What ancient poems describe "praising Luoyang"?

Zhuang, Bodhisattva, Haoquan in Luoyang City, Ouyang Xiu in Song Dynasty, Ji.

1, original: "Bodhisattva Man, Good Spring in Luoyang City" Tang Wei Zhuang.

The spring in Luoyang city is good, and Luoyang talents are always in other places.

At this time, Liu's heart turned to loss.

Peach blossoms spring water, bathing in the water.

I hate Yu Hui, but I don't know Jun Jun.

Translation:

Spring blossoms and everything recovers. Luoyang city, beautiful spring. However, I am a prodigal son, but I can only wander in different places and die of old age. On the levee in front of Wang Wei, willows are harmonious and shaded. And there is a secret pain in my heart, full of sadness and melancholy. Peach blossom is purple, spring water is green, smoke cage is Liu Di, and water bath is Yuanyang. This thing comes out in pairs and stays together, which reminds me of the sadness of being separated from others forever. There is no explanation, so we have to dissolve the sadness of a cavity of acacia into the afterglow of the sunset. Distant people, distant old country, you know, I am thinking of you!

Appreciate:

This word was written by Wei Zhuang in the 9th century (central Tang Xizong) to avoid the Luoyang Rebellion. Wei Zhuang lived in Luoyang, which was the eventful autumn of the country, with frequent wars and poor people. I've been wandering around the country, and I've accomplished nothing. So at the beginning of the word, parallel conjunctions are used to express the scenery. The last sentence describes the scenery, Luoyang is full of flowers, and the spring is really good; The next sentence expresses that Luoyang is full of talents, but he is old because he was born out of time. The beautiful spring scenery in Luoyang did not make him intoxicated, but caused his hidden worries. It can be seen that this "Luoyang gifted scholar" was deeply moved at this time. Here, "good spring" is an understatement, while "being old in another country" is a heavy sum. The contrast of scenes in pairs shows the psychological contrast, highlighting the contradictory mentality of "Spring is in a foreign land", "Good" but "Old". Tang Xianzu, a dramatist in the Ming Dynasty, said here that "pity my heartache" (Tang Xianzu commented on Huajian Collection, Volume I), which shows that this sentence of "being old in a foreign land" is not only a lament of scholars such as Wei Zhuang in the late Tang Dynasty, but also a heart disease in the hearts of frustrated scholars in the previous dynasty. Three or four sentences are inherited, one is about the scenery and the other is about the heart. Wei Wangdi, namely Wei Wangchi, was named after "being in Zhenguan, giving Wang Wei Taiwan". It is a scenic spot in Luoyang, the capital of eastern China. However, after the Anshi Rebellion, Du Dong has lost its former charm, not to mention the feeling is not as good as before. There is a word "dark" in the sentence. Although it is a realistic description of the willow embankment in the smoke cage, it is also the author's imaginary pen, revealing a hazy sense of history and life. Therefore, the next sentence directly expresses the mentality of "turning your heart to fans at this time". What you see in front of you is dazzling spring scenery, and what you see in your chest is the feeling of talent and sadness. The infatuation with eyes and scenery once again made him confused and sad. This is exactly what he wrote in the poem "Watching the Night in the Midway", that is, "On the Wei Dyke, when there is a guest injury, buckle the edge alone", but the scene here is closer and more profound.

The film echoes the first sentence and describes the beauty of spring: the peach blossoms are red, the spring water is clear, and the mandarin ducks are playing in pairs on the water, which is full of spring. At this point, the author seems to be freed from the ecstasy of the last film and intoxicated in the harmonious spring. Actually, it's not. The last two sentences show that he once again showed his psychological contrast with the contrast of the scene and once again expressed his infatuation: "I hate Yu Guang, but I remember Jun Jun didn't know." Here, in the face of the afterglow, on the one hand, the poet's hatred is repressed, it is the pain of his home country, it is the sorrow of his life experience, and the hatred of Hua Song is condensed in his heart. The next word "coagulation" is extremely heavy. On the other hand, this is a profound memory, the memory of the old country, the memory of relatives and friends, and the resentment of Hua Song reverberates in the bottom of my heart. The next word "memory" is particularly profound. The word "you don't know" expresses the profundity, sincerity and purity of your memory in a tortuous way by complaining about the ignorance, ruthlessness and indifference of the other party. It's really "infinitely humble and sentimental, which can be described as earnest" (Ding Shoutian and others, "Four Notions of the Tang and Five Dynasties" b). Zhao said in "Lotus Seed House with Thorns": "Wei is empty but good at turning". In this word, hate becomes memory, scene becomes heart, and scene contrast becomes psychological contrast. At this end, we can also see that Wu Heng said that his "fickleness" is good.

Luoyang is the poet's second hometown, so he has deep feelings for Luoyang. The repeated use of the word "Luoyang" at the beginning of the word and its prominent placement at the beginning of the sentence are the embodiment of this feeling. "Luoyang gifted scholar" refers to the poet himself, who won the reputation of "ode to Fu Qin" because his masterpiece Fu Qin was written in Luoyang. The spring scenery in Luoyang is good: first, the weeping willows on the Wang Wei levee cover the sky and provide shade for tourists; Second, peach blossom water heating, Yuanyang bath water. Willows and willows add a sense of separation; Mandarin ducks babble to increase loneliness. These are the sights that the poet once saw in Luoyang, and he can't help but express his heart.

2. "Yulouchun Luoyang Festival" Song Ouyang Xiu

Luoyang is in the time of Fangfei Festival, and flowers and scents are everywhere. The gossamer is deliberately bitter, and the weeping willows fight for no reason.

The apricot blossoms are red and the green hills are scarce, and the pedestrians on the hillside rest under the mountain. Who wants to walk with you tonight, but lonely.

Translation:

Luoyang is full of flowers, colorful and fragrant in spring. The gossamer is interested, and the tourists linger. Willow is ruthless, scrambling to say goodbye to it.

The apricot blossoms are red and the green hills are covered. The mountain road is far away, and pedestrians rest at the post station below. Far from it, who can accompany me tonight, only loneliness, loneliness and the bright moon.

Appreciate:

With the beginning of Luoyang Prescription Philippine Festival, readers are taken to a place where people are far away from the city in spring. However, the author is not satisfied with this. He further exaggerates the "Fang Fei Festival" with "beautiful and fragrant hair", which makes the spring scenery in Luoyang more concrete and tangible. The word "beautiful" not only makes people want to see the lush and colorful scenery, but also makes people feel the fragrance of flowers blown by the spring breeze. The next two sentences, "The gossamer is deliberately bitter, and the weeping willows fight for farewell for no reason", not only write about the scenery, but also imply the affection for farewell. "gossamer" is the silk spit out by spiders, which floats in the air in spring and can be seen everywhere. Yu Xin's Ode to Spring once used "a clump of grass is enough to hinder people, and a few feet of gossamer can't cross the road" to touch the spring scenery. It used to be a heartless thing, but in the eyes of the farewell, it seems to have become a sentient thing. Here, the author uses anthropomorphic techniques to say that Gossamer is struggling to keep people from leaving, and complains that Liu Yang is struggling to send people away for no reason, expressing his feelings at the scene and turning to express his farewell.

The next film continues to write about the spring scenery and sadness of the journey, which makes people feel that spring scenery is endless and sad, and they are always worried about leaving people. The author only writes a glimpse of the journey and depicts it with distinctive images to produce an artistic effect with twice the effort.

"Apricot blossoms are red and green hills are scarce, and pedestrians on the hillside rest under the mountain" is the vivid pen of the whole word. The last sentence describes the spring mountain on the journey: I saw red apricots driving along the road at the mountain pass, and the red apricot forest covered a large green hill. The next sentence describes the activities of the man who left: he walked around the mountain, which is continuous and the road is long. Before he reached his destination, he stopped in front of a post office with apricot blossoms. There are few people here, which is in sharp contrast with the bustling Luoyang. He felt lonely. He stayed up all night thinking about the moon. Finally, Cheng sighed, "Who wants to go with you tonight, only loneliness and loneliness?" , make the feelings to be expressed in his works generate. The word came to an abrupt end.

The first part describes the spring in Luoyang, where flowers and willows are in full bloom, which is a metaphor for the feeling of being reluctant to part with willows. Parting coincided with the spring in Luoyang, when rich and fragrant flowers were blooming. Next, write about enduring parting. The poet picked out two intentions symbolizing attachment and parting, namely "gossamer" and "weeping willow", and endowed them with human feelings. He used "bitterness" and "struggle" to write the deep affection of the parting people for Luoyang and the farewell.

The following film imagines the scenery and journey of leaving Luoyang, further rendering the feelings of separation. The phrase "apricot blossom" is the scenery seen from a distance. Looking around, out of Luoyang, through the gap of Qingshan, red apricots are like fire. Pedestrians may walk or rest all the way. The poet is about to join this line of people, and he can't help but imagine his lonely journey after leaving Luoyang, where there are good friends and intimate friends everywhere. What will it be like? Who will follow along the way? I'm afraid the only one who accompanies me is the lonely moon.

3. Qiu Si and Zhang Tang.

The annual autumn wind blows to Luoyang city, and my wandering son doesn't know how his relatives in his hometown are; Writing a letter to peace has too much to say and I don't know where to start.

When the letter is written, I am worried that I have not finished what I want to say; When the messenger started, he opened the envelope and gave it to him.

Translation:

The annual autumn wind blows to Luoyang city again. I wonder what happened to my relatives in my hometown? Write a letter from home to greet peace. There are so many things to say and I don't know where to start.

The letter has been written, but I'm afraid I haven't finished what I want to say in a hurry; When the messenger set out, he opened the envelope and returned it to him.

Appreciate:

In the prosperous Tang dynasty, quatrains were full of feelings and scenes, with less narrative elements; In the middle Tang Dynasty, narrative elements gradually increased, and daily life events often became the common theme of quatrains, and the style changed from vigorous romance to realism in the prosperous Tang Dynasty. Zhang Ji's "Qiu Si" is full of emotions. With the help of a pregnant episode in daily life-the details of thoughts and actions when sending a letter home, it truly and delicately expresses the deep nostalgia of people who are away from home for their loved ones in their hometown.

The first sentence explains the reason of "the writer's book" ("watching the autumn wind"), saying that staying in Luoyang city and watching the autumn wind. Plain narrative, not exaggerated, but meaningful. The autumn wind is invisible, audible, tangible and tangible, but it seems invisible. However, just as the earth can be dyed green and bring boundless spring colors, the cold air contained in the autumn wind can also make the leaves of trees turn yellow and the flowers wither, bringing a wide range of autumn colors, autumn capacity and autumn state to nature and human beings. It is invisible, but it can be seen everywhere. A wanderer in a foreign land, seeing all these bleak and crumbling scenes, will inevitably arouse the loneliness of staying in a foreign land and cause long-term thoughts of his hometown and relatives. This plain and meaningful word "see" gives readers rich hints and associations.

The second sentence is followed by "look at the autumn wind" and the word "think" is written on the front. Hans Zhang in the Jin Dynasty "thought of Wuzhong leek, soup, and lived because of the autumn wind, saying,' Life is expensive but you don't want it. Why do you stay thousands of miles and become famous?' Then I rode home (Biography of Hans Zhang in the Book of Jin). Zhang Jizu was born in Wujun and now lives in Luoyang. The situation is similar to that of Hans Zhang. When he was homesick, he thought about "Looking at the Autumn Wind", which may be associated with the story of Hans Zhang. However, due to various unspecified reasons, Hans Zhang could not "drive home" and had to write home to express his homesickness. This makes the homesickness already deep and strong, and adds the disappointment of wanting to return, and the thoughts become more complicated. The word "desire" is closely related to "watching the autumn wind". The word "desire" is quite interesting. It turns out that the poet's mood is calm, like a clear water. The autumn wind blew his emotional ripples. It expresses the poet's thoughts and modality when laying paper and stretching his pen: I have mixed feelings in my heart, and I feel that I have something to pour out, but I don't know where to start or how to express it at the moment. The writing is fluent, but at the end of the sentence, the word "heavy meaning" suddenly came back, just like calligraphy. Therefore, the poet's feelings here are not downstream, but deeper. This technology, seemingly ordinary, is actually extremely high. The poet is homesick for the autumn wind and wants to write a book. There are thousands of words, and I don't know where to start. "Meaning is important", but using virtual reality. Liu Yuxi said in "Song of the Knife Ring": "Today, facing each other, the pulse is full of gravity." "Ten thousand centers of gravity" and "ten thousand meanings" are extremely complicated thoughts and feelings. Every reader with life experience can understand how much care there is. How to write this book because it is full of meaning? Did you write it? The author didn't make it clear for the reader to imagine, which is endless and thought-provoking.

Three or four sentences, leaving aside the specific process and content of writing letters, just cut out a detail when the letter at home is about to be sent out-"I can't talk about it in a hurry, and pedestrians have to open it again." The poet felt unable to write because of his "heavy meaning", and he was too busy to think about it because of the messages from passers-by. His deep and rich feelings and unspeakable contradictions were "urged", making this letter containing thousands of words almost "I tried to read your reminder, but the ink was too weak" (Li Shangyin's Four Untitled Poems). The book is sealed, as if it had been said; But when passers-by were about to hit the road, they suddenly felt that they were in a hurry just now, for fear of missing anything important in the letter, so they hurriedly opened the envelope. The word "fear again" describes psychological nuances. This "imminent opening" action is not so much to add a few words that I haven't had time to say, but rather to verify my doubts and concerns. The results of Kaifeng test may prove that this kind of worry is purely neurotic. The uncertainty of this "fear" actually prompted the poet to make the decision of "unsealing again" without thinking, which shows that he attaches great importance to this "meaningful" letter from home and deeply misses his loved ones-there are thousands of words, for fear of missing a sentence. If you really think that the poet has remembered something and added something, it will turn the vivid details full of poetry into a dull record. The reason why this detail is pregnant and chewy is precisely because it is produced on the psychological basis of "doubt" rather than "necessity". The phenomenon of "pedestrians come and go" in life is not all typical and worth writing in poetry. Only when it is associated with a specific background and a specific psychological state can it show its typical significance. Therefore, in the case of "looking at the autumn wind", "meaningful" and "fearful", writing the details of "about to start" itself includes refining and typifying life materials, rather than simply describing life. Wang Anshi commented on the poem, saying that "it seems to be the most extraordinary, easy but difficult to achieve" ("On Zhang Shi"), which is a comment that has won the essence of excellent work and bitterness. This poem, which is extremely natural, extremely plain and as natural as life itself, seems to be a vivid example of Wang Anshi's meticulous comments.

The whole poem is coherent, clear, simple and truly expresses the wandering mentality. In feudal society, people who have lived in different places for a long time often have similar experiences. This very ordinary little thing, very ordinary subject matter, once refined by the poet, has a representative significance. Later generations often read it and often sigh with empathy. The so-called empathy, empathy.