Too often cited works
The representative works of Taichang Yin include Xin Qiji's "Taichang Yin·Immortal Ji seems to want to weave silk", Xin Qiji's "Taichang Yin·Jiankang Mid-Autumn Night Fu for Lu Shu Qian", Nalan Xingde's "Taichang Yin·Self-Inscribed Small Picture", Xiang Hongzuo's "Taichang Yin·Guest Wen Song", Ao Dun Zhou Qing's "Taichang Yin·West Lake Smoke and Water Vast", and a Xin Qiji's "Taichang Yin·Ci Lin Zhengyun"(Half of the life is scattered and half of the life is difficult, a watchtower tells of sadness and joy. bitter and spicy, I alone am speechless. Ask heaven and earth, pour wine cup long sigh. Listening to the rain year after year, how many times do you cry? How many times do you dream of a traveler? the full moon is drunk, leaning against the railing. Listen to the sound of the sting, Who is happy with you? Wait.
This poem is often cited
Tai Chang Yin was the name of a Ci tablet, and there were many other names, such as Tai Qing Yin and Laqian Mei. There are many kinds of patterns, the common is forty-nine words, double-tone, up and down each three flat rhyme, a rhyme to the end. In history, many Ci writers used this Ci to create, such as Xin Qiji, Nalan Xingde, Xiang Hongzuo, Wang Yun, etc., and Xin Qiji's representative Ci works included "Tai Chang Yin·Jiankang Mid-Autumn Night Fu for Lv Shuqian" and so on.
Qupai is too often cited
Taichang Yin was a name for a Ci tablet, also known as "Taiqing Yin" and "Laqian Plum". The tone of the word is forty-nine words, double-tone, up and down each three flat rhyme, a rhyme to the end. There were also 48-word, 50-word, flat rhyme, oblique rhyme and other forms, but most of the Song and Yuan people filled in 49 characters, and only two styles were recorded in the Imperial Ci Pu. "Taihe Zhengyin Pu" notes it as "Xianlu Palace." This type of poem is suitable for light and leisurely content, but also can be used to express graceful and faint hidden bitterness. The words need not be too heavy or too fierce. There can be waves, but there is no need for big waves. His representative works include Xin Qiji's "Taichang Yin·Immortal Ji seems to want to weave silk,""Taichang Yin·Jiankang Mid-Autumn Night Fu for Lv Shuqian," Nalan Xingde's "Taichang Yin·Self-Inscribed Small Zhao," Xiang Hongzuo's "Taichang Yin·Guest Wen Song," etc.
Nine ancient poems are often cited
"Tai Chang Yin·Fu for Lv Shuqian on the Mid-Autumn Night of Jiankang" was written by Xin Qiji in Song Dynasty. The first half of the poem reads,"A round autumn shadow turns into golden waves, and the flying mirror is polished again. He took the cup of wine and asked her,"What can I do to deceive you when your hair is white?" The moon that depicted the night of the Mid-Autumn Festival was as bright as a newly polished bronze mirror. The poet asked Chang'e in the moon, lamenting that her white hair was growing but there was nothing she could do, revealing her melancholy about the passage of time. The second part of the song,"Go with the wind, thousands of miles in the sky, look down at the mountains and rivers." Cut off the osmanthus tree, and the people will be more clear." The poet imagined himself flying in the vast sky and overlooking the mountains and rivers of his motherland. He also mentioned cutting down the laurel tree in the moon (Legend has it that the laurel tree blocks the moonlight in the moon). People thought that the moonlight would be clearer and brighter in this way. Here, the osmanthus tree may be used as a metaphor for the people in the court who obstructed the Northern Expedition, expressing the poet's lofty ambition to recover the Central Plains. The whole poem not only had a sigh for time, but also the poet's patriotic feelings and political aspirations.
Too often cited writing technique
Tai Chang Yin's writing style had the following characteristics: 1. In terms of rhyme, the first four sentences had four levels of rhyme, the second five sentences had three levels of rhyme, and the first and second sentences had three levels of rhyme. 2. ** Rhetoric Usage **: Often uses metaphor and other rhetorical devices. For example, in Xin Qiji's "Tai Chang Yin·Jiankang Mid-Autumn Night Fu for Lv Shuqian," the golden wheel was compared to the round moon, and the polished flying mirror was used to describe the new moon. 3. ** Imagination and Association **: Use imagination and association to build a surreal artistic realm. For example, in the poem, he thought of raising a glass to invite Chang'e, asking her for help on how to deal with the bullying of white hair, and also thinking of riding the wind straight into the sky, looking down at the beautiful rivers and mountains, flying to the moon palace, cutting down the swaying osmanthus trees, etc. Through ancient myths and legends, it formed a surreal artistic realm to express the author's emotions and aspirations. For example, when the author's idea of resisting Jin and opposing compromise and surrender was not adopted, and he was not put in an important position, he used words to imagine and express his resentment over the passage of time and the difficulty of achieving success, as well as his political ideals of opposing compromise and surrender and determined to recover the lost land of the Central Plains.
Nine times the language is too often cited
"Tai Chang Yin·Fu for Lv Shuqian on the Mid-Autumn Night of Jiankang" was written by Xin Qiji in Song Dynasty. The first half of the poem depicted the bright moonlight on the night of the Mid-Autumn Festival." A round of autumn shadows turned into golden waves, and the flying mirror was polished again." It compared the moonlight to a bronze mirror that had been polished again, and vividly described the brightness of the moonlight. " I took the wine and asked the girl: What can I do if I'm bullied by my white hair?" The poet raised his glass and asked Chang'e, expressing his helplessness at his growing white hair, hinting at the passage of time. In the second part of the poem, the poet wanted to fly high in the wind and overlook the mountains and rivers of his motherland, which reflected his deep concern for the mountains and rivers of his motherland. " Cut down the osmanthus, and the people will be more clear." Legend has it that there was a laurel tree in the moon that blocked the moonlight. Cutting down the laurel tree would make the world more clear. Here, the laurel tree was used as a metaphor for the forces in the imperial court that hindered the Northern Expedition. The poet used this image to express his wish to remove these obstacles and realize his lofty aspirations. When reading this word, you should understand the rich imagination of the poet and the way he wrote it.
How to recite the ancient poems that are often cited
Take Xin Qiji's "Tai Chang Yin·Jiankang Mid-Autumn Night Fu for Lu Shu Qian" as an example, you can recite it in the following way: First, he had to understand the meaning of the poem, which would help him remember it. "A round of autumn shadows turned into golden waves, and the flying mirror was polished again." It depicted the night of the Mid-Autumn Festival. The moon rotated and sprinkled golden light, just like a polished mirror. One could imagine the bright moon in the sky on the night of the Mid-Autumn Festival. "I asked my concubine about the wine. How can I be bullied by the white-haired girl?" Contact Su Shi's "When will the bright moon appear, ask the blue sky with wine", understand the poet drinking in the Mid-Autumn Festival and asking Chang'e, lamenting that he had already grown white hair but his ambition had not been fulfilled. "It's easy to ride the wind. Ten thousand miles in the sky, looking down at the mountains and rivers. Cut off the osmanthus tree, and the way of the people will be clear and bright." He imagined himself flying in the vast sky with the wind and overlooking the mountains and rivers, as well as the desire to remove obstacles symbolized by cutting down the laurel tree to make the moonlight brighter. On the basis of understanding, the poem was divided into several parts, recited sentence by sentence, and then recited paragraph by paragraph. He could also read it a few more times to deepen his memory. The other 'Taichang Yin' could also be memorized step by step by understanding the meaning of the words. For example,"Tai Chang Yin·Self-Inscribed Small Photograph" and "Tai Chang Yin·East City Return Road Between Water and Clouds", etc. It would be relatively easy to memorize after analyzing and deciphering the words and phrases after making clear the situation of the poet's creation and the emotions expressed.
Nine Chinese too often cited notes
The notes of "Taichang Yin·Jiankang Mid-Autumn Night Fu to Lu Shuqian" are as follows: - [The first film is about the full moon in the Mid-Autumn Festival. The rotation of the moon implies the passage of time. The poet with white hair asks Chang'e questions. This shows the poet's frustration of not achieving success, increasing his white hair, and not being able to meet his talents.] - The first three sentences reflect the poet's desire to ride the wind and fly to see the lost mountains and rivers of his motherland, full of nostalgia for the mountains and rivers and the determination to recover the lost land. Later, the poet imagined that the Moon Palace would cut down the laurel trees that blocked the moonlight."Osmanthus whirling" symbolized the forces that brought darkness to the people, including the surrendering forces inside and outside the Southern Song Dynasty and the forces of the Jin people. The poet's idea of "cutting down the osmanthus whirling" expressed his ideal of recovering lost land.
Too often cited is the title of this poem or something
Taichang Citation was not the title of the poem, but the name of the Ci. The name of a Ci tile was the name of the tune used to fill in the lyrics. Different Ci tiles had rules on the number of sentences, word count, tone, rhyme, and so on. Ci works named after "Tai Chang Yin" include Xin Qiji's "Tai Chang Yin·Fu for Lv Shuqian on the Mid-Autumn Night of Jiankang" and Nalan Xingde's "Tai Chang Yin·Self-Inscribed Small Picture".
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