Teng Wangge and Wang Bo. Appreciation of true feelings. Feel the mood of a talented person. It s bet

First of all, the battle is neat, almost "right". The "falling glow" and "lonely crane" in the previous sentence and the "autumn water" and "long sky" in the next sentence are all noun phrases, and the battle is exquisite. What's more Jedi is that the upper and lower sentences are paired with each other, that is, the "self-alignment in the sentence" with higher requirements in the metrical form:

"Luoxia" can be "lonely", and "autumn water" is facing "Changtian". Of course, in the kingdom of Tang Dynasty poetry, these are nothing, such as Du Fu's "The wind is urgent, the sky is high, the ape is howling, and the white bird flies back"; Lu You's "Lou Boat Night Snow Guazhou Crossing, Iron Horse Autumn Wind Da Sanguan" and so on are all self-correcting in sentences. The difference is that in Du Fu's sentence, "the wind is urgent", "the sky is high", "the ape howls and mourns", "Zhu Qing", "Shabai", and "the bird flies back" are all subject-verb phrases, and they are directly connected into sentences without empty words.

Secondly, the previous sentence is written moving, Xia and Crane "fly together"; The next sentence is written quietly, and the water and the sky are "one color". One movement and one stillness, with movement against stillness. The previous sentence focuses on moving with the scenery and highlighting the demeanor of the scene; The next sentence focuses on the tranquility of the mind due to the scene, highlighting the color of the scene. The picture is harmonious and beautiful.

Again, it is cleverly turned into a sentence and has no new ideas. Wang Yinglin's "Records of Sleepy Learning" Volume 17: "Yu Xin's "Horse Shooting Fu" Cloud":

The falling flowers and the Zhigai fly together, and the willows and the spring flag are one color' Wang Bo imitated his words. **Quoted from Zhu Dongrun, editor-in-chief, Selected Literary Works of the Chinese Dynasties, Volume 1, p. 260, Shanghai Ancient Books, 1980 First Edition) If we compare the advantages and disadvantages of Wang Bo and Yu Xin's sentences from the perspective of confrontation, we will find that the strength of Wang Ju lies in the fact that the upper and lower sentences can "self-correct in the sentence", while Yu Ju cannot.

Finally, if "Luoxia" refers to the real Caixia and not to a bird (shaped like a parrot) (cited above, Zhu Dongrun, same page), then this sentence has another advantage: the combination of dots, lines, and surfaces. Although there is not necessarily only one, there are not too many points in short; The sunset can only be a line or a small piece (located in the western sky) on the horizon rather than a full sky; However, the autumn water and the long sky are a broad surface of the tunnel, so the points, lines and surfaces are cleverly combined, and the scene is very hierarchical.

The details are as follows

Teng Wang Pavilion Poems [Author] Wang Bo [Dynasty] Tang.

King Teng's high pavilion is near Jiangzhu, and Pei Yuming Luan sings and dances.

The painting hall flies to the south of the clouds, and the bead curtain rolls up in the west mountain rain at dusk.

The shadow of Xianyuntan is long, and the stars change a few degrees of autumn.

Where is the emperor in the cabinet now? The Yangtze River outside the threshold is empty and artesian.

Translation: The towering Tengwang Pavilion overlooks the sandbar in the heart of the river, and the gorgeous singing and dancing of Peiyu and Luan bells have long stopped.

In the morning, the painting hall flew into the clouds of Nanpu; In the evening, the bead curtain swept up in the rain of the western mountains.

The shadows of the leisurely colored clouds are reflected in the river, floating leisurely all day long. Time flies, personnel changes, and I don't know how many springs and autumns have passed.

King Teng, who used to enjoy the high pavilion, is now nowhere to be found, only the surging river outside the railing flows freely into the distance.

Creative background: In the third year of the reign of Emperor Gaozong of the Tang Dynasty (676), the poet Wang Bo went to visit his father in Jiaozhi (now Vietnam), passed through Hongzhou (now Nanchang, Jiangxi), participated in the banquet of the governor Yan Boyu, and improvised the "Preface to the Pavilion of King Teng", and attached this concise and implicit poem at the end of the preface, summarizing the content of the preface.

This poem is attached to the author's famous poem "Preface to the Pavilion of King Teng", which summarizes the content of the preface. The first couplet points out the situation of King Teng's Pavilion and imagines the scene of the luxurious and prosperous banquet when this pavilion was built; The jaw couplet followed the second sentence to write that the painting dong flew up to the clouds of Nanpu, and the bead curtain swept into the rain of the West Mountain, showing the loftiness of the pavilion; The neck couplet shifts from space to time, pointing out the long time, which naturally gives birth to the emotion of the change of scenery and the change of direction of the constellations, leading to the tail couplet; The tail couplet sighed that people went to the pavilion, the river flowed forever, and the whole article ended.

This poem has only 56 words in total, among which the pavilion, river, building, curtain, cloud, rain, mountain, pool, and pond shadow belong to the space; Belonging to time, there are days and days, things changing, stars shifting, several degrees of autumn, and where is today, these words are mixed together, and there is no feeling of stacking beds and houses. The main reason is that they all surround a central Tengwang Pavilion, and each plays its role as a star and moon.

Appreciation] This poem was originally attached to the "Preface to King Teng's Pavilion", and the "four rhymes" in the sentence "four rhymes" at the end of the preface are borrowed from this poem. Because the influence of the preface is too great, it hides the artistic value of this poem, and many readers only know Wang Bo's "Preface to King Teng's Pavilion", but they don't know Wang Bo's "Poems of King Teng's Pavilion".

Question 1: What is the relationship between the first sentence of the poem and the title of the poem? What kind of momentum does the word "Pro" write about Tengwang Pavilion? Which of the following scenes are derived from the first sentence "Gaoge Linjiang Zhu"?

Clear: The first sentence is straight to the point, directly to the topic, with simple and old penmanship, the word "Lin" points out the high situation of Tengwang Pavilion. It goes down to the Ganjiang River, you can look into the distance, you can look down, the following "Nanpu", "Xishan", "Xianyun", "Tanying" and "the Yangtze River outside the threshold" are all born from the first sentence "Gaoge Linjiang Zhu".

Question 2: The second sentence from the present and the ancient, imagine what kind of scene in the past, whether there are people in today's pavilion to enjoy, and what kind of life feelings does the poet have?

Clear: The second sentence is from the present and the ancient, thinking of the King Teng who built this pavilion back then, sitting in a Luanling carriage and hanging a variety of jade pendants, coming to the pavilion and holding a luxurious and prosperous banquet.

The poet can't help but feel the melancholy of the impermanence of life.

Summary: The first sentence writes space, the second sentence writes time, the first sentence is full of interest, and the second sentence is exciting. The poet uses the method of "standing and sweeping" to make the reader naturally feel the impermanence of prosperity and decline. A few two sentences have included the whole theme of the poem.

Q3, No. The third and fourth sentences of the painting building flew up to the clouds of Nanpu, and the bead curtain was swept into the rain of the West Mountain. Here, the poet uses exaggerated techniques to blend feelings into the scene, and express deep feelings. not only wrote about the situation of Tengwang Pavilion being cold and lonely now, but also pointed out what kind of terrain characteristics of Tengwang Pavilion again?

Clear: It writes the condescending trend of King Teng's Pavilion.

Summary: The three or four sentences follow the second sentence and play more. The pavilion has no one to enjoy, the pavilion painting bead curtain is of course cold and pitiful, only the clouds of Nanpu, the rain of the West Mountain, the twilight dynasty, and it is companion.

These two sentences not only write the loneliness of Tengwang Pavilion, but also the painting Dong flew up to the clouds of Nanpu, wrote the height of Tengwang Pavilion, the bead curtain rolled into the rain of the West Mountain, and wrote the distance of Tengwang Pavilion.

Question 4, the fifth sentence of "Xianyuntan Shadow Day", how do the brushstrokes of time and space transform? What are the words that point to the length of time?

Clear: The sentence "Xianyuntan Shadow Day is long", the brushstrokes are transferred from space to time, and the word "leisurely" points out the length of time.

King Teng's high pavilion is near Jiangzhu, and Pei Yuming Luan sings and dances.

The painting hall flies to the south of Puyun, and the red curtain rolls up in the western mountain rain at dusk.

The shadow of Xianyuntan is long, and the stars change a few degrees of autumn.

Where is the emperor in the cabinet now? The Yangtze River outside the threshold is empty and artesian.

Teng Wang Pavilion poems. Dynasty: Tang Dynasty.

King Teng's high pavilion is near Jiangzhu, and Pei Yuming Luan sings and dances.

The painting hall flies to the south of the clouds, and the bead curtain rolls up in the west mountain rain at dusk.

The shadow of Xianyuntan is long, and the stars change a few degrees of autumn.

Where is the emperor in the cabinet now? The Yangtze River outside the threshold is empty and artesian.

Luoxia and lonely birds fly together, and the autumn water is the same color as the sky.

This sentence comes from Wang Bo's "Preface to the Pavilion of King Teng", known as the swan song of the ages. Where does its powerful artistic charm come from, but from the colorful beauty it gives to the reader, the most perfect shaping of beauty.

The first is the beauty of color. Under the sunset, the sunset is brilliant and dazzling, and the feathers of the crane are dark, plus it is backlight, so the lonely crane is almost a dark shadow, and the sunset cannot cover the western half of the sky, still in the blue sky, the blue sky is slightly inferior to the sunset, but it is brighter than the solitary crane, they - the lonely crane, the falling glow, the blue sky - it becomes a contrast of light and dark - the shadow of the lonely crane is darker, and the sunset and the blue sky are more brilliant. The color of the solitary bird is mainly green, brown, purple, etc., which is a cold color, and there is a complementary color relationship between them.

The background of the sunset is a clear sky, which is sapphire red, and the color of the sunset is also complementary. We know that when two complementary colors are next to each other, they create the strongest contrast, and in terms of effect, they can achieve the greatest vividness of both sides. Wang Bo skillfully uses this contrast to make the whole pattern appear particularly vivid and beautiful.

The second is dynamic beauty. The lonely bird is "flying", the clouds are "falling", and only the sky is still. Although the autumn water is calm, it is not a stop in winter, and the water surface is not lifeless.

Everywhere the breeze passes, the autumn water will continue to ripple, and the ripples will be over, and the scenery reflected on the smooth mirror-like water surface will be swept away, faintly revealing the underwater scenery: aquatic plants, even fish and shrimp, etc. It's a beautiful picture that flows.

The third is the beauty of the virtual and the real. The blue sky is extremely high and deep, the red glow is slightly lower, and the lonely crane is lower, so there are three levels, and there is autumn water below them. The autumn water is quiet, when the "autumn water is a color of the sky", the picture scroll in the sky is naturally reflected in the water, the so-called "sky and clouds and shadows wander together", and there are three levels in the water.

Moreover, the higher the scenery in the sky, the deeper the reflection in the water. This constitutes a contrast between the real and the imaginary. Moreover, when the breeze passes, the autumn water ripples, and the scenery reflected on the smooth mirror-like water surface will be swept away, and the underwater scenery will be vaguely revealed

Aquatic plants, even fish and shrimp, etc., which also constitute a kind of virtual and real beauty as the reflection on the water surface.

The fourth is the beauty of three-dimensional space. "Autumn water is the same color of the sky", on the horizon, the sky and the water.

Luoxia and lonely birds fly together, and the autumn water is the same color as the sky.

The clouds are gone, and the color is bright.

The fishing boat sings at night, ringing on the shore of the poor Peng Li, the geese are frightened, and the sound is broken by the pool of Hengyang.

The water is exhausted and the cold pool is clear, and the smoke is condensed and the twilight is purple.

Luoxia and lonely birds fly together, and the autumn water is the same color as the sky.

Luoxia and lonely birds fly together, and the autumn water is the same color as the sky.

I also wrote it myself, and the teachers who copied it on the Internet will make people rewrite it! So, I don't think it's a good copy.