中国绝美情诗名句
1 柳永 凤栖梧 衣带渐宽终不悔,为伊消得人憔悴。
2 佚名 击鼓《诗经.邶风》 死生契阔,与子成说。执子之手,与子偕老。
3 秦观 鹊桥仙 两情若是久长时,又岂在朝朝暮暮。
4 李白 三五七言 相思相见知何日?此时此夜难为情。
5 佚名 凤求凰,琴歌 有美人兮,见之不忘,一日不见兮,思之如狂。
6 郑愁予 赋别 这次我离开你,是风,是雨,是夜晚;你笑了笑,我摆一摆手,一条寂寞的路便展向两头了。
7 李白 三五七言 入我相思门,知我相思苦,长相思兮长相忆,短相思兮无穷极。
8 元稹 离思五首其四 曾经沧海难为水,除却巫山不是云。
9 曹植 明月上高楼 君若扬路尘,妾若浊水泥,浮沈各异势,会合何时谐?
10 纳兰性德 虞美人 凄凉别後两应同,最是不胜清怨月明中。
11 张籍 节妇吟 还君明珠双泪垂,恨不相逢未嫁时。
12 席慕蓉 一棵开花的树 如何让你遇见我,在我最美丽的时刻为这,我已在佛前求了五百年,求他让我们结一段尘缘。
13 陈衡恪 题春绮遗像 嗟余只影系人间,如何同生不同死?
14 梁启超 台湾竹枝词 相思树底说相思,思郎恨郎郎不知。
15 徐干 室思 自君之出矣,明镜暗不治。思君如流水,何有穷已时。
16 司马光 西江月 相见争如不见,有情何似无情。
17 龚自珍 己亥杂诗 落红不是无情物,化作春泥更护花。
18 张先 千秋岁 天不老,情难绝。心似双丝网,中有千千结。
19 黄景仁 绮怀诗二首其一 似此星辰非昨夜,为谁风露立中宵。
20 李商隐 无题六首其三 直道相思了无益,未妨惆怅是清狂。
21 李商隐 暮秋独游曲江 深知身在情长在,怅望江头江水声。
22 纳兰性德 摊破浣溪沙 人到情多情转薄,而今真个不多情。
23 李商隐 锦瑟 此情可待成追忆,只是当时已惘然。
24 张仲素 燕子楼 相思一夜情多少,地角天涯未是长。
25 元好问 摸鱼儿二首其一 问世间,情是何物,直教生死相许。
26 李商隐 无题 身无彩凤双飞翼,心有灵犀一点通。
27 张可久 塞鸿秋 兽炉沈水烟,翠沼残花片,一行行写入相思传。
28 徐再思 折桂令 平生不会相思,才会相思,便害相思。
29 李冠 蝶恋花 一寸相思千万绪,人间没箇安排处。
30 苏轼 江城子 十年生死两茫茫,不思量,自难忘,千里孤坟,无处话凄凉。
31 佚名 绸缪《诗经.唐风》 今夕何夕,见此良人。
32 白居易 长恨歌 天长地久有时尽,此恨绵绵无绝期。
33 白居易 长恨歌 在天愿作比翼鸟,在地愿为连理枝。
34 文廷式 蝶恋花 重叠泪痕缄锦字,人生只有情难死。
35 曹雪芹 枉凝眉 一个是阆苑仙葩,一个是美玉无瑕。若说没奇缘,今生偏又遇著他;若说有奇缘,如何心事终虚话?
36 李商隐 无题 春蚕到死丝方尽,蜡炬成灰泪始乾。
37 况周颐 减字浣溪沙 他生莫作有情痴,人间无地著相思。
38 欧阳修 玉楼春 尊前拟把归期说,未语春容先惨咽。
39 佚名 关雎《诗经.周南》 关关雎鸠,在河之洲。窈宨淑女,君子好逑。
40 欧阳修 玉楼春 人生自是有情痴,此恨不关风与月。
41 柳永 雨霖铃 此去经年,应是良辰好景虚设。便纵有,千种风情,更与何人说。
42 李之仪 卜算子 只愿君心似我心,定不负相思意。
43 晏几道 临江仙二首其二 落花人独立,微雨燕双飞。
44 陈陶 陇西行 可怜无定河边骨,犹是春闺梦裏人。
45 辛弃疾 摸鱼儿 千金纵买相如赋,脉脉此情谁诉。
46 温庭筠 更漏子三首其三 梧桐树,三更雨,不道离情正苦。一叶叶,一声声,空阶滴到明。
47 苏武 结发为夫妻 结发为夫妻,恩爱两不疑。
48 聂胜琼 鹧鸪天 寻好梦,梦难成。况谁知我此时情。枕前泪共帘前雨,隔箇窗儿滴到明。
49 柳永 昼夜乐 一场寂寞凭谁诉。算前言,总轻负。
50 李白 长相思二首其一 天长路远魂飞苦,梦魂不到关山难,长相思,摧心肝。
51 席慕蓉 印记 不要因为也许会改变,就不肯说那句美丽的誓言,不要因为也许会分离,就不敢求一次倾心的相遇。
52 范成大 车遥遥篇 愿我如星君如月,夜夜流光相皎洁。
53 戴叔伦 相思曲 鱼沈雁杳天涯路,始信人间别离苦。
54 柳永 雨霖铃 执手相看泪眼,竟无语凝噎。
55 元稹 遣悲怀三首其二 诚知此恨人人有,贫贱夫妻百事哀。
56 顾敻 诉衷情 换我心,为你心,始知相忆深。
57 鱼玄机 江陵愁望有寄 忆君心似西江水,日夜东流无歇时。
58 李商隐 无题六首其六 春心莫共花争发,一寸相思一寸灰。
59 乐婉 卜算子 相思似海深,旧事如天远。
60 白居易 浪淘沙 相恨不如潮有信,相思始觉海非深。
61 温庭筠 新添声杨柳枝 玲珑骰子安红豆,入骨相思知不知?
62 邵瑞彭 蝶恋花 忍把千金酬一笑?毕竟相思,不似相逢好。
63 晏殊 玉楼春 天涯地角有穷时,只有相思无尽处。
64 曹雪芹 终身误 都道是金玉良缘,俺只念木石前盟。空对著,山中高士晶莹雪;终不忘,世外仙姝寂寞林。
65 周邦彦 玉楼春 人如风後入江云,情似雨馀黏地絮。
66 曹雪芹 红豆词 滴不尽相思血泪抛红豆,开不完春柳春花满画楼。
67 欧阳修 蝶恋花二首其一 泪眼问花花不语,乱红飞过秋千去。
68 冯小青 怨 瘦影自怜秋水照,卿须怜我我怜卿。
69 朱彝尊 高阳台 锺情怕到相思路。盼长堤,草尽红心。动愁吟,碧落黄泉,两处难寻。
70 贺铸 横塘路 若问闲情都几许?一川烟草,满城风絮,梅子黄时雨。
71 张泌 寄人 多情只有春庭月,犹为离人照落花。
72 刘禹锡 竹枝词四首其二 花红易衰似郎意,水流无限似侬愁。
73 晏殊 山亭柳:赠歌者 若有知音见采,不辞遍唱阳春。
74 范仲淹 苏幕遮 明月楼高休独倚,酒入愁肠,化作相思泪。
75 陈叔达 自君之出矣 思君如明烛,煎心且衔泪。
76 苏武 结发为夫妻 生当复来归,死当长相思。
77 陈蓬姐 寄外二首其二 休言半纸无多重,万斛离愁尽耐担。
78 朱彝尊 鸳鸯湖棹歌 妾似胥山长在眼,郎如石佛本无心。
79 韦庄 女冠子二首其一 不知魂已断,空有梦相随。除却天边月,没人知。
80 佚名 涉江采芙蓉《古诗十九首》 同心而离居,忧伤以终老。
81 秦观 八六子 夜月一帘幽梦,春风十里柔情。
82 晏几道 鹧鸪天三首其一 从别後,忆相逢,几回魂梦与君同。
83 柳永 雨霖铃 多情自古伤离别。更那堪,冷落清秋节。
84 晏殊 玉楼春 无情不似多情苦,一寸还成千万缕。
85 元稹 遣悲怀三首其三 唯将终夜长开眼,报答平生未展眉。
86 韦庄 应天长 别来半岁音书绝,一寸离肠千万结。
87 卢仝 有所思 相思一夜梅花发,忽到窗前疑是君。
88 卢仝 楼上女儿曲 直缘感君恩爱一回顾,使我双泪长珊珊。
89 晏几道 鹧鸪天三首其二 相思本是无凭语,莫向花牋费泪行。
90 欧阳修 踏莎行 离愁渐远渐无穷,迢迢不断如春水。
91 辛弃疾 鹧鸪天 若教眼底无离恨,不信人间有白头。
92 曹雪芹 红楼梦引子 开辟鸿蒙,谁为情种?都只为风月情浓。
93 晏殊 鹊踏枝 明月不谙离恨苦,斜光到晓穿朱户。
94 白居易 长恨歌 临别殷勤重寄词,词中有誓两心知。
95 陈端生 寄外 泪纵能乾终有迹,语多难寄反无词。
96 苏曼殊 本事诗 还卿一钵无情泪,恨不相逢未剃时。
97 温庭筠 南歌子四首其二 终日两相思,为君憔悴尽,百花时。
98 晏殊 鹊踏枝 欲寄彩笺兼尺素,山长水阔知何处。
99 李煜 清平乐 离恨却如春草,更行更远还生。
100 晏殊 清平乐二首其二 鸿雁在云鱼在水,惆怅此情难寄
> http://bbs1.people.com.cn/postDetail.do?boardId=8&view=1&id=97837367
>
> �й������ʫ���
���\���壬˴Ӣͽ�W�����ʹ��飬ζ֮�� .... (����/���ĵ��/���ƪ)
Regards,
Albert K. Fung
Rancho del Canto, Paso Robles, California, USA.
--- news://freenews.netfront.net/ - complaints: ne...@netfront.net ---
繁彩寡情?
30. "夜来幽梦忽还乡,小轩窗,正梳妆。相顾无言,惟有泪千行"
> Regards,
>
> Albert K. Fung
> Rancho del Canto, Paso Robles, California, USA.
>
> --- news://freenews.netfront.net/ - complaints: n...@netfront.net ---
> http://bbs1.people.com.cn/postDetail.do?boardId=8&view=1&id=97837367
> �й������ʫ���
AKF:
> ���\���壬˴Ӣͽ�W�����ʹ��飬ζ֮�� .... (����/���ĵ��/���ƪ)
ltlee:
> ���ʹ���?
>
> 30. "ҹ�����κ����磬С������ױ��������ԣ�Ω����ǧ��"
���ʹ���! .... :)
Regards,
Albert K. Fung
Rancho del Canto, Paso Robles, California, USA.
--- news://freenews.netfront.net/ - complaints: ne...@netfront.net ---
A rather eclectic list.
So, why not...
�S��Ȫ�����t�m�Аۡ����}��
����ӛ������գ����㼾�����R�\��
�����ǣ�������̎�����ں��ď�ǰ��
�_���ӣ����L�L�t�m�����}��
���ׁ?ȥ�yȥ����ʮ�d�������[��
���֣����y�ۡ����c��ǧ�ų
�t�ޣ��~������;��ޡ�
�|��������Ð������˳���A�A��
�f�s�y�糱���ţ��³��ƺ�韟o߅��
���_������������ء�
�������죬������Ҫ���ͣ�
�������ѽ�������ء�
�҂z�R�e������Թ̫ꖿ�N�|��
�҂z�R�e������Ҫ��Ҋ�ډ��С�
���أ��������顷
��į���L����б�����գ�
������F�a�����ӭ�L�p�u��
�����}��Ķ�����һ••�����ˣ����ˣ�
����V�ҵ�����һ••���y�ˣ��y�ˡ�
��ף���һˮ�����ġ�
����@�؉������X����ϡ��
���Z�V��Ԓ�����Լ���˼��
��”�����w����
�L�����������w����
��������������I���仨��
���wȥ�����ƝM�أ�
���Y�ױ�������S�����������L��ȥ��
������������ǧ�����˼��
�ؑ����»�������،�������̎��
�˸�ǧ��·���ƣ�δ���b�����ѳ
Tak
--
----------------------------------------------------------------+-----
Tak To ta...@alum.mit.eduxx
--------------------------------------------------------------------^^
[taode takto ~{LU5B~}] NB: trim the xx to get my real email addr
Uh, ��ѥɦ�W is not quite the same as ���ʹ���. In fact, it is
rather odd to associate profound emotions with "itch".
Definitely. In addition, some of them may not be love poems.
For me, there is also surprises.
"相见争如不见,有情何似无情" had been repeated in many
fictions. Yet I never associate it with 司马光, the author of the
great history book.
The whole poem.
宝髻松松挽就,铅华淡淡妆成
青烟翠雾罩轻盈。
飞絮游丝无定。
相见争如不见,有情何似无情。
笙歌散后酒初醒。
深院月斜人静。
>
> So, why not...
>
> 許懷泉:《紅塵有愛》主題曲
> 就算記憶會沈澱,就算季節會擱淺;
> 你仍是,我心深處,最在乎的從前。
>
> 羅大佑:《滾滾紅塵》主題曲
> 來易來,去難去,數十載的人世遊;
> 分易分,聚難聚。愛與恨的千古愁。
>
> 纓艮/葉瑞伯:《客途秋恨》
> 觸景更添情懊惱,懷人愁對月華圓;
> 舊約難如潮有信,新愁似海闊無邊。
>
> 林達:《今宵多珍重》
> 不管明天,到明天要相送;
> 戀著今宵,把今宵多珍重。
> 我倆臨別依依,怨太陽快昇東,
> 我倆臨別依依,要再見在夢中。
>
> 陶秦:《不了情》
> 寂寞的長巷,而今斜月清照;
> 冷落的鞦韆,而今迎風輕搖。
> 它重複你的叮嚀,一聲聲:忘了,忘了;
> 它低訴我的衷曲,一聲聲:難了,難了。
>
> 左幾:《一水隔天涯》
> 眷戀驚回夢,醒覺夢依稀;
> 獨語癡情話,聊以寄相思。
>
> 周聰:《飛花曲》
> 風潚潚,落絮飛花,
> 念往事如夢,含淚對落花,
> 花飛去,芳菲滿地,
> 心裏底悲哀,願隨花絮,付晚風吹去。
>
> 金流:《明月千里寄相思》
> 回憶往事恍如夢,重尋夢境何處求;
> 人隔千里路悠悠,未曾遙問心已愁...
Great verses!!
However...
"眷戀驚回夢,醒覺夢依稀;
獨語癡情話,聊以寄相思。" is great.
But
"妹爱哥情重
哥爱妹风姿
为了心头愿
连理结双枝" is not as great.
>
> Tak
> --
> ----------------------------------------------------------------+-----
> Tak To ta...@alum.mit.eduxx
> ...
>
> read more >>- Hide quoted text -
>
> - Show quoted text -
> http://bbs1.people.com.cn/postDetail.do?boardId=8&view=1&id=97837367
>
> �й������ʫ���
AKF:
> ���\���壬˴Ӣͽ�W�����ʹ��飬ζ֮�� .... (����/���ĵ��/���ƪ)
Tak To:
> Uh, ��ѥɦ�W is not quite the same as ���ʹ���. In fact, it is
> rather odd to associate profound emotions with "itch".
��ѥɦ�W ....
As the esteemed netter quite correctly surmised, isn't exact
-ly ���ʹ���. Rather, the latter is the directly consequence
of the former.
Hope this helps ....
On Feb 23, 12:26 am, Tak To <ta...@alum.mit.edu> wrote:
> ltlee1 wrote:
> A rather eclectic list.
>
> So, why not...
>
> Tak
> --
> ----------------------------------------------------------------+-----
> Tak To ta...@alum.mit.eduxx
http://www.flickr.com/photos/64156901@N00/3415206204/
Bwahahahahahaha!!!
ROTFL!
On Feb 23, 1:52 pm, "abianc...@my-deja.com" <abianc...@my-deja.com>
wrote:
Do you know any which is no 繁彩寡情?
>
> Regards,
>
> Albert K. Fung
> Rancho del Canto, Paso Robles, California, USA.
>
> --- news://freenews.netfront.net/ - complaints: n...@netfront.net ---
Let us take this one,
李白 三五七言
相思相见知何日?此时此夜难为情。
In what way is the above 繁彩寡情?
Do you know what itch was itch was Li trying to scratch?
>
> Regards,
>
> Albert K. Fung
> Rancho del Canto, Paso Robles, California, USA.
>
> --- news://freenews.netfront.net/ - complaints: n...@netfront.net ---
> Let us take this one,
> 李白 三五七言
> 相思相见知何日?此时此夜难为情。
>
> In what way is the above 繁彩寡情?
> Do you know what itch was itch was Li trying to scratch?
For starter ....
The genre of the poem, from which the above verses originate
is unclear. What emotions, pray tell, are the author attempt
-ing to communicate? What exactly is 難為情? What kind of 情?
Who is the gentleman's object of 相思 - mother, lover, money,
employer, feudal lord, king? Last, but not least:
Wherefore 此時此夜? ....
Regards,
Albert K. Fung
Rancho del Canto, Paso Robles, California, USA.
--- news://freenews.netfront.net/ - complaints: ne...@netfront.net ---
Wait a minute. Are you telling me that you don't know what the dude
was writing? And yet you concluded that his writing as 繁彩寡情?
> Regards,
>
> Albert K. Fung
> Rancho del Canto, Paso Robles, California, USA.
>
> --- news://freenews.netfront.net/ - complaints: n...@netfront.net ---
> Let us take this one,
> 李白 三五七言
> 相思相见知何日?此时此夜难为情。
> In what way is the above 繁彩寡情?
> Do you know what itch was itch was Li trying to scratch?
AKF:
> For starter ....
>
> The genre of the poem, from which the above verses originate
> is unclear. What emotions, pray tell, are the author attempt
> -ing to communicate? What exactly is 難為情? What kind of 情?
> Who is the gentleman's object of 相思 - mother, lover, money,
> employer, feudal lord, king? Last, but not least:
>
> Wherefore 此時此夜? ....
ltlee:
> Wait a minute. Are you telling me that you don't know what the dude
> was writing? And yet you concluded that his writing as 繁彩寡情?
辭人賦頌,為文而造情 .... (劉勰/文心雕龍/情采篇)
Regards,
Albert K. Fung
Rancho del Canto, Paso Robles, California, USA.
--- news://freenews.netfront.net/ - complaints: ne...@netfront.net ---
Are you sure you understand 劉勰?
Li's writing was clearly 為情而造文 and not 為文而造情? Do you know why?
Hint: Think about your questions and why they are totally irrelevant.
>
> Regards,
>
> Albert K. Fung
> Rancho del Canto, Paso Robles, California, USA.
>
> --- news://freenews.netfront.net/ - complaints: n...@netfront.net ---
Yup. Lots about ��˼��but ��˼ in Classical Chinese literature was not
limited to love between man and woman (as implied by the contemporary
phrase ��Ԋ.) For example, the following poem is clearly about
philia, not eros.
��ף�������ܡ�
��Ұ��~�x���h�e�R�|����
������˼һ����ó�����ݡ�
Moreover, Chinese poets often use �����tĺ as a metaphor for
not being appreciated or recognized by the court. For example,
#45 in the above
�������������~���������������Ժ������ƺ��ϣ�ͬ������֮�þ�Сɽͤ�����x��
��������L�ꡣ�ҴҴ��֚wȥ��ϧ���L���_�磬�Λr��t�o��������ס��
Ҋ�f�������ķ����Ԛw·��Թ�����Z����ֻ�����ڣ�������W���M�����w����
�L�T�£��ʔM�������`����ü�����˶ʡ�ǧ��v�I�����x���}�}�����l�V����Ī�衣
��Ҋ����h�w��ԉm�����f����ࡣ��ȥ��Σ�ǣ�б����ڣ�������c̎��
Looking at the title and the entire poem, one can see clearly that
this is not a love poem.
The following are most probably not about eros.
04 ��˼���֪���գ���ʱ��ҹ��Ϊ�顣
07 ������˼�ţ�֪����˼�࣬����˼�ⳤ���䣬����˼�������
29 һ����˼ǧ�������˼�û�w���Ŵ���
50 �쳤·Զ��ɿ࣬�λ겻����ɽ�ѣ�����˼�����ĸΡ�
74 ����¥���ݶ��У�������������˼�ᡣ
99 ���ȴ�紺�ݣ����и�Զ����
Some poems are about love, but not "love poems". While
some are love poems, but the quoted lines are not about love.
17 ��첻�����������������
20 ֱ����˼�����棬δ����������
39 �ع���𣚣�ں�֮�ޡ��i��Ů�����Ӻ��ϡ�
40 ������������գ��˺��ط����¡�
43 �仨�˶���������˫�ɡ�
44 �������ӱ߹ǣ����Ǵ������Y�ˡ�
55 ��֪�˺������У�ƶ����ް��°���
67 �����ʻ�������Һ�ɹ���ǧȥ��
81 ҹ��һ�����Σ�����ʮ�����顣
92 ���ٺ��ɣ�˭Ϊ���֣���ֻΪ������Ũ��
70 �������鶼���?һ���̲ݣ���Ƿ�����÷�ӻ�ʱ�ꡣ
Tak
--
----------------------------------------------------------------+-----
Tak To ta...@alum.mit.eduxx
> Yup. Lots about 锟斤拷思锟斤拷but 锟斤拷思 in Classical Chinese literature was not
> limited to love between man and woman (as implied by the contemporary
> phrase 锟斤拷詩.) For example, the following poem is clearly about
> philia, not eros.
>
> 锟斤拷祝锟斤拷锟斤拷锟斤拷锟杰★拷
> 锟斤拷野锟斤拷~锟絰锟斤拷锟絟锟絜锟絉锟絴锟斤拷锟斤拷
> 锟斤拷锟斤拷锟斤拷思一锟斤拷锟斤拷贸锟斤拷锟斤拷锟捷★拷
>
> Moreover, Chinese poets often use 锟斤拷锟斤拷锟絫暮 as a metaphor for
> not being appreciated or recognized by the court. For example,
> #45 in the above
>
> 锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟絶锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟皆猴拷锟斤拷锟斤拷锟狡猴拷锟较o拷同锟斤拷锟斤拷锟斤拷之锟矫撅拷小山亭锟斤拷锟斤拷锟絰锟斤拷
>
> 锟斤拷锟斤拷锟斤拷追锟斤拷L锟疥。锟揭匆达拷锟街歸去锟斤拷惜锟斤拷锟絃锟睫伙拷锟絖锟界,锟轿況锟斤拷t锟給锟斤拷锟斤拷锟斤拷锟斤拷住锟斤拷
> 見锟絝锟斤拷锟斤拷锟斤拷锟侥凤拷锟斤拷锟皆歸路锟斤拷怨锟斤拷锟斤拷锟絑锟斤拷锟斤拷只锟斤拷锟斤拷锟节o拷锟斤拷锟斤拷锟斤拷W锟斤拷锟組锟斤拷锟斤拷锟絯锟斤拷锟斤拷
> 锟絃锟絋锟铰o拷锟绞擬锟斤拷锟斤拷锟斤拷锟絗锟斤拷锟斤拷眉锟斤拷锟斤拷锟剿妒★拷千锟斤拷v锟絀锟斤拷锟斤拷锟絰锟斤拷锟絵锟絵锟斤拷锟斤拷锟絣锟絍锟斤拷锟斤拷莫锟借。
> 锟斤拷見锟斤拷锟斤拷h锟絯锟斤拷詨m锟斤拷锟斤拷锟絝锟斤拷锟斤拷唷o拷锟饺ワ拷锟轿o拷牵锟叫憋拷锟斤拷锟节o拷锟斤拷锟斤拷锟斤拷c處锟斤拷
>
> Looking at the title and the entire poem, one can see clearly that
> this is not a love poem.
From birds to bees, from flowers to grasses ....
From swallows to moths, from sun to rain, one can get cross-
eyed and dizzy by all those beatings around the bush. And is
still totally clueless on what the poem is about. The author
is certainly one accomplished word-smith, who can paint with
words.
But, what a ginormous 锟斤拷靴搔锟絎 .... :)
Regards,
Albert K. Fung
Rancho del Canto, Paso Robles, California, USA.
--- news://freenews.netfront.net/ - complaints: ne...@netfront.net ---
Advice for "One":
It won't hurt to take a class or two in Classical Chinese
Literature, and/or to learn a little bit about the life of
the author.
> The author
> is certainly one accomplished word-smith, who can paint with
> words.
> But, what a ginormous 锟斤拷靴搔锟絎 .... :)
Again, for "One":
Like, whatever.
� would lead to �W?? Perhaps it is Psoriasis. Go see a
dermatologist.
> Yup. Lots about 锟斤拷思锟斤拷but 锟斤拷思 in Classical Chinese literature was not
> limited to love between man and woman (as implied by the contemporary
> phrase 锟斤拷詩.) For example, the following poem is clearly about
> philia, not eros.
>
> 锟斤拷祝锟斤拷锟斤拷锟斤拷锟杰★拷
> 锟斤拷野锟斤拷~锟絰锟斤拷锟絟锟絜锟絉锟絴锟斤拷锟斤拷
> 锟斤拷锟斤拷锟斤拷思一锟斤拷锟斤拷贸锟斤拷锟斤拷锟捷★拷
>
> Moreover, Chinese poets often use 锟斤拷锟斤拷锟絫暮 as a metaphor for
> not being appreciated or recognized by the court. For example,
> #45 in the above
>
> 锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟絶锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟斤拷锟皆猴拷锟斤拷锟斤拷锟狡猴拷锟较o拷同锟斤拷锟斤拷锟斤拷之锟矫撅拷小山亭锟斤拷锟斤拷锟絰锟斤拷
>
> 锟斤拷锟斤拷锟斤拷追锟斤拷L锟疥。锟揭匆达拷锟街歸去锟斤拷惜锟斤拷锟絃锟睫伙拷锟絖锟界,锟轿況锟斤拷t锟給锟斤拷锟斤拷锟斤拷锟斤拷住锟斤拷
> 見锟絝锟斤拷锟斤拷锟斤拷锟侥凤拷锟斤拷锟皆歸路锟斤拷怨锟斤拷锟斤拷锟絑锟斤拷锟斤拷只锟斤拷锟斤拷锟节o拷锟斤拷锟斤拷锟斤拷W锟斤拷锟組锟斤拷锟斤拷锟絯锟斤拷锟斤拷
> 锟絃锟絋锟铰o拷锟绞擬锟斤拷锟斤拷锟斤拷锟絗锟斤拷锟斤拷眉锟斤拷锟斤拷锟剿妒★拷千锟斤拷v锟絀锟斤拷锟斤拷锟絰锟斤拷锟絵锟絵锟斤拷锟斤拷锟絣锟絍锟斤拷锟斤拷莫锟借。
> 锟斤拷見锟斤拷锟斤拷h锟絯锟斤拷詨m锟斤拷锟斤拷锟絝锟斤拷锟斤拷唷o拷锟饺ワ拷锟轿o拷牵锟叫憋拷锟斤拷锟节o拷锟斤拷锟斤拷锟斤拷c處锟斤拷
>
> Looking at the title and the entire poem, one can see clearly that
> this is not a love poem.
AKF:
> From birds to bees, from flowers to grasses ....
>
> From swallows to moths, from sun to rain, one can get cross-
> eyed and dizzy by all those beatings around the bush. And is
> still totally clueless on what the poem is about. The author
> is certainly one accomplished word-smith, who can paint with
> words.
>
> But, what a ginormous 锟斤拷靴搔锟絎 .... :)
Tak To:
> Advice for "One":
> It won't hurt to take a class or two in Classical Chinese
> Literature, and/or to learn a little bit about the life of
> the author.
Most fascinating suggestion ....
One must know the life history of the author in order to un-
derstand his/her poems. If true, this is unique to China and
her culture. This is exciting stuff - by knowing his/her an-
cestors, can one imagine the ginormous literary potentials?
Sky, must be the limit .... :)
It depends on the author, what he write, and how he writes.
In general, if an author writes about X, it helps to know what X
is. Thus if X is his personal life, then knowing the biographical
information would help. Obliqueness is a matter of taste.
> If true, this is unique to China and her culture.
I am not sure what "this" refers to specifically but I doubt
that it is unique to Classical Chinese literature. Please note
that trend in literary criticism that emphasizes on close reading
of the texts and rejects extra-textual information is a rather
recent phenomenon. It was not called "New Criticism" for no
reason. :-)
> This is exciting stuff - by knowing his/her an-
> cestors, can one imagine the ginormous literary potentials?
I understand neither the logic or the structure of
your question. Who said anything about ancestors? Who
said anything about literature potential, imaginary or
otherwise? Who said anything about the connection of
these two previously unmentioned topics?
美人自古如名将,不许人间见白头
Yes. You are right, from old beauties to old general to old elite.
Another
reason to show the intense attachment to the emporer.
>
> 辛棄疾:《摸魚兒 淳熙己亥,自湖北漕移湖南,同官王正之置酒小山亭,為賦》
> 更能消、幾番風雨。匆匆春又歸去。惜春長恨花開早,何況落紅無數。春且住。
> 見說道、天涯芳草迷歸路。怨春不語。算只有殷勤,畫簷蛛網,盡日惹飛絮。
> 長門事,準擬佳期又誤。蛾眉曾有人妒。千金縱買相如賦,脈脈此情誰訴。君莫舞。
> 君不見、玉環飛燕皆塵土。閒愁最苦。休去倚危樓,斜陽正在,煙柳斷腸處。
>
> Looking at the title and the entire poem, one can see clearly that
> this is not a love poem.
I suspect most of these poets were lonely people.
They were selected by the vigorous examination system and each one
was
outstanding easily in the one in a million level .Per chance they met
each
other. But most of the time they were lonely in the sense that they
seldom
met their match in terms of intellect, potential and achievement, and
vision.
One can easily imagine their pain when they had to leave such a
friend. Given
the strong admiration as well as social reliance, the emotional
attachment
between friends could be stronger than the bond between a man and a
woman.
In this sense, the kind of 情 may not be as important.
If I remember correctly, "相思相见知何日?此时此夜难为情" was applied to
the bond between Yang Guo and Little Dragon Girl in THE CONDOR HEROES
to emphasize the love between them had been a difficult one.
"此情可待成追忆,只是当时已惘然" was also quoted by many in the context of
man-woman love. However, no one really knows. Was the poem about the
author
getting old? Or was it about his lovers who had died young?
>
> The following are most probably not about eros.
> 04 相思相见知何日?此时此夜难为情。
> 07 入我相思门,知我相思苦,长相思兮长相忆,短相思兮无穷极。
> 29 一寸相思千万绪,人间没箇安排处。
> 50 天长路远魂飞苦,梦魂不到关山难,长相思,摧心肝。
> 74 明月楼高休独倚,酒入愁肠,化作相思泪。
> 99 离恨却如春草,更行更远还生。
>
> Some poems are about love, but not "love poems". While
> some are love poems, but the quoted lines are not about love.
>
> 17 落红不是无情物,化作春泥更护花。
> 20 直道相思了无益,未妨惆怅是清狂。
> 39 关关雎鸠,在河之洲。窈宨淑女,君子好逑。
> 40 人生自是有情痴,此恨不关风与月。
> 43 落花人独立,微雨燕双飞。
> 44 可怜无定河边骨,犹是春闺梦裏人。
> 55 诚知此恨人人有,贫贱夫妻百事哀。
> 67 泪眼问花花不语,乱红飞过秋千去。
> 81 夜月一帘幽梦,春风十里柔情。
> 92 开辟鸿蒙,谁为情种?都只为风月情浓。
> 70 若问闲情都几许?一川烟草,满城风絮,梅子黄时雨。
Mostly agree.
The metaphor was first used by Quyuan ��ԭ. It is not really an
attachment to the emperor but a sense of obligation of one's
role in society, which is to help the emperor to �·�. The frustration
of not being able to fulfill one's destiny is paramount.
>> �������������~���������������Ժ������ƺ��ϣ�ͬ������֮�þ�Сɽͤ�����x��
>> ��������L�ꡣ�ҴҴ��֚wȥ��ϧ���L���_�磬�Λr��t�o��������ס��
>> Ҋ�f�������ķ����Ԛw·��Թ�����Z����ֻ�����ڣ�������W���M�����w����
>> �L�T�£��ʔM�������`����ü�����˶ʡ�ǧ��v�I�����x���}�}�����l�V����Ī�衣
>> ��Ҋ����h�w��ԉm�����f����ࡣ��ȥ��Σ�ǣ�б����ڣ�������c̎��
>>
>> Looking at the title and the entire poem, one can see clearly that
>> this is not a love poem.
Xin's biggest wish was to lead an army to fight the Mongols. Except for a
brief moment in his early career, he never had his army. That was what the
above poem was about.
> I suspect most of these poets were lonely people.
> They were selected by the vigorous examination system and each one was
> outstanding easily in the one in a million level .Per chance they met
> each other. But most of the time they were lonely in the sense that they
> seldom met their match in terms of intellect, potential and achievement,
> and vision. One can easily imagine their pain when they had to leave
> such a friend.
Or leaving their (extended) family and their home town.
Alas, those who grows up with ubiquitous phone service will never
understand �x�� or �l��, or come to know the feeling of never able
to see or hear from someone again for the rest of one's life.
> Given the strong admiration as well as social reliance, the
> emotional attachment between friends could be stronger than the
> bond between a man and a woman.
> In this sense, the kind of �� may not be as important.
>
> If I remember correctly, "��˼���֪���գ���ʱ��ҹ��Ϊ��" was applied to
> the bond between Yang Guo and Little Dragon Girl in THE CONDOR HEROES
> to emphasize the love between them had been a difficult one.
Quoting is an entire different story. Jin Yong was quite apt in
borrowing poems, sometimes with small but significant changes. An
example is the one about pear flower/Little Dragon Girl.
> "����ɴ���䣬ֻ�ǵ�ʱ���Ȼ" was also quoted by many in the context
> of man-woman love. However, no one really knows. Was the poem about the
> author getting old? Or was it about his lovers who had died young?
This poem is a bit opaque. My guess is that the author was regretting,
at age 50, for a lost opportunity of love (with a prostitute most
probably).
Schwanengesang - Der Doppelgänger (Heinrich Heine)
《天鹅之歌》之“化身”(海涅)
Still ist die Nacht, es ruhen die Gassen,
静静的夜,寂寂的巷道,
In diesem Hause wohnte mein Schatz;
这房子住过我的爱人;
Sie Hat schon Laengst die Stadt verlassen,
她早已离开这个城市,
Doch steht noch das Haus auf demselben Platz.
但房子仍处矗立在原处。
Da steht auch ein Mensch und start in die Hoehe,
那而还站着一个人仰首凝望,
Und ringt die Haende vor Schmerzensgewalt;
双手拧着极度的悲伤;
Mir graust es, wenn ich sein Antlitz sehe
当我看见他的容貌,不禁战栗
Der Mond zeigt mir meine eigne Gestalt.
月光照映出的竟是我自己的身影。
Du Doppelgaenger, du bleicher Geselle!
你这身影,你这苍白的家伙!
Was aeffst du nach mein Liebesleid,
你为什么嘲弄我失恋的痛苦,
Das mich gequaelt auf dieser Stelle
在这个地方让我不断受折磨
So manche Nacht, in alter Ziet?
有多少夜,在往日时光里?
(注:诗歌翻译的部份以陈明律教授的著作《舒伯特.天鹅之歌演唱、伴奏之诠释》为译词的来源)
Hey, shit face Meichi/abianchen/report2009! Tell us why you hate your
own Philippino people so much, that you renounced them as well as your
own gender to become "a guy from Taiwan", ugly lesbian puta abianchen/
Meichi. Must be because of your failed sex-change operation that made
you look like this, huh: http://www.flickr.com/photos/64156901@N00/3415206204/
.
You insult the people of Taiwan by impersonating as one of them,
because the people of Taiwan are not pathological liars and mentally
retarded like you are.
Did you find your plastic surgeon from Google as well? Bwahahahahaha!!
On Feb 26, 8:22 am, "abianc...@my-deja.com" <abianc...@my-deja.com>
wrote:
> From the west...
>
> Schwanengesang - Der Doppelgänger (Heinrich Heine)
> 《天鹅之歌》之“化身”(海涅)
為情者要約而寫真,為文者淫麗而煩濫 .... (劉勰/文心雕龍/情采篇)
There have been too many 隔靴搔癢 admirers on this thread. It
is commendable to harbor a fetish for the boots and scratch-
ing the untouchables. However, one can't help but to ask the
proverbial Wendy question: "Where is the beef?" :)
Here is another, from that poster-child of Western romantic-
ism, Lord Byron:
WHEN WE TWO PARTED
by: George Gordon (Lord) Byron (1788-1824)
WHEN we two parted
In silence and tears,
Half broken-hearted
To sever for years,
Pale grew thy cheek and cold,
Colder thy kiss;
Truly that hour foretold
Sorrow to this.
The dew of the morning
Sunk chill on my brow--
It felt like the warning
Of what I feel now.
Thy vows are all broken,
And light is thy fame:
I hear thy name spoken,
And share in its shame.
They name thee before me,
A knell to mine ear;
A shudder comes o'er me--
Why wert thou so dear?
They know not I knew thee,
Who knew thee too well:
Lond, long shall I rue thee,
Too deeply to tell.
I secret we met--
I silence I grieve,
That thy heart could forget,
Thy spirit deceive.
If I should meet thee
After long years,
How should I greet thee?
With silence and tears.
Enjoy .... :)
> Yup. Lots about ��˼��but ��˼ in Classical Chinese literature was not
> limited to love between man and woman (as implied by the contemporary
> phrase ��Ԋ.) For example, the following poem is clearly about
> philia, not eros.
>
> ��ף�������ܡ�
> ��Ұ��~�x���h�e�R�|����
> ������˼һ����ó�����ݡ�
>
> Moreover, Chinese poets often use �����tĺ as a metaphor for
> not being appreciated or recognized by the court. For example,
> #45 in the above
>
> �������������~���������������Ժ������ƺ��ϣ�ͬ������֮�þ�Сɽͤ�����x��
>
> ��������L�ꡣ�ҴҴ��֚wȥ��ϧ���L���_�磬�Λr��t�o��������ס��
> Ҋ�f�������ķ����Ԛw·��Թ�����Z����ֻ�����ڣ�������W���M�����w����
> �L�T�£��ʔM�������`����ü�����˶ʡ�ǧ��v�I�����x���}�}�����l�V����Ī�衣
> ��Ҋ����h�w��ԉm�����f����ࡣ��ȥ��Σ�ǣ�б����ڣ�������c̎��
>
> Looking at the title and the entire poem, one can see clearly that
> this is not a love poem.
AKF:
> From birds to bees, from flowers to grasses ....
>
> From swallows to moths, from sun to rain, one can get cross-
> eyed and dizzy by all those beatings around the bush. And is
> still totally clueless on what the poem is about. The author
> is certainly one accomplished word-smith, who can paint with
> words.
>
> But, what a ginormous ��ѥɦ�W .... :)
Tak To:
> Advice for "One":
> It won't hurt to take a class or two in Classical Chinese
> Literature, and/or to learn a little bit about the life of
> the author.
AKF:
> Most fascinating suggestion ....
>
> One must know the life history of the author in order to un-
> derstand his/her poems. If true, this is unique to China and
> her culture. This is exciting stuff - by knowing his/her an-
> cestors, can one imagine the ginormous literary potentials?
>
> Sky, must be the limit .... :)
Tak To:
> It depends on the author, what he write, and how he writes.
> In general, if an author writes about X, it helps to know what X
> is. Thus if X is his personal life, then knowing the biographical
> information would help. Obliqueness is a matter of taste.
Everyone but ������ ....
It is quite safe to say, is merely theorizing on what exact-
ly the gentleman's Ci is about. It may, indeed, be his taste
to be oblique. But then it may not be.
He was deemed skillfull in plain narrative style (���ڰ���).
To wit - he was perfectly capable of ���������, if he chose
to. Moreover, his works could be simple and direct, if he so
desired. More than anyone, the gentleman knew a thing or two
about ��������.
After all, did not he wrote a legendary Ci, about his youth-
ful literary waywardness? In his���hū���� he famously wrote
thusly - ���겻�R����ζ ���όӘ� ���όӘ�
���x���~���f�� .... :)
BTW: In ���hū����, there're no birds and bees, flowers and
weeds, spring and summer. It's simple, direct and very
impactful. It effectively communicates his deeply-felt
emotions to his readers. Knowledge of the gentleman's
life history is not needed.
His������ - ԪϦ��, OTOH, is a vertiginous babble of
a swirling melange of majestically crafted words.
Don't have to read the poem.
Randomly pick any Chinese poet and British poet, the former is
more likely to write better poems. A matter of simple mathematics.
>
> Regards,
>
> Albert K. Fung
> Rancho del Canto, Paso Robles, California, USA.
>
> --- news://freenews.netfront.net/ - complaints: n...@netfront.net ---
Xin's life is not obscure. It is your choice how to use the
biographical information to help you understand his poems
better.
> He was deemed skillfull in plain narrative style (���ڰ���).
>
> To wit - he was perfectly capable of ���������, if he chose
> to. Moreover, his works could be simple and direct, if he so
> desired. More than anyone, the gentleman knew a thing or two
> about ��������.
...or to ignore biographical information entirely.
Note that there are authors who wants their works to be understood
without extra-textual information, and there are authors who want
their works to be understood in the context of their lives.
> After all, did not he wrote a legendary Ci, about his youth-
> ful literary waywardness? In his���hū���� he famously wrote
> thusly - ���겻�R����ζ ���όӘ� ���όӘ�
>
> ���x���~���f�� .... :)
> BTW: In ���hū����, there're no birds and bees, flowers and
> weeds, spring and summer. It's simple, direct and very
> impactful. It effectively communicates his deeply-felt
> emotions to his readers. Knowledge of the gentleman's
> life history is not needed.
So?
> His������ - ԪϦ��, OTOH, is a vertiginous babble of
> a swirling melange of majestically crafted words.
Consider the fact that you make such a big fuzz out of the
difference between �������� and ��������, it is rather odd
that you choose to ignore extra-textual information in
trying to distinguish the two.
Btw, one wonders how Byron's poem would rate in ����S's
grading scheme.
Tak
--
----------------------------------------------------------------+-----
Tak To ta...@alum.mit.eduxx
--------------------------------------------------------------------^^
���D�႐���Ҏ������罭������z .... (�K����/���T�������)
Gordon Byron's influences on modern China was ginormous. The
gentleman awoken an ancient culture, filled to the brim with
feudal values, to its own humanness. He wasn't only �K����'s
teacher.
He was China's �� - on myriad levels and on multiple fronts.
This is never in doubt on the May-Forth movement - �������.
�K����'s translations of Lord Byron's works played catalytic
role in the romantic awakening of an ancient, duty-conscious
civilization that never found room for the individual. There
is no question that the English gentleman's romantic candle-
in-the-wind idealistic ethos, resonated intensely among May-
Forth'ers.
ͤ����Ѫ ���ҽ���Ů�b�� (�����/���A����R�r�y �O��)
�b���b-��� was impressed and inspired by the gentleman's
steadfast fidelity to his ideals, when the English nobleman
pledged his honor and properties to volunteer and then died
in Greece's independence war. And, conducted her life like-
wise.
There isn't any doubt in this humble netter's mind that her
fellow �㽭'er, ����S, who translated many of Lord Byron's
poems into Chinese, would have hallowed the English gentle-
man's works, and put him in an entirely different category.
His poems, completely changed ����S's literary aesthetics.
Which would've caused him to recant on ������ .... :)