"Once the sea was difficult for water, it was always amber." The modern interpretation of this sentence is: people who have experienced the extremely deep and wide sea will find it difficult to attract him by the water elsewhere; Except for the clouds steaming in Wushan, the clouds in other places are eclipsed.
The water in the sea and the clouds in Wushan are metaphors of the depth and depth of love. When I have seen the sea and Wushan Mountain, the water and clouds in other places are ugly. No woman can make me emotional, except the woman that poets read and love. The poet's "sweetheart" is said to be Wen Shuang, the prototype of Yingying in the biography of Yingying written by the poet. After the poet abandoned Wen Shuang because of her poor family, she "stopped looking at flowers" in 89 years (sleepwalking in Spring Seventy Rhymes). It is also said that this poem was written in memory of his late wife Wei Cong, who was born in a noble family, beautiful and virtuous. After his early death at the age of 27, the poet vowed never to get married again (Part III of Mourning). Two poetic allusions are extremely high. In the previous sentence, Mencius devoted himself to "those who look at the sea are hard to find water"; After this sentence, Song Yu's Gao Xu was published. "I'm in the sun in Wushan, and the high hills block me. I'm facing the clouds and it's raining at dusk. Later generations quoted these two poems, which are more metaphors of loyalty to love, indicating that there is only Iraq, and love is not him. These two poems can also be simplified to the idiom "I have been to the sea", or they can be used to mean that I have experienced a big scene, my eyes are wide and I am well informed, and I don't pay attention to more ordinary things.
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Five Poems from Thinking —— Yuan Zhen
original text
Once I tasted the vast sea, I felt that the water in other places was pale; Once you have experienced the clouds in Wushan, you feel that the clouds elsewhere are eclipsed.
Hurried through the flowers, lazy to look back; This reason is partly because of the ascetic monk, and partly because of who you used to be.
translate
Once you have been to the seaside, there is not enough water in other places; Clouds in other places are not called clouds except Wushan Mountain.
Hurried through the flowers, too lazy to look back; This reason is partly due to the abstinence of monks and partly because you have had it.
Keyword annotation
Once: once arrived. Meridian: passing by.
Difficult: this means "not enough care" and "not worth seeing"
Get rid of: except, leave. In contrast, clouds in other places are not called clouds except Wushan. This sentence and the last sentence are metaphors of a relationship I have been in contact with.
Hurry up: hurry, hurry, whatever. This is the appearance of "passing by in a hurry", "passing by in a hurry" or "passing by casually" and should not be interpreted as "walking in order" For example, the Song Dynasty's "Autumn and Summer Nights Prosperous" says: "Call a child to open a vine and paper candle, and clear poetry takes second place." Zhu Yuan Yu Ting's "Green Apricot Farewell" song: "Heartbroken place, hurry to leave."
Flowers: This refers not to flowers in nature, but to places where there are many beautiful women, implying brothels and prostitutes' homes.
Half fate: this means "half because …".
Cultivation: refers to the cultivation of Taoism. What is clarified here is that monks pay attention to abstinence.
Jun: This refers to the lover I once liked.
Appreciation of works 1
The first two sentences, "Once the sea was difficult for water, it was always amber", were changed from the article "Seeing the sea is difficult for water, swimming in the gate of saints, it is difficult to describe" in Mencius. The comparison between the two places is similar, but Mencius is a simile, and the metaphor of "watching the sea" is obvious. And these two sentences are metaphors, and metaphors are not obvious. The vast sea dwarfs the water in other places. Wushan faces Yunfeng, facing the Yangtze River, and the clouds are steaming. According to Song Yu's "High Order", its cloud is transformed by the goddess, which belongs to the sky and goes down to Yuyuan. It is as lush as a pine tree and as beautiful as a charming girl. So in contrast, the clouds in other places are eclipsed. "Sea" and "Wushan" are the most beautiful images in the world. Poets use them as metaphors. Literally, they say that they have experienced the "sea" and "Wushan", and it is difficult to see the water and clouds elsewhere. In fact, they are used to comparing the feelings between husband and wife like the water in the sea and the clouds in Wushan. Their depth and beauty are unparalleled in the world, so no woman can make herself emotional except her wife.
"Difficult for water" and "not a cloud". Of course, this is Yuan Zhen's preference for his wife, but the feelings of husband and wife like them are really rare. Yuan Zhen has a vivid description in the poem "Regret for the Past". So the third sentence says that he walked through the "flowers" and was too lazy to look, which shows that he has no attachment to women.
The fourth sentence is the reason for "lazy review". Since you are so attached to your dead wife, why do you say "half-life is half-life" here? Throughout his life, Yuan Zhen respected Buddhism and Taoism by "emphasizing carefree articles and Buddhist scriptures" (Bai Juyi praised Yuan Zhen's language in Ten Questions and Answers). In addition, the "cultivation" here can also be understood as paying attention to the cultivation of moral knowledge. However, for Yuan Zhen, respecting Buddhism and Taoism, cultivating self-cultivation and pursuing scholarship are nothing more than an emotional sustenance of his lovelorn grief. The anxiety expressed by "Banyuan Monastery" and "Banyuan Jun" is the same, and it is more meaningful to say that "Banyuan Monastery" is the expression of fickle feelings in the Quhan Poetry of the Qin Dynasty in the Qing Dynasty, and it is too ignorant of the poet's difficulties.
Yuan Zhen's quatrains are not only figurative and lyrical, but also wonderful in writing. The first two sentences use extreme metaphors to write nostalgic mourning feelings, such as "sea" and "Wushan", which imply magnificence, the spread of elegy and the trend of rivers flowing. Later, Lazy Review and Half-assed Gentleman suddenly eased the language situation and became a profound lyric. Relax and change to form a ups and downs melody. As far as the artistic conception of the whole poem is concerned, it is romantic but not vulgar, magnificent but not flashy, tragic and not deep, which creates the realm of absolute victory in the quatrains of mourning in the Tang Dynasty. The sentence "I have been across the sea" is especially recited by people.
Appreciation of works ii
The most prominent feature of this poem is to express the hero's deep love for his lost sweetheart in a clever way. It uses water, clouds and flowers in succession, and it is written in a tortuous and euphemistic way, with far-reaching artistic conception and intriguing.
There are only four sentences in the whole poem, that is, three sentences are used figuratively. A sentence or two, from a surprise, is so figurative that it is almost impossible to understand the author's intention. In the past, it was difficult for seawater to touch water. It is beyond Mencius' "He who looks at the sea looks at the water" and Mencius' dedication article. On the surface, the poem says that if you have seen the vast sea, you can't see the stream. It compares the sea with rivers. The sea is vast and magnificent. This river is just a trickle, you can see through it by raising your eyes. The artistic conception is profound and meaningful. However, this is only superficial, and it also contains profound thoughts. The second sentence uses the allusion of "Wushan Yu Yun" in Song Yu's Gao Tang Mi. "Gao Xu" said: During the Warring States Period, the "former king" of King Xiang of Chu swam to the platform of Gaotang, "sleeping in the daytime, dreaming of a woman ... willing to recommend pillows, Wang Xing". This woman is the "daughter of Wushan". When she left the king of Chu, she said, "My concubine is in the sun of Wushan, but she is blocked by high hills. Dan is facing the clouds, it is raining at dusk, under the balcony. " When the king of Chu saw it, it was as he said, so he set up a temple name for her and wrote "Chaoyun". Obviously, Song Yu's so-called "Cloud of Wushan Mountain"-"Chaoyun" is just the incarnation of a goddess. On the surface, Yuan Zhen's so-called "eternal amber" said: Except for the colorful clouds on Wushan Mountain, other clouds are not worth observing. In fact, he skillfully used the allusion of "Chaoyun" and compared it to a beloved woman, fully expressing his sincere feelings for that woman. The poet shows that no other woman, even a beautiful woman, can touch his heart and win his favor and admiration. Only that woman can make him fall in love. Write enthusiastically and implicitly.
The third sentence, "looking back at flowers lazily", is to compare flowers with people. In other words, even if I walked into the blooming flowers, I didn't pay attention to the past and didn't bother to look back. And the reason why he doesn't want to see the blooming flowers printed in his eyes, the fourth sentence "Half-edge cultivation and half-edge gentleman" answers. The implication is that he saw through the world and went to the monastery, which is one of the reasons. Secondly, because of the loss of her beloved, he never wants to see other "flowers" again. Looking at the whole poem, it is not difficult to see that the reason for "picking flowers and looking back" is still because of the loss of "Jun". The theory of "half-edge monasticism" is just a kind of speech that avoids the important and takes the light.
In this poem, the author uses various metaphors to express his deep affection for the female companion who once fell in love. The first three sentences are closely related to the theme, step by step, and the last sentence reveals the theme with the finishing touch. This writing is focused, clear and visible, and there is little emotional beating. Unlike some works in classical poetry, the emotion beats too much, like a montage of a movie, which is almost invisible. For example. Xin Qiji's "Nian Nujiao" (Tang Ye Hua Luo) describes the complex feelings of nostalgia and yearning for the singer, and the emotional jump is particularly great. It suddenly wrote the "light farewell" of the past; Suddenly wrote today's "revisiting the old place", and the building was empty. Things are different, and suddenly he wrote a fantasy of the Ming Dynasty, "Respect only when you see it again, but it is difficult to fold flowers in the mirror." Among them, many connections are omitted, which makes people look forward to it. Of course, this does not mean that the size of emotional jump can be used as a standard to evaluate the quality of a work. Xin Qiji is also a well-known masterpiece with high aesthetic value.
In the classical poems describing love, there are many well-known masterpieces, which have always been loved and admired by people. For example, Wang Wei's "Acacia" poem: "When those red berries come in spring, they will appear on the branches of your southern country, and I advise you to collect more as a symbol of our love." It uses bright red beans to symbolize beautiful and faithful love. Li Shangyin's poem "Spring silkworms will weave until they die, and tears will be exhausted every night" ("Untitled") expresses his heartfelt feelings for love with a persistent spirit, which will never change. The phrase "the sea is difficult for water, but amber lasts forever" is different from Wang and Li's love poems. This is a vivid metaphor of absolute affirmation and negation. To express sincere and single-minded love. It is precisely because it is different that it can arouse the strong sense of * * * of those who have lost their loved ones for various reasons. Someone wrote these two poems in literary works. Some people write letters to express their infatuation with each other. This fully shows that Yuan Zhen's poems have great influence and artistic appeal.
Brief introduction of the author
Yuan Zhen (779-83 1 year, or from the 14th year of Dali in Tang Daizong to the 5th year of Daiwa in Wenzong) was born in Luoyang (now Luoyang, Henan) in the Tang Dynasty. Father Yuan Kuan, mother Zheng. He is a descendant of Tuoba, a Xianbei clan in the Northern Wei Dynasty, and the 14th grandson of Shi Yigui. In his early years, he advocated "New Yuefu" with Bai Juyi. People often call him and Bai Juyi "Bai Yuan".