The meaning of this sentence is: The osmanthus wooden boat paddle and the pandan oar are beating the clear waves under the moonlight, and are swimming upstream on the moonlit water surface.

The source of this sentence is: "Red Cliff Ode" by Su Shi of the Song Dynasty

I have excerpted the original text containing this sentence for you to refer to:

< p>So he drank and enjoyed himself very much, and he bowed his boat and sang. The song goes: "The orchid oars are hanging on the osmanthus, and the light is shining in the sky. I feel the mist in my heart, and I look forward to the beauty in the sky." There is a guest who plays the cave flute, and he sings along with it. His voice is whining, like resentment, admiration, weeping, and complaining; the lingering sound is lingering, like a wisp. The lurking dragon dances in the secluded ravine, and the concubine weeps in the lonely boat.

The original translation of this passage into vernacular is as follows:

At this time, I was very happy drinking and singing to the beat. The song goes like this: "The osmanthus wooden boat oars and the pandan oars beat the clear waves under the moonlight, and swim upstream on the moonlit water. My feelings are far away and boundless, and I look at the beauty (the monarch), but in the On the other side of the sky." There are guests who can play the dongxiao, and they accompany the singing with the rhythm. The sound of the dongxiao sobs: like sorrow and longing, like sobbing and talking, the lingering sound echoes on the river, as continuous as a thin thread. Continuously. It can make the dragon in the deep valley dance for it, and the widow on the lonely boat weep.

Here are some words that I think are more important, and I will explain them separately for everyone:

Keep the side of the ship: knocking on the side of the ship, referring to the beat, side, both sides of the ship.

Hit the clear sky and trace the light: The paddle beats the clear water floating in the moonlight, and goes upstream. Sui: go against the current. Kongming, Liuguang: refers to the moonlight floating on the clear river water.

Miaomiaoxiyuhuai: subject and predicate inverted. My mind wanders far, far away. Miaomiao, distant appearance. Use your eyes to turn your worries into __ "Mrs. Xiang"'s feelings, and the feelings in your heart.

Beauty: This is Qu Yuan’s style of writing that Su Shi borrowed from. Use beauty to refer to the monarch. Ancient poems and articles mostly refer to the people one misses and longs for.

Relying on the song and harmonizing (hè): writing in harmony with the beat. Yi: to follow, follow and He: to be harmonious.

Like resentment, like admiration, like crying, like complaining: like lamentation, like longing, like sobbing, like talking. Resentment: sadness. Mu: nostalgia.

The lingering sound: the end. Niao Niao: describes a sound that is long and graceful.

Wisp: filament.

The hidden dragon dancing in the secluded valley: secluded valley: this refers to the abyss. This sentence means: Make the dragon in the deep valley move to dance.

Weeping for the widow in the lonely boat: making the widow on the lonely boat cry sadly. 嫠: A woman living alone, here refers to a widow.

It may be difficult to understand its meaning just by reading the article, so we have to interpret it based on the creative background of the article at that time for better understanding:

"Red Cliff Ode" was written during the most important period of Su Shi's life. One of the difficult periods - the period when he was demoted to Huangzhou. In the second year of Yuanfeng (AD 1079), Su Shi was falsely accused of writing a poem that "slandered the imperial court." Because he wrote "Huzhou Xie Shangbiao", he was impeached by the censor and charged with slandering the imperial court. He was arrested and imprisoned. He was known in history as " "Wutai Poetry Case". "After several restorations," he was tortured. After being rescued by many parties, he was released in December of that year and demoted to the deputy envoy of Huangzhou Tuanlian, but he was "not allowed to sign official documents or go to the resettlement house without authorization." This was undoubtedly a "semi-prisoner" controlled life. In the fifth year of Yuanfeng, Su Shi traveled to Red Cliff twice on July 16 and October 15, and wrote two poems on Red Cliff. Later generations called the first "Chibi Ode" and the second It is "Hou Chibi Fu".

Now that we have said this, let’s appreciate and analyze this article together:

This poem describes what the author and his friends saw and felt while boating on a moonlit night in Red Cliff. Using the subjective feelings as clues, through the form of question and answer between subject and object, it reflects the author's comfort from boating on a moonlit night, to the sadness of remembering the past and regretting the present, and then to the optimism of spiritual liberation. The whole Fu reflects its unique artistic conception in its layout and structural arrangement, with profound charm and penetrating ideas. It has a high literary status in Chinese literature and has had a significant influence on subsequent Fu, prose and poetry.

The first paragraph describes the scene of a night tour in Red Cliff. The author "boated with guests under the red cliff", fell into the embrace of nature, and enjoyed the beauty of the breeze, white dew, mountains, flowing water, moonlight, and skylight. When he was excited, he recited "The Book of Songs·Moonlight" The first chapter of "Out" "The moon rises brightly, and there are outstanding people and colleagues. It is comfortable and graceful, and the hard work is quiet." The bright moon is compared to a delicate beauty, looking forward to her rising.

Echoing the poem "Moonrise", "A little while ago, the moon rose above the east mountain, wandering among the bullfights." It also leads to the author's own song below: "Looking at the beauty in the sky", with consistent emotion and literary style. The word "wandering" vividly and vividly depicts the soft moonlight that seems to be extremely attached and affectionate to tourists. Under the bright moonlight, a vast white mist enveloped the river, and the skylight and water colors merged into one, as the saying goes, "Autumn water always has the same color as the sky" (Wang Bo's "Preface to Prince Teng's Pavilion"). At this time, tourists are open-minded, comfortable and unrestrained, so "as far as a reed is concerned, the vast expanse of land is at a loss", riding a small boat, drifting with the waves on the vast and boundless river where "the waves are calm" The earth is separate from the world, detached and independent. The vast river and the free and easy mind leap out of the author's writing, and the joy of boating is beyond words. This is the front part of the article describing the "boating" tour to enjoy the scenery. It uses the scenery to express emotions, blending the emotions into the scenery, and the scene is beautiful.

The second paragraph describes the joy of the author drinking and singing and the sad sound of the flute of the guests. The author was extremely happy while drinking, and sang while leaning on the boat to express his melancholy and frustration about missing the "beauty". The "beauty" mentioned here is actually the author's ideal and the embodiment of all beautiful things. The song says: "The osmanthus is on the orchid oar, and the light is shining in the sky. The light is flowing. I feel the mist in my heart, and I look forward to the beauty in the sky." These lyrics are all adapted from "Chu Ci·Shao Siming": "Looking at the beauty in the future , The meaning of "Songs of Havoc in the Wind" is embodied in the content of "Reciting the poem of the bright moon and singing the graceful chapter" above. Because he longed for the beautiful woman but could not see her, he had already expressed his frustration and sadness. In addition, the guests played the flute and sang in harmony with her. The tone of the flute was sad and resentful, "like resentment, like admiration, like crying, like complaining, and the lingering sound lingered endlessly." "Like a thread" actually caused the dragon hidden in the ravine to dance and made the widow who was alone in the boat cry. A Dongxiao song is sad and graceful, and its sad and low tone is deeply touching, causing the author's emotions to suddenly change, from joy to sadness, and the article also rises and falls due to this, and the literary spirit is lifted.

The writer's answer in the third paragraph shows a negative outlook on life and nihilistic thoughts. If human society is opposed to the universe and nature, and individual people are separated from society as a whole, then of course we cannot see the continuous performance of the majestic drama on the entire historical stage, nor can we see that although human beings are dependent on nature, they are more capable of transforming nature. Initiative and creativity are the epistemological roots of pessimistic world-weariness or negative transcendental thinking. For literati and officials in feudal society, when they were politically frustrated or encountered setbacks in life, they often fell into such depression and confusion. The same is true for Su Shi. Ke's answer is actually an aspect of Su Shi's thoughts and feelings after he was demoted to Huangzhou. Doesn't the poem "Niannujiao" also say "life is like a dream"? However, such thoughts and feelings, as an abstract understanding of social life, were expressed by Su Shi in poetic language by combining the characteristics of scenery and places, from history to reality, from specific to general, so that readers will not feel any boring at all. Didactic meaning. What's more important is that Su Shi also combined the characteristics of the scenery and place, and also used poetic language to criticize the guest's answer, showing another dominant aspect of Su Shi's thoughts and feelings at that time. The full text begins with "Su Zi said" And enter the fourth paragraph.

The fourth paragraph is Su Shi's statement of his own opinions on the guest's emotion about the impermanence of life, in order to relieve the other party. The guest once "envied the infinity of the Yangtze River" and wished to "hold the bright moon forever". Su Shi used rivers and bright moons as metaphors and put forward the understanding that "the dead are like this, but they are not gone; the ups and downs are like that, but the dead are not waxing and waning". If you look at things from the perspective of change, the existence of heaven and earth is just a blink of an eye; if you look at it from the perspective of change, then things and human beings are endless, and there is no need to envy the rivers, the bright moon, and the heaven and earth. Naturally, there is no need to "sorrow for a moment of my life". This reflects Su Shi's open-minded outlook on the universe and life. He favors looking at problems from multiple angles but does not agree to make them absolute. Therefore, he can maintain an open-minded, detached, optimistic and adaptable mental state even in adversity. And can be freed from the uncertainty of life and treat life rationally. Then, the author further explained that everything in heaven and earth has its own owner and individuals cannot force it. The breeze on the river has sounds, the bright moon in the mountains has color, the mountains and rivers are endless, the wind and moon last forever, the heaven and earth are selfless, the sounds and colors are entertaining, and the author can just wander around and enjoy himself. This feeling and scene are due to Li Bai's "Song of Xiangyang": "You don't need a penny to buy the cool breeze and the bright moon, and Yushan has fallen down and no one can recommend it." It is further deepened.

Because the guest once said that he "envied the infinity of the Yangtze River" and hoped to "hold the bright moon forever", Su Shi still picked up the things in front of him and started from the river on the ground and the moon in the sky: "The guest "Do you know that the water is like the moon?" This sentence is like a "guide" in Peking Opera, which will lead to a wonderful aria, and the interrogative tone shows that the guest cannot actually draw conclusions about transience and eternity from the river and the moon. Correct understanding of this philosophical category. Regarding the river, Su Shi believed that "the dead are like this, but they have never gone away", which means that the river flows day and night. As a certain section of the river, it has indeed disappeared from here, but as the entire river, it has always flowed. , so it can be said that "it is not yet the past". Regarding the moon, Su Shi believed that "the wax and wane are like that, but the years do not wax and wane." This means that the moon is sometimes full and sometimes missing, but after it is missing, it returns to its full shape. This goes around again and again, with no increase or decrease in the end. Therefore, it can be said that " Don’t let it wax and wane.” Listing rivers and the moon to illustrate the dialectical relationship between removal and retention, increase and decrease, the author then summarizes the general cognitive principles: "If you look at the changes, the heaven and the earth cannot change in an instant; if you look at the changes, Then both things and I are endless..." That is to say, change and immutability, both in the universe and in life, are relative. If we look at it from the perspective of change, not only will a hundred years of life pass by in an instant, but even the eternal life that we have always believed will never remain normal even in the blink of an eye. And if we look at it from the perspective of change, then all things in the universe will be endless. , in fact, life is also endless. Therefore, as far as life is concerned, everything in the heaven, earth, universe, and everything in it, "how can I envy it?" Naturally, there is no need to "sorrow for the brief moment of my life." The predecessors said that "you don't need to buy a cool breeze and a bright moon", which fits the scene in front of Su Shi's eyes. The "fresh breeze on the river" has a sound, and the "bright moon in the mountains" has a color. The rivers and mountains are endless, the heaven and the earth are selfless, the wind and moon last forever, and the sounds and colors are beautiful. He You can just wander around and enjoy yourself. This brings us back to the word "乐". ?

The article contains a subject-object dialogue, expressing both positive and negative views, and finally concludes with the fifth paragraph. In the fifth paragraph, the writer was persuaded by Su Shi, and his face was filled with joy instead of sadness. "The guests are happy and smile, wash the dishes and drink more." This time it is more cheerful, and they can't help but drink happily until "the core of the food is gone and the cups and plates are in a mess." The guest solved his ideological problem, felt comfortable and had no worries, so he and Su Shi "were sleeping together in the boat, unaware of the whiteness of the east", which echoed the "boating" and "moonrise" at the beginning of the article. I woke up after a good sleep, the night passed, a trip to Red Cliff ended, and a "Red Cliff Ode" also came to an end. The readers, after experiencing a moonlit night rafting on the river and listening to a conversation about the universe and life, are still immersed in the poetic artistic conception expressed by the author's beautiful writing style for a long time.

Su Shi’s outlook on the universe and life can only be said to contain a certain degree of rationality, because the author does not agree to view issues in absolute terms and pays attention to the dialectical relationship between opposite and complementary things; however, it cannot be considered scientific because the author It follows Zhuangzi’s relativistic view, which denies objective standards for measuring things and obliterates the actual boundaries between things and quantities. At the same time, Su Shi's outlook on the universe and life certainly shows his contempt for political persecution and his persistence in pursuing the ideals. He remains open-minded, cheerful, optimistic, and confident in the face of adversity, but it also shows that he is adaptable and adaptable to the circumstances. a detached attitude towards life. This attitude towards life often involves helpless self-comfort, seeking spiritual sustenance from wandering around. So after the sentence "How can I envy you?", he changed his direction and wrote: "Between heaven and earth, everything has its own owner. If it is not mine, I will not take away even a single cent. But the breeze on the river is as different as the breeze between the mountains." The bright moon can be heard by the ear, and can be seen by the eyes. It can be taken without restraint and used inexhaustibly. It is the infinite treasure of the Creator, and this is what I and my son are in harmony with." Su Shi believed that man is in harmony with nature. Not only do we not need to envy the "infinity" of all things because of "the brief moment of my life", but we must make the "infinite" natural things to be enjoyed by "my life" and derive pleasure from them.

This poem has the following characteristics in terms of artistic techniques:

The integration of "emotion, scenery, and reason". The whole text, whether lyrical or argumentative, is always inseparable from the scenery on the river and the story of Red Cliff, forming a fusion of emotion, scenery and reason. The whole story is run through scenery, with wind and moon as the main scenery, supplemented by mountains and water. The author captures the wind and moon to describe and discuss.

The article is divided into three levels to express the author's complex and contradictory inner world: first, he writes about boating on the river on a moonlit night, drinking wine and composing poems, which makes people immersed in the beautiful scenery and forgetting worldly happiness; secondly, he writes about the rise and fall of historical figures, feeling that life is short, It is constantly changing, so it falls into the anguish of reality; in the end, it elaborates on the philosophy of change and immutability, stating that human beings and all things exist forever, showing a broad-minded and optimistic attitude towards life. The description of scenery, lyricism and reasoning have reached a perfect harmony.

The genre form of "using literature as poetry". This article not only retains the poetic characteristics and charm of the traditional fu style, but also absorbs the style and techniques of prose, breaking the constraints of the sentence structure and the duality of rhythm and rhythm, and is more of a prose component. , so that the article has the deep emotional charm of poetry and the thorough concept of prose. The style and tone of the prose make the whole article gloomy and frustrating, like "a spring of ten thousand dendrobiums gushing out". Different from Fu's emphasis on duality, it is relatively freer. For example, the opening paragraph "In the autumn of Renxu, in July, Su Zi and his guests went boating under Red Cliff". They are all in prose, and there are some scattered among them. Due to tidying up. From the following to the end of the article, most of it rhymes, but the rhyme changes are quick, and the rhyme change is often a paragraph of literary meaning. This makes this article particularly suitable for reading, and it is very beautiful in sound and rhyme, reflecting the strengths of rhyme.

The imagery is coherent and the structure is rigorous. The coherence of the scenery not only makes the whole text seem unified and exquisite in structure, but also communicates the emotional context and ups and downs of the whole text. The description of the scenery at the beginning reflects the author's open-minded and optimistic appearance; the "singing of the boat" was born from the "empty" and "streaming light" scenery, which is the transition from "joyful" to "stunned"; The guest expressed his sorrow to the wind and moon, and his mood turned into a low and negative mood; in the end, the bright moon and the breeze in front of him led to discussions on the changes of all things and the philosophy of life, thus dispelling the sentimentality in his heart. The repeated interspersing of scenery does not give people the feeling of repetition and procrastination at all. Instead, it expresses the waxing and waning of the characters' sadness and joy while reproducing the changing process of the author's ambivalence, and finally achieves the perfect unity of the poetic and artistic meaning of the full text and the theoretical interest of the argument.

Finally, about the author Su Shi, I believe everyone is familiar with it. Here I will briefly introduce it:

Su Shi, (January 8, 1037-8, 1101) February 24), courtesy name Zizhan and Hezhong, also known as Tieguan Taoist and Dongpo layman, known as Su Dongpo and Su Xian in the world, Han nationality, from Meishan, Meizhou (Meishan City, Sichuan Province), his ancestral home is Luancheng, Hebei, a famous writer in the Northern Song Dynasty, Calligrapher, painter, and famous figure in water control in history. Su Shi was a literary leader in the mid-Northern Song Dynasty and made great achievements in poetry, lyrics, prose, calligraphy, and painting. His writing is bold and unbridled; his poems are broad in subject matter, fresh and vigorous, good at using exaggerated metaphors, and have a unique style. Together with Huang Tingjian, he is called "Su Huang"; His prose writings are grand and bold. Together with Ouyang Xiu, he is called "Ou Su" and is one of the "Eight Great Masters of Tang and Song Dynasties". Su Shi was good at calligraphy and one of the "Four Masters of the Song Dynasty"; he was good at literati painting, especially ink bamboo, strange rocks, dead wood, etc. Together with Han Yu, Liu Zongyuan and Ouyang Xiu, they are known as the "Four Great Masters of Eternal Writing". His works include "Dongpo Seven Collections", "Dongpo Yi Zhuan", "Dongpo Yuefu", "Xiaoxiang Bamboo and Stone Picture Scroll", "Old Wood and Strange Stone Picture Scroll", etc.