scene very much for its high openness and purity, and on the other hand he was very sentimental for its desolation and loneliness: a complex and unspeakable feeling of melancholy that could not be expressed in words.

Sikong Tu, a poet of the late Tang Dynasty, quoted a passage from Dai Shulun, who preceded him: "Poet's beautiful scenery, such as the warm sun in Lantian and the smoke of good jade, can be expected but not placed in front of the eyebrows." Here. The eight characters used in the metaphor are exactly the same as the seven characters in the next sentence of the poem's neck couplet, which shows that this metaphor has another origin. Unfortunately, the ancient books were lost and it is difficult to find the source again. Today’s explanation of this sentence has no other reference. It is difficult to say whether it is appropriate to use Dai’s words as an explanation. Lu Ji, a writer of the Jin Dynasty, has a famous sentence in his "Wen Fu": "The mountains are shining with stone and jade, and the river is beautiful with pearls in the water." Lantian, the name of the mountain, is a famous jade-producing place in the southeast of Lantian, Shaanxi today. This mountain is illuminated by the sun, and the jade energy contained in it (the ancients believed that treasures have a kind of light energy that cannot be seen with ordinary eyesight) is slowly rising up. However, the essence of the beautiful jade appears to be there from a distance, but not up close, so it can be seen that It is impossible to look forward to it - this represents an extremely beautiful ideal scenery, but it cannot be grasped and cannot be approached. Here in Yuxi, it is under the inspiration and association of "the glory of Yunyu Mountain, the beauty of pearls and rivers" that the warm sun in Lantian is used to contrast with the bright moon in the sea in the previous sentence, creating an unusually sharp and strong contrast. Literally speaking, Lantian is also very neat to Canghai, because the original meaning of the character Cang is cyan. Yuxi's exquisite vocabulary can also show his talent and workmanship.

The two sentences in the neck couplet express yin and yang, cold and warm, beautiful jade and pearls. Although the realms are different, the sadness and hatred are the same. The poet is admiring and persistent for this noble emotion, but he dare not blaspheme or lament.

The last couplet ties up the whole article, clearly mentioning the word "this feeling", which echoes the "Hua Nian" at the beginning, and the writing style does not escape. The poem says: With such feelings, how can I wait to recall today and feel endless regret? Even at that time, it was already so disappointing. The words "how to wait for recall" mean exactly this: Then recalling today is regretful. , so what! The poet expresses several twists and turns in two sentences, and the twists and turns are just to illustrate the painful and painful mood. This is why poetry is a poet, and this is especially why Yuxi poetry is a Yuxi poet.

Yuxi’s life experience was filled with unspeakable pain and extremely painful emotions, which were depressed and turned into poems. The deep sadness lingered back and forth, deeply affecting others. One of his farewell poems said: "The letter is full of emotions, and Yang Zhu is sentimental after death; when the string is in danger, the wife's harp is in danger, and when the armor is cold, she misses her husband's zither!..." The zither is composed of music, which is often related to the deep feelings and sorrows of life and death. Meaning, one can imagine. Based on this, I feel that if there is hatred of separation between life and death in Jinse's poem, I am afraid it cannot be said to be entirely conjecture.

Three Quatrains on Passing the Huaqing Palace (Part 1)

Du Mu

Looking back at Chang'an, there are piles of embroidery, and thousands of doors are opened in order on the top of the mountain.

The red concubine on horseback smiled, but no one knew it was lychee.

The third poem in this title was composed by Du Mu after he passed by Huaqing Palace in Lishan Mountain. Huaqing Palace was a palace built by Emperor Xuanzong of the Tang Dynasty in the 11th year of Kaiyuan (723). Xuanzong and Concubine Yang used to have fun there. Many poets in later generations wrote epic poems with the theme of Huaqing Palace, and this quatrain by Du Mu is particularly exquisite and popular. This poem uses the typical event of sending lychees to criticize the arrogant and luxurious life of Xuanzong and Yang Guifei, and has a subtle artistic effect.

The first sentence describes the scenery of Lishan Mountain, where Huaqing Palace is located. The poet writes from the perspective of "looking back" at Chang'an, just like a cinematographer, first showing a vast and far-reaching panoramic view of Lishan Mountain in front of the audience: lush forests, luxuriant flowers and plants, and palaces and pavilions towering among them, like a beautiful scene. "Embroidered into piles" refers to the Dongxiuling and Xixiuling on both sides of Lishan Mountain, and also describes the overwhelming beauty of Lishan Mountain, with a pun intended.

Then the camera moved forward, showing the majestic palace on the top of the mountain. The palace doors that were usually closed suddenly opened slowly one after another. Next, there are two close-ups: outside the palace, an envoy is riding a stagecoach at a galloping speed, with clouds of red dust rising behind him; inside the palace, the concubine is smiling. Several shots may seem unrelated to each other, but they all contain suspense carefully arranged by the poet. Why are the "Thousand Doors" opened? Why did "Yi Qi" come? Why is the "concubine" laughing? The poet deliberately did not rush to tell, and only when the tense and mysterious atmosphere made the readers want to know, did he reveal the answer implicitly and euphemistically: "No one knew it was lychee." The word "lychee" reveals the whole story. "New Tang Book." "The Biography of Concubine Yang": "The concubine was addicted to lychees and she wanted to give birth to them. She rode on a horse and traveled thousands of miles. Her taste has not changed and she has arrived in the capital." Knowing this, the previous suspense was suddenly relieved. Those few The lenses naturally fit together.

Wu Qiao's "Poetry Around the Fireplace" said: "Poems are valuable for their implicit and endless meaning, especially those who discuss stories without opinions are the best." The artistic charm of Du Mu's poem lies in its implicit and endless meaning. Profound, the poem does not clearly express Xuanzong's lewdness and the imperial concubine's pampering and arrogance, and vividly uses "riding on the red dust" and "concubine's smile" to form a sharp contrast, which achieves a much stronger artistic effect than expressing one's own opinions directly. . The three words "concubine laughs" have a profound meaning. In the Spring and Autumn Period, King You of Zhou smiled at Concubine Bo and lit a beacon, which led to the destruction of the country and his death. When we read this, isn’t it easy to think of this well-known story? The words "no one knows" are also thought-provoking. In fact, "Lychee Comes" is not unknown. At least the "concubine" knows it, "Yi Qi" knows it, and there is an emperor who is not mentioned in the poem who knows it. Written like this, it is intended to indicate that the matter is of great urgency and that outsiders have no way of knowing about it. This not only exposes the absurdity of the emperor doing anything to please his favorite concubine, but also echoes the unusual atmosphere created previously. The whole poem does not use difficult words, allusions, or elaboration. It is simple and natural, has profound meaning, and is implicit and powerful. It is a masterpiece among the quatrains of the Tang Dynasty.

Yong Yule·Jingkou Beigu Pavilion Nostalgic for the Past·Xin Qiji

Throughout the ages, there is no hero to be found, and Sun Zhong seeks a place. On the dancing pavilion and singing stage, the wind is always blown away by the wind and the rain. The setting sun, the grass and trees, the ordinary alleys, where the slaves of humanity once lived. I think back then, when we were strong and strong, we could swallow thousands of miles like a tiger.

Yuanjia hastily sealed the wolf in Xu, and won the hasty visit to the north. Forty-three years later, I still remember the beacon fire on Yangzhou Road. But looking back, under the temple of Buddha and Li, there is a sacred crow drum. Who can ask: Lian Po is old, can he still make a living?

Appreciation 1

This word was written in the first year of Kaixi (1205). At that time, Han Zhouzhou was preparing for the Northern Expedition. Xin Qiji, who had been out of work for a long time, was appointed as the pacification envoy to eastern Zhejiang the previous year. In the early spring of this year, he was ordered to inform Zhenjiang Prefecture and leave Jingkou (now Zhenjiang, Jiangsu), a strategic place for Zhenjiang defense. On the surface, the court seemed to attach great importance to him, but in fact, it was just using his reputation as a war veteran as a rallying cry.

After Xin Qiji took office, on the one hand, he actively arranged preparations for a military offensive; but on the other hand, he was clearly aware of the dangers of political struggle and the difficulty of his own situation, and felt that it was difficult to make a difference. Amidst the intense Northern Expedition, it certainly aroused his lofty ambition to restore the Central Plains, but he was also worried about Han Yuanzhou, who monopolized the government's affairs, underestimating the enemy's aggressive advance. This complex psychological state of being mature and seeking a country, thoughtful and intertwined with conflicting emotions is fully expressed in this short work. It has become a famous piece that has been passed down through the ages, and has been praised by later generations as a masterpiece (see Yang Shen "Ci Pin"). Of course, this is first determined by the profound ideological content of the work, but also because it represents Xin Ci’s special achievements in language art, and the allusions are used very appropriately; through the suggestion and inspiration of a series of allusions, it enriches the image of the work and deepens the The theme of the work.

The title of the poem is "Reminiscence of the past in Beigu Pavilion, Jingkou". Jingkou was an important town established by Emperor Wu Sun Quan during the Three Kingdoms period, and was once the capital. It was also the place where Liu Yu, Emperor Wu of the Southern Dynasties, grew up. Facing the splendid country and remembering the heroic figures in history, this is exactly what a hero like Xin Qiji should feel when he comes to the scene. The title has the proper meaning, and the words are written from here.

Sun Quan used the mere land east of the Yangtze River to compete with Cao Wei and expand territory, creating a situation in which the Three Kingdoms faced off. Despite the passage of time, the vicissitudes of life, the singing stage, the pavilion, and the ruins, his heroic deeds reflect the glory of the ages. Liu Yu gradually grew up while being poor and weak. Based on Jingkou, the civil strife was suppressed and the regime of the Eastern Jin Dynasty was replaced. He twice launched the Northern Expedition and recovered a large area of ??his homeland south of the Yellow River. These exciting historical facts are vividly summarized in three sentences: "I think of those days when we were strong and strong, and we could swallow thousands of miles like a tiger." The heroic figure left a profound impression on future generations, so the legendary ruins of his former residence can also arouse people's admiration and remembrance. Here, the author expresses his nostalgia for the ancient times and writes his feelings about reality. Both Sun Quan and Liu Yu established their foundations and built their country in the southeast through hundreds of battles. What a sharp contrast between this and the cowardly behavior of the rulers of the Southern Song Dynasty who settled in Jiangzuo and swallowed their anger!

If the first part of the poem uses ancient meanings to express modern feelings, which is relatively revealing, then in the second part, the historical significance and realistic emotions revealed by the author through allusions are even more profound. And the taste is gone.

The last twelve sentences of this poem have three meanings. The twists and turns are getting deeper and deeper. The historical figures and events organized in the poem, the turbulent bloodline, and the poet's thoughts and feelings are integrated, giving the work a melancholy style and a profound and broad artistic conception.

The three sentences "Yuanjia Caocao" use ancient events to allude to reality and sharply propose a historical lesson. This is the first level. It is said in history that Liu Yilong, Emperor Wen of the Southern Dynasty Song Dynasty, "had the ambition to restore Henan since he ascended the throne" (see "Zi Zhi Tong Jian? Song Ji"). He made three Northern Expeditions without success, especially the last one in the 27th year of Yuanjia (450), which failed even more miserably. Before using the army, he listened to Wang Xuanmo, the prefect of Pengcheng, and Chen's plan for the Northern Expedition. He was very excited and said: "Hearing Xuanmo's statement makes people want to be a wolf and live in Xu." See "Book of Song? Biography of Wang Xuanmo". "Historical Records: Biography of General Wei's Husband" records that the armies of Wei Qing and Huo Qubing went out separately to fight the Xiongnu, and both were victorious. Huo Qubing then "sealed the wolf to live in Xu Mountain and meditated in Guyan." Feng and Zen refer to building an altar of earth on a mountain, offering sacrifices to heaven, which is called Feng, and offering sacrifices to earth, which is called Zen, and repaying the merits of heaven and earth is called victory. "Having the will to seal the wolf and live in Xu" means having the confidence to win the Northern Expedition. At that time, the Yuan and Wei Dynasties, which were based in northern China, were not without gaps; in the comparison of military strength between the north and the south, the north did not have an advantage. If we can plan properly and act after careful consideration, although we may not be able to achieve a great cause of creation, it is entirely possible to regain part of the old land in Henan. It's like Emperor Wen of the Song Dynasty who was eager for success and had a hot head. He couldn't listen to the opinions of his veterans and generals, and started his troops lightly. As a result, not only did they not achieve the expected victory, but Tuoba Tao of the Yuan and Wei Dynasties invaded the south on a large scale, leaving the two Huaihe rivers in ruins, Hu horses drinking from the river, and the country's power collapsed①. This historical fact provides a thought-provoking historical warning to the reality at that time. Xin Qiji warned the Southern Song Dynasty court in earnest words: Be cautious! You see, Yuanjia's Northern Expedition was carried out in a hasty manner, and the feat of "sealing the wolf to live in Xu" only ended up in the sorrow of "hurriedly visiting the north".

Thinking of this, Jiaxuan couldn't help but look back on the past with emotion. As the author's thoughts fluctuate violently, the meaning of the words continues to deepen and enter the second level.

Jia Xuan led his troops back to the south forty-three years ago, that is, in the 32nd year of Shaoxing (1162). As he said in "Partridge Sky": "In the prime of life, banners support thousands of people, Jin Hu suddenly rides across the river at the beginning, Yan soldiers sing at night and silver Hu Gelu is recorded, and Han arrows fly towards Jin Pugu." That boiling battle Years are the beginning of his heroic career. At that time, the Song army defeated the Jin soldiers invading the south in Caishiji. Wan Yanliang was killed by his subordinates. People were excited. Rebels in the north rose up, shaking the rule of the Jurchen nobles in the Central Plains. The situation was promising. Song Xiaozong, who had just ascended the throne, also had great ambitions to recover. He appointed Zhang Jun, the leader of the main war faction, to actively carry out the Northern Expedition. However, after Fu Li's defeat, he could no longer hold on, so the peace faction regained power and once again negotiated peace with Jin Guotong's envoy. Since then, the division between the north and the south has entered a relatively stable state, and Xin Qiji's ambition has been unable to be carried out. He "only exchanged ten thousand words for the pacification of the army in exchange for the tree-planting books of his boss" (ibid.). Opportunities are rare and easy to lose. Forty-three years later, the business of restoring the Central Plains and the morale of the people are different from those forty-three years ago, and of course it will be much more difficult. The historical pictures shown in the comparison between the past and present of "Yangzhou on Fire" and "Under the Buddha and Li Temple" are exactly the sentiments of Jiaxuan when he looked at the vast surroundings, had mixed feelings, and couldn't bear to look back on the past.

What is the meaning of the sentence "Under the Buddha's Temple, there is a sacred crow drum"? The Buddha Temple is located on the Guabu Mountain in the southeast of present-day Liuhe County, Jiangsu Province on the north bank of the Yangtze River. In the 27th year of Yongjia, when Tuoba Tao, Emperor Taiwu of the Yuan and Wei Dynasties, invaded the south, he built a palace on Guabu Mountain, which later became a temple. Tuoba Tao's small name is Buddha Li. At that time, there was a nursery rhyme that said "If a horse drinks from the river, Buddha Li will die next year", so the people called it Buddha Li Temple. This temple still existed during the Southern Song Dynasty. The mention of the Buddha and Li Temple in the poem seems to be related to the southern invasion of the Yuan and Wei Dynasties, which has caused various differences in understanding. In fact, the "Shencrow Society Drum" here is the scene described in Dongpo's poem "Huanxi Sha" of "the old and the young supporting the wheat harvesting society, and the black kites flying and dancing in the sacred village". It is a life scene of the meeting to welcome the gods. . In ancient times, games to welcome gods were a popular folk custom and were closely linked to rural production and labor. When the sun rises and the sun sets all year round, farmers pray for sunshine and rain, as well as various prayers for life wishes, all of which are inseparable from God. Make use of the God-welcoming games on social day, singing, dancing and having fun, on the one hand, to reward the gods and entertain them, and on the other hand, everyone has a happy gathering. In the eyes of farmers, as long as they are gods, they will take care of production and daily life, and will bless them. Where there are temples, there will be sacrificial activities of "Shencrow Shegu". As for what god this temple worships, it is of no great importance to the peasants. The same goes for the people who hold the God-welcoming Ceremony under the Temple of Buddha and Li. They only worship Buddha and Li as a god. They will never examine the origin of this god, let alone the invaders of the Yuan and Wei Dynasties more than a thousand years ago. Linked to the current Jin invasion. Therefore, the objective meaning revealed by the "Shencrow Shegu" is just an environmental atmosphere of rural life, and there is no need to study it further. However, Xin Qiji's close-up shot of the Buddha and Raccoon Temple in his poem has a profound meaning; it is intrinsically connected with the "Fighting Fire in Yangzhou" above, both coming from the sentence "It's worth looking back" . Forty-three years ago, Wan Yanliang launched a southern invasion and used Yangzhou as a base for crossing the Yangtze River. He also stationed himself on Guabu Mountain where the Buddha Li Temple is located, strictly supervising the Jin troops as they rushed to cross the Yangtze River. Using ancient metaphors as a metaphor for the present, Buddha Li naturally became the shadow of Wan Yanliang. Jiaxuan has used Buddha raccoon to allude to Wan Yanliang more than once. For example, in the lyrics of "Shui Tiao Ge Tou" it is said: "The setting sun is filled with dust, and the barbarians are hunting in the clear autumn. The Han family has trained hundreds of thousands, and the fleets are towering. Who knows how to throw a whip and fly across, recalling the blood-stained eagles of the past, the wind and rain "Foli is sad." The word "Foli" refers to Wan Yanliang, which is exactly the explanation of this word. The Fo Li Temple here symbolizes the traces left by the southern invaders. Forty-three years have passed. At that time, the Yangzhou area was filled with flames of war, and the footprints of the southern invaders were left on Guabu Mountain. All these memories are still fresh. However, under the Buddha Li Temple, there is a sacred crow drum, and the scene is peaceful and peaceful. Fighting atmosphere. What Xin Qiji couldn't bear to look back on was that since the Longxing Peace Conference, the imperial court had stayed in peace and given up many good opportunities for the Northern Expedition to fight against the Jin Dynasty. As a result, he returned south for more than 40 years, and his ambition to restore the Central Plains could not be realized. Here, the deep sorrow of the times and the emotions of personal life are intertwined.

So, does Xin Qiji think that the opportunity has been missed and the situation is irreversible? Of course not. He was in favor of this Northern Expedition, but he believed that preparations must be made; and whether the preparations were sufficient or not, the key was whether the measures were appropriate and what kind of people were appointed to preside over them.

He once suggested to the court that the military plan should be entrusted to the senior ministers, implying that he would take it upon himself and prepare to shoulder this heavy responsibility in his old age; however, things were not as imagined, so he said, "Who can ask: "Lian Po is old, can he still make a living?" The meaning of the poem has entered the final level.

Anyone who has read the "Historical Records: Biography of Lian Po" will naturally compare the veteran Lian Po who "eats a bucket of rice with ten pounds of meat, wears armor and mounts a horse", and "who is as old and healthy as a tiger, red and red" He related it to Xin Qiji, "white cheeks, beard, and blue eyes" (a line from Liu Guo's poem "Cheng Jiaxuan"), and felt that he used the ancients to portray himself. How full and vivid the image is, and how appropriate and realistic the comparison is! Not only that, Jiaxuan's choice of this allusion has a more profound meaning. This is that he put his personal political experience at the focus of the national conflicts between the Song and Jin Dynasties, as well as the internal conflicts of the Southern Song Dynasty ruling group to express his emotions and give it to the lyrics. The image has a richer connotation, thus deepening the theme of the word. This can be experienced from the following two aspects.

First of all, in Zhao State, Lian Po was not only a fierce general who was "well-known among the princes for his courage", but also in the long-term stalemate between Qin and Zhao, he was a brave general who could attack and defend. But Bu Menglang, who is prudent rather than timid, is a veteran general who is feared and respected by the Qin State. The reason why King Zhao "thought about regaining Lianpo" was because he was "several trapped by Qin soldiers" and wanted to fight against the powerful Qin. Therefore, Lian Po's use of sacrifice and hiding is related to the situation of the struggle between Zhao and Qin and the rise and fall of Zhao's national destiny, not just the personal ups and downs of Lian Po. Secondly, the reason why Lian Po was finally not appointed by King Zhao this time was because his enemy Guo Kai deceived King Zhao by engaging in conspiracy. Lian Po's personal experience reflected the contradictions and struggles within the Zhao state's ruling group at that time. From the historical significance revealed by this story, combined with the author's life experience in the past forty-three years, especially since he was kicked away by Han Yuzhou shortly after, and when he was dismissed and returned to the south, he uttered "Zheng Jiazheng asked for the death of the rat, Ye Ye "How can I be a real dragon?" ("Rui Partridge? Yichou Fengci Zhouci Yuhang Zuo"). If we look back and understand his situation and mood when he wrote this poem, we will have a deeper understanding of his The depth and breadth of worries and indignation will make you marvel at his superb use of allusions.

Yue Ke said in "The History of Jiaxuan's Ci": After he proposed the phrase "Yongyu Le" to "feel that there are many things to do", Jiaxuan was overjoyed, "drinking wine and saying that he was sitting in the middle" "My husband's words are still lingering in his heart." People often draw this conclusion from this record: Xin Qiji uses many allusions in his words, which is a shortcoming, but he can listen with an open mind. Other people's opinions and creative attitude can be described as serious. Another important piece of information revealed by this material has been ignored by people: Why did Yi Jiaxuan, a master of language art, "change his language dozens of times day by day, but still haven't finished it after months and months"? He wanted to change but finally changed it. Can't change it? This does not just mean that although there are many allusions in this poem, these allusions are used seamlessly and just right. Their role and energy in language art cannot be replaced by direct narration and description. As far as this poem is concerned, the use of many allusions is not a shortcoming of Xin Qiji, but it reflects his special achievements in language art.

Appreciation 2

This poem is the representative work of Xin Qiji, a bold poet of the Southern Song Dynasty. It is also one of the best patriotic poems. It has always been praised by future generations. Some people even call it Ci is the first of Xin Ci.

The writing of this word has a specific creative background. During the Southern Song Dynasty, the main war faction was always at a disadvantage. Therefore, for a long time, Xin Qiji was idle in the countryside of Jiangxi and could not be reused. Later, Prime Minister Han Suizhou took advantage of the situation and re-appointed Xin Qiji. But this crony prime minister had a purpose, which was to rush for the Northern Expedition and appoint the main war faction, hoping to gain political capital and consolidate the power of the government by defeating the Jin soldiers. Xin Qiji, who was proficient in the art of war, knew that war was by no means a child's play and that one must know oneself and the enemy. After he sent people to the north to conduct reconnaissance, he believed that the fighting opportunities were immature and advocated not to act hastily for the time being. Unexpectedly, Han Nizhou was suspicious of him and demoted him to the prefect of Zhenjiang. Beigu Pavilion is a famous building in Jingkou (Zhenjiang). If you climb the tower, you can see that it belongs to the vast area north of the Yangtze River in the Jin Dynasty. It can be imagined that when Xin Qiji was in Jingkou, he must have climbed the stairs more than once. When he climbed the stairs, he must have had a lot of emotions in his heart. They accumulated like bones in his throat.

The whole poem expresses the poet's firm belief in resisting the Jin Dynasty, but also opposes the idea of ??rashly advancing and underestimating the enemy. It expresses sympathy for the people in the occupied areas, exposes the political corruption of the Southern Song Dynasty, and also reveals that the poet has no way to serve the country. of distress.

The greatest artistic feature of this poem is its good use of allusions. Xin Qiji was very good at using allusions. When he wrote this poem, he was already in his sixties. As people get older, they naturally like to talk about the past. In addition, the title "Nostalgic for the Past" is to use the past to satirize the present, so why not use allusions? Although there are many allusions in the whole word, they are all quite appropriate. Not only does it not hinder the thinking, but it also uses concise words. The sentences express rich content, which is not comparable to ordinary "dropping a book bag". First of all, the poet skillfully contrasts allusions with reality. The allusions selected in the poem are all consistent with the Gu Pavilion in the north of Jingkou, are related to emperors and generals, and involve the historical events of the separation of the north and the south in previous generations. By using these allusions, we can directly and implicitly draw analogies or contrasts with the rulers of the Southern Song Dynasty. For example, using the heroic feats of Sun Quan and Liu Yu to compare the humiliating compromises of the rulers of the Southern Song Dynasty makes people feel depressed; using Liu Yilong's hasty Northern Expedition, eager to "enclose the wolf in Xu" and achieve unparalleled achievements, but suffered a disastrous defeat, to compare the Korean The stubborn man's lack of preparation for war and his reckless advance made people fearful. Using the story of Lian Po being slandered and comparing it to the trampling of talents in the Southern Song Dynasty made people sigh for a long time. Among them, the Liu Song Dynasty is compared with the Southern Song Dynasty, the Northern Wei Dynasty is compared with the Jin Dynasty, and Liu Yilong and Wang Xuanmo are compared with the weak kings and mediocre ministers of the Song Dynasty, Ningzong and Han Weizhou in real life. Secondly, treat allusions as vivid pictures and vivid language. If you use allusions too much and it is not good, it will be like sand getting into your eyes; if you use it too much and it is good, you can get the effect of concise and meaningful words. All the allusions used in the poems have been re-created, and there is no sense of rigidity or dullness. It writes about Liu Yu's defeat of the enemy in the north, "a golden sword and an iron horse, swallowing thousands of miles like a tiger", and his heroic image is vivid on the page; it writes about Liu Yilong's hasty northward march, "Yuan Jia hastily sealed the wolf in Xu, and won the hasty visit to the north", and his embarrassing situation Appearing before our eyes, he wrote about the scene of Tuoba Tao's celebration, "a sacred crow drum", and his noisy voice could be heard in his ears; he wrote about his age, "Who can ask: Lian Po is old, can he still eat?" , his resentment lingers in his writing. Each allusion is transformed into a vivid picture in the author's writing, making it easy for readers to understand and accept it.

Both belong to the bold and unrestrained school. Compared with Su Shi, Xin Qiji is less broad-minded and heroic, and more desolate and energetic. "The great river goes eastward, and the waves sweep away all the famous figures of the ages." "The rocks pierce the sky, the waves crash on the shore, and thousands of piles of snow are rolled up." How heroic and majestic it is! This is what Xin Qiji can't do. Although the tone of the whole poem is bold and bold, there is a strong sense of sadness and melancholy flowing through it. The first film, "Eternal Land", started with a majestic and straight line, but "Heroes Are Not Found" changed the tone and the tone became lower. Cao Cao and Liu Bei "discussed heroes over wine". Cao Cao once claimed to be "a hero in the world, but the envoy and Cao Er". Later, Sun Quan was praised by Cao Cao as "having a son should be like Sun Zhongmou", but now the lingering charm of the romance is only left after the wind and rain, and the ground is covered with red. The word "general" makes people feel depressed. Liu Yu's residence has gone through changes, and has become an ordinary alley. Does the swallow in front of the hall remember the old owner? The slanting blood-like setting sun puts a layer of red on the weeds and trees, making people want to cry. Thinking back to Liu Yu's feats in those days, one can't help but feel helpless! The word "Cao Cao" at the beginning of the second film shows that Liu Yilong and Wang Xuanmo were so powerful that they lost their minds and harmed the country and the people. The poet returned from the north to the south, which lasted forty-three years. Can he have another forty-three years in his life? But his ambitions and the great cause of resisting the Jin Dynasty have always been difficult to achieve. At this time, looking across the river to the hot land where the battle had taken place, the people were still struggling under the alien rule, and they were filled with bitter hatred in their hearts. The scene of Tuoba Tao celebrating his victory makes one feel sad when thinking about it. Although Lian Po was old, the King of Zhao still wanted to use him, but at this time he was repeatedly denounced. The emperor ignored him and cherished the patriotic pride that was getting stronger when he was old. His resentment, grief, anger, and depression were beyond words.

Classic and elegant, deep and sincere, allusions and lyricism complement each other and complement each other. Xin Qiji is truly a master! Appreciation of Yan Shu's "Butterfly Loves Flowers·Chrysanthemums on the Threshold of Mist and Orchid Weeping Dew"

The threshold (jian four times) the chrysanthemums are sad, the mist orchid is weeping with dew, the curtain is light and cold, and the swallows fly away. The bright moon does not know the pain of separation and hatred, and the slanting light penetrates Zhuhu at dawn.

Last night, the west wind withered the green trees. I climbed up to the tall building alone and looked across the road to the end of the world. If you want to send colorful notes and rulers, you will know where the mountains are and the rivers are vast!

[Translation] The railing relies on the green trees, and the spring breeze is gently blowing the willow silk.

Who is playing the sad music! A pair of swallows flew through the bead curtain. As far as the eye can see, the sky is filled with falling catkins. The red apricots were blooming, and suddenly, it started to rain heavily during the Qingming Festival. When I woke up from a deep sleep, I only heard the oriole's crow, which shattered my sweet dream and I could no longer find it.

This is Yan Shu’s famous poem about his boudoir. The upper part of the poem uses the technique of empathizing with the scene, selecting the scenery in front of him, injecting the protagonist's emotions, and highlighting the hatred of separation; the second part of the poem follows the hatred of separation, and vividly expresses the protagonist's eagerness to see through the high building. Wang Guowei called this word "the west wind last night" in "Human Words"