The Red Mansion looks cold across the rain, and the bead foil floating lamp is a flat problem alone

There are differences in the sounds and pronunciation of ancient and modern characters. The word "wang" is pronounced flat, and now it is probably only used for the recitation of ancient poems (this situation is also common).

If the word "hope" is not read in Pingsheng, the Pingqian of the whole sentence becomes (平平仄仄平仄仄), which should naturally be judged as "out of the law" according to the convention; However, a search of professional literature shows that this format is somewhat similar to Mr. Wang Li's so-called "ugly special form"; The ancients also used ancient style poetry to enter the rhythm, creating many kinds of flat forms, such as "Wu style", "three flat tones" and so on. Therefore, when reading the works of the ancients and encountering this kind of situation, you might as well first look at the comments of your predecessors or ancestors, and then judge for yourself.

1.There is no difference between flat and go. (The Kangxi dictionary seems to think that the hope of "Shuowang" should only be used in Pingsheng?) This is inconsistent with the actual use of the ancients, looking at the Song poems, the "hope" of "Shuowang" has been flattened, and there are two tones. ）

2 If you don't read the flat voice, there is no doubt about the law, and there is no "special form" to justify.

By the way, correct a small misunderstanding. "Xia Ping" is not a tone, and your so-called "Xia Ping sound" and "reading Xia Ping" are not valid. The upper and lower levels all belong to the "flat sound".

The rhyme book is only because of the length and the relationship between the volumes, and the flat sound is divided into two volumes, the upper and lower flat, and the "up" and "down" here have no tonal distinguishing meaning.

The rhythm and rhyme techniques were commonly used in the ancients. The strict regularization of rhythm is the pursuit of harmony of sound and rhythm. Han Yu, Huang Tingjian, etc., use a lot of awkward sentences and lonely flats, which is the pursuit of the wonder of sound rhythm. And after the Sanping tone is strict, it is deliberately difficult to seek high antiquity.

Staring at the Red Chamber through the rain, I felt cold and lonely; Beaded raindrops fluttered on the lantern and returned alone.

From: Tang Dynasty poet Li Shangyin "Spring Rain".

Original text: Lying in the white robe of the New Year, the white door is very disobedient.

The Red Mansion looks cold across the rain, and the bead foil floating lamp returns alone.

The long road should be sad and the spring is late, and the night is still vaguely dreamy.

Jade and Jade, how to reach, thousands of miles of clouds and a wild goose flying.

Translation: In the New Year, I was lying in bed in a white jacket; The white door of the tryst was cold, and I was confused. Staring at the Red Chamber through the rain, I felt cold and lonely; Beaded raindrops fluttered on the lantern and returned alone.

You are on a long journey, should you be more sad and sad when you go to the Spring Festival Gala? Only the remnants of the night can gather in a dream, vaguely empty. The earring love letter is ready, how can it be delivered; I only hope that thousands of miles of sky will fly to the wild goose.

Lying in the white clothes of the New Year, the white door is very disobedient. The Red Mansion looks cold across the rain, and the bead foil floating lamp returns alone. The long road should be sad and late, and the remnants of the sky are still vaguely dreamy. Jade and Jade, how to reach, thousands of miles of clouds and a wild goose flying.

Rhyme: Staring at the Red Mansion through the rain, I feel cold and lonely; Beaded raindrops fluttered on the lantern and returned alone.

Literal translation: Staring at the red mansion through the drizzle, I only felt bleak and vast, and I had to brave the bead-like drizzle, in the faint flickering lights.

Lying in the white clothes of the New Year, the white door is very disobedient. The Red Mansion looks cold across the rain, and the bead foil floating lamp returns alone. The long road should be sad and late, and the remnants of the sky are still vaguely dreamy. Jade and Jade, how to reach, thousands of miles of clouds and a wild goose flying.

Lying in the white clothes of the New Year, the white door is very disobedient. The Red Mansion looks cold across the rain, and the bead foil floating lamp returns alone. The long road should be sad and late, and the remnants of the sky are still vaguely dreamy. Jade and Jade, how to reach, thousands of miles of clouds and a wild goose flying.

The whole poem is untitled for the Chinese and Tang Dynasty poet Li Shangyin (Ziyishan).

A spring dream rain often drifts tiles.

The spirit wind is not satisfied with the flag.

The Red Mansion is cold across the rain.

The bead foil floating lamp returns to the analysis alone: the beloved can not be seen in the deep boudoir, expressing the lovesickness.

In the first sentence, the spring night is rainy, and the poet can't sleep because of melancholy, so he knows that there is often a light rain at night.

In the second sentence, during the day, the poet stood for a long time, looking at the residence of his sweetheart, watching the spring breeze roll up the flag.

In the third sentence, the Red Chamber is the residence of the poet's sweetheart, looking at each other, the lovesickness of the two people, the coldness, the misery and despair of lovesickness.

In the fourth sentence, lovesickness is fruitless, and every wait ends in a lonely return.

So, the poet and the woman fell in love, but the two were forced to separate. This poem is the poet's expression of his unswerving love, no matter how long he waits, he will insist. However, it reveals the deep bitterness of this lovesickness.

I love you silently and no longer bother you.