Ask for the full text of Ye Shengtao s Rice , and the full text of Ye Shengtao s Wind .

No one has ever seen the wind in "The Wind".

Needless to say, me and you.

But when the leaves tremble.

We know the wind is there.

No one has ever seen the wind.

Needless to say, me and you.

But when the treetops nodded.

We know the wind is coming.

No one has ever seen the wind.

Needless to say, me and you.

But when the river ripples.

We know the wind comes to play.

Hello "Wind".

No one has ever seen the wind.

Needless to say, me and you.

But when the leaves tremble.

We know the wind is there.

No one has ever seen the wind.

Needless to say, me and you.

But when the treetops nodded.

We know the wind is coming.

No one has ever seen the wind.

Needless to say, me and you.

But when the river ripples.

We know the wind comes to play.

1. Original text.

Before I saw the waterfall, I heard the sound of the waterfall, like a cascading wave surging on the shore beach, and like a gust of wind blowing through the pine forest.

The mountain road suddenly turned, ah! I saw the whole body of the waterfall! Such a scene cannot be compared, thousands of green mountains are lined with a **.

Standing at the foot of the waterfall and looking up, it's so great, a pearl screen! From time to time, a gust of wind blows it like smoke, fog, and dust.

2. Introduction of the work.

Waterfall is a poem containing affectionate landscapes, through the vivid description of waterfalls, highlighting the magnificence of the motherland's mountains and rivers, and expressing the author's incomparable love for the motherland's mountains and rivers. The poem consists of three stanzas, which describe the sound of the waterfall, the sight of the waterfall from afar, and the scene of seeing the waterfall up close.

The poem is concise in language, full of charm, vivid metaphors, and apt words, depicting the majesty of the waterfall and expressing the author's love for nature. The verses use overlapping, duality, and arrangement, which is very rhythmic. It's a catchy read.

1. About the author.

Ye Shengtao (1894-1988) was born in Suzhou, Jiangsu. Formerly known as Ye Shaojun, he is a modern writer, educator, and family. In November 1911, it was changed to its current name Ye Shengtao.

Pen names include Ye Jin, Sheng Tao, Si Ti, Gui Shan, Bingcheng, Yingsheng and so on. After graduating from secondary school in 1911, he became a township primary school teacher. In 1916, he joined the Shanggong School attached to the Shanghai Commercial Press to teach.

During the "May Day" movement, he founded the "Axiom" with Hu Yuzhi and others to carry out anti-imperialist patriotic propaganda, and later edited the semi-monthly "Guangming" of the China Relief Association. In 1923, he was appointed to the Commercial Press. In 1930, he became an enlightened bookstore.

After the "918" incident, he participated in the establishment of the "Anti-Imperialist and Anti-Japanese Alliance in the Literary and Art Circles". In 1939, he served as a director of the All-China Association of Literary and Art Circles to Resist the Enemy.

After 1946, he participated in the patriotic democratic movement and served as the director of the General Affairs Department of the All-China Association of Literary and Art Circles. In 1949, he served as the director of the North China People's Textbook Editing and Examination Committee.

2. Works. He wrote China's first collection of fairy tales "Scarecrow" (1923) and the first novel in the history of modern Chinese literature "Ni Huanzhi" (1929). Other works include: the short story collection "Diaphragm" (1922), "Fire" (1923), "Offline" (1925), "In the City" (1926), "Untired Collection" (1928), etc.

In his long career, he has successively edited or edited many important literary and language education journals such as "Poetry" magazine, "Literary Weekly", "** Monthly", "Middle School Students", "Middle School Students' Literature and Art", "Chinese Language Monthly", "Enlightened Youth", "Pen Array", "Chinese Language Magazine", "Chinese Writers" and dozens of Chinese textbooks for primary and secondary schools.

He has written more than 10 books on language education and has made important contributions to the cause of language education. He has discovered, cultivated and recommended a number of young authors, such as Ba Jin, Ding Ling, Dai Wangshu, etc. In 1980, the Educational Science Press published the "Ye Shengtao Chinese Education Collection".

I also studied this text: Before I saw a waterfall, I heard the sound of a waterfall, like a cascading wave rushing onto the shore beach, and like a gust of wind blowing through a pine forest.

The mountain road suddenly turned, ah! I saw the whole body of the waterfall!

Such a scene cannot be compared, thousands of green mountains are lined with a **.

Standing at the foot of the waterfall and looking up, it's so great, a pearl screen!

From time to time, a gust of wind blows it like smoke, fog, and dust.

No one has ever seen the wind, not to mention me and you

But when the leaves flutter, we know that the wind is there, and when the flowers bloom in February, the wind gently shakes the cradle of the flowers.

No one has ever seen the wind, not to mention me and you

But when the leaves flutter, we know that the wind is there, and when the dandelions fly, I know that the wind is escorting them.

After the founding of the People's Republic of China, he served as the deputy director of the National General Administration of Publication and the vice minister of the Ministry of Education, and lived in Beijing for a long time, but he was still haunted by the Suzhou garden. In 1956, Tongji University published the "Suzhou Garden" album compiled by Professor Chen Congzhou.

In 1974, Sheng Weng and Chen Congzhou met, Professor Chen sent a number of Chinese paintings of pine, bamboo and orchid chrysanthemum to Sheng Weng, and Sheng Weng filled in a "Song of the Cave Immortals" to thank him, and the words were still written in Suzhou Garden: "Garden Collection, has been cherished for many years, and the Humble Government Gardens send deep affection." I want to be a child and often play with the window couple, and trace all over the mountain paths, corridors, and shores.

This autumn, through the Jane, cast Zhao Qiong, and the wonderful painting is frequently embraced and ashamed. The antique writes Zhu Mei, Lan Shi Qingyan, and the wind and birds as companions. Looking forward to meeting the Canglang Tiger Hill, practicing the covenant and listening to the shape of the refinement.

In this poem, the saint's affection for Suzhou gardens is overflowing. After the liberation, gardens such as the Humble Administrator's Garden have become a resort for working people to rest and visit. The author also recalls the scene of wandering with classmates and walking all over the corridors and mountain paths when he was a child and teenager.

This corroborates and echoes the 1913 poem on the garden mentioned earlier. The second half of the word is to write about the joy of knowing Professor Chen Congzhou and appreciating the sketches presented by Chen Congzhou.

At the beginning of 1979, Chen Congzhou invited the saint to write a preface to his book "Suzhou Gardens" published by the Landscape Pictorial Publishing House, and the saint Weng readily agreed. In the preface, Sage Weng summarizes the charm of Suzhou gardens. He praised the Suzhou garden for "paying attention to the layout of pavilions and pavilions, the coordination of rockeries and ponds, the contrast of flowers and trees, and the level of near and far views."

In short, everything must exist to form a perfect picture", so that the visitor can feel "as in a picture".

The Humble Ruler's Gardens Send Deep Affection", which is the natural expression and vivid description of Ye Shengtao's deep affection for Suzhou gardens.

Designers and craftsmen adapt to local conditions and create their own ingenuity, and the successful construction of gardens is of course different. However, there is one thing in common among the different gardens in Suzhou, and it seems that the designers and craftsmen are in the same pursuit: no matter which point the visitor stands, there is always a perfect picture in front of him.

In order to achieve this purpose, they pay attention to the layout of pavilions and pavilions, the coordination of rockeries and ponds, the contrast of flowers and trees, and the level of near and far views. In short, everything must exist to form a perfect picture, and there must be no failure that is not beautiful or harmful. They wished that the visitors would get a real feeling of "as in the picture", and their achievements fulfilled their wishes, and there was not a single visitor who came to the park without thinking about the verbal words "as in the picture".

It's Ye Junjian's "Watching the Play".