[Language] Han Meicheng's "Writing to the King of Wu": "Nothing; Irrevocable; Rolling in the abyss; Difficult to come back; It can't get out; I can't send it. "
[Pronunciation] Room; Can't be pronounced as "jiā n"; Send; It can't be pronounced as "fā".
[shape discrimination]; Can't write "see".
[Usage] Metaphor is extremely critical. Generally used as predicate and attribute.
[Idiom story]
Mei Cheng, a poet in the Western Han Dynasty, was an adviser to Liu Bi, the king of Wu. Seeing that Liu Bi was gathering strength to prepare for rebellion, he wrote an admonition letter. It turned out that Liu Bi was the nephew of Liu Bang, the founding emperor of the Han Dynasty. After Liu Bang proclaimed himself emperor, he divided his relatives into vassals and gave them great power. Over time, the sharp opposition between the princes and the court became a serious threat to the court. To this end, Wendi and Jingdi gradually reduced the kingdom fiefs. Liu Ying refused to accept this and plotted against it, which caused Mei Cheng's serious concern about this matter. Mei Cheng analyzed the serious consequences of treason in his book. For example, he said, if you hang a heavy object on a line (in ancient times, 30 Jin was a jun), this heavy object hangs in the air, and there is a bottomless abyss below, then even the most stupid people know that this is extremely dangerous. Then he pointed out that Ma Gang was frightened by beating gongs and drums. The string would break and heavier things would be hung. As a result, the line will be broken in mid-air, and the horse rolling in deep water will not be rescued. This situation is as critical as the distance between the two is so close that there is no room for a hair in the middle. Please think deeply. Although Mei Cheng and other counselors tried to persuade them many times, the prince of Wu and Liu Bi refused to listen and decided to rebel. So Mei Cheng and others left Liu Bi and went to Liu Wu, Liang Xiaowang.
What is the main content of The Book of Songs? What are the parts of The Book of Songs? The main content of the book of songs. A brief introduction to the book of songs.
Style classification
The Book of Songs mostly adopts the form of overlapping chapters and sentences in text structure, and there are three main ways of expression, which are usually called fu, bi and xing.
People call the content arrangement and expression of The Book of Songs "ode to elegance", and the classification of poems in The Book of Songs has the theory of "four beginnings and six meanings". "Four Beginnings" refers to four top poems: National Style, Elegant Style, Xiaoya and Ode. "Six meanings" refers to "wind, elegance, praise, fu, comparison and glory". "Style, elegance and praise" are the classification of the Book of Songs according to different music, and "Fu, Bi and Xing" are the expressions of the Book of Songs. The Book of Songs is mainly composed of four words and miscellaneous words.
The division of style, elegance and fu is based on the difference of music.
The Wind has collected folk songs from fifteen places, including some places in Shanxi, Shaanxi, Henan, Hebei and Shandong (Qi, Han, Zhao, Wei and Qin). Most of them are folk songs in the Yellow River valley, and most of them are polished folk songs, called "The Wind of Fifteen Countries", with 160 articles, which is the core content of the Book of Songs. "Wind" refers to rural wind and wind ballads.
(Fifteen national styles: Nan Zhou, Yan, Yan, Wei, Wang, Zheng, Qi, Wei, Tang, Qin, Chen, Qi, Cao and Yi)
Ya is divided into (74 pieces) and Daya (3 1 piece). Daya is a court music song with *** 105 pieces.
"Elegance" is formal music, that is, music songs when nobles enjoy banquets or princes attend meetings. According to the music layout, it is divided into "Ya" and "Xiaoya", with 105 poems, including 3 poems of Ya1and 74 poems of Xiaoya. Elegance is mostly written by nobles, while Xiaoya expresses her personal feelings. Of course, most of them are works of literati, but there are also many words in Xiaoya that are similar to wind and ballads, such as yellow birds, going their separate ways, valley wind, why the grass is not yellow and so on.
Odes include Zhou Song (3 1), Truffle (4) and Ode to Shang Dynasty (5), which are 40 music songs and dance songs used in ancestral temple sacrifice.
Ode is a sacrificial music, which is divided into 3 1 Zhou Song, 4 truffles, 5 commercial songs and 40 * * *. Originally, it was a musical song to praise the gods or ancestors when offering sacrifices, but all four poems of Truffle are to praise the living and beautiful Lu Xigong, and there are also flattering poems in Shang songs.
"Wind" means tone. It is relative to "Wang Ji", an area directly ruled by the Zhou Dynasty. It is local music in different regions, mostly folk songs. The poem "Feng" is a folk ballad collected from 15 regions, including China, Yi, Yan, Wei, Wang, Zheng, Qi, Wei, Tang, Qin, Chen, Qi, Cao and Yi. *** 160 articles. Mostly folk songs. According to the name and the content of the poem, it can be roughly inferred that the poem originated in Shaanxi, Shanxi, Henan, Hebei, Shandong and northern Hubei.
Elegance is the joy of "Wang Ji" and is called "Xia" by Zhou people in this area. "Ya" and "Xia" were commonly used in ancient times. Elegance also means "positive". At that time, Ji Wang's music was regarded as a positive tone-a model music. People in the Zhou Dynasty called Zheng Yayue, just as people in the Qing Dynasty called Kunqu Opera Ya Bu, with the meaning of honorific title. Zhu's Biography of Poetry says: "Elegance is righteousness, and singers are joy. The size of his articles is different, but the pros and cons of Confucian scholars are different. Today's test is the joy of Xiaoya and Yan Yan; It is elegance, the joy of attending the meeting, and the words of discipline. Different words and sounds have different syllables. Therefore, the difference between size and elegance lies in its content. "
"Ode" is a kind of music song and epic, which mostly praises the achievements of ancestors. "Preface to Mao Poetry" said: "The description of the virtues of the eulogists is also based on their success in telling the gods." This is the meaning and usage of ode. Wang Guowei said: "Praise is slower than elegance." This is the characteristic of his music.
technique of expression
According to Zhu's Biography of Poetry, "Fu" means "Fu, Fu, Fu, Fu, Fu, Fu, Fu, Fu, Zhu". In other words, Fu is directly narrated. Is the most basic expression. Such as "life and death are generous, Zicheng said. Holding your hand and growing old with your son is to express your feelings directly.
Zhu's interpretation of "comparison" is "comparing one thing with another", which is metaphor. Similes and metaphors fall into this category. Metaphors are used in many places and in various ways in The Book of Songs. For example, Dream uses the change of mulberry trees from lush to withered to compare the rise and fall of love; "heming" uses the metaphor that "stones from other mountains can attack jade" to govern the country with sages; In Shuo Ren, the metaphor of beauty's hand, beauty's skin, beauty's teeth and so on are all good examples of using "Bi" in The Book of Songs.
"Fu" and "Bi" are the most basic means of expression in all poems, while "Xing" is the unique means in The Book of Songs and even China's poems. The original meaning of the word "Xing" is "Qi", so it is often called "Qi Xing", which plays a role in rendering atmosphere and creating artistic conception in poetry. The word "xing" in The Book of Songs is interpreted by Zhu as "talking about other things first, so as to stimulate what is sung", that is, paving the way for what is sung by other things. It is often used at the beginning of a poem or a chapter. Sometimes when a sentence in a poem looks interesting, whether it is interesting can be judged by whether it is used at the beginning of a sentence or paragraph. For example, in Feng Wei's self-protection, "Mulberry leaves are flourishing before they fall" means prosperity. About the most primitive "xing" is just a beginning, which has nothing to do with the following, but shows drift and association for no reason. Just like Qin Feng's Morning Wind, it is difficult to find a meaningful connection between the "Morning Wind" at the beginning and the "Seeing a gentleman, worrying" at the back. Although in this case, it may be incomprehensible because of the time gap, this situation definitely exists. Even in modern folk songs, we can still see such "xing".
Besides, there are many meaningful uses of "Xing", such as metaphor, symbol and contrast. But it is precisely because "Xing" is originally produced by the drifting and association of ideas without reason, so even if it has a more real meaning, it is not so rigid, but subtle. For example, Guan Guan's novel begins with "Guan Guan's pigeons are in the river continent", which turned out to be the poet's use of the scenery in front of him to raise the following "My Fair Lady, Gentleman is Good". Guan Hu's chorus can also be used as a metaphor for courtship or harmonious love between men and women, but its metaphor is of little significance. Another example is the poem "Peach Blossom", which begins with "Peach Blossom Blossom Blossom Blossom Blossom" and describes the beautiful atmosphere of peach blossom in spring. It can be said to be a realistic pen, but it can also be understood as a metaphor for the bride's beauty, and it can also be said to set off the warm atmosphere of the wedding. Because "Xing" is such an implicit and freely used technique, poets who like the implicit and euphemistic charm of poetry in later generations are particularly interested in it. Their own clever tricks and innovations are numerous, which constitute the special taste of China's classical poetry.
"Li Sao" What does China's longest lyric poem "Li Sao" mean? Li Sao is the masterpiece of Qu Yuan, a famous poet in the Warring States Period, and the longest romantic political lyric poem in the history of ancient Chinese poetry. The poet described his life experience, moral character and ideal, expressed the anguish and contradiction that he was slandered to death, rebuked the fatuity of the king of Chu, the madness of the villain group and the ineffective governance of Japan, and showed the poet's fighting spirit of adhering to the ideal of "beautiful politics", attacking the dark reality, not colluding with evil forces and his patriotic enthusiasm to death.
Lisao
Li Sao is the masterpiece of Songs of the South, with 373 sentences. It is the first autobiographical lyric poem written by China himself. It is also the longest lyric poem in the history of China literature.
Li Sao is the work of Qu Yuan, a poet of Chu State in the Warring States Period. According to statistics, there are 66 views on the meaning of the proposition of Li Sao, and now five representative views are given:
(1) Ban Gu thinks: "Leaving is still a shame. Sao, worry. " Ming has always been worried that any speech will be a distraction.
Qian Chengzhi thinks: "Leaving is suffering; Sao is a kind of interference. Disturber, Qu Yuan is greedy and upset, so it is called Sao. "
(3) You Guoen thinks that Lisao is the ancient name of the old merchants.
Wen Zhiming's Calligraphy Lisao (Ⅳ) Lin Geng believes that Lisao means "resentment" and "separation" and "prison" are disyllabic words.
⑤ Sima Qian thinks it means suffering in Historical Records Biography of Qu Yuan and Jia Sheng.
⑥ Wang Yi thinks it is the sadness of parting.
Introduction to Shi Shuo Xin Yu What was the original name of Shi Shuo Xin Yu?
Shi Shuo Xin Yu is a note novel which mainly narrates anecdotes in Wei and Jin Dynasties, and it was produced in the Southern and Northern Dynasties in China (420-58 1). It was written by a group of writers organized by Liu Yiqing (403-444), king of Linchuan, the imperial clan of Liu and Song Dynasties in the Southern Dynasties, with Liu Jun as a note. The original book has eight volumes, and Liu Jun notes ten volumes. Today's biographies are all made into three volumes, which are divided into 36 branches, such as morality, speech, politics, literature, founder and magnanimity. There are more than 1,000 volumes in the book, which describe the anecdotes of celebrities and nobles from the late Han Dynasty to Liu Song Dynasty, mainly for the discussion stories of relevant figures, metaphysics and witty responses.
Writing process
Shi Shuo Xin Yu was originally named Shi Shuo. Because Liu Xiang wrote Shi Shuo in the Han Dynasty (the original book was lost), later generations distinguished this book from Liu Xiang's and took it as Shi Shuo Shu Xin, which was renamed after the Song Dynasty. Sui Shu Economic Journal listed it as a note novel. Liu Daogui's Biography of the Song Dynasty said that Liu Yiqing was "simple in nature", "fond of literary meaning" and "needed to gather scholars from near to far". Although the individual facts recorded in this book are not accurate, they reflect the ideological style of various aristocratic families, preserve social, political, ideological, literary, linguistic and other aspects, and have high historical value.
Many scholars gathered under Liu Yiqing's door. They wrote this book based on similar works of predecessors, such as Pei Qi's Yu Lin. Liu Yiqing only advocated and presided over the compilation, but the style of the book was basically the same, and there was no trace of copying books by multiple hands or groups, which should be attributed to the power of its editor-in-chief. Some Japanese scholars infer that the author of this book is He Changyu, a disciple of Liu Yiqing and a good friend of Xie Lingyun.
Liu xiaobiao added notes to Shi Shuo Xin Yu. Liu Zu was born in Qingzhou and was born in the Southern Dynasties. Qingzhou was captured by the Northern Wei Dynasty in the fifth year of the Song Dynasty (469). He was forced to move to Pingcheng as usual, where he became a monk and later became a secular. Qi Yongming returned to Jiangnan in 486 to participate in the translation of Buddhist scriptures. The notes in this book were made by Liu after he returned to Jiangnan. He adopted the method of Pei Songzhi's annotation of the Three Kingdoms to fill the vacancy and correct the fallacy. There are countless filial piety and lucky money, and more than 400 kinds of books are cited. Yu Jiaxi's Notes on Shi Shuo Xin Yu, Xu Zhen's Notes on Shi Shuo Xin Yu and Yong Yang's Notes on Shi Shuo Xin Yu all have comments from later generations. Scholars in the Tokugawa era in Japan wrote several notes on Shi Shuo Xin Yu. Ma Ruizhi is also available in English, and Jia Mu Tian Cheng is available in Japanese and French.