It is best to appreciate a good joke of 150 words.

Problem description:

It is best to appreciate a good joke of 150 words.

Analysis:

1、

Lonely sandbars are cold.

Ci: Chen Xinrong Qu: Steve Chou

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Since you left, my heart has become haggard.

White tung trees are flying in the wind.

Falling flowers are like people's feelings this season

The wind by the river is blowing wildly.

Constantly fiddling with tears that leave people.

Such a strong love can never be given.

Night after night of sadness.

When the thread of memory is entangled in the past and fragmented.

It is panic that has taken over people's hearts.

There are flowers with butterflies.

Lone swallows can fly in pairs.

Wandering alone in the dead of night

When happy lovers send red to share their joy.

Close your eyes, too sad to look back.

Still picked up all the cold branches and refused to rest with regret.

Lonely sandbar, who should I miss?

Huangzhou ding hui yuan bu operator residential

The curved hook moon hangs on the sparse buttonwood; In the dead of night, the water from the water clock has been dripping. Who saw the solo dance, like a wild goose in the sky.

At night, it suddenly becomes afraid, suddenly flies and comes back frequently, but no one always understands its infinite inner feelings. It kept wandering among the cold branches, but refused to perch on any tree, and finally landed alone on the cold shoal.

There are many successful examples in this respect, the most famous of which is an album "Faint Love", which includes Li Yu's "Meeting with Huan" (nothing to say when going to the theater alone), Su Shi's "Water Melody" (when there is a bright moon), Fan Zhongyan's "Su Curtain Covering" (Blue Sky and Yellow Leaves), Qin Shaoyou's "The Story of an Old Friend in Taoyuan" (Jade Building Lock) and Ouyang Xiu's. Taiwan Province famous songwriters Gu Yue, Liu Jiachang, Weng Qingxi and Yang Chen composed music. The perfect combination of songs and words makes this album a masterpiece in the history of modern music. Audio-visual World magazine once rated it as "the ten best albums for listening attentively at night". The two most famous songs in this album, one is The Mermaid by Li Yu (when is spring flowers and autumn moon? What do you know about the past? "), the other is Faye Wong's later cover" I wish you a long life ",which is a modern interpretation of this classic masterpiece. In fact, there are many versions of this word in Chinese mainland. The most impressive one is that in the TV series Song Wu broadcast in 1983 and 1984, Zhang Dujian played the maid and later jumped off a building for Song Wu, playing this song. However, most of these works belong to the category of vocal music, which is far from popularity. But from another perspective, it shows the fusion of classical poetry and music. Let's look at it from another angle. Pop songs mostly express a popular culture, and the involvement of classical poetry just pushes its elegance and vulgarity to everyone, which also shows that there is no insurmountable gap between elegance and vulgarity in art, and the key lies in the means of integration.

2. Su Shi

China's poems in Tang and Song Dynasties have always been praised by people, and the ci culture has also become a unique landscape in the treasure house of China traditional literature. If we want to discuss the representative figures of Ci literature, we can't help talking about Su Shi. Su Shi changed the style of ci at that time, which coincided with the Anshi Rebellion in Rainbow and had a great influence on that time and later generations.

Su Shi's ci has a wide range of themes, such as remembering the past, giving a reply, seeing off and reasoning, which also breaks through the strict rhythm and promotes the development of ci. His representative works include Nian Nujiao and Shuidiao Tou, which created the first example of unconstrained ci, and was also called "Su Xin" with Xin Qiji.

3. Graceful and unconstrained-two main artistic styles of Song Ci.

Zhang Mingwan: "The less you travel, the more graceful you are, and the more graceful you are." In the Qing Dynasty, Wang Shizhen also said: "Servants are graceful and restrained, taking Yi 'an as their religion, being bold and unrestrained and being young and safe first". (See Flowers and Plants) These summarized the two main artistic styles in Song Ci from a macro perspective, with Qin Guan, Li Qingzhao, Su Shi and Xin Qiji as the representative authors respectively. This has almost become a general theory in the study of Song Ci.

Graceful and restrained school is the school with the longest history, the largest number of people and the greatest influence in the history of China Ci. Its representative figures are: Qin Guan, Li Qingzhao and so on.

Compared with the graceful school, the unrestrained school is quite different in content, form, theme and style. It broke through the barrier of "Ke Yan" and opened up a brand-new world for the ci world. Its representatives are Su Shi and Xin Qiji.

Elegant school

Schools of China Song Ci. It is generally believed that Zhang Gou, an Amin poet, clearly pointed out the graceful and restrained words. Graceful, that is, tactfully implicit. Ci is originally a ode to joy, a song of hospitality, and its content is nothing more than parting from sorrow and resentment. The Five Dynasties formed a fragrant and soft ci style represented by Huajianji and Li Yu's ci. Yan Shu, Ouyang Xiu, Liu Yong, Qin Guan, Zhou Bangyan and Li Qingzhao in the Northern Song Dynasty inherited the rest of their thoughts. Although they have developed in content, their brushwork is more delicate, and each has its own charm, but they are still not out of the gentle wind. Therefore, the Ming people summarized this style of ci as graceful school. Its main characteristics are that the content focuses on children's amorous feelings, the structure is profound and meticulous, the melody is euphemistic and harmonious, the language is round and beautiful, and there is a kind of femininity. But the content is relatively narrow, and people have formed the concept of grace. Graceful and restrained ci style occupied a dominant position in the ci world for a long time. Until the Southern Song Dynasty, a large number of ci writers such as Jiang Kui, Wu Wenying and Zhang Yan were influenced.

"Bold School" and "Graceful School" in Song Ci

Ci rose in the late Tang Dynasty, developed in the Five Dynasties (907-960), flourished in the Northern Song Dynasty (960- 1 127), and originated in the Southern Song Dynasty (11279). Of course, this staging is extremely simple and rude, just to illustrate the problem. We have to put a few hooks on the wall of history for the time being, so as to hang up some historical facts and see the relationship between them clearly, so as to avoid being abstract and unpredictable, or even making a mistake of the times and doing the historical facts well.

From the rise of Ci to the end of the Northern Song Dynasty, Ci, as a folk hobby, reached its golden age in about two centuries. It can also be said that half of all the better characters were produced during this period. Later, in the Southern Song Dynasty, despite the proliferation of factions and the increase of authors, the overall quality was still not as good as that of works before the Southern Song Dynasty. These works and their authors are written along the tradition since the late Tang Dynasty. This tradition is simple and clear, which is the so-called "minor" in later generations. A minor is a song sung in a folk alley: the content is also quite simple, mostly about love between men and women or praising local scenery and customs. This was originally an old tradition and theme for thousands of years since the "three hundred articles", but the Han and Wei Yuefu, which "feels sadness and joy, stems from things", is more prominent. The relationship between Song Ci and Yuefu is very close. Ci collections of Song people are sometimes called Yuefu, such as Dongshan Yuefu, Dongpo Yuefu, Song Yin Yuefu and Chengzhai Yuefu. Yan claimed that his ci collection was Buwu, and he explained himself: "Buwu is a volume that supplements the death of Yuefu." It shows that his ci is "Yuefu" in Song Dynasty.

However, in the golden age of the word from the Five Dynasties to the Northern Song Dynasty, although there were many famous artists whose works were like Yun Zheng and Xia Wei, no one ever divided them into factions, named them or labeled them. The works of the Five Dynasties came from at least four different regions: Xishu, Jingchu, Nantang and Dunhuang, but later, perhaps for the convenience of discussion, the name of "Huajian School" was put forward, that is, the genre was determined by the name of Huajian Collection compiled by Zhao Chongzuo of Xishu, which was of course incorrect, because the selected articles in this collection were very different from Wei Zhuang's works. However, in the Northern Song Dynasty, flowers were the epitome and model of this new literary genre at that time, and they were the standard and authenticity of poets. Generally speaking, praising someone is "true colors" rather than "flowers", which is a high evaluation. Chen praised Yan's words, "among all the scenic spots, flowers are the only thing that can be chased." . Higher or higher than it. "It can be seen that connoisseurs, collectors or catalogers in the Southern Song Dynasty regard Huajianji as an original, and lyricists regard Huajianji as a routine. The style of "Huajianjie" has become a yardstick to measure the works of poets in the Northern Song Dynasty, and people who are not as good as "Huajianjie" are bound to be ridiculed as "lower than themselves". What is the truth? We look at several famous poets in the Northern Song Dynasty, such as Ouyang Xiu, Fan Zhongyan, Yan and his son, He Zhu, Qin Guan, Zhao Lingzhi and Zhou Bangyan. Liu Yong is a little different from them, but the difference between him and them is nothing more than writing about his personal feelings of staying away from hate. What he feels is still his close friend and mistress. For these works, there was no division among the ci theorists or critics in the Northern and Southern Song Dynasties at that time. They just looked for chapters to talk about their personal appreciation of a certain word.

It is not surprising that most of the great poets in the Northern Song Dynasty have similar styles, because they are all handed down from Huajian. Their works can be "confused" with each other, with Huajian's works, and even with Southern Tang's works, because of the living environment, cultural level, and so on. The obvious example is Fourteen Magpies Tread in Feng Yansi's "Yang Chun Ji" (that is, "Die Lian Hua"), in which "Looking Back" is found in Ouyang Xiu's "Liu Yici" and renamed "Die Lian Hua". Another example is to use "Liu Yici" as a raid, but there are more problems. There are 22 Old Prints and Irises, of which only 17 are left. Golden retriever gambles on clouds in the title of recent flowers;

Twenty-two old paintings. Jong Li's main work is A Night Pavilion, and "six songs are tired of leaning on the green trees" and "the curtain is light and bilingual" are all found in Zhu Yu's ci. "Alone in a dangerous building, the wind is fine" and "under the curtain, outside the Quqing curtain" are all seen in the collection of movements. Delete today.

Here, Jin Mao deleted five named songs and two unnamed songs. Besides, Jin Mao knew that the word appeared in two books, but he didn't seem sure who wrote it, so he recorded the original word and noticed that it also appeared in other people's collections. There are four songs about this situation: "How deep is the courtyard?" In a song, Shi Mao wrote: "I saw Yangchun Road. Yi Lee Ann called it "June 1st Word". "That he thinks this is the reason why Ouyang Xiu's works are also well-founded. A poem entitled "Pear Blossoms Bloom and Cicada Rest" says: "For a while, I will be with my uncle (Yan Shu) and my son (Su Shi). "Song's" Abandoning Idleness for a Long Time "Note:" Yangchun Record is also recorded. " "Where will the cloud go in a few days?" The title is gambling cloud: "Also recorded in Yangchun. "

There were many other poets in the Northern Song Dynasty who wrote the same poem in the collections of two or three poets, so there is no need to remember it in detail here. I don't give these examples to study the authors of these words, so as to study the value of someone's work. It is to illustrate a historical phenomenon: from the Tang and Five Dynasties to the Northern Song Dynasty, the styles of words are very similar, and everyone's works are similar enough to "confuse leaves" with each other. One person's words fall into other people's collections, and it is almost impossible to distinguish them, so it is impossible to divide factions. In fact, people in the Northern Song Dynasty never realized which school his works belonged to. If someone divides them into factions and labels them, they will definitely be unhappy. Generally speaking, all schools of writing characters in the Northern Song Dynasty originated from "Huajian". There is nothing wrong with saying that they are all "flower schools", but there is no need to reinvent the wheel, because all intellectuals at that time knew it and took it for granted. You should especially point out that some people's works in the Northern Song Dynasty are close to the "Flower School", just like saying that the sea water is salty. Therefore, it is more in line with historical facts to say that there were no ci schools in the Five Dynasties and the Northern Song Dynasty than to insist that someone belonged to a certain school at that time.

So someone put forward different opinions. They said: "Obviously, there were" unrestrained "and" graceful "schools in the Northern Song Dynasty. Isn't Su Dongpo "uninhibited"? Isn't that what almost every literary history and ci theory say? The point of the question is: what is the basis for them to say this? The answer should be their works. So, the first question is, what are Dongpo's "bold" words? So I opened every book on the history of literature or ci, and quoted several poems as usual, such as Gone for Never, Old People Chatting About Juvenile Madness, When Will the Bright Moon Come. How can these words be called "unruly"? Examples of "bold and unconstrained" works are Li Bai before Dongpo and Xin Qiji after Dongpo. Comparing the works of these two poets with those of Dongpo, who is often quoted, we can see that these works of Dongpo can only be said to be broad-minded, not even generous, not to mention "bold". I don't know when the theory of "unruly" began. Chen Deng ignored Xu Li, who said that he was "a Jianghu person, and his heroism had not been removed." Obviously, Chen Deng is arrogant, not flattering. The word "Fang" seems to have originated from the word "Waitui" in the Wei and Jin Dynasties, and the combination of the words "Hao" and "Fang" probably began in the Tang Dynasty. The Book of the Tang Dynasty called Li Yong "wild and unruly, unable to control his own behavior". Lu You defended others' saying that Dongpo Ci "can't sing", saying: "The public can't sing, but they are bold and don't like to cut it to suit their temperament." That is to say, Dongpo's character is "bold", not that his ci belongs to the bold school. Because the poets in the Northern Song Dynasty did not form any genre at all, and their works were not divided into "graceful" and "bold". Of course, Su Dongpo has some long tunes. Compared with the early Ou, Zhang and Er Yan, it is slightly different in the choice of theme and expression, but it can only be said that Su Dongpo, a prolific poet, has written more than 300 works similar to the "Flower Collection" poet, which is slightly different from other poets. It can be said that Su Dongpo contributed some unique works in the treasure house of Ci in the Northern Song Dynasty. His achievement is to increase the number of words instead of changing the atmosphere of the word circle.

Su Dongpo didn't "wash away beauty and fragrance" as Hu Yin said, except adding some words with different contents. It was just nonsense. Among the more than 340 poems of Dongpo Yuefu, more than 50 poems are devoted to the beauty of women (the so-called "beauty Luo Xiangze"), and the most concentrated poems are nearly 100 poems that bid farewell to friends and entertain officialdom. Almost every capital will praise geisha ("beauty"), because there is singing and dancing wine at the banquet as usual, and sometimes it is the master's geisha who comes out to sing and dance (for example, among all Dongpo's words, the words that don't wash "Luo Qi Xiang Ze" account for more than half, and there are more than 30 songs (especially flowers), so you can't write the image of "beauty" without thinking about it in your mind. Even reading and painting should have "black tea to add fragrance". It is said that Su Dongpo, a romantic genius, can, in his words, "wash away beauty and fragrance". Who will bully him and bully the sky?

In terms of Dongpo's life experience, the character and talent caused by the environment can only be broad-minded and not daring. Dongpo's experience of his own experience can make him sad, can make him sad, can make him broad-minded, can make him generous, but can't let him be "bold" alone. It is fundamentally wrong to say that ancient words like Nian Nujiao and Dongpo Don't Return to the River are "bold" words. Dongpo once wrote all his poems during Tao Yuanming's imprisonment, and wrote the Complete Collection of Tao Poems by himself. Taoist poetry itself is perfect, so how can reading and being in harmony with Taoism be unaffected by it? Those who can make such efforts have already restrained their "bold and unconstrained" spirit. A person's poetry is bold and unrestrained, and he must have a proud pen in his life experience, and then he becomes bold and unrestrained. Li Bai is an uninhibited poet. I'm afraid I can't write "uninhibited" poems when I come back, not to mention Dongpo's experience is much worse than Li Bai's!

As for the word "graceful", it was first seen in Guoyu Wuyu: "Therefore, it is graceful to follow the king's ambition." It means humble and let nature take its course. In ancient times, women took obedience as a virtue, so they borrowed it as a way of female education. The preface to Yu Tai Xin Yong says: "Reading poems and paying tribute is not the media of the east neighbors;" Graceful and romantic, different beauty education. "Flower Collection" Volume 7 Sun Guangxian's "Huanxi Sand": "Half a step of long skirt wants to go, and the night curtain is bright. At this time, I hate it. "Nine Mao Xizhen's" Huanxisha "another volume is" pretending to be ethereal and graceful, laughing and charming words are too rampant. "forbear to teach and hate the dark shape." Ibid. Linjiang Fairy: "Slim waist and graceful steps."

As can be seen from the above examples, this word has different meanings in different times, but when it is used as an adjective, it seems to refer to the implicit and restrained expression of the so-called "beautiful translation" and beautiful scenery. Once used in the position of contrast with "bold and unconstrained" words, graceful words are considered to be conservative, progressive and conformist. Sometimes they even write beautiful words about relationships, especially the relationship between men and women, to leave their sadness and not hate their dissolute lives, and even say that their thoughts are empty and pale. Obviously, this mechanical division does not conform to the reality of the Northern Song Dynasty, and it is difficult to justify itself. Therefore, sometimes we can't strictly abide by the portal boundaries of these two factions, and sometimes we can't help but ask the spirit to change from unrestrained to elegant. For example:

Su Shi is also good at graceful writing of traditional love themes. However, graceful poets (without this name according to Su Shi's fashion) generally focus on the sincerity and delicacy of lyricism, and their words are particularly dignified and sincere in sincerity and delicacy, such as "Butterfly Love Flowers": "Flowers wither, red apricots are small, and when swallows fly, people are surrounded by green water. There are few willows blowing on the branches, but there are many herbs in the sea. Autumn in the wall? Outside the wall. The layman in the wall, the beauty in the wall laughs. Laughter dies in silence, but passion is mercilessly annoyed. (See Yan Wen Institute's History of China Literature, Volume II, pp. 594-595).

What is dignity and what is integrity? The editor added words to explain the classics, but didn't say anything dignified and sincere. The editor couldn't understand the main sentence of "There are plenty of fish in the sea" between the lines, so he had to pull Wang Shizhen in the early Qing Dynasty to help solve the problem. But Wang couldn't help much (because he didn't understand), so he said, "A person who is good at love poetry like Liu Yong may not be able to surpass this sentence." Stay away from the key clause "There are plenty of fish in the sea".

This example is very interesting. As long as Su Shi is mentioned, the "uninhibited" theorist moves out all the rituals that he thinks can prove Su Shi's uninhibited, as if he is magnificent and majestic. In fact, few people are directing, and Su Shi, a general who is not a soldier, is allowed to sing a one-man show, not even a walk-on When it comes to "weddings, funerals, weddings and happy events" (such as the so-called "love theme"), I have to bend the rules to that annoying handsome boy again.

Of course, when we say that there are no bold schools in the Northern Song Dynasty, we don't mean that there must be no bold words in the Northern Song Dynasty. There are a few works with high style and great spirit, such as Fan Zhongyan's Su Curtain Cover, Fisherman's Pride and Su Dongpo's River of No Return. Even so, we can't admit that they are "unruly" just by these words.

For another example, some people say that the language of Su Shi's ci "has formed a fresh, simple and fluent poetic language", so they come to the conclusion that "these all show the characteristics of bold and unconstrained ci school." I can't see the logical relationship between these two sentences.

I think it is necessary to mention Liu Yong here. He was a very important writer in the Northern Song Dynasty. His relationship with the tradition of "Huajian" has both inheritance and development. It is correct to say that Su Shi has expanded the subject matter of Ci and increased the literati's feelings that predecessors only used to write poems, but this does not mean that he can set up an "uninhibited school" or an "opposition". Adding some poems to his works has not reduced the traditional works he inherited from Hua Jian, but only expanded the subject matter of Ci and possible new writing methods. But this new way of writing, Liu Yong has already done so. Liu Yong is a writer with the theme of love, romance, sweetness, love and lush, so he has not broken away from the tradition of flowers. But while inheriting this tradition, he also used the language and vocabulary used by maiko dancers. His works "look down" and write their thoughts with their language tools, which Su Shi can't do. Because he is facing a bachelor of arts. Literati seek elegance and integrity. Therefore, although he also writes words with enlarged vocabulary like Liu Yong, he "raises his head" instead of bowing his head, instead of learning the proverb to write. Therefore, from China to Xixia, Liu Yong's ci will be sung wherever he drinks well water, and Liu Yong takes the mass line in language use. Su Shi was inspired by Liu Yong, adding some literati feelings, complaining about others, teasing each other and chanting things, which were rarely used or not used by predecessors. So his works give people an impression of rich themes. Liu Yong wrote his own emotional works, such as the famous Klang Ganzhou and Yulin Ridge, which also reached a new level. But because he has a new realm. However, because he sometimes wrote about the life of prostitutes, which was disliked by Taoist teachers in the Song Dynasty, the word "uninhibited" specifically refers to Su Shi rather than Liu Yong.

The above discussion is limited to the Northern Song Dynasty. Everyone in the Northern Song Dynasty, such as Ouyang Xiu and Er Yan, regarded the Collection of Flowers as authentic, as mentioned above, so everyone called the poets in the Northern Song Dynasty "graceful and restrained". The style of writing is related to the life of the times. After the founding of the People's Republic of China, in order to strengthen centralization, the Zhao and Song governments demanded that the founding heroes abdicate in time. In exchange, the government encourages them to buy fertile fields and beautiful houses for their children and grandchildren, and raise song and dance artists to entertain themselves so as not to cause trouble. Therefore, it is a common phenomenon for literati to leave geisha at home. Of course, the literati in the Northern Song Dynasty can only write for the singer's singing, and can only follow the tradition of picking flowers. Yan said in his poem The Back Hill:

At first, Uncle Shen was in the 12th Company. Our pets have lotus flowers, red flowers, apples and clouds at home, and the goods are clear and entertaining. Every time I get a solution, I teach my children grass. The three of us drank wine, listened and laughed.

This shows that Yan's ci was written in what kind of environment. This situation is proved by the situation described in Biography of Shi Shouxin, which shows that this is not a case. In this "singing and dancing" atmosphere, they sing and choose dances, which is the general atmosphere of the upper class encouraged by the government. It will be clearer to look at Li Qingzhao's recollection of Kaifeng's cultural life in the heyday of the Northern Song Dynasty in the poem Song of Eternal Sorrow.

However, since the change of Jingkang, the people in the Northern Song Dynasty fled to the south of the Yangtze River and suffered from exile. The tragic situation of the separation of their wives and children and the pain of land decline aroused the tragic feelings of most intellectuals. Why are they still in the mood to "entertain guests"? The works written under such circumstances are of course impassioned and filled with indignation, so it is natural that there are many so-called "bold" poets in the Southern Song Dynasty. In fact, the word "unruly" is not appropriate here. It should be called "Fenqing School", "Inspirational School" and "Loyal School". The word "unruly" still means free, casual and open-minded. So these names, bold and graceful, were not used at that time. Only those commentators who are good at writing or labeling in later generations love to command the ancients and listen to my scheduling. Moreover, the style and content of words at that time were mainly caused by political changes. Of course, it is out of proportion to write colorful and charming scenery in the midst of war. Even if you get carried away and enjoy it, your mood is out of proportion. Literati's works mainly change with the times. It doesn't mean that someone is born "elegant" or "bold" from an early age. Let's take a look at Xiang Ziyin's "The Edge of Wine", which is the most appropriate example. Xiangziyin lived in Kaifeng for the first half of his life. His ci is called "Jiangbei Old Ci", which is an authentic "graceful and restrained" school. The difficulty of Jingkang (1 126) Bianjing fell and he fled to Hangzhou. Later, his work was called "Jiangnan New Words" and became an authentic "bold and unconstrained" school. The situation of Li Qingzhao is similar, but naturally, her later works are not "bold" but bitter. If Xiang Ziyin and Li Qingzhao's later works are still full of joy, they are heartless.

As for Xin Qiji's participation in guerrilla warfare in enemy-occupied areas in the Southern Song Dynasty, of course, his works are only impassioned works that we see now. If Su Shi had lived to the Southern Song Dynasty, his works might have been more "bold" than what we see now. And a writer who is labeled as "graceful and restrained" and "metrical" like Zhou Bangyan, if he can live to the Southern Song Dynasty, I don't think he will end up with "graceful and restrained" and "metrical".

Now that I have recorded the works of two famous poets, don't ask who wrote them. But with its own content, please ask readers to judge which article was written by which school or who.

First, Jinling is nostalgic for "Xihe"

Garrity, who remembers the great events of the Southern Dynasties? The old country is surrounded by mountains and Qingjiang River. Angry waves hit the lonely city, and the wind swept away from the sky. A tree on the cliff is still leaning. Mochow's boat was once tied. Idle old traces are gloomy, and the fog sinks half a base. Come to the women's wall at night and admire the Huaihe River in the east. What's the market for liquor drums? Vaguely, the young lady near Xie Wang. Swallows don't know what this world is. It is ordinary and strange to others, and it is relatively like saying ups and downs in the sunset.

Second, unforgettable.

Flowers have honeymoon rooms, remember that camel shoulders are small and eyebrows are long. The intellectual man fit flips the swallow dance, and the warblers sing in spring. When we meet, we will never forget. Willing to kiss Yao.

Turn to the nocturne and bring Han Xiang. Don't come. It's hard to hear from you. Such as clouds gathering in Chuxia, rain scattering dancing in the sun. There is love when we meet, and it is difficult to measure without meaning. Do something, break people's intestines. How can it be banned? What are the disadvantages of trying to exchange leaves with Iraq?

When you read it, what do you think of its content, author and what school it belongs to?

① For "Huajian Ci", please refer to my humble book Huajian CiNo. 1982,No. 10,No.1. (2) that is, "Who has abandoned leisure for a long time" and "Where will you go in a few days?" How deep is the courtyard? Six songs are lazy to the green trees. (3) According to the four printed editions of Yangchun Ji, the original edition is Song Jiayou Wucheng (1058) and Chen Xu collected by Ming Ge. (4) Chen Deng is "heroic", because he won the meritorious service of Lu Bu, plus General Fu Bo, so he looks down on Xu Si. For the explanation of this word, please refer to the second issue of Literary Heritage (1983). ⑥ Chanting things is a literary game that has existed since ancient times. Xunzi's fu is this kind. There are many puns about "chanting things" in You Xian Dong in Tang Dynasty. ⑦ See the biography of Shi Shouxin in the Song Dynasty and Zhao Kuangyin's Advice to Ministers. Of course, the term "uninhibited" today is also inappropriate. To illustrate the problem, I used this name. See Liu Yang-zhong's Talk on Wine Prescriptions.