1. 诗人之言也。**家之眼，域于一人一事，诗人之眼，则通古今而观之。词人观物，须用诗人之眼，不可用**家之眼。故感事怀古等作，当与寿词同为词家所禁也。

1. This is the saying of a poet. The eyes of the family are confined to one person and one matter, while the eyes of a poet can perceive both the ancient and the modern. When a writer observes things, they must use the eyes of a poet, not the eyes of a family member. Therefore, works that express feelings for historical events or ancient times should be considered as taboo in the realm of poetry, just as they are for longevity poems.

2. 秦观水龙吟：“小楼连苑横空，下窥绣毂雕鞍骤。朱帘半卷，单衣初试，清明时候。破暖轻风，弄晴微雨，欲无还有。卖花声过尽，斜阳院落，红成阵、飞鸳□〔上秋下瓦〕。玉佩丁东别后。怅佳期、参差难又。名□〔僵换成革旁〕利锁，天还知道，和天也瘦。花下重门，柳边深巷，不堪回首。念多情，但有当时皓月，向人依旧。” ----王国维

2. Qin Guan's "Water Dragon Song": "The small pavilion connects the garden, soaring in the sky, looking down at the ornate carriages and horses. Half of the red curtain is rolled up, I try on my light robe, it's the Qingming time. The warmth of the breeze breaks through, playful sunshine and light rain, wanting to not be there but still is. The sound of selling flowers passes by, the courtyard in the slanting sun, red petals form a line, flying swans [top: autumn, bottom: tile]. Jade pendants jingdong after parting. Bitterness for the good time, it's difficult to meet again. Reputation [change the radical to grass] and wealth chains, even the sky knows, and the sky is also thin. Behind the double doors under the flowers, in the deep alley by the willows, it's not worth looking back. Thinking of the affectionate, there is only the moon of that time, still looking at people." ---- Wang Guowei

3. 大家之作，其言情也比沁人心脾，其写意也比豁人耳目。其跸脱口而出，无矫揉装束之态，以其所见者真，所知者深也。

3. Masterpieces, in their portrayal of emotions, are more refreshing to the soul, and in their depiction of scenery, they are more enlightening to the eyes. Their expressions are spontaneous and unadorned, free from the artificiality of posturing, because what they see is true, and what they know is profound.

4. 他南宋任职的前一时期中，曾热情洋溢地写了不少有关抗金北伐的建议，像著名的《美芹十论》、《九议》等。尽管这些建议书在当时深受人们称赞，广为传诵，但已经不愿意再打仗的朝廷却反映冷淡，只是对辛弃疾在建议书中所表现出的实际才干很感兴趣，于是先后把他派到江西、湖北、湖南等地担任转运使、安抚使一类重要的地方官职，去治理荒政、整顿治安。

4. During the period before his tenure in the Southern Song Dynasty, he wrote enthusiastically about many proposals for resisting the Jin Dynasty's northern invasions, such as the famous "Ten Treatises on Meiqin" and "Nine Discussions." Although these proposals were highly praised and widely circulated at the time, the court, which had already lost its enthusiasm for war, showed little interest. It was only interested in Xin Qiji's actual abilities demonstrated in the proposals. Therefore, it successively sent him to Jiangxi, Hubei, Hunan, and other places to serve as important local officials such as messengers and pacifiers, to govern the management of emergencies and to restore public order.

5. 温飞卿之词，句秀也。韦端己之词，骨秀也。李重光之词，神秀也。

5. Wen Feiqing's poems are characterized by their elegant sentences. Wei Duanyi's poems are known for their robust structure. Li Chongguang's poems are celebrated for their divine essence.

6. 以我观物，故物皆着我之色彩。

6. When I view things, I see them all colored by my own perspective.

7. 第三境届为“得”之境界，第一境界与第二境界都做好了，功到自然成。 ----王国维

7. The third realm is the realm of "attainment." When the first and second realms are well-prepared, success comes naturally. ---- Wang Guowei

8. 古今词人格调之高，无如白石。惜不于意境上用力，故觉无言外之味，弦外之响，终不能与于第一流之作者也。

8. The elegance of ancient and modern poets is unparalleled, with Bai Shi being the most outstanding. However, regretfully, he did not put much effort into creating artistic conception, thus his works fail to convey the taste beyond words or the resonance beyond the strings, and ultimately cannot be compared to the first-rate authors.

9. 有我之境，以我观物，故物我皆著我之色彩。无我之境，以物观物，故不知何者为我，何者为物。无我之境，人惟于静中得之。有我之境，于由动之静时得之。

9. In the realm with myself, viewing things from my perspective, both the things and I are imbued with my own colors. In the realm without myself, viewing things as they are, one does not know what is me and what is the thing. The realm without myself can only be attained in tranquility. The realm with myself is gained during the transition from motion to stillness.

10. 解读了这三首词，如果把作者的生平淡化一下，或者说把他们的政治生平淡化一下，只从爱情的角度来解读的话，是可以解释得通的，但是古人的作品往往借男女相思之情，来写君臣家国之感。那些看上去是男女相思的作品，有可能包含着一个士大夫对自己生命的定位，对于自己理想的追求。

10. After interpreting these three poems, if the authors' biographies are downplayed, or if their political biographies are faded out, it is understandable to interpret them from the perspective of love alone. However, ancient literary works often use the theme of the longing of the sexes to express feelings of loyalty and the love for one's country and family. The works that appear to be about the longing of the sexes may actually contain a scholar-official's self-positioning in life and his pursuit of ideals.

11. 下阕却是一个动人的故事，人来人往中，他发现了一个女子，头饰装饰很独特，隐约听见她的笑声盈盈，从她身边经过，闻见她身上的香粉，现在，他对于赏灯没兴趣了，正如那句“我的眼里只有你”。突然，女子不见了，在人群里，他寻找了好多遍，快没指望绝望时，却在转身时，那女子就在灯火阑珊处。

11. The second part, however, is an touching story. Amidst the coming and going of people, he discovered a woman whose head ornament was very unique. He faintly heard her laughter echoing, and as he passed by, he caught a whiff of the perfume on her. Now, he had lost interest in appreciating the lanterns, just as that line goes, "My eyes see only you." Suddenly, the woman disappeared. He searched for her many times amidst the crowd, on the verge of despair, but as he turned around, she was right there, in the dim light of the lanterns.

12. 晏殊听了，真是泪流满面，他的爱人远去，每当想起曾经在一起的点点滴滴，万般愁情便会涌上心头。“独上高楼，望尽天涯路，”在那一个个凄苦难熬的日子里，只有把对爱人的思念，化作永恒的诗句，才能在萧瑟的风雨中，不断的舔舐伤口，抚慰那颗孤寂无助的孱弱之心。

12. Yan Shu, upon hearing this, truly shed tears from his eyes. His beloved had left, and every time he thought of the countless little moments they had shared together, a wave of sorrow would rise in his heart. "Alone on a high tower, gazing towards the end of the world's path," during those days of poignant suffering, only by transforming his longing for his beloved into eternal verses could he continuously heal his wounds in the bleak winds and rains, and comfort that lonely and helpless, fragile heart.

13. 这显然与辛弃疾的理想大相径庭，虽然他干得很出色，但由于深感岁月流驰、人生短暂而壮志难酬，内心却越来越感到压抑和痛苦。

13. This is obviously quite different from Xin Qiji's ideals, although he did an excellent job, he felt increasingly oppressed and painful due to his deep sense of the fleeting years, the brevity of life, and the unfulfilled ambitions.

14. “望极蓝桥，但暮云千里”，没想到张先的一首词，令晏殊情不自禁潸然泪下，因此写出来这首千古名词。

14. "Looking to the distant Blue Bridge, only to find clouds stretching a thousand miles," unexpectedly, a poem by Zhang Xian touched Yan Shu so deeply that he couldn't help but shed tears, thus writing this famous poem that has stood the test of time.

15. 词人者，不失其赤子之心者也。故生于深宫之中，长于妇人之手，是后主为人君所短处，亦即为词人所长处。?>

15. A poet is one who does not lose his childlike heart. Therefore, being born in the depths of the palace and raised by women, these are the shortcomings of being a ruler for the later emperor, but also the strengths of a poet.

16. 美成深远之致不及欧秦。唯言情体物，穷极工巧，故不失为第一流之作者。但恨创调之才多，创意之才少耳。 ----王国维

16. The profoundness of Mei Cheng's works does not match that of the European and Qin dynasties. However, when it comes to depicting emotions and objects, he has reached the pinnacle of skill and ingenuity, thus making him a first-rate author. But I regret that there is a surplus of talent for creating melodies and a deficit of talent for creativity. ---- Wang Guowei

17. 稼轩之词，多见炫目之色、发聩之声，以辅拔峭之言，慷慨之气。

17. The lyrics of Jiaxuan are often characterized by dazzling colors, piercing sounds, and the use of forceful, elevated language, along with a spirit of generosity and magnanimity.

18. 所以，他常常一面尽情赏玩着山水田园风光和其中的恬静之趣，一面心灵深处又不停地涌起波澜，时而为一生的理想所激动，时而因现实的无情而愤怒和灰心。

18. Therefore, he often indulges in the beauty of the mountains and rivers, the tranquility of the countryside, while his innermost soul is constantly stirred, at times moved by the ideals of a lifetime, at other times feeling anger and despair due to the mercilessness of reality.

19. 东风夜放花千树，更吹落，星如雨。宝马雕车，香满路。凤箫声动，玉壶光转，一夜鱼龙舞。蛾儿雪柳黄金缕。笑语盈盈暗香去，众里寻他千百度。暮然回首，那人却在灯火阑珊处。”

19. The Dongfeng wind releases a thousand trees of flowers at night, and even more fall, stars like rain. Luxurious carriages with carved horses, filling the road with fragrance. The phoenix flute's sound moves, the jade vase's light turns, a night of fish and dragon dances. Moths, snow willows, and golden threads. Laughter and whispers, the faint fragrance fades away, searching for her in the crowd a thousand times over. Suddenly, I turn my head back, and that person is standing in the dimly lit corner."

20. 古诗云：谁能思不歌，谁能饥不食。诗词者，物之不得其平而鸣者也。

20. An ancient poem says: Who can think without singing, who can be hungry without eating? Poetry and songs are the expressions of things that cannot find their balance and thus make a sound.

21. 然而现实对辛弃疾是严酷的。辛弃疾四十二岁时，因受到弹劾而被免职，归居上饶。此后二十年间，他除了有两年一度出任福建提点刑狱和安抚使外，大部分时间都在乡闲居。

21. However, reality was harsh for Xin Qiji. At the age of forty-two, Xin Qiji was impeached and removed from his post, returning to his hometown of Shangrao. For the next twenty years, except for two years every other year when he served as the Inspector-General of Criminal Affairs and the Reconciliator for Fujian, most of his time was spent in leisure in his hometown.

22. 但他又一次受到了沉重打击，在一些谏官的攻击下被迫离职，于开禧元年重回故宅闲居。虽然后两年都曾被召任职，无奈年老多病，身体衰弱，终于在开禧三年秋天溘然长逝。

22. But he was once again heavily struck, under the attacks of some advisors, and was forced to resign, returning to his ancestral home to live in seclusion in the first year of Kaixi. Although he was summoned to take up office for the following two years,无奈年老多病, his body weakened, he finally passed away suddenly in the autumn of the third year of Kaixi.

23. ‘衣带渐宽终不悔，为消得人憔悴。’此第二境也。

23. "The belt around my waist grows increasingly loose, yet I never regret it, for it is to wear away the person's emaciation." This is the second level.

24. 美成深远之致不及欧秦。唯言情体物，穷极工巧，故不失为第一流之作者。但恨创调之才多，创意之才少耳。

24. The profoundness of the beauty achieved does not match that of the European and Qin dynasties. However, when it comes to depicting emotions and objects, the author has reached the pinnacle of skill and craft, thus remaining a first-rate writer. But it is regrettable that there is a surplus of talent for creating melodies and a shortage of talent for original creativity.

25. ‘众里寻他千百度，回首蓦见，那人正在、灯火阑珊处。’此第三境也。”

25. "Having searched for him among the crowd a thousand times and again, I suddenly turned back and saw him standing there, in the dim light of the lanterns." This is the third realm."

26. 柳永才性高傲，声名远播，就因为放荡不羁的个性，他在仕途之路上始终举步维艰在，五十岁才考中进士，考中之后，也没有很好的发展。只是在几个地方担任官职。在经历了太多的挫折和打击之后，他的心凉凉之极。

26. Liu Yong was proud and haughty, with a reputation that spread far and wide. It was precisely because of his rebellious and undisciplined personality that he always found it difficult to advance in his career. He only passed the imperial examination and became a jinshi at the age of fifty, and even after passing the exam, he did not have a good development. He only held official positions in a few places. After experiencing too many setbacks and blows, his heart was extremely cold.

27. 又虽如何虚构之境，其材料必求之于自然，而其构造亦必从自然之法律，故理想家亦写实家也。

27. Even in the most fictional realms, the materials must be sourced from nature, and their construction must follow the laws of nature. Therefore, idealists are also realists.

28. 偶开天眼觑红尘，可怜身是眼中人。纵使盟誓终不复，人间只有相思份。

28. Occasionally opening my celestial eyes to gaze upon the world's dust, I find myself pitifully a person in the eyes of others. Even if the oaths we made are never to be restored, in this world there is only a portion of longing for you.

29. 第一境 独上西楼，望尽天涯路

29. The First Realm - Ascending the western tower alone, gazing to the end of the world's path.

30. 第三境界 众里寻他千百度，暮然回首，那人却在灯火阑珊处

30. The Third Realm - Searching for him amidst the crowd a thousand times over, suddenly looking back, and there he is, standing in the dimly lit corner.

31. 古代词人经常表面上写的是男女相思之情，其实写的是君臣家国之感，晏殊真的是只写离恨呢？

31. Ancient poets often wrote about the affection between men and women on the surface, but actually expressed the feelings of loyalty and national belonging between ruler and subject. Was Yan Shu really only writing about the sorrow of separation?

32. 后来，张先知道此事，特意写了一首词《碧牡丹》“望极蓝桥，但暮云千里，几重山，几重水。”不得不佩服张先的才华，他不写晏殊怎么思念侍妾的，却写的是侍妾被卖了之后，怎么对晏殊念念不忘，甚至带有怨恨之意。

32. Later, when Zhang Xian learned about this, he specially wrote a poem titled "Bi Mudan" (Jade Peony), "Looking to the extreme of Lanqiao, only to see the evening clouds stretching a thousand miles, with several mountains and several rivers." One cannot help but admire Zhang Xian's talent. Instead of writing about how Yan Shu missed his concubine, he wrote about how the concubine, after being sold, still harbored deep affection for Yan Shu, even with a hint of resentment.

33. 近体诗体制，以五七言绝句为最尊，律诗次之，排律最下，盖此体于寄兴言情两无所当，殆有韵之骈体文耳。

33. In the system of near-body poetry, the five- and seven-character couplets are the most esteemed, followed by the regulated verse, and the grand couplet is the lowest. This form is neither suitable for expressing emotions nor for conveying ideas, and it is almost akin to rhymed parallel prose.

34. “昨夜西风凋碧树。独上高楼，望尽天涯路。”此第一境也。

34. "Last night, the west wind withered the green trees. Alone on the high tower, I gazed upon the end of the world's path." This is the first realm.

35. “古今之成大事业、大学问者，必经过三种之境界，‘昨夜西风凋碧树。独上高楼，望尽天涯路。’此第一境也。

35. "The great achievements and profound studies of ancient and modern times must go through three stages, 'Last night the western wind withered the green trees. Alone on the high tower, I looked to the end of the world's path.' This is the first stage."

36. 此借古人之境界，为我之境界者也。然非自有境界，古人亦不为我用。

36. This borrows the realm of the ancients for my realm. However, it is not my own realm, and the ancients are not used for me.

37. 所以这首词也可以理解为柳永在追求政治生涯中，备受煎熬和屈辱，以至于导致自己，备受煎熬，身影憔悴，“衣带渐宽终不悔，为伊消得人憔悴”，可是，虽然一路艰难，自己的追求并没有停止。

37. Therefore, this poem can also be interpreted as Liu Yong enduring great suffering and humiliation in his pursuit of a political career, which led him to be tormented and his figure to wither, "The belt grows wider, yet I never regret, for her I have wasted myself, and become emaciated." However, despite the difficulties along the way, his pursuit never ceased.

38. 有时候，想从天空扯一缕云，捻成画笔，在世间留下我曾来过的痕迹。

38. Sometimes, I wish to pluck a strand of cloud from the sky, twist it into a paintbrush, and leave traces of my presence in the world.

39. 晏殊、柳永、辛弃疾这三位大词人，做梦也没想到，日后有一个人会把他们的词句神奇的联系在一起，而且，成了励志名言。

39. The three great poets Yan Shu, Liu Yong, and Xin Qiji never in their wildest dreams imagined that one day someone would magically connect their verses together, and they would become motivational quotes.

40. 这三句词出自不同年代的三位词人，这三首词的本意是不是王国维要表达的“人生境界”之说呢？我们不妨先了解这三位词人吧！

40. These three lines of poetry come from three poets of different eras. Could it be that the original intention of these three poems is what Wang Guowei refers to as the "levels of life" concept? Let's take a brief look at these three poets first!

41. 唐五代北宋词，可谓生香真色。若云间诸公，则彩花耳。

41. The Ci poetry of the Tang, Five Dynasties, and Northern Song dynasties can be said to be full of vitality and true colors. As for the scholars of the time, they are like colorful flowers.

42. 大家之作，其言情也，必沁人心脾。其写景也，必豁人耳目。其辞脱口而出，无矫揉妆束之态。以其所见者真，所知者深也。诗词皆然，持此以衡古今之作者，可无大误矣。

42. Great works, in terms of expressing emotions, must be refreshing to the heart. In describing landscapes, they must open one's ears and eyes. The words are spoken spontaneously, without any artificial or forced demeanor. This is because what they see is true and what they know is profound. This applies to both poetry and songs. By using this criterion to evaluate authors from ancient times to the present, there should be no major mistakes.

43. 词以境界为最上。有境界则自成高格，自有名句。五代北宋之词所以独绝者在此。

43. Words are the highest in terms of artistic realm. With artistic realm, they naturally achieve a high style and produce famous lines. The unique charm of the Ci poetry from the Five Dynasties and the Northern Song Dynasty lies in this aspect.

44. 周邦彦解语花（元宵）：“风销焰蜡，露□〔邑加水旁〕烘炉，花市光相射。桂华流瓦。纤云散，耿耿素娥欲下。衣裳淡雅。看楚女、纤腰一把。箫鼓喧、人影参差，满路飘香麝。因念都城放夜。望千门如昼，嬉笑游冶。钿车罗帕。相逢处、自有暗尘随马。年光是也。唯只见、旧情衰谢。清漏移、飞盖归来，从舞休歌罢。”（

44. Zhou Bangyan's Interpretation of the Flower of Understanding (Yuanxiao): "The wind extinguishes the flames of wax, dew drips onto the kiln, and the flower market glows with light. Osmanthus flowers flow over the tiles. Fine clouds disperse, and the bright, pure Moon Goddess is about to descend. Her attire is elegant. Behold the graceful figure of the Chu woman, her waist as slender as a single hand. The sound of flutes and drums is loud, and the shadows of people are uneven, with the scent of musk floating along the road. It reminds one of the city's night release. Seeing a thousand doors illuminated as if it were daytime, laughter and joyous outings. Ornate carriages and kerchiefs. Where we meet, there is inevitably dust following the horses. The year's time is passing. Only the old feelings are fading. The cold water clock moves on, the carriage returns, and the dance stops, the song ceases."

45. 下阕是从室内走到室外，他发现昨晚刮了一夜的秋风，以至于树上的叶子全部吹落了，“独上西楼，望尽天涯路”，他一个人登上高楼，以前看不见天涯路，因为树枝繁叶茂，挡住了视线，而现在树叶刮没了，视线一下子拉长了，所以就能看到了远方。后两句，他因为离别，想给怀念的人写封信，却不知故人在哪里？

45. The second part of the text describes a transition from indoors to outdoors. He finds that the autumn wind had been blowing all night, causing all the leaves on the trees to fall. "Alone, I climb to the west tower, looking to the end of the road to the horizon," he says, alone climbing to the top of a high building. Before, he couldn't see the road to the horizon because the branches and leaves were dense, blocking his view. But now that the leaves have been blown away, his line of sight extends suddenly, and he can see into the distance. The next two lines speak of his desire to write a letter to someone he misses due to his separation, but he doesn't know where the person he's thinking of is.

46. 杜甫和裴迪登蜀州东亭送客逢早梅相忆见寄：“东阁官梅动诗兴，还如何逊在杨州。此时对雪遥相忆，送客逢春可自由。幸不折来伤春暮，若为看去乱乡愁。江边一树垂垂发，朝夕催人自白头。” ----王国维

46. Du Fu and Pei Di boarded the Eastern Pavilion of Shu Zhou to see off their guest and encountered early plum blossoms, which reminded them of each other and were sent in a letter: "The plum blossoms in the Eastern Study stirred the poet's inspiration, how can they be less than How Sun in Yangzhou? At this moment, facing the snow, I am far away, remembering you; seeing off guests in the spring, I am free. Fortunately, they were not broken to hurt the late spring, but looking at them would only stir up the homesickness. By the river, a tree is gradually blooming, day and night urging people to turn white." ---- Wang Guowei

47. 第二种境界：衣带渐宽终不悔，为伊消得人憔悴

47. The Second Realm: Though my belt grows wider and I don't regret it, for her sake I have wasted away and become gaunt.

48. 以我观物，故物皆着我之色彩。 ----王国维

48. When I perceive things, all things seem to take on my own colors. ----Wang Guowei

49. “众里寻他千百度，蓦然回首，那人却在，灯火阑珊处。”此第三境也。

49. "Having searched for him among the crowd a thousand times, suddenly, when I turned back, I saw him standing at the dimly lit corner." This is the third level.

50. 无我之境，人唯于静中得之。有我之境，于由动之静时得之。故一优美，一宏壮也。

50. The realm of no-self is attained only in tranquility. The realm of self is encountered during the transition from motion to stillness. Therefore, one is beautiful, and the other is majestic.

51. “衣带渐宽终不悔，为伊消得人憔悴”，在那段苦闷无助的日子里，究竟谁会帮助自己渡过难关，实现那宏伟的理想和抱负呢，无奈之下，一生恃才傲物的柳永，想到了当朝宰相晏殊，就想去请求同为词人的晏殊帮忙

52. 举国闻名的大词人，晏殊怎会问他写词吗？柳永听出来晏殊话里的羞辱，柳永不卑不亢，答道：我跟您一样，也是写点词的。

51. "The belt grows wider, yet I never regret; for her, I have wasted my youth." During those days of distress and helplessness, who would help oneself to overcome the difficulties and realize those grand ideals and ambitions? In despair, the talented and proud Liu Yong, who relied on his abilities throughout his life, thought of the prime minister Yan Xu of the time and wanted to ask for help from Yan Xu, who was also a poet. 52. As a renowned poet throughout the country, how could Yan Xu ask him to write poems? Liu Yong sensed the humiliation in Yan Xu's words and replied without humility or arrogance: "Just like you, I also write poems."

53. 晏殊怀念的这个人是谁呢？这要从晏殊担任京兆尹时说起，当时，他有一个好朋友叫张先，也是非常有名的词人，晏殊家里有聚会，就请张先来，张先喜欢填词，晏殊刚好纳了一个侍妾，这个侍妾非同一般，不仅颇有姿色，而且性情温顺，又能喝酒，而且她有优美的歌喉，由侍妾来唱张先的词，就把聚会推上了高潮。

53. Who is the person Yan Shu misses? This story goes back to the time when Yan Shu served as the Mayor of Jingzhao. At that time, he had a good friend named Zhang Xian, who was also a very famous lyricist. When there was a gathering at Yan Shu's home, he invited Zhang Xian to attend. Zhang Xian was fond of composing lyrics, and coincidentally, Yan Shu had just taken a concubine, who was quite extraordinary. She was not only beautiful but also gentle in temperament, and she could drink. Moreover, she had a beautiful singing voice. When the concubine sang Zhang Xian's lyrics, the gathering reached its climax.

54. 柳永是北宋人人皆知的大词人，他在北宋流行词坛，绝对是一个“天王巨星”，柳永的词，流行于都市小巷，青楼乐坊，就连乡村妇孺也是皆知。

54. Liu Yong was a well-known great poet of the Northern Song Dynasty, and he was an absolute "superstar" in the popular song scene of the Northern Song Dynasty. Liu Yong's poems were popular in the urban alleys, brothels, and even the rural women and children knew about them.

55. 伫倚危楼风细细，望极春愁，黯黯生天际。草色烟光残照里，无言谁会凭阑意。

55. Standing by the perilous pavilion, the wind is gentle, and looking to the extreme, the spring melancholy arises in the distant sky. In the waning light and misty glow of the grass, no one understands the silent thoughts by the railing.

56. 无我之境,人惟于静中得之。有我之境,于由动之静时得之。 ----王国维

56. The state of no self can only be achieved through tranquility. The state of self can be attained during the transition from motion to stillness. ---- Wang Guowei

57. 辛弃疾在文学史上，是一个英雄豪杰式的人物，他不仅是文豪，还是一个英雄。由于辛弃疾是在金人统治下的北方长大的，他也较少受到使人一味循规蹈矩的传统文化教育，在他身上，有一种燕赵奇士的侠义之气。

57. Xin Qiji is a heroic and heroic figure in the history of literature, not only a literary genius but also a hero. Growing up in the north under the rule of the Jin people, he was also less influenced by the traditional cultural education that tends to conform strictly to rules and conventions. In him, there is a sense of chivalry and righteousness reminiscent of the heroic figures of Yan and Zhao.

58. 第二境 衣带渐宽终不悔，为伊消得人憔悴

58. The Second Realm: The belt grows wider, yet I do not regret; for her, I have wasted away to emaciation.

59. 这首词上阕写的是元宵节，放烟花，观灯的热闹场景；

59. The first part of this ci poem describes the lively scene of the Lantern Festival, with fireworks and people enjoying the lanterns.