#宋江
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Song Kang, the “Son of Netflix” is bound to bring his first fan meeting to Malaysia before his enlistment.
Song Kang who is a rising global star in the acting industry, is notably known for his roles in Love Alarm, Nevertheless, Navillera, Sweet Home and Forecasting Love and Weather. With the aim to sweeten the hearts of Malaysian Songpyeons, he is set to hold the “2023 Song Kang Asia Fanmeeting Tour Moment in Kuala Lumpur '' on 25th February 2023.
In just the span of 5 years since debut, he has already landed several leading roles in Netflix original series. He started gaining popularity through the web series Love Alarm, which was very well received both locally and globally. Since then, he has gotten more leading roles in four other dramas which were all streamed through Netflix. This has then led to Song Kang being named as the “Son of Netflix”.
As widely known, it is compulsory for all Korean male to enlist into the army before the age of 28. Before enlisting himself into the army, Song Kang has decided to meet domestic and overseas Songpyeons. Which is why, the fans are very lucky to be able to make good memories with him through “2023 Song Kang Asia Fanmeeting Tour Moment in Kuala Lumpur '', making this the last chance to create unforgettable moments together before his enlistment.
The “2023 Song Kang Asia Fanmeeting Tour Moment in Kuala Lumpur '' will be held at Menara PGRM on 25th February 2023 at 7:30pm. Tickets are priced at RM798 (VIP), RM598 (PS1) and RM398 (PS2), excluding RM4 handling fee. On top of this, Songpyeons who bought the tickets does not only get to meet Song Kang at the fan meeting event, but also stand a chance to enjoy special fan benefits which will be announced on a later date.
Tickets for “2023 Song Kang Asia Fanmeeting Tour Moment in Kuala Lumpur '' will go on sale online from 19th December 2022 onwards via my.bookmyshow.com or through hotline at +60392124202. For more updated details, please stay tuned to iMe MY’s official Facebook, Twitter and Instagram.
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與惡魔有約
故事大綱
講述一夜之間失去能力的惡魔 鄭九元(宋江)，與四面楚歌的財閥繼承人 未來餐飲代表 都到曦(金裕貞)間的「異種」同居羅曼史。
糟糕~我竟然希望是 收在第15級的劇情!
這時的 金裕貞 別有魅力!
個人喜愛:8 / 10
撰於2024.1.28
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宋江的原型究竟是誰？
在明初之際，中國文學領域迎來了一部經典的小說作品，《水滸傳》從此在人類文學藝術的堂皇空間裡閃耀著一顆永不熄滅的明星。當提到《水滸傳》時，不得不提及其作者施耐庵、他的學生羅貫中、主角宋江的原型張士誠，以及他們與鹽城淵源的故事。施耐庵是元朝時期的一位文人，他的本名叫做彥端，而字則是子安、肇瑞。他於元成宗元貞二年（1296年）出生在今天的鹽城市大豐區白駒鎮，當時所在的泰州海陵縣白駒場街市。他生活在一個非常動盪的時代，當時元朝統治者荒淫腐敗，人民生活困苦，而社會上的階層矛盾和民族矛盾也日益加劇，元帝國一步步走向瓦解。
在這樣的背景下，韓山童率先聲討當時的統治者，號召起義，並且有了「石人一隻眼，挑動黃河天下反」的名言。接著，劉福通、朱元璋在皖北發動了起義，方國珍在福建也點燃了革命的火炬，而陳友諒則在江西起事。整個帝國都被烈火吞噬，狼煙四起，顯示出時局的危險和複雜。
施耐庵生活在這樣的時代背景之…
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[影視戲劇] 氣象廳的人們：社內戀愛殘酷史篇
在眾多浪漫韓劇中，若從頭到尾放閃的劇情肯定不吸引人，而今天要介紹的這片則是以氣象來隱喻戀愛中的各種事件算是較為特殊的表達方式
[影視戲劇]…
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西江月·夜行黃沙道中 宋 辛棄疾 明月別枝驚鵲，清風半夜鳴蟬。稻花香里說豐年，聽取蛙聲一片。 七八個星天外，两三點雨山前。舊時茅店社林邊，路轉溪橋忽見。 #南京 #nanjing #nanking #⛰️ #名勝 #世界遺産 #紫金山 #purplemountain #frog #🐸 #蛙 #爬山 #summer #夏 #夏天 #漢詩 #詩詞 #宋詞 #西江月 #辛棄疾 #辛弃疾 （在 紫金山 Purple Mountain） https://www.instagram.com/p/CgWpv5xBfAt/?igshid=NGJjMDIxMWI=
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2023體表之星》恐龍登陸小巨蛋 與傳統武陣跨界交流
教育部體育署主辦的「2023體育表演會」將於今(112)年9月16日臺北小巨蛋盛大登場，傳統武陣x侏羅紀節目將在小巨蛋上演舞龍舞獅大戰侏羅紀恐龍，其中侏羅紀表演是由「藝想台灣劇團」操刀演出，極具娛樂性與可看性。
藝想台灣劇團團長韓秉融表示，劇團引進全臺唯一暴龍戲偶是最大亮點，融入體育表演會「破框」的概念，希望透過恐龍結合傳統技藝吸引小孩們的目光，讓小孩能從不同角度認識「體育」，這次也是第一次與宋江陣合作，首度跨界合作將激盪出精彩火花，帶給觀眾耳目一新的視覺饗宴。
藝想台灣劇團團員之一的江宥葳，是賦予暴龍生命力的背後操手。從小學習武術的他，2014年受團長邀約加入劇團，勇於挑戰且有上進心的特質深受團長青睞，今年透過徵選而獲得恐龍操手培訓機會，並坦言，操作暴龍須要一心多用且注意很多細節。不只要踩高蹺，還必須扛起近60公斤重、4米高的暴龍，配合劇情、音效去控制機關讓暴龍眨眼、甩頭，這些看似簡單的動作，其實要花費大量時間練習。
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身為操龍手大前輩的黃新宸，在排練時擔任江宥葳的馴龍師。黃新宸是第一位成功操作暴龍的操手，花了一年的時間去研究「如何讓恐龍更逼真」，擁有豐富舞臺經驗的他，也給江宥葳許多的建議，「要賦予恐龍生命，你就要給牠個性、情緒等任何動物會出現的特質，可以透過實際觀察動物、收看動物頻道，將自己所體悟的動物行為套用在恐龍身上，例如：到陌生環境很害怕會左顧右盼、生氣會張嘴大吼，用行為去加強情緒。」
「侏羅紀公園的畫面實在很震撼，幾年前看見國外逼真的恐龍戲偶演出，就想著臺灣如果也有一個侏羅紀世界一定很酷！」韓秉融團長期待不只暴龍，迅猛龍、魔鬼龍等恐龍家族能同時登陸小巨蛋，讓觀眾能穿越時空一同沈浸在侏羅紀世界。
傳��武陣ｘ侏羅紀演出將於9月16日登上小巨蛋舞臺，記得鎖定體表會的演出，更多資訊請搜尋i運動資訊平台fb粉絲團，當日直播請上i運動youtube觀看。
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觅知音无奈何兮
唯天地与作合
Người tri âm không dễ gặp được
Chỉ mong trời đất cùng tác hợp
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Different styles of hanfu shoes from 江南朱记汉服鞋
Hanfu skirts from (in order of appearance)
@囿春传统服饰
@织造司旗舰店
@江城记汉服
@万袖明宋衣庄
Underpants from @禅山记汉服
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武陵春 / 宋代 李清照 Li Qingzhao, Song dynasty
風住塵香花已盡，日晚倦梳頭。物是人非事事休，欲���淚先流。
聞說雙溪春尚好，也擬泛輕舟。只恐雙溪舴艋舟，載不動、許多愁。
About this poetry (First of 2 paragraphs), She wrote it about Flowers has fallen on everywhere and the dust also filled with its flavor. and her husband had died, Everything were changed so she tired of combing her hair, then tears fall before talking in usual. (The last 2 paragraphs), She only fear the boat It could not carry her huge sadness on that river. In short, she had bear all the bitter feelings for alone with homeless that sad mind in the war at that time.
此詞描述她的晚年避難於金華期間，當時在紹興四年（西元1134）金與偽齊合兵南犯以後。那時，他的丈夫已病故，家藏的金石文物也散失殆盡，作者她孑然一身，流離失所在漫天烽火中飄泊，歷盡世路崎嶇和人生坎坷，因而詞情極為悲苦。上片就是訴說著眼前景物之不堪，心情之淒苦。下片藉以江水上的小船更深一層的表達，恐是無法承載她那沉重的悲愁。
▪︎ 李清照，（1084－1155）宋代，濟南（今屬山東）人。中國歷史上最著名的女詞人。自號易安居士。同是宋代的理學家朱熹(朱子)曾說：「本朝婦人能文者，惟魏夫人及李易安(李清照)二人而已。」幼有才藻，她工詩能文，詩尤為宋代大家，十八歲適金石家趙明誠，夫婦感情甚篤。宋室南渡之前，李清照生活美滿，前期作品熱情活潑，明快天真，多寫少女生活的無憂無慮，以及婚後的離別相思，充分表現女性閨閣的感情。南渡後其夫病故，她顛沛流離於江浙皖贛一帶，在孤寂中度過晚年。後期詞融入家國之恨與哀其身世又晚景淒涼之感，風格頓變。暮年飄零後，感情基調轉為凄愴沉鬱，如《聲聲慢》「尋尋覓覓，冷冷清清，凄凄慘慘戚戚」。她兼擅令慢，每能創意出奇，以經過提煉的口語表達其獨特真切的感受，形成辛棄疾所稱道的“易安體”。據《宋史·藝文志》中說，李清照有《易安居士文集》七卷、《易安詞》八卷，但已經遺失。現有《漱玉詞》輯本，現存約五十首左右。
🎨 oil painting by Chen Yanning 陳衍寧 (Chinese b. 1945)
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Could you please tell us about the kings of the Underworld, their functions and if there is a kind of rank? I don't know if you talked about that. I just remember that one of them really liked pumpkins.
I can't say that I really know much about the ten kings off the top of my head. Most of my knowledge comes from Wukong threatening to beat one of them if they didn't get his underworld paperwork fast enough.
But I'll post what I can read what I can.
In the first palace King Guang of Qin, Jiang Xin, specializes in longevity, premature death the registration of, birth and death in the human world; unified management of punishment in the underworld, and good and bad karma in the next life. The Ghost Judge's Hall is located in the middle of the sea, outside Wojiao Stone, and due west on the black road of Huangquan.
In the second hall, King Li of Chujiang, Li Wen, at the bottom of the sea, under the Wojiao Stone in the south in charge of the Great Living Hell (i.e., the Ice Hell of Peiyi Pavilion). The criminals who fall into this category are those who have violated moral ethics, violated the law and discipline, committed countless crimes, and will not regret it until death.
In the third hall, Emperor Yu of the Song Dynasty, Yu Qin, at the bottom of the sea, under the Wojiao Stone in the southeast in charge of the Black Rope Hell. Those who commit chaos or create disputes in this world go to this hall.
In the fourth hall, King Lu of the Five Senses, Lü Dai, is in charge of the Hell at the bottom of the sea, the land of Hell under the Wojiao Stone in the east. Responsible for the Great Hell and the Blood River Hell. People who evade taxes and commit economic fraud go to this temple.
In the fifth hall King Yama, Bao Zheng, at the bottom of the sea, under the Wojiao Stone in the northeast also in charge of the Great Hell. Originally in the first hall, but because of his excessive sympathy for sinners, he was transferred to this hell. Those that fight for fame and gain, use any means to deceive, seduced the public, was ungrateful, repay kindness with hatred, or was a rapist is treated like a beast.
In the sixth palace King Bi of Bian Cheng, Bi Yuanbin, is in charge of the bottom of the sea, the Great Hell under the Wojiao Stone in the north. Responsible for summoning hell and the city of vain death. Those who complain about heaven and earth and urinate in front of the north go to this hall.
In the seventh hall, King Taishan, Dong He, is in charge of the great seabed, the great hell of Renu under the Wojiao Stone in the north of Ding. King Taishan is in charge of the brain-heating hell. Those who use corpses to make medicine and sow discord between relatives go to this hall
In the eighth hall, King Dushi, Huang Zhongyong, is in charge of the Great Hell at the bottom of the sea, under the Wojiao Stone in the west. Specializes in the hot brain hell. If people in the world do not know filial piety, do not care for their relatives, do not bury their relatives when they die, or make their parents and aunts frightened, depressed, and troubled, etc.
In the Ninth Hall, King PingPing, Lu You, is under the Wojiao Stone in the southwest. In charge of the great undersea world, the Abi Hell. Those who have committed the "Ten Unwholesome Deeds" will in the Abi Hell suffer eternal suffering.
The tenth hall, The King Xue Qi, Xue Li, the palace is located outside the Wojiao Stone in the underworld, due east, facing the world of five turbidities. Is responsible for distinguishing reincarnations based on the reports from the above hells.
I can't say that I saw anything about pumpkins in these but I did just mostly skim the material. I would say read each of the individual articles (I put the link in their names) yourself if you wanna get more detailed but otherwise, this should cover their responsibilities and which hall belongs to who. I can't say if this is a 'rank' as they are all kings but the numbered hall can show an urgency of which king takes on a more suitable role for themselves. They all work together after all so there isn't really a rank of higher or lower, just different departments.
#anon ask#anonymous#anon#jttw#journey to the west#xiyouji#chinese mythos#ten kings of hell#ten kings#king yama
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“欲买桂花同载酒” / Zhongli’s osmanthus wine idle line
(Disclaimer: I don’t know that much about syntax, so I apologize for the wildly inaccurate syntax trees. I made the mistake of warming up with something that’s not English prose haha… I’ll be focusing on the meaning of the line and its hanzi characters, so the syntax is only there to help me explain some things.)
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“欲买桂花同载酒”…
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This line is from the Chinese songci (宋词, a form of traditional Chinese poetry) 《唐多令·芦叶满汀洲》，by 刘过 (Liu Guo). It’s the one referenced in Zhongli’s osmanthus wine idle line in Chinese. (By the way, it does not directly mean “Osmanthus wine tastes the same as I remember”, but more on that later.)
载 (zai3) as a verb could have the meaning of “to carry (something)(with a vehicle)”. For example, “这车可载三箱酒。” = “This car can carry three crates of wine.”
And since the rest of the songci talks about a harbour scene with boats, 载 could indeed be seen as a verb in the poem’s context, and the vehicle is implied to be a boat. So in the context of the songci, this line could be understood in English prose as “[I] wish to buy some osmanthus and ride [a boat] along with some wine.”
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However, despite the songci’s context, none of these hanzi characters in the line itself directly mean “boat”. While looking at it closer today, the syntactic structure felt a little strange to me even though I’m not familiar with Chinese songci syntax.
It turns out 载 has multiple meanings. 载, pronounced with the fourth tone (zai4), as a preposition used in pairs (in modern Chinese), could mean “simultaneously” or “at the same time”. For example, 载笑载哭 should probably mean “laughing at crying at the same time” or “laughing while crying”…
Also, the original songci doesn’t follow the osmanthus line with a section about old friends, but instead the idea of old friends is actually mentioned two lines prior. For the bolded sections, I’m doing a modern English translation, referencing the modern Chinese translation from the Gushiwen website here, but note that the original songci uses the poetic Chinese wenyan (文言) syntax.
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“黄鹤断矶头，故人今在否？旧江山浑是新愁。欲买桂花同载酒，终不似，少年游。”
“故人今在否？” = “Are [my] old friends still alive in this moment?”
“欲买桂花同载酒” = “[I] wish to buy some osmanthus and ride [a boat] along with some wine.”
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It’s pretty cool that Genshin Impact alluded to the friends idea present in the poem too. Also, both Liu Guo’s songci poem and Zhongli’s line use the term 故人 (gu4ren2) to mean “old friend(s)”.
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Meaning, Zhongli’s poetic-sounding Chinese idle line “欲买桂花同载酒…只可惜故人，何日再见呢？” is closer to “I wish to buy some osmanthus and also some wine… But as for those old friends, when would I meet them again?” in modern English with the game’s context (without taking into account that the real poem alluded to here is about boating). (This is a rough translation that follows the overall sentence structure in Chinese a little closer.)
Thus Genshin Impact’s English localization of “Osmanthus wine tastes the same as I remember… But where are those who share the memory?” might actually be okay in terms of meaning even if it lacks the nuance from the poetic reference. Well, I would’ve liked the first part (the songci) to be localized in Shakespearean English, and the second part to be in modern English, since the difference in syntax and tone still stands out a lot in Chinese… In an English localization, if a character who usually speaks in English prose suddenly quotes something in Shakespearean English, it’s easier to pick up on the fact that it might be a line of poetry ‘cause of the contrast, I believe.
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Somewhat unrelated, but in terms of poetic structure, it seems the entire poem in Chinese has an usually strict rhyming scheme, rhyming nine out of the twelve ending sounds together (roughly speaking. Not gonna go into the phonology of it haha)
Usually Chinese songci have a more diverse (?) rhyming scheme. E.g. “水调歌头•明月几时有” by 苏轼 (Su Shi), which miiight be the base inspiration for Liyue’s general storyline and cast
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In the end… Zhongli quotes a line of songci with seven hanzi/syllables. It’s a wild guess but maybe it refers to the original Seven Archons?
欲买桂花同载酒…只可惜故人，何日再见呢…
#dusk analysis#Genshin translation#zhongli#songci#Chinese poetry#osmanthus wine#Genshin analysis#钟离#宋词#原神#欲买桂花同载酒#translation#syntax#linguistics#Liyue#genshin impact#Chinese#game translation
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Fanbook Review: 《梅岭千秋》 by 壹染
《梅岭千秋》 (roughly Meiling Undying) is a 2016 fanbook with art by Yiran/壹染 and published by 溯年组, depicting scenes and characters from Nirvana in Fire. I had to get my hands on a copy after falling in love with the art.
Yiran paints with ink brushes and watercolor on xuan paper/宣纸, a famous traditional Chinese paper made from the qingtan/青檀 tree especially suitable for calligraphy and painting. Xuan paper is divided into raw/生宣 and processed/熟宣 types, the former more absorbent with a tendency for ink to run free, and the latter processed with alum to be more controllable for precision ink work (the two types of traditional painting, evocative xieyi/写意 and realistic gongbi/工笔, are often split along raw and processed xuan in their choice of medium).
Raw xuan is particularly unforgiving to beginners, but Yiran is a master of her craft, able to achieve both precise lines and textures as well as the misty landscapes so characteristic of Chinese watercolor on this paper (see her Lofter for her process and more art). She often paints an entire series of pieces on a traditional accordion booklet/经折装, a single long sheet of paper folded on itself many times, as she did for this project (photos from her Weibo, which also has more art):
The publisher took care to replicate the original booklet of pieces as closely as possible in the final product. Beneath the outer paper jacket is a cover made of woven Song brocade/宋锦, with 38 accordion-folded A5 pages inside. The pages are textured imitation xuan paper, printed with a lacquered black ink that glows under the light:
One side of the folded pages is mostly landscapes and scenes inspired by canon: Mei Changsu and Lin Chen in Jiangzuo beside flowers in bloom, an all-smiles Lin Shu embracing Jingyan in the before times. The other is a series of individual character portraits rendered with their attire from the show, their faces referencing the actors’s features but not overly imitative. There’s something revelatory in the way she paints a dreamy, ephemeral scene in one panel and then renders Jingyan’s robes with dramatic, almost impasto-like textures:
Each portrait is also paired with a poem written by 海月. Jingyan’s is
关山诏递寒雨遥，兵戈交鸣追风啸。
赤心不随江河改，铁血独守情义昭。
A possible translation:
Drifting bitter rain in mountains edict-sent,
weapons clash as galloping horses scream.
A pure heart enduring through shifting tides,
alone in his courage, loyalty brought to light at last.
I’ll end with my favorite piece, Chief Mei and His Majesty beholding their mountains and waters:
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白居易
51个
2023/10/20: 唐代存诗最多的白居易，流传至今的诗歌也只有三千多首
白居易是唐代存诗最多的一位诗人，他的诗歌流传到现在的有三千多首。他也是唐代继李白、杜甫之后最杰出的一个诗人。
2023/10/20: 中国文学由雅到俗、由士大夫正统文学到市民文学、由抒情到叙事转变中的白居易叙事诗
《长恨歌》、《琵琶行》是白居易叙事诗的杰出代表，它们在故事的曲折完整、描写的细致生动和抒情气氛的浓郁等方面，都有突出成绩，都显示了中国古代文人叙事诗所达到的艺术高度，体现出古代叙事诗鲜明的民族特色。并且在中国封建时代文学由雅到俗的转变、由封建士大夫正统文学到市民文学的转变、由抒情到叙事的转变过程中，起到了无可替代的昭示作用。
◆ 一、十年之间三登科第（772—806）
2023/10/20: 男性情史悲剧助于闺怨描写
“乐天深于诗，多于情者也”，这是友人王质夫对他的评价，白居易亦自诩是“情所钟者”（《祭符离六兄文》），他与湘灵那段“两心之外无人知”（《潜别离》）的悲剧经历，有如春梦朝云长萦心头，因此在诗篇中总给那些失宠、幽闭及婚姻情感不幸的女子以一种特别的同情。
◆ 邯郸冬至夜思家
2023/10/20: 我意君心
《初与元九别后忽梦见之及寤而书忽至》：“以我今朝意，想君此夜心。”
◆ 长恨歌
2023/10/20: 君王掩面，黄埃散漫。芙面柳眉，夕殿萤飞
渔阳鼙鼓动地来，惊破霓裳羽衣曲。九重城阙烟尘生，千乘万骑西南行。翠华摇摇行复止，西出都门百余里。六军不发无奈何，宛转蛾眉马前死。花钿委地无人收，翠翘金雀玉搔头。君王掩面救不得，回看血泪相和流。黄埃散漫风萧索，云栈萦纡登剑阁。峨嵋山下少人行，旌旗无光日色薄。蜀江水碧蜀山青，圣主朝朝暮暮情。行宫见月伤心色，夜雨闻铃肠断声。天旋日转回龙驭，到此踌躇不能去。马嵬坡下泥土中，不见玉颜空死处。君臣相顾尽沾衣，东望都门信马归。归来池苑皆依旧，太液芙蓉未央柳。芙蓉如面柳如眉，对此如何不泪���。春风桃李花开日，秋雨梧桐叶落时。西宫南苑多秋草，宫叶满阶红不扫。梨园弟子白发新，椒房阿监青娥老。夕殿萤飞思悄然，孤灯挑尽未成眠。迟迟钟鼓初长夜，耿耿星河欲曙天。鸳鸯瓦冷霜华重，翡翠衾寒谁与共。
2023/10/21: 仙袂飘飘
风吹仙袂飘飘举，犹似霓裳羽衣舞。
2023/10/21: 通过对史实的改造与取舍，“净化”、“淡化”、“美化”诗中李、杨的形象，不影响他们令人同情、赞颂
如“杨家有女初长成，养在深闺人未识。天生丽质难自弃，一朝选在君王侧”，通过对杨妃入宫史实的改造与取舍，通过“净化”、“淡化”、“美化”诗中李、杨的形象，使他们成为令人同情、赞颂的角色。
2023/10/21: 《长恨歌》悲剧源于爱得太过分、太出格，不顾爱情的社会影响
李、杨的爱情悲剧，既非封建婚姻、封建礼教所造成，也很难归咎于某个奸相如安禄山、杨国忠，当然更不能归咎于“六军不发”的首领陈玄礼。他们的悲剧根源就在于过度沉溺于欢爱，到了“从此君王不早朝”的程度，结果也就必然会引起“渔阳鼙鼓动地来”，导致生离死别的悲剧结局。占了情场，误了朝纲，又反过来毁灭了爱情。从抽象意义上说，《长恨歌》所描写的是一曲因为爱得太过分、太出格而引起的悲歌，又是一曲不顾爱情的社会影响而引起的悲歌。因此，为了维护爱情的永恒，必须把爱情控制在适当的范围内，摆在适当的位置上。
2023/10/21: 丹青画出竟何益？不言不笑愁杀人
汉武帝，初丧李夫人。夫人病时不肯别，死后留得生前恩。君恩不尽念未已，甘泉殿里令写真。丹青画出竟何益？不言不笑愁杀人。
2023/10/21: 魂之不来君心苦，魂之来兮君亦悲
九华帐深夜悄悄，反魂香降夫人魂。夫人之魂在何许？香烟引到焚香处。既来何苦不须臾，缥缈悠扬还灭去。去何速兮来何迟？是耶非耶两不知。翠蛾仿佛平生貌，不似昭阳寝疾时。魂之不来君心苦，魂之来兮君亦悲。背灯隔帐不得语，安用暂来还见违。
2023/10/21: 诗人毕竟“不能忘情”，感到无法抗拒“倾城色”的“惑”，所以卒言“不如不遇”。一旦遇上，只能“生亦惑，死亦惑”了
白居易在《胡旋女》、《八骏图》、《古冢狐》等讽谕诗和政论文章中，对历史上真实的“一人荒乐万人愁”式的爱情毫不含糊地持批评讽刺态度，而这首诗却有些“气短”，因为诗人毕竟“不能忘情”，感到无法抗拒“倾城色”的“惑”，所以卒章显志之言是“不如不遇”。如果再追问一句，一旦遇上了怎么办？那就只能“生亦惑，死亦惑”了。因此，有一个从政治角度还是从人性人情角度看待李、杨爱情的不同，从理智、政治上说，这种“惑”要不得，误国害民害己，应该批判；从情感、人情上说，他又觉得这种“惑”有其合情、值得同情甚至赞颂的一面。看来，作《长恨歌》时的白居易“多情”诗人浪漫气质要重得多，这正是他把《长恨歌》写成一曲哀感顽艳的爱情悲歌的主观原因。
◆ 观刈麦
2023/10/21: 南风陇黄
夜来南风起，小麦覆陇黄
2023/10/21: 念此私自愧，尽日不能忘
听其相顾言，闻者为悲伤。家田输税尽，拾此充饥肠。今我何功德，曾不事农桑。吏禄三百石，岁晏有余粮。念此私自愧，尽日不能忘。
2023/10/21: 微雨众卉新，一雷惊蛰始
微雨众卉新，一雷惊蛰始。田家几日闲，耕种从此起。
2023/10/21: 北风利如剑，布絮不蔽身
八年十二月，五日雪纷纷。竹柏皆冻死，况彼无衣民！回观村闾间，十室八九贫。北风利如剑，布絮不蔽身。唯烧蒿棘火，愁坐夜待晨。
2023/10/21: 念彼深可愧，自问是何人
顾我当此日，草堂深掩门。褐裘覆絁被，坐卧有余温。幸免饥冻苦，又无垄亩勤。念彼深可愧，自问是何人。
◆ 二、救济人病裨补时阙（807—811）
2023/10/21: 正色强御，刚肠喔咿
正色摧强御，刚肠嫉喔咿。
2023/10/21: 启奏之外，有可以救济人病、裨补时阙、而难于指言者，辄咏歌之
“欲开壅蔽达人情，先向歌诗求讽刺”（《采诗官》），经过风云激荡的政治生活洗礼，白居易认识到“文章合为时而著，歌诗合为事而作”，因此“启奏之外，有可以救济人病、裨补时阙、而难于指言者，辄咏歌之”。
2023/10/21: 首句标其目，卒章显其志，《诗》三百之义也
为君、为臣、为民、为物、为事而作，不为文而作也
篇无定句，句无定字；系于意，不系于文。首句标其目，卒章显其志，《诗》三百之义也。其辞质而径，欲见之者易谕也；其言直而切，欲闻之者深诫也；其事核而实，使采之者传信也；其体顺而肆，可以播于乐章歌曲也。总而言之，为君、为臣、为民、为物、为事而作，不为文而作也。
◆ 杜陵叟
2023/10/22: 善政不能及民者多矣
《唐宋诗醇》评曰：“从古及今，善政不能及民者多矣。一结慨然思深，可为太息。”
2023/10/22: 绝大多数封建皇帝只顾与官吏唱双簧
皇帝降下德音，税早已收完，从中可见皇帝要减税，主要是为了笼络人心，装装样子，执行与否，执行到什么程度，他是不去管的。而地方官也明知这一点，利用其不闻不问、不检查督促，搞了一场骗局。这种“善政”真让人“慨然思深”。宋代诗人受白居易诗启发，写下了“自从乡官新上来，黄纸放尽白纸催”（范成大《后催租行》）、“一司日日下赈济，一司旦旦催租税”（米芾《催租》）、“淡黄竹纸说蠲逋，白纸仍科不稼租”（朱继芳《农桑》）等作，这说明绝大多数封建皇帝只顾与官吏唱双簧去“虐人害物”，连“善政”的美名也不要了。
◆ 井底引银瓶
2023/10/22: 两心之外无人知，彼此甘心无后期
白居易早年曾与邻女湘灵相恋，其《长相思》诗有云：“妾住洛桥北，君住洛桥南。十五即相识，今年二十三。”但这段缠绵的恋情最终却是分离的悲剧结局，《潜别离》诗言及分手的痛苦：“不得哭，潜别离。不得语，暗相思。两心之外无人知。深笼夜锁独栖鸟，利剑春断连理枝。河水虽浊有清日，乌头虽黑有白时。唯有潜离与暗别，彼此甘心无后期。”
◆ 轻肥
2023/10/23: 把他们的骄奢淫逸写足，好比射箭，要引满而发，“结语斗绝，有一落千丈之势”
全诗共十六句，用了十四句写宦官的长街走马，写军中宴会，层层铺垫渲染，把他们的骄奢淫逸写足，好比射箭，要引满而发，到了最大限度时才对准目标猛地射出一箭——“是岁江南旱，衢州人食人”，这一箭才特别有力
2023/10/23: 衢州人食人”的惨剧，正是这一小撮不顾人民死活的家伙掌握了军政大权的结果
一方面是花天酒地、骄奢淫逸，一方面是大旱饥荒、人吃人，这两种现象强烈而鲜明的对比是对宦官的尖锐抨击。这两种现象之间又有着深刻的内在联系：一小撮宦官糜烂发臭的生活，就是建筑在广大人民饥饿和死亡的基础上的；“是岁江南旱”两句前面放上“食饱心自若，酒酣气益振”两句，暗示了“衢州人食人”的惨剧，正是这一小撮不顾人民死活的家伙掌握了军政大权的结果。
◆ 三、中道左迁天涯沦落（811—820）
2023/10/24: 根情、苗言、华声、实义
对于诗的性质，他概括出“根情、苗言、华声、实义”四大要素。诗歌要以情感为基础，用形象的语言、和谐的韵律表现出来，内容必须具有充实的义理。否则，诗歌就失去了价值。
2023/10/24: 谓之讽谕诗，兼济之志也；谓之闲适诗，独善之义也
他将自己的诗歌分为四类：讽谕诗、闲适诗、感伤诗和杂律诗。《与元九书》云：“自拾遗以来，凡所遇所感，关于美刺兴比者，又自武德迄元和，因事立题，题为《新乐府》者，共一百五十首，谓之讽谕诗。又或退公独处，或移病闲居，知足保和，吟玩性情者一百首，谓之闲适诗。又有事物牵于外，情理动于内，随感遇而形于叹咏者一百首，谓之感伤诗。又有五言、七言、长句、绝句，自一百韵至两韵者四百余首，谓之杂律诗。”四类中他最看重的是讽谕诗和闲适诗，“谓之讽谕诗，兼济之志也；谓之闲适诗，独善之义也。故览仆诗，知仆之道焉”。因为这两类诗集中表现了他进退出处之道和平生志尚，也体现了他诗歌创作的指归，所以值得珍视。
◆ 欲与元八卜邻先有是赠
2023/10/24: 暂出犹思伴，安居须择邻
每因暂出犹思伴，岂得安居不择邻。
2023/10/24: 两岸人烟，一溪灯火
“两岸人烟分市色，一溪灯火共书声”（吴企晋）
◆ 蓝桥驿见元九诗
2023/10/24: 每到驿亭先下马，循墙绕柱觅君诗
蓝桥春雪君归日，秦岭秋风我去时。每到驿亭先下马，循墙绕柱觅君诗。
2023/10/24: 诗人内心正经受着贬谪的屈辱和愁苦的煎熬，急欲借遍觅故人之题咏来稍作安慰
三、四句则用“下马”、“循墙”、“绕柱”、“觅君诗”等四个细节动作，真实而准确地描绘出诗人寻觅、辨认友人诗作的动人情景，而这种寻觅又表明诗人内心正经受着贬谪的屈辱和愁苦的煎熬，急欲借遍觅故人之题咏来稍作安慰。出语看似平淡，表达的情意却极为深挚，这是白居易诗的独造之境。
2023/10/24: 此句他人尚不可闻，况仆心哉
元和十年，元稹正月入京，不料三月又复贬为通州司马，八月，在病危之中惊悉白居易贬江州，忧愤难禁，写下了充满深情的《闻乐天左降江州司马》诗：残灯无焰影幢幢，此夕闻君谪九江。垂死病中惊坐起，暗风吹雨入寒窗。全诗用残灯、阴影、暗风、秋雨、寒窗等景物，构成了一种凄惨孤独的意境，借以衬托诗人所处的环境和关切友人的挚情。白居易读到这首诗后，十分感动，在《与微之书》中说：“此句他人尚不可闻，况仆心哉！至今每吟，犹恻恻耳。”
◆ 放言五首并序（选一）
2023/10/24: 草萤有耀终非火，荷露虽团岂是珠
朝真暮伪何人辨，古往今来底事无？但爱臧生能诈圣，可知宁子解佯愚？草萤有耀终非火，荷露虽团岂是珠？不取燔柴兼照乘，可怜光彩亦何殊！
◆ 琵琶行并序
2023/10/24: 予出官二年，恬然自安，感斯人言，是夕始觉有迁谪意
遂命酒，使快弹数曲。曲罢悯然。自叙少小时欢乐事，今漂沦憔悴，转徙于江湖间。予出官二年，恬然自安，感斯人言，是夕始觉有迁谪意。
◆ 暮江吟
2023/10/24: 草风沙雨
建昌江水县门前，立马教人唤渡船。忽似往年归蔡渡，草风沙雨渭河边。
◆ 四、闲居泰适觞咏弦歌（820—846）
2023/10/24: 以当时心言异日苏、杭苟获一郡，足矣
敬宗宝历元年（825）三月，除苏州刺史，二年以病免郡事
元和十五年（820）正月宪宗暴卒，穆宗即位。夏初，白居易自忠州召还长安，除尚书司门员外郎；十二月，改授主客郎中、知制诰。穆宗长庆元年（821）十月，转中书舍人。长庆二年，河北藩镇复乱，居易多次上疏言事，但“天子荒纵，宰相才下，赏罚失所宜，坐视贼，无能为，居易虽进忠，不见听”（《新唐书》本传）。于是他请求外任。七月，除杭州刺史；十月，至杭州。白居易少年时慕苏州刺史韦应物、杭州刺史房孺复之风流才调，“以当时心言异日苏、杭苟获一郡，足矣”（《吴郡诗石记》）。因此，出牧杭州可谓了却当年心愿。杭州本江南大郡，当时已是形胜佳丽的繁华都市，居易在此留下了大量优美的诗篇。
2023/10/24: 为向两州邮吏道，莫辞来去递诗筒
长庆三年（823），元稹外放为浙东观察使，居易与其邻郡而治，“为向两州邮吏道，莫辞来去递诗筒”（《醉封诗筒寄微之》），从此两郡常以诗筒往来，两位文友诗歌唱和略无虚日。
2023/10/24: 元白 刘白
大和五年（831）七月，挚友元稹卒于武昌，此后，他主要是与刘禹锡为诗友，世称刘、白。
2023/10/24: 朝廷雇我作闲人
《唐宋诗醇》说白居易“洎大和、开成之后，时事日非，宦情愈淡，唯以醉吟为事，遂托于诗以自传焉”。他自长庆以来，虽仕途坦顺，已无意于趋竞，委顺思想得到突出的发展。他在《长庆二年七月自中书舍人出守杭州路次蓝溪作》诗中说自己“置怀齐宠辱，委顺随行止”，“因生江海兴，每羡沧浪水。尚拟拂衣行，况今兼禄仕”。以委顺行之于仕途，一个主要表现就是吏隐，“山林太寂寞，朝阙空喧烦。唯兹郡阁内，嚣静得中间”（《郡亭》）。以太子宾客分司东都时，他的感觉是“朝廷雇我作闲人”（《从同州刺史改授太子少傅分司》）。这时，白居易又进一步提出“中隐”思想。
2023/10/24: 似出复似处，非忙亦非闲。不劳心与力，又免饥与寒
大隐住朝市，小隐入丘樊。丘樊太冷落，朝市太嚣喧。不如作中隐，隐在留司官。似出复似处，非忙亦非闲。不劳心与力，又免饥与寒。终岁无公事，随月有俸钱。君若好登临，城南有秋山。君若爱游荡，城东有春园。君若欲一醉，时出赴宾筵。洛中多君子，可以恣欢言。君若欲高卧，但自深掩关。亦无车马客，造次到门前。人生处一世，其道难两全。贱即苦冻馁，贵则多忧患。唯此中隐士，致身吉且安。穷通与丰约，正在四者间。
◆ 勤政楼西老柳
2023/10/24: 半朽树，多情人。开元柳，长庆春
半朽临风树，多情立马人。开元一株柳，长庆二年春。
2023/10/24: 未堪摩霄汉，只合觅稻粱
其《初罢中书舍人》诗云：“性疏岂合承恩久？命薄元知济事难。”又《病中对病鹤》诗云：“未堪再举摩霄汉，只合相随觅稻粱。”
◆ 采莲曲
2023/10/24: 欲语低头笑
菱叶萦波荷飐风，荷花深处小船通。逢郎欲语低头笑，碧玉搔头落水中。
2023/10/24: 斜倚熏笼坐到明
泪湿罗巾梦不成，夜深前殿按歌声。红颜未老恩先断，斜倚熏笼坐到明。
2023/10/24: 秋霜手先知，灯底剪刀冷
寒月沉沉洞房静，珍珠帘外梧桐影。秋霜欲下手先知，灯底裁缝剪刀冷。
◆ 钱塘湖春行
2023/10/24: 松排山面，月点波心
湖上春来似画图，乱峰围绕水平铺。松排山面千重翠，月点波心一颗珠。碧毯线头抽早稻，青罗裙带展新蒲。未能抛得杭州去，一半勾留是此湖。
◆ 杭州春望
2023/10/24: 涛声夜入伍员庙，柳色春藏苏小家
望海楼明照曙霞，护江堤白踏晴沙。涛声夜入伍员庙，柳色春藏苏小家。红袖织绫夸柿蒂，青旗沽酒趁梨花。谁开湖寺西南路？草绿裙腰一道斜。
◆ 除苏州刺史别洛城东花
2023/10/24: 残暑蝉催尽，新秋雁带来
小宴追凉散，平桥步月回。笙歌归院落，灯火下楼台。残暑蝉催尽，新秋雁带来。将何迎睡兴？临卧举残杯。
2023/10/24: 卧迟灯灭后，睡美雨声中
凉冷三秋夜，安闲一老翁。卧迟灯灭后，睡美雨声中。灰宿温瓶火，香添暖被笼。晓晴寒未起，霜叶满阶红。
◆ 与梦得沽酒闲饮且约后期
2023/10/24: 贤豪虽殁精灵在，应共微之地下游
四海齐名白与刘，百年交分两绸缪。同贫同病退闲日，一死一生临老头。杯酒英雄君与操，文章微婉我知丘。贤豪虽殁精灵在，应共微之地下游。
2023/10/24: 不教才展休明代，为罚诗争造化功
杜甫说李白是“文章憎命达，魑魅喜人过”（《天末怀李白》），韩愈评价柳宗元云：“然子厚斥不久，穷不极，虽有出于人，其文学辞章必不能自力以致必传于后如今无疑也。虽使子厚得所愿，为将相于一时，以彼易此，孰得孰失，必有能辨之者。”（《柳子厚墓志铭》）白诗亦谓梦得：“不教才展休明代，为罚诗争造化功。”
◆ 览卢子蒙侍御旧诗多与微之唱和感今伤昔因赠子蒙题于卷后
2023/10/24: 平生定交取人窄，屈指相知唯五人。四人先去我在后，一枝蒲柳衰残身
晦叔坟荒草已陈，梦得墓湿土犹新。微之捐馆将一纪，杓直归丘二十春。城中虽有故第宅，庭芜园废生荆棘。箧中亦有旧书札，纸穿字蠹成灰尘。平生定交取人窄，屈指相知唯五人。四人先去我在后，一枝蒲柳衰残身。岂无晚岁新相识，相识面亲心不亲。人生莫羡苦长命，命长感旧多悲辛。
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novel excerpt (x2) of the day
from 观音垂泪 arc, pt 4:
肖乔联姻之后，如杨垂虹、梁宋这般的江湖少年尚有不少留在扁州，一则是因为此地仍有不少武林大豪未走，二则是因为笛飞声和角丽谯都现身此地，留此不走，说不定会看到些热闹。方多病却是因为老爷方而优先走了，他便在此多留两日，并且昨夜联句之后实在无聊，他竟跑去小乔酒店大大的醉了一场，日上三竿方才回来，回来之后，李莲花却还没有从他那客房里出来。
“死莲花，李小花，吃饭……”他敲了敲李莲花的房门，李莲花睡了一天，再不起来就要发霉了。“咦呀”一声，房门一敲就开，方多病一脚踩进李莲花的房间，“李小——”他突然怔住了，“李莲花？喂？李莲花？”
李莲花拥被坐在床上，一双眼睛黑��无神，茫然看着门口。方多病不是没见过李莲花两眼茫然的模样，但……不是这样。
不是这种空洞得像死人眼睛的眼神。
方多病一触及那目光，倒抽一口凉气，竟觉得全身都寒了起来，那分明是一个很熟悉的人，但怎会有这样的眼神——就像李莲花的身体里进去了一只吃人的恶鬼，那只鬼透过李莲花的眼睛恶狠狠的瞪着他。“喂？李莲花！”他顿了一顿，全身冷汗都出来了，李莲花却毫无反应，仍是眼睛眨也不眨，阴森森的盯着门口。方多病终是忍耐不住，大步走过去摇晃了他一下，“李莲花？”
“啊……”李莲花全身一震，终于转过目光看了他一眼，“你……你……”他眨了好几下眼睛，微微一笑，“是你啊。”方多病全身鸡皮疙瘩还未消退，他仍觉得李莲花方才根本没有认出他来，“你怎么了？”李莲花道：“没什么。”方多病半信半疑，“真的没什么？”李莲花道：“没什么，苏姑娘怎么样了？”方多病道：“也没怎么样，大概今晚就会醒了。”李莲花问道：“关大侠呢？”方多病道：“不知道，你若是关心，不如去看看，在这房间里睡了三天，也不嫌闷？”李莲花歉然道：“这倒也是。”言罢钻进被窝，换好了衣裳，慢吞吞从被里钻了出来，“我们去看看苏姑娘。”
and then pt 8:
这一日赢了傅衡阳三回之后，方多病终于想起来最近觉得什么事很奇怪了——最近大白天时候依稀没有看到李莲花的影子，傍晚闲逛的时候也没看到，竟然连吃饭的时候也没看见！那家伙不、会、溜、了、吧？
“李莲花？”方多病一脚踢开李莲花的药房大门，只见房内桌椅书卷摆放得整整齐齐，窗棂擦得干干净净，有一个窗户贴了新的窗纸，两个空的陶盆叠放在药房一角。“李莲花？”方多病走入房中东张西望，从桌上拾起一张压在镇纸下的白纸。“这家伙不会写了三个字‘我去也’吧……”方多病看这房里的架势，心里已料中十之七八——李莲花果然在不知道什么时候溜了，举起白纸一看，眼睛顿时直了——那纸上果然不是“我去也”三个大字，而是密密麻麻蝇头小字，李莲花竟留了张万言书下来，大出方多病意料之外。
“画皮、画皮、画皮、画皮……”一张白纸，上万蝇头小字，写得全是“画皮”二字。方多病青天白日下看见，提在手中，眼睛一时发绿，竟觉得一阵鸡皮疙瘩泛上背来，倒抽一口凉气，那死莲花疯了不成？要溜就溜，花费什么功夫写的这什么东西……
总而言之，即使四顾门重兴这样的大事也没留住死莲花的影子，他还是溜了，方多病手里拎着那张“画皮”，不知何故，心里却总是掠过一阵发毛的感觉。无端端想起那日李莲花拥被坐在床上那双茫然的眼睛，像身体之中什么也没有，只有一只对人间毫不熟悉的恶鬼，透过他的眼睛好奇的看着一切。
死莲花必定有些秘密，方多病将万言“画皮”收入怀里，第一个念头却不是去找傅衡阳，而是去找肖紫衿。
肖紫衿听闻李莲花已走，并不怎么惊讶，倒是展开那万字“画皮”时，显是一怔，而后淡淡的道：“角丽谯所练的内功心法，叫做‘画皮’，她能生得颠倒众生，也多是因为她修炼这等恶毒媚功，定力稍差之人往往难以抵挡她的诱惑。‘画皮妖功’练得功力越深，人长得越美，也越残忍好杀，会做出许多常人难以想象的事出来。”方多病奇道：“李莲花怎么知道角丽谯练的是‘画皮’？”肖紫衿看了他一眼，不答，只深深吐了口气——那人是不受角丽谯媚功所惑的第一人，他不知道角丽谯练的‘画皮’，有谁知道？李相夷绝世武功……但他终是没有说出口来，这细细碎碎，万字“画皮”也带给他一种异样的感受，工整异常的万字之中，透着一股诡异的不祥之兆……
#this part legit gave me the chills#obviously fine and not at all concerning behaviour from local li lianhua#mysterious lotus casebook#莲花楼
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滿江紅·寫懷 宋 岳飛 怒髮衝冠，憑欄處、瀟瀟雨歇。 抬望眼，仰天長嘯，壯懷激烈。 三十功名塵與土，八千里路雲和月。 莫等閒、白了少年頭，空悲切。 靖康恥，猶未雪。臣子恨，何時滅？ 駕長車，踏破賀蘭山缺。 壯志饑餐胡虜肉，笑談渴飲匈奴血。 待從頭、收拾舊山河，朝天闕。 上闕 仄仄平平（句） 平平仄（讀） 平平仄仄（韻） 平仄仄（讀） 仄平平仄（句） 仄平仄仄（韻） 平仄平平平仄仄（句） 仄平仄仄平平仄（韻） 仄仄平（讀） 仄仄仄平平（句） 平平仄（韻） 下闕 仄平仄（句） 平仄仄（韻） 平仄仄（句） 平平仄（韻） 仄平平（讀） 仄仄平平平仄（韻） 仄仄平平平仄仄（句） 仄平仄仄平平仄（韻） 仄平平（讀） 平仄仄平平（句） 平平仄（韻） P1. 河南省湯陰縣岳王廟（岳飛故里） 浙江省杭州市岳王廟（岳坟） 浙江省杭州市風波亭（岳飛父子遇害之處） #tbt #史跡 #古蹟 #chinatravel #chinesetemple #chinesearchitecture #岳飛 #盡忠報國 #精忠報國 #chinesehistory #songdynasty #靖康之恥 #湯陰 #杭州 #漢詩 #詩詞 #宋詞 #滿江紅 #格律 #韻律 #chinese #手抄 #隨筆 #✏️ https://www.instagram.com/p/CoI7xXpSgtA/?igshid=NGJjMDIxMWI=
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淡淡秋风微雨过，流光瘦减繁华。
人生似水岂无涯。浮云吹作雪，世味煮成茶。
还忆经年唐宋事，心头一点朱砂。
相逢千里负烟霞。空山人去远，回首落梅花。
《 临江仙 》【 白落梅 】
Lậm Giang Tiên
Phiên âm:
Đạm đạm thu phong vi vũ quá,
Lưu quang gầy giảm phồn hoa.
Nhân sinh tựa thủy khải vô nhai.
Phù vân súy tác tuyết,
Thế vị chử thành trà.
Hoàn ức kinh niên đường tống sự,
Tâm đầu nhất điểm chu sa.
Tương phùng thiên lý phụ yên hà.
Khổng sơn nhân viễn khứ,
Hồi thủ lạc mai hoa.
Dịch thơ:
Nhạt nhạt gió thu mưa nhẹ qua,
Dòng người thưa thớt bớt phồn hoa.
Đời người như nước, chẳng bờ bến,
Mây giăng tuyết phủ, thành vị trà.
Nhớ lại chuyện cũ thời Đường Tống,
Trong lòng điểm một dấu châu sa.
Tương phùng vạn dặm duyên đâu khởi,
Gánh vác sớm hôm buổi chiều tà.
Núi trống người đi mất,
Cuối đầu nhặt mai hoa.
Tác giả: Bạch Lạc Mai - Nguyên Từ dịch.
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