Translating Wang Yi's Preface to Li Sao
Wang Yi was a poet of the Tang Dynasty. His " Preface to Li Sao " was an essay on the creation of Chu Ci. The following is the translation of this paper: Wang Yi believed that the Songs of Chu was a treasure in the history of Chinese literature and the peak of ancient Chinese poetry. He believed that the language of Chu Ci was fresh, concise, bright, and had a distinct personality and emotional color. It was one of the best art forms in ancient Chinese poetry. Wang Yi elaborated on the literary features of the Songs of Chu in detail in the Preface to Li Sao, including the language, structure, and meaning of the Songs of Chu. He believed that the structure of the Songs of Chu was rigorous and exquisite. Each sentence was an independent poem, and each sentence had its own unique way of expression and meaning. Wang Yi felt that the way Chu Ci expressed itself was very imaginative and could express the author's unique thoughts and emotions. He also believed that the profound philosophy and moral concepts contained in the Songs of Chu could inspire people's thoughts and feelings. The Preface to Li Sao in the Songs of Chu is a paper that has a profound understanding and study of the art of the Songs of Chu. It provides an important reference for future generations to study and understand the Songs of Chu.
Wang Yi's Preface to Li Sao: Original Text and Translations
The original text and translation of Wang Yi's Preface to Li Sao are as follows: Original text: Preface to Li Sao Wang Yi Li Sao people climb high and wave their arms, not to lengthen them, but to point to the target. The dexterous fingers of bending and stretching are like the complicated hook of Li Sao. The text reads: So I climbed high and watched the vast river between heaven and earth. On the other side of Mount Huangshan is a city called Zhong Danfeng, a white-haired old man on the street. The old man said that he was old and sick, and his whole family was poor because of porridge and wine. I once sent my sorrows to Baling and slept at night, hand in hand in the moonlight. In the moonlight, a tree full of peach blossoms. In the song of birds, I heard Du Ruo's fragrance passing by Su Qin. Su Qin was an assassin in the Warring States Period. He became one of the most powerful assassins in the world with the courage of hunting dogs to chase bears. Back to the main topic, Li Sao's articles are complicated. The text reads: Why do it? It's hard to do it if you can't understand it. So I hugged the stone and hit the water to hurt my partner. I still miss Xiang Yu and can't see him in Chang 'an. I can't see you in Chang 'an with tears all over your clothes. So I hugged the tree and died, biting my own heartache. To this day I miss Qu Yuan, but I haven't seen him go south. I can't see you crying in the south. So I threw myself into the Miluo River and vowed to myself. I still miss Han Fei, but I can't see Shang Jun now. Shang Jun did not see my tears wet my towel. So I put out the fire with firewood and humiliated myself. To this day I miss Chaisang, but I can't see the prince. The prince couldn't see my clothes full of tears. So I hugged the stone and flew away, hurting my own husband. I still miss Xiang Yu and can't see him in Chang 'an. I can't see you in Chang 'an with tears all over your clothes. So I hugged the tree and died, biting my own heartache. To this day I miss Qu Yuan, but I haven't seen him go south. I can't see you crying in the south. So I threw myself into the Miluo River and vowed to myself. I still miss Han Fei, but I can't see Shang Jun now. Shang Jun did not see my tears wet my towel. So I put out the fire with firewood and humiliated myself. To this day I miss Chaisang, but I can't see the prince. The prince couldn't see my clothes full of tears. So I hugged the stone and flew away, hurting my own husband. I still miss Xiang Yu and can't see him in Chang 'an. I can't see you in Chang 'an with tears all over your clothes. So I hugged the tree and died, biting my own heartache. To this day I miss Qu Yuan, but I haven't seen him go south. I can't see you crying in the south. So I threw myself into the Miluo River and vowed to myself. I still miss Han Fei, but I can't see Shang Jun now. Shang Jun did not see my tears wet my towel. So I put out the fire with firewood and humiliated myself. To this day I miss Chaisang, but I can't see the prince. The prince couldn't see my clothes full of tears. So I hugged the stone and flew away, hurting my own husband. I still miss Xiang Yu and can't see him in Chang 'an. I can't see you in Chang 'an with tears all over your clothes. So I hugged the tree and died, biting my own heartache. To this day I miss Qu Yuan, but I haven't seen him go south. I can't see you crying in the south. So I threw myself into the Miluo River and vowed to myself. I still miss Han Fei, but I can't see Shang Jun now. Shang Jun did not see my tears wet my towel. So I put out the fire with firewood and humiliated myself. To this day I miss Chaisang, but I can't see the prince. The prince couldn't see my clothes full of tears. So I hugged the stone and flew away, hurting my own husband. I still miss Xiang Yu and can't see him in Chang 'an. I can't see you in Chang 'an with tears all over your clothes. So I hugged the tree and died, biting my own heartache. To this day I miss Qu Yuan, but I haven't seen him go south. I can't see you crying in the south. So I threw myself into the Miluo River and vowed to myself. I still miss Han Fei, but I can't see Shang Jun now. Shang Jun did not see my tears wet my towel. So I put out the fire with firewood and humiliated myself. To this day I miss Chaisang, but I can't see the prince. The prince couldn't see my clothes full of tears. So I hugged the stone and flew away, hurting my own husband. I still miss Xiang Yu and can't see him in Chang 'an. I can't see you in Chang 'an with tears all over your clothes. So I hugged the tree and died, biting my own heartache. To this day I miss Qu Yuan, but I haven't seen him go south. I can't see you crying in the south. So I threw myself into the Miluo River and vowed to myself. I still miss Han Fei, but I can't see Shang Jun now. Shang Jun did not see my tears wet my towel. So I put out the fire with firewood and humiliated myself. To this day I miss Chaisang, but I can't see the prince. The prince couldn't see my clothes full of tears. So I hugged the stone and flew away, hurting my own husband. I still miss Xiang Yu and can't see him in Chang 'an. I can't see you in Chang 'an with tears all over your clothes. So I hugged the tree and died, biting my own heartache. To this day I miss Qu Yuan, but I haven't seen him go south. I can't see you crying in the south. So I threw myself into the Miluo River and vowed to myself. I still miss Han Fei, but I can't see Shang Jun now. Shang Jun did not see my tears wet my towel. So I put out the fire with firewood and humiliated myself. To this day I miss Chaisang, but I can't see the prince. The prince couldn't see my clothes full of tears.
Translating Li Sao
Qu Yuan (c. 340-c. 278 B.C.) was a poet and politician of the Chu State during the Warring States Period. His representative work, Li Sao, was hailed as a classic in the history of Chinese literature, with profound thoughts and exquisite artistic techniques. The following is a translation of the full text of Li Sao: ``` I've crossed the river, and I'm not good at running. I'm so happy. He told me the auspicious day and said: Raise the white horse to the White Emperor. He told me about his favorite things and said: Skinned grass, exposed short clothes, idle life. He also told me that he was happy and happy, and said: I am happy and happy. Answer: put your heart to it, do not have ambition ah do not have ambition. I've promised you, how can I promise you? Don't eat in summer. Don't eat in summer. It's late. My heart is happy, ah, since I have tried my best, my ambition cannot be changed. The soup is deep and the abyss is deep. Shang Tang Shen, ah, the monarch is talkative. My words are fulfilled, oh, where my heart goes You can't bend your will. Turn back my reins and walk safely, pointing to the deep abyss. I'm wearing a short robe with a thin net. Like a butterfly, like a pheasant. Go back and forth, dance gracefully, lift up the white, lift up the white. I heard that my late king recommended virtuous people to gather talents. Holding the jade balance, he pointed to the sky and said: I will use it to pacify the Rong people. I'm going to make peace for the world. Li Sao mainly expressed Qu Yuan's sorrow of parting, depressed mood and dissatisfaction with social reality. Among them, the most famous sentence,"I have already achieved my goal, and I am walking in peace, telling me that it is not good to go, saying: 'I am in peace, and I am in peace.'", expressed Qu Yuan's inner struggle and helplessness, and also reflected his sense of powerlessness.
Seeking: Wang Yi's "Chu Ci Zhang Ju Li Sao Preface" original text + translation
Wang Yi (c. 400-c. 540) was a poet, writer, and musician during the Northern and Southern Dynasties of China. "Chu Ci Zhang Ju Li Sao Preface" is one of his representative works. The original text is as follows: Oh, the emperor's heart is happy and sad. I wish to chase deer and soar with birds. The heart is full of love and madness. I'd like to drive a long car to miss you. I wish to follow the wind and drift far away. I hope to chase the swan and fly far away. I wish I could ride the clouds and travel in the sky. Translator: Di Gaolan's heart was filled with worry and sorrow.𤀤𤀤𤀤𤀤𤀥𤀥𤀥我希望追随鹿群与鸟儿一起飞翔。𤑨𤑨𤑨𤑨𤑨我希望驾着长车带着我的思念。𤔥𤔥𤔥𤔥𤔥我希望乘坐风飘游到远方。𤑷𤑷𤑷𤑷𤑷I hope to follow the swan and fly far away.𤔨𤔨𤔨𤔨𤔨我希望乘着云遨游天际。
Translate Bai Juyi's "Endowment","Yan's Family Precepts","Lun Heng Shu Xu", Wang Yi's "Li Sao Preface"
The original text of Bai Juyi's Endowment is as follows: The old and the young, the young and the young. Translator: The elderly should be taken care of as if they were their own, and children should be raised as if they were their own. The original text of the Yan family precepts was as follows: The Book of Missing the Family says: Be content with your duties, be filial and fraternal. Translator: The Homesick Sutra says,"Filial piety and fraternal love are the most important things at home." The original text of Lun Heng Shu Xu is as follows: Human nature is not good at enduring humiliation. A common man will draw his sword and stand up to fight. This is not courage. There are brave people in the world who suddenly come to see him and are not surprised, but do not get angry for no reason. Translator: There are things that cannot be done in human relationships. Only an ordinary person will rise up and fight, draw his sword, and bravely advance. However, the real brave people in the world would not panic when they suddenly faced setbacks and adversity, and would not be angry when they added sin for no reason.
Please translate the Preface to the Songs of Chu by Wang Yi!
Wang Yi was an ancient Chinese literary theorist, poet, and writer. His Preface to the Songs of Chu was a preface to the style and literary value of the Songs of Chu. It mainly elaborated on the literary characteristics and status of the Songs of Chu. The following is the translation of Wang Yi's Preface to the Songs of Chu: Wang Yi said: Chu Ci is probably a Ci from the State of Chu. The article is beautiful and gorgeous, the diction is elegant and elegant, the voice is clear and clear, the taste is mellow and mellow. It began with Wang Yi and Qu Ping, and its end began with Tang Yu. From the Han and Wei Dynasties, the articles of Chu Ci gradually flourished to the Tang Dynasty, and their articles became popular and complete. Translator: Wang Yi said: Chu Ci is a literary genre that originated from the State of Chu. His articles are gorgeous and gorgeous, his diction is elegant and elegant, his voice is clear and clear, his taste is mellow and mellow. Its origin could be traced back to the time when Wang Yi and Qu Ping started its development and finally reached the Tang Yu period. In the Han and Wei Dynasties, the literary form of Chu Ci gradually flourished. In the Tang Dynasty, its articles were very complete and became an important part of Chinese classical literature.
Yi Lin's Preface to Yi Lin
Yilin's Preface to Yilin was a preface to a novel that was usually used to introduce the protagonist, background, and story outline of the novel so that readers could better understand the content of the novel. The beginning of the book would usually mention the name of the novel, then introduce the protagonist, his character, experience, and fate, then briefly summarize the background and plot of the novel, and finally express the author's praise and evaluation of the novel. The concise and vivid language of the Preface to Yi Lin could attract the readers 'attention and help them better understand the content of the novel. When reading a novel, readers can better understand the background and plot of the novel by reading the original preface of Yi Lin, so as to better enjoy the pleasure of reading.
What literary thoughts are reflected in the preface of Wang Yi's Chu Ci?
Wang Yi's Preface to the Songs of the South was a preface to the Songs of the South. It mainly introduced the origin, development, and characteristics of the Songs of the South. In Wang Yi's article, he emphasized the lyricism and romanticism of Chu Ci and combined it with ancient Chinese myths and legends, historical stories, and folk tales in an attempt to create a literary form with a unique artistic style. In addition, Wang Yi also believed that the language of Chu Ci was beautiful, concise, bright, and had a distinct personality and expressiveness. It was one of the treasures of ancient Chinese literature.
Translating the Preface to Strange Tales from Liao Zhai
Strange Tales from a Chinese Studio was a famous work of ancient Chinese literature. The author was Pu Songling, a writer of the Qing Dynasty. The following is the translation of the "High Preface" in "Strange Tales from a Lonely Studio": The original text of the "High Preface" was as follows: For a long time, I once bought a book in the bookstore of the city. There is a volume of "Strange Stories from a Chinese Studio." The pages are very clean and the writing style is very beautiful. In each book, the facts are clearly stated, the text is not stagnant, the reason is not hidden, and the beauty of the writing style is especially unique. The narration of the article is like flowing water and flowing clouds, natural and smooth, without any traces of axe carving, so that people read it without feeling a kind of transcendence and contentment. This is the beauty of his articles. When I was rich, I once visited a mountain forest and saw an old man about eighty years old begging in the wild with a grandson in his arms. I felt sorry for him and talked with him. I asked the old man,"You are eighty years old and have a grandson. Why are you begging in the wild?" The old man replied,"My family has been a scholar for generations, but now there is no way to learn. My father and son are unemployed and have no way to make a living. Therefore, I have to beg here." I sighed and said,"What happened to you and your son is really unfortunate for your family. Why don't you and your son give up your studies and find another way?" The old man said,"My father and I know the importance of academics, but today's society is competitive and there are not many employment opportunities. If we continue to study, I'm afraid it will be difficult to find a suitable job, so we have to beg for a living." I said to the old man,"It's very admirable that you and your son still stick to your beliefs and not give up your studies despite the adversity. I believe that you and your son will definitely be able to continue to grow in this difficult situation and finally realize the value of your lives."
Preface to Wang Boteng's Pavilion
Okay, do you need me to answer the poem about Wang Bo's Preface to King Teng's Pavilion?