1. 这是诗人1942年在日寇阴暗潮湿的土牢里写下的一首情真意切的诗篇，抒发了诗人对灾难祖国由衷的关切和真挚的爱，同时也表达了对中国***领导下的解放区的向往。诗的前半部分写“我”用“残损的手掌”深情地抚摸在敌人的铁蹄蹂躏下的祖国广大土地：“这一角已变成灰烬，／那一角只是血和泥”。接着，诗人无形的手掌触到家乡一片湛蓝的湖水，现时“微凉”的湖水与昔日“堤上繁华如锦障”的美丽春光形成强烈反差，表现出诗人对敌人践踏故土的无比忧愤。为了使诗歌表达的主题不流于肤浅狭隘，诗人想象的世界由近拉远，由北到南，从长百山的雪峰、黄河的泥沙到江南的水田、岭南的荔枝、南海的海水。诗人选择每一地域中最典型的风景加以点染，它们既是人民的苦难与不幸的象征，又是侵略者罪恶的见证。“手指沾了血和灰，／手掌沾了阴暗”两句既是对上半段的总结，又与开头

1. This is a heartfelt poem written by the poet in 1942 during the dark and damp dungeons of the Japanese invaders. It expresses the poet's sincere concern and profound love for the beleaguered homeland, as well as his longing for the解放 areas under the leadership of the Chinese ***. The first half of the poem describes "me" using "damaged hands" to tenderly caress the vast land of the motherland under the iron蹄 of the enemy: "This corner has turned to ashes, / That corner is just blood and mud." Then, the poet's intangible hands touch a piece of deep blue lake in the hometown, and the present "slightly cool" lake contrasts sharply with the beautiful spring scenery of "bustling prosperity on the embankment" in the past, showing the poet's immense sorrow over the enemy's trampling on the homeland. To prevent the theme of the poem from being superficial and narrow, the poet's imagined world expands from near to far, from north to south, from the snowy peaks of Changbai Mountains, the muddy sands of the Yellow River, to the rice fields in the south of the Yangtze River, lychees in the Lingnan region, and the seawater of the South China Sea. The poet selects the most typical scenery in each region to paint, which is both a symbol of the people's suffering and misfortune and a witness to the invaders' crimes. The lines "Fingers stained with blood and ash, / Palms stained with darkness" not only summarize the first half but also connect with the beginning

2. 但得众生皆得饱，不辞羸病臣残阳。李纲《病牛》

2. But if all beings can be fed, I wouldn't mind being lean, sick, and the remnants of the fading sun. (Lyrics from "The Ailing Ox" by Li Gang)

3. #诗词鉴赏# 导语我们热爱的祖国是那么的无私奉献，不求回报，自强不息，厚德载物。中国用她那宽广无垠的胸膛容纳万物：春风细雨，夏日骄阳，秋霜硕果，冬寒雪景，

3. #Poetry Appreciation# Introduction: Our beloved motherland is so selfless, generous, relentless in self-improvement, and carries the weight of virtue. China embraces all with her boundless and vast bosom: the gentle spring rain, the scorching summer sun, the autumn frost with abundant fruits, and the wintry snowscapes.

4. 凌余阵兮躐余行，左骖殪兮右刃伤。屈原《国殇》

4. Marching in array, I trample over my path, the left chariot horse falls, the right one is wounded. Qu Yuan's "The Heroic Death."

5. 忽忆周天子，驱车上玉山。李贺《马诗二十三首·其三》

5. Suddenly I recall the Zhou Emperor, driving a carriage up Jade Mountain. Li He's "Poems on Horses Twenty-Three · The Third".

6. 僵卧孤村不自哀，尚思为国戍轮台。陆游《十一月四日风雨大作》

6. Lying motionless in a solitary village, I do not mourn; still I think of guarding the Luntai Fort for my country. From Lu You's poem "The Storm on the Fourth of the Eleventh Month."

7. —— 祖国啊

7. —— Motherland

8. 生平未报国，留作忠魂补。杨继盛《就义诗》

8. Life unfulfilled in serving the country, leaving a loyal soul to make up for it. - From "The Poem of Suffering for Righteousness" by Yang Jisheng

9. 愿得此身长报国，何须生入玉门关戴叔伦《塞上曲二首》

9. May I devote this life to the country, why should I need to enter the Jade Gate Pass alive? -- From "Two Songs on the Frontier" by Dai Shu lun

10. 列国周齐秦汉楚，赢，都变做了土。张养浩《山坡羊·骊山怀古》

10. The states of Zhou, Qi, Qin, Han, and Chu, all have become dust. From Zhang Yanghao's poem "Shanpo Yang · Li Mountain怀旧"

11. 谁使神州，百年陆沉，青毡未还？怅晨星残月，北州豪杰。陈人杰《沁园春·丁酉岁感事》

11. Who has brought our great country to its current state, with a century of land submerged, and the green felt carpet yet to return? Sadness fills the heart as the morning star and waning moon linger, the heroic figures of the northern states. — From "Qinyuan Spring" by Chen Renjie, reflecting on events of the Dingxu Year.

12. 五行押韵，一韵到底；而各节均以“啊，我年青的女郎”一声亲切温柔而又深情的呼唤起唱，造成回环往复的旋律美。诗情随诗律跌宕起伏，韵味深长。

12. The Five Elements rhyme throughout; each section begins with a warm and affectionate, yet deeply emotional call of "Ah, my youthful maiden," creating a melodic beauty that echoes and repeats. The poetic emotions fluctuate with the rhythm of the poem, imbued with a deep and lasting charm.

13. 元嘉草草，封狼居胥，赢得仓皇北顾。辛弃疾《永遇乐·京口北固亭怀古》

13. Yuanjia's hasty departure, sealing the wolf's retreat, and winning the hurried glance back towards the north. From Xin Qiji's poem "Yongyu Le · Recollection of the Ancient Jingkou Beiguo Pavilion".

14. 衔冤只合甘先死，何待花间不肯言。汪遵《息国》

14. It is only right that the innocent should die with a sweet face, why wait until the flowers to refuse to speak. From Wang Zun's poem "Xi Guo" (The Kingdom of Xi).

15. 西北神州，依旧一新亭。元好问《江城子·醉来长袖舞鸡鸣》

15. In the northwest Shenzhou, there is still a new亭. Yuan Haowen's "Jiangchengzi · Drunk with Long sleeves dancing and rooster crowing."

16. 五千年 不是一件可以随便拍卖的古董

16. Five thousand years is not an antique that can be auctioned off casually.

17. 诗篇开句即言“假如我是一只鸟”，这不是一种简单的形象比附，而是一种情感上的虚拟。以鸟的种种愿望来表达诗人内心对祖国诚挚的爱，委婉的抒情手法中融汇着诗人深切的感受和真挚的情感。接着诗人排列了一组意象来表示自己歌唱的内容，诗人内心强烈激情的渗入使意象充满了生动丰富的内涵：“土地”是被暴风雨打击着的，“河流”是悲愤的，“风”是激怒的，“黎明”是温柔的。联系诗人写作的年代，我们可以意会到诗人笔下所展示的是一个山河破碎、国土沉沦的悲壮年代。可贵的是诗人并没有因此而绝望，他在黑暗中仍满怀希望，所以黎明是“温柔的”。“——然后我死了，／连羽毛也腐烂在土地里面，”诗句巧妙地借用鸟儿自然、被动的结局来表现诗人主动的追求，更加真切地表现了诗人的献身精神。最后直截了当地抒发自己的忧国之情和爱国之心，既点明了题旨，又与前半部分在逻辑上顺理成章地形成因果呼应。如果说前八句是感情的蓄积，最后两句便是感情闸门的打开，感情洪流的急冲而下

17. The opening lines of the Psalm say, "If I were a bird," which is not just a simple metaphorical comparison but a virtual emotional projection. The poet expresses his sincere love for his homeland through the various desires of a bird, blending his profound feelings and genuine emotions in the subtle lyric technique. Following this, the poet arranges a series of images to represent the content of his song, with the intense passion within him infusing the images with vivid and rich connotations: "The land" is beaten by storms, "the rivers" are filled with sorrow and anger, "the wind" is enraged, and "dawn" is gentle. Connecting this with the era in which the poet wrote, we can understand that the poem depicts a tragic era of a broken land and a sinking nation. It is praiseworthy that the poet did not despair because of this; in the darkness, he still held onto hope, which is why dawn is described as "gentle."——“Then I die, / And even my feathers rot in the soil,” the lines cleverly borrow the natural and passive ending of a bird to express the poet's proactive pursuit, thereby more truly showcasing his spirit of dedication. Finally, the poet directly expresses his concerns for his country and his patriotic feelings, which not only clarifies the theme but also logically follows the cause-and-effect relationship with the first part. If the first eight lines are the accumulation of emotions, the last two lines are the opening of the emotional dam, with the flood of emotions surging forth.

18. 三节，作者两次直接点出“共和国”，明示主题。

18. In the third section, the author points out the term "republic" twice directly, explicitly stating the main theme.

19. 梅似雪，柳如丝。辛弃疾《鹧鸪天·送欧阳国瑞入吴中》

19. Pears resemble snow, willows like silk. Xin Qiji's poem "Zhe Gu Tian · Sending Ouyang Guorui to Wu Zhong."

20. 最重要的战斗不是面对面的你死我活，而是没有敌人的战斗；或者说，那敌人只是时间。在和平时期，人们容易浑浑噩噩地混日子，不知不觉地被时间战胜，成为时间的俘虏。如我们总是推迟着一些行动，因为我们总是相信明天，相信明天会带来一切，会完成一切。而站在玉米地的中央，我们才有可能战胜时间，战胜自己，因为风中的玉米叶像鞭子一样，抽打着我们，使我们时刻警醒着，在和平的环境里，依然保持战斗的姿态和心态

20. The most important battle is not a face-to-face life-and-death struggle, but a battle without an enemy; or, the enemy is just time. During times of peace, people tend to live in a daze, unconsciously being defeated by time and becoming its prisoners. As we often delay certain actions, because we always believe in tomorrow, that it will bring everything and complete everything. But standing in the middle of a cornfield, we have the possibility to conquer time, to conquer ourselves, because the leaves of the corn in the wind are like whips, lashing us, keeping us constantly alert, maintaining a state of battle and mindset even in peaceful surroundings.

21. 伤心庾开府，老作北朝臣。司空曙《金陵怀古》

21. Grieved is Yu Kai府, old as a courtier of the Northern Dynasty. (This is a line from Si Kong Chu's poem "Contemplating the Past in Jinling".)

22. 位卑未敢忘忧国。陆游《病起书怀》

22. Although in a low position, I have never forgotten my concern for the country. — From Lu You's "Writing to Express My Thoughts Upon Recovering from Illness"

23. 秋送新鸿哀破国，昼行饥虎齧空林。郑思肖《二砺》

23. In autumn, the new swallow brings sorrow to the fallen country; in the day, hungry tigers gnaw at the empty forest. (This is from "Erli" by Zheng Sishao.)

24. 长剑倚天谁问，夷甫诸人堪笑，西北有神州。辛弃疾《水调歌头·送杨民瞻》

24. Who dares to ask about the long sword leaning against the sky? The people of Yi Fu are laughable, and there is the Shenzhou in the northwest. Xin Qiji, "Shui Diao Ge Dou · Send Yang Min Zhan"

25. 倚高寒、愁生故国，气吞骄虏。张元干《贺新郎·寄李伯纪丞相》

25. Clinging to the towering coldness, sorrow arises for the ancient country, and the spirit swallows the proud enemies. Zhang Yuangan's "Happy New Year · To Li Boji, Prime Minister."

26. 可怜无定河边骨，犹是春闺梦里人。陈陶《陇西行》

26. Alas, the bones scattered along the uncertain riverbank, yet they are still the beloved of the springtime dreams in the girl's chamber. — From "The Journey to Longxi" by Chen Tao

27. 诗的后半部分仍在想象的世界中展开，描绘的是与前面灾难景象形成极大反差的心中渴慕的图景：那虽是“辽远的一角”，但山河完整无损，没有阴暗和血污。而是充满了温暖、光明和生机，“那里是太阳，是春”。与前半部分的哀怨、忧伤的基调相比，这一部分跳动着诗人按捺不住的快乐与激动；与前半部分意象快速流动的抒情相比，后半部分则显得安静而舒缓，使这首诗在感情的哀怨与欢快上得到了完美的统一，抒情风格显得变幻多姿。在那个以狂暴的吼叫代替艺术的凝想的年代里，这首诗像一朵美丽而永不凋落的奇葩：意象高度凝炼而不晦涩，感受细腻而不暗淡，深刻的现实内容与现代抒情方式完美地交融起来。

27. The latter half of the poem continues to unfold in the realm of imagination, depicting a yearning scene that contrasts sharply with the previous catastrophic landscape: it is "a distant corner," yet the mountains and rivers are intact and unscathed, without any shadows or bloodstains. Instead, it is filled with warmth, light, and vitality, "where the sun is, and spring." Compared to the melancholic and sorrowful tone of the first half, this part pulsates with the poet's uncontrollable joy and excitement; compared to the rapid flow of imagery in the first half, the latter half appears calm and relaxed, perfectly unifying the poem's melancholic and joyful sentiments, and the lyrical style seems varied and colorful. In that era when fierce roars replaced artistic contemplation, this poem is like a beautiful and ever-blooming rarity: its imagery is highly condensed yet not obscure, its feelings are delicate yet not dim, and its profound realistic content is perfectly blended with modern lyrical methods.

28. 一自胡尘入汉关，十年伊洛路漫漫。陈与义《咏牡丹》

28. Since the Hu dust entered the Han Pass, ten years have passed on the long journey of Yi and Luo. A poem titled "Ode to Peony" by Chen Youyi.

29. 山河破碎风飘絮，身世浮沉雨打萍。文天祥《过零丁洋》

29. The mountains and rivers are broken, and the wind blows away the floating petals; my destiny rises and falls, like the duckweeds beaten by the rain. — Wen Tianxiang, "Crossing Lingdingyang River"

30. 地下千年骨，谁为辅佐臣。戎昱《咏史》

30. The bones underground for a thousand years, who assists the minister? Rong Yu's "Ode to History"

31. 若顺吾皇意，即无臣子心。栖蟾《送迁客》

31. If one complies with the will of the emperor, there is no longer a loyal subject's heart. Qi Can's "Farewell to the Exiled"

32. 中原事业如江左，芳草何须怨六朝。纳兰性德《秣陵怀古·山色江声共寂寥》

32. The cause of the Central Plains is like the Jiangzi region, why should the fragrant grass complain about the Six Dynasties? Nalan Xingde, "Reflecting on the Past in Moli: The mountain colors and river sounds together in solitude."

33. 此诗借鉴了前苏联诗人沃兹涅先斯基《戈雅》中的圆周句式“我是戈雅，……我是……”，但又有创造性的发展。圆周句式大多出现在抒发强烈情绪的作品中，悲伤痛苦的情调最宜用它来渲染。舒婷写的是“我”与祖国的关系，用这种句式，增加了痛苦和挚爱的深度。第一节是对祖国历史的反思，精心选取五组意象，象征祖国千百年来落后、贫穷、灾难深重的面貌：前四行平稳深长，富有音响和色彩，给人以深思沉重之感；

33. This poem draws inspiration from the circular sentence structure in Vyacheslav Vishnevsky's "Goya" from the former Soviet Union, "I am Goya, ... I am ...", but it also undergoes a creative development. The circular sentence structure is often found in works that express strong emotions, and it is particularly suitable for creating a mood of sadness and suffering. Shu Ting writes about the relationship between "I" and the motherland, using this sentence structure to enhance the depth of pain and love. The first section reflects on the history of the motherland, carefully selecting five groups of images that symbolize the motherland's long history of backwardness, poverty, and severe disasters: the first four lines are stable and profound, rich in sound and color, evoking a sense of deep thought and weight.

34. 你是威风凛凛的雄狮-----舞动神州的雄风，

34. You are a majestic lion, a lion that stirs the spirit of the land.

35. 闻先生曾说：“诗人主要的天赋是爱，爱他的祖国，爱他的人民。”1925年他留美回国，看到的是封建军阀统治下的黑暗现实和民不聊生的景象，于是，赤诚爱心转化为对现状的强烈不满和渴望改变旧中国的激情。这种情绪在这首诗中得到充分体现。全诗以“一句话”——“咱们的中国”为构思中心，运用写实和隐喻相结合的手法，反复咏叹，极力渲染烘托。第一节先用排比，通过“祸”与“火”的写实和比喻，揭露黑暗现实对民意的压制，也寓示着民众积蓄着的巨大的力量。接着进一步用火山作比，它虽然沉默了千百年，一旦突发就会产生翻天覆地的力量。这一喻象表明诗人对人民反抗的力量充满信心。第二节针对一些对中国前途悲观、不相信民众者发出警告，用“铁树开花”比喻建设“咱们的中国”来之不易但终会成事实。通过“我”坚信与“你”不相信的对比，引发出不信者可能会产生的惊慌、反感等种种诧异的表现，从而进一步衬托出民众反抗的必然性和突发性，表明诗人对民众解放自己、改造旧中国的潜在力量坚信不疑，并衷心拥护。他将民众的反抗与呐喊比喻成“青天里一个霹雳”既呼应“火”的意象，显示出无穷的威力，又是一种盛赞的口吻乙“爆一声：／‘咱们的中国！’”的两次反复，强烈地表达出对理想中国的期望与追求。此诗语言平易，形式上整齐匀称，又自然天成，富于节奏感和音乐美

35. Mr. Wen once said, "The main gift of a poet is love, love for his country and his people." In 1925, when he returned to China from his studies in the United States, he saw the dark reality and the plight of the people under the rule of feudal warlords. Therefore, his sincere love turned into strong dissatisfaction with the current situation and a passionate desire to change the old China. This sentiment is fully reflected in this poem. The poem takes "a sentence" – "Our China" – as its central idea, combining realism and metaphor to repeatedly sing and exaggerate it. In the first section, the poem first uses parallelism to reveal the suppression of public opinion by the dark reality through the realism and metaphor of "calamity" and "fire," also indicating the immense power accumulated among the people. It then further uses a volcano as a metaphor, which, though silent for thousands of years, can once erupt with a force that can change the world. This metaphor indicates the poet's confidence in the power of the people's resistance. In the second section, the poem addresses a warning to those who are pessimistic about China's future and do not believe in the people. It uses the metaphor of a "iron tree blooming" to describe the arduous but eventual realization of building "Our China." Through the contrast between the "I" who firmly believes and the "you" who does not believe, it triggers a range of reactions such as panic, aversion, and other wonders that may occur among those who do not believe, further highlighting the necessity and suddenness of the people's resistance. This indicates that the poet firmly believes in the potential power of the people to liberate themselves and transform the old China, and sincerely supports this cause. He compares the people's resistance and slogans to a "thunderbolt in the blue sky," which, on the one hand, responds to the image of "fire," showing its infinite power, and on the other hand, is a tone of praise. The repetition of "爆一声：‘Our China!’" strongly expresses the poet's hope and pursuit of an ideal China. The language of this poem is easy to understand, the form is regular and symmetrical, and it is naturally and beautifully crafted, full of rhythm and musical beauty.

36. 1896年5月，台湾被日本强占一年后，诗人代表当时台湾岛上四百万同胞，写的这首以《春愁》为题的小诗，仅仅四句计二十八字，字字是血和泪写成的。丘逢甲（公元1864年—1912年），台湾彰化人。光绪十五年（公元1888年）进士，曾任清政府工部主事。1894年发生了中日甲午战争。日本向朝鲜发动侵略，并对中国的陆海军进行挑衅，中国军队英勇作战，但由于清政府的腐败以及缺乏坚决反对侵略的准备，以致北洋海军全军覆没，中国失败。1895年4月17日，李鸿章代表清政府与日本签订了丧权辱国的《马关条约》，中国被迫割让台湾给日本。丘逢甲闻讯在台湾积极组织义军抗日保台，出任台湾抗日保台义军的大将军，指挥抗日。但终因寡不敌众，遭到失败，不得已离开台湾内渡到大陆。此后在广东创办学校，推行新学，并与同盟会有来往。他的诗，大多是为收复台湾、洗雪国耻而作，慷慨悲壮，雄健奋发，忧国忧民怀念台湾的心情始终未变，直到1912年临终前仍遗言：“吾不忘台湾也”，要求在他死后安葬时须面向台湾。

36. In May 1896, one year after Taiwan was forcibly occupied by Japan, a poet representing the four million compatriots on the island of Taiwan at that time wrote this small poem titled "Spring Sadness." It consists of only four lines, totaling 28 characters, written with every word a drop of blood and a tear. Qiu Fengjia (1864-1912), a native of Changhua, Taiwan. In the 15th year of Guangxu (1888), he passed the imperial examination and served as an official in the Ministry of Works under the Qing government. In 1894, the Sino-Japanese War of 1894-1895 broke out. Japan launched an invasion of Korea and challenged China's land and naval forces. The Chinese army fought bravely, but due to the corruption of the Qing government and the lack of preparation to firmly oppose the invasion, the Beiyang Fleet was wiped out, and China was defeated. On April 17, 1895, Li Hongzhang, representing the Qing government, signed the unequal Treaty of Shimonoseki with Japan, which forced China to cede Taiwan to Japan. Upon hearing the news, Qiu Fengjia actively organized resistance forces in Taiwan to resist the Japanese occupation and served as the grand general of the Taiwan resistance forces, commanding the resistance. However, due to being outnumbered, he suffered defeat and was forced to leave Taiwan and return to the mainland. After that, he founded schools in Guangdong, promoted new learning, and had contact with the Tongmenghui. His poetry was mostly written for the recovery of Taiwan and the alleviation of national耻辱, full of generosity, melancholy, vigor, and a steadfast spirit, his concerns for the country and the people, and his yearning for Taiwan remained unchanged until his death in 1912. On his deathbed, he left a last will saying, "I will not forget Taiwan," and demanded that he be buried facing Taiwan upon his death.

37. 只解沙场为国死，何须马革裹尸还。徐锡麟《出塞》

37. Only understand that dying on the battlefield for the country is enough, why must the body be wrapped in horsehide and returned? Xu Xilin, "Crossing the Passes"

38. 死去元知万事空，但悲不见九州同。王师北定中原日，家祭无忘告乃翁。陆游《示儿》?>

38. Death leaves one knowing all is empty, yet it is sad not to see the unity of all nine provinces. On the day when the king's troops conquer the Central Plains, do not forget to offer a sacrifice at home and inform your father. Lu You, "To My Son."

39. 龙虎方交争，七国并抗衡。张华《游侠篇》

39. The dragon and tiger are in conflict, and the seven countries are contending. Zhang Hua's "Chapter on the Wanderer".

40. 四十年来家国，三千里地山河。李煜《破阵子·四十年来家国》

40. For forty years, the country and home; over three thousand miles of land and rivers. Li Yu's "Bajinzi · For Forty Years of Home and Country"

41. 你是人类智慧的起源-----点燃文明的星火。

41. You are the origin of human wisdom --- igniting the spark of civilization.

42. 塞上长城空自许，镜中衰鬓已先斑。出师一表真名世，千载谁堪伯仲间。陆游《书愤》

42. The Great Wall on the plateau, empty boasts of self-assurance, the mirror reveals the greying temples already speckled with white. Once the campaign has set out, a true name has already been made in the world, who can compare with the best in a thousand years? Lu You, "Record of My Indignation"

43. —— 祖国啊!

43. —— Motherland!

44. 玉皇开碧落，银界失黄昏。毛滂《临江仙·都城元夕》

44. The Jade Emperor opens the blue sky, the silver realm loses the dusk. — Mao Pang's "Linjiangxian: Yuanxu in the Capital"

45. 下国卧龙空寤主，中原逐鹿不由人。温庭筠《过五丈原》

45. The dragon in the land of the lesser kingdom is awake but its master is oblivious, the chase for power in the Central Plains is not subject to human will. — Wen Tingyun's "Passing by the Wuzhangyuan"

46. 梦绕边城月，心飞故国楼。李白《太原早秋》

46. Dreaming around the border city's moon, my heart flies to the ancient country's tower. (Li Bai, "Early Autumn in Taiyuan")

47. 生当作人杰，死亦为鬼雄。李清照《夏日绝句》

47. To live is to be a hero among men, to die is to be a hero among ghosts. — Li Qingzhao, "A Poem for Summer"

48. 西施若解倾吴国，越国亡来又是谁。罗隐《西施》

48. If Xishi could have toppled the state of Wu, whose loss would it have been if the state of Yue had perished? — Luoyin's poem "Xishi"

49. 多好听，“唐人街”，一所不冻的华夏乡音的港湾，一所和平的春兰秋菊的城堡，一座摧澡的东方文化的浮雕。以中国调寄中国情，以中国墨写中国意，盛唐罢相张九龄“少小离家老大回”的叹惋，南宋遗民郑所南兰草根下无土的画意，高人王维于朝雨渭城饯别好友西出阳关的怅惘，诗仙李白立扬子江畔目送故人孤帆远影的伤感，还有扬州驿马雄姿，长安宫阙风范，南国二十四番花讯的问候，殷墟仰韶陶釉的召唤……这一系列典型的中国情结的意象群的自然叠印，华美典雅，楚楚动人。一咏三叹中，愈升愈高的是海外炎黄子孙心向祖国的七彩虹桥

49. How beautiful the name, "Chinatown," a harbor of unrefrigerated Chinese tones, a castle of peaceful spring orchids and autumn chrysanthemums, and a bas-relief of Oriental culture. Composed in the Chinese melody, expressing Chinese sentiments, with Chinese ink, writing Chinese meanings. It includes the sigh of the Tang Dynasty prime minister Zhang Jiuling's "Left home in youth, returned in old age," the artistic conception of the Southern Song Dynasty remnant Zheng Suzong, who grew orchids without soil, the melancholy of the great poet Wang Wei parting with a friend at Weicheng city during the morning rain, the sorrow of the Poet Immortal Li Bai watching his friend's solitary boat sail away from the Yangtze River, the heroic figure of the horses in Yangzhou, the majestic style of Chang'an palaces, the greetings of the 24 floral messages from the southern land, and the call of the Yinxu celadon glaze... This natural superimposition of a group of typical Chinese sentiment images is elegant and charming. In the repetition of praise and sighs, the ever-rising and ever-higher is the seven-color bridge of overseas descendants of the Yellow Emperor and Yan Emperor yearning for their motherland.

50. 故乡的明月 是仰望北斗的磁场

50. The bright moon of the hometown is the magnetic field of gazing at the Big Dipper.

51. 国事如今谁倚仗，衣带一江而已。文及翁《贺新郎·西湖》

51. Who is relying on state affairs now, but just a river of clothing. Wen Jiwo's "贺新郎·西湖"

52. 鲜明矗立的旗 像

52. Brightly standing flag, like

53. 南北驱驰报主情，江花边草笑平生。戚继光《马上作》

53. North and south, galloping to repay the master's affection, the riverside flowers and border grass laugh at my entire life. Qi Jiguang, "Written on Horseback"

54. 黄河的浪 东流 永远向着阳光的一面

54. The waves of the Yellow River flow eastward, forever heading towards the sunny side.

55. 宁为百夫长，胜作一书生。杨炯《从军行》

55. It's better to be a commander of a hundred men than to be a scholar. -- From "Military March" by Yang Jiang.

56. 晋武轻后事，惠皇终已昏。高適《登百丈峰二首》

56. Jin Wu was indifferent to court matters, and Emperor Hui became ultimately confused. Gao Zhe's "Two Poems on Climbing the Baizhang Peak"

57. 这是诗人在192—1925年赴美留学期间写下的诗。诗人由于对祖国的热切思念，竟产生出如此神奇瑰丽的想象。屈原《离骚》中有“驷玉虬以乘鷖兮，溘埃风余上征。朝发轫于苍梧兮，夕余至乎悬圃”，古今浪漫主义诗歌里的神奇想象一脉相承。不过，屈原还只是想象驾着凤凰鸟（“鷖’）在宇宙行车，而本诗的作者竟然要骑着太阳航行，其想象的大胆更超过了古人。

57. This is a poem written by the poet during his study abroad in the United States from 1921 to 1925. Due to his intense longing for his homeland, the poet was able to conjure up such magical and splendid imagery. Qu Yuan's "Liu Xiang" contains the lines, "With four jade dragons and phoenix birds, I ride the wind to embark on my journey. In the morning, I set out from Cangwu, and by evening, I arrive at Xuanpu," which shows a continuous thread of magical imagination in ancient and modern romantic poetry. However, Qu Yuan was only imagining riding phoenix birds (the "shao") in cosmic travel, whereas the author of this poem actually wants to ride the sun, making his imagination even bolder than that of the ancients.

58. 浩荡离愁白日斜，吟鞭东指即天涯。落红不是无情物，化作春泥更护花。龚自珍《己亥杂诗》（其五）

58. The vast sorrow departs as the sun sets斜, reciting the poem, the eastward pointer reaches the edge of the world. The fallen red petals are not devoid of feeling, they turn into spring mud to protect the flowers. Gongsizhen's "Poems from the Year of the Snake" (Fifth)

59. 一腔热血勤珍重，洒去犹能化碧涛。秋瑾《对酒》

59. With a heart full of passion, I cherish it deeply, for even when shed, it can transform into a jade wave. (A Poem to Wine) - Qiujin

60. 野径云俱黑，江船火独明。晓看红湿处，花重锦官城。杜甫《春夜喜雨》

60. The path through the wild is shrouded in darkness, but the fire on the river boat shines alone. In the morning, look at the red, damp places, where the flowers in the city of锦官 are heavy. (This is from Du Fu's poem "Joy in Rain on a Spring Night.")

61. 商女不知亡国恨，隔江犹唱《后庭花》杜牧《泊秦淮》

61. The singing girl does not know the sorrow of the nation's loss, across the river she still sings "The Flower of the Rear Palace" — Du Mu, "Mooring at Qinhuai."

62. 诗人黄雍廉浪迹海外，心系祖国，苦于不能常与祖国厮守在一起，于是把一腔爱国情思移向唐人街，并以一副纯粹“唐人”的笔墨，构筑了这座诗的“唐人街”。诗人兼诗评家的赵国泰，对此诗曾有一段精辟的艺术分析。他说：“唐人街是中华历史文化在西方的一个窗口。要完成这一高度概括与条陈，艺术上非博喻、罗列莫办。此法的施用，使作品内涵饱满而不拥塞，典丽而不板滞。臻于此，又有赖于形式结构上取乎多视角掠美，使内蕴层嵌迭呈；广植东方情调的语象，又间以主客体转换之法，使情境跳脱空灵，其中以首节尤佳。全诗给人以宽银幕效果。”

62. The poet Huang Yonglian wandered overseas, his heart always attached to his motherland, suffering from the inability to stay with his motherland for long periods. Therefore, he transferred his patriotic sentiments to the Chinatown and, with a pure "Chinese" brush, constructed this poetic "Chinatown." The poet and critic Zhao国泰 once gave a profound artistic analysis of this poem. He said, "Chinatown is a window of Chinese history and culture in the West. To complete this highly summarized and listed portrayal, artistic expression must rely on extensive metaphor and enumeration. The application of this method makes the work rich in connotation without being overcrowded, elegant without being rigid. Reaching this level, it also depends on the form and structure that adopt multiple perspectives to capture beauty, making the internal meaning layered and overlapping; extensively planting imagery with an Eastern atmosphere, and occasionally using the method of subject-object conversion to make the situation light and ethereal, with the first section being particularly outstanding. The whole poem gives people a panoramic cinematic effect."

63. 其实，真正的爱国心就是一颗平常心，尤其是在和平年代里，没有敌人，没有血淋淋的厮杀，也没有豪迈的胜利与惨重的失败；没有这种种情形，而能保有爱国精神，这是不容易的，所以弥足珍贵。

63. In fact, true patriotism is a state of calmness, especially in peaceful times when there are no enemies, no bloody battles, and no grand victories or惨重的 defeats. It is not easy to maintain a sense of patriotism in the absence of these situations, which is why it is all the more precious.

64. 寸寸山河寸寸金。黄遵宪《赠梁任父母同年》

64. Every inch of land and mountain is as precious as gold. This is from Huang Zunxian's poem "Presented to Liang Ren and His Parents in the Same Year".

65. 猛将谋臣徒自贵，蛾眉一笑塞尘清。汪遵《咏昭君》

65. Valiant generals and wise counselors may boast of their nobility, but a smile from a beautiful woman can clear the dust of the desert. Wang Zun, "Ode to Zhaojun."

66. 怒发冲冠，凭阑处、潇潇雨歇。抬望眼、仰天长啸，壮同激烈。三十功名尘与土，八千里路云和月。莫等闲、白了少年头，空悲切。 靖康耻，犹未雪；臣子憾，何时灭。驾长车踏破、贺兰山缺。壮志饥餐胡虏肉笑谈渴饮匈奴血。待从头、收拾旧山河。朝天阙。

66. With fury in my hair and crown, standing by the railing where the drizzle has ceased. I raise my eyes and bellow to the sky, fierce and resolute. Thirty years of merit is but dust and earth, eight thousand miles of road clouded by the moon. Don't waste your youth and let your hair turn white in vain, filled with sorrow. The dishonor of Jingkang is still unsolved; when will the regret of the loyal ministers be extinguished? Ride in a long cart to trample on the gap of Helan Mountain. With my bold aspirations, I'd dine on the flesh of the enemy and quench my thirst with the blood of the Huns. In the future, I'll gather the old mountains and rivers once again. Towards the celestial palace.

67. 你是冲天腾飞的巨龙-----叱咤时代的风云，

67. You are the soaring dragon ascending to the heavens——ruling the storms and winds of the era.

68. 诗人用拟物法把自己比作熊熊燃烧的“炉中煤”，又用拟人法把祖国比作“我心爱的”“年青的女郎”。全诗就建筑在这一组核心意象之上。“炉中煤”的意象具有丰富的审美意蕴：第一，“炉中煤”的熊熊燃烧象征诗人愿为祖国献身的激情；第二，“炉中煤”黑色外表下“火一样的心肠”象征劳苦大众“卑贱．”的地位和伟大的人格，“炉中煤”既指“小我”，也指“大我”——诗人所代言的劳动人民；第三，“炉中煤”的前身“原本是有用的栋梁”，“活埋在地底多年”以后终于“重见天光”，象征诗人不愿庸碌一生而渴望有所作为的愿望，也象征劳苦大众中潜藏的改造世界的巨大能量将要释放出来。“女郎”这一意象暗示诗人对祖国的爱有如情爱一般热烈，“年青”一词则暗示了祖国在五四革命时代里充满蓬勃向上的生机。郭沫若在《创造十年》里说过：“五四以后的中国，在我的心目中就像一位很葱俊的有进取气象的姑娘，她简直就和我的爱人一样……《炉中煤》便是我对于她的恋歌。”这段话清楚地说明了本诗中比拟的意义和作用。

68. The poet uses personification to liken himself to a blazing "coal in the furnace," and anthropomorphism to compare the motherland to "my beloved" "young maiden." The entire poem is built upon this group of core images. The image of the "coal in the furnace" is rich in aesthetic connotations: first, the blazing fire symbolizes the poet's passionate willingness to sacrifice himself for the motherland; second, the "coal in the furnace" with its black exterior and "heart of fire" symbolizes the humble and great character of the toiling masses, representing both the "small self" and the "large self"—the laboring people whom the poet speaks for; third, the "coal in the furnace" was originally "useful timber," which was "buried underground for many years" before finally "seeing the light of day," symbolizing the poet's desire not to lead a life of mediocrity and his longing to achieve something, as well as symbolizing the immense potential energy hidden within the toiling masses that is about to be released. The image of the "maiden" suggests that the poet's love for the motherland is as passionate as romantic love, while the word "young" implies that the motherland is full of vigorous and upward vitality during the May Fourth Revolution era. Guo Moruo once said in "Ten Years of Creation": "The China after the May Fourth Movement is like a very graceful and ambitious young girl in my mind... She is almost like my beloved... 'The Coal in the Furnace' is my love song for her." This passage clearly explains the meaning and function of the comparisons in this poem.

69. 全诗无一字议论，皆以意象描绘，以情贯穿。所选意象既质朴又鲜明，既独特又贴切，每一个词也都与被描绘的景象紧密契合。抒情又非一览无余的倾泻，而很注意其波动的节奏，由悲哀、低沉到欣喜、高昂，又由亢奋到深沉，其中纠结着悲怆、忧患、炽烈，失望与希望，叹息与追求等多种复杂而凝重的感情，体现出诗人独有的委婉幽深、柔美隽永的抒情个性

69. The entire poem contains no word of commentary, relying solely on imagery to depict and emotion to connect throughout. The selected imagery is both simple and vivid, unique yet fitting, with each word closely aligned with the depicted scene. The expression of emotion is not a straightforward outpouring, but pays close attention to the rhythm of its fluctuations, ranging from sadness and melancholy to joy and exuberance, and then from elation to depth. It intertwines a complex and profound mixture of emotions, including sorrow, concern, passion, disappointment, hope, sighs, and pursuit, reflecting the poet's unique, subtle, and enduringly beautiful lyrical personality.

70. “炉中煤”这一意象，熔物的特性、“我”的气质和时代精神于一炉；写“煤”之燃烧，即抒“我”之激情，亦抒人民之情、时代之情。艺术形式与所抒情思十分和谐。从章法看，首节总述爱国之情和报国之志，第二节侧重抒爱国之情，第三节侧重述报国之志，末节与首节取复叠形式，前后呼应，将全诗推向高潮。从格式、韵律看，每节5行，每行音节大体均齐；

70. The image of "the coal in the furnace" merges the characteristics of molten matter, the temperament of "I," and the spirit of the times into one pot; the depiction of the burning of the coal not only expresses "my" passion but also the passion of the people and the spirit of the times. The artistic form is very harmonious with the emotions expressed. From the perspective of the structure, the first section provides an overall description of patriotic sentiment and the will to serve the country, the second section focuses on expressing patriotic sentiment, the third section focuses on describing the will to serve the country, and the final section repeats the form of the first section, creating a call and response that drives the poem to its climax. From the perspective of format and rhythm, each section consists of 5 lines, with the syllables in each line roughly even.

71. 名花倾国两相欢，长得君王带笑看。李白《清平调·其三》

71. The famous flowers and the beautiful woman together bring joy, their beauty causes the king to smile. Li Bai's "Qingping Tiao · Qisi" (The Third Song of Qingping).

72. 汉家天子镇寰瀛，塞北羌胡未罢兵。汪遵《咏昭君》

72. The Han emperor rules over the vast lands, yet the Xiongnu tribes in the north have not yet laid down their arms. Wang Zun's poem "Celebrating Zhaojun."

73. 为君既不易，为臣良独难。曹植《怨歌行》

73. It is not easy to be a ruler, nor is it particularly easy to be a loyal subject. Cao Zhi, "The Song of Complaint"

74. 愁损辞乡去国人。朱敦儒《采桑子·彭浪矶》

74. Sad and sorrowful, I leave my countrymen behind. Zhu Dunyu, "Cai Sang Zi · Peng Lang Ji"

75. 六行则短促，不事描绘；后三行又伸长，行短意紧，显示出情感的起伏，出现主词。第二节承上启下，揭示出蕴藏在中华民族灵魂中的希望之花从未消亡过，灾难虽重，理想永存，只是暂未实现。此节先短句后长句，然后主词复现，似意犹未尽，一种深深的遗憾之情便泻于笔端。第三节倾吐希望，激情昂扬，连用五组意象描绘出处于历史转折期的祖国百废待举的面貌。每一个意象有自己独特的意义，五组连用形成博喻排比，强化了亢奋热烈的情绪，表达出诗人欢欣鼓舞的情怀。第四节头两行用“十亿分之一”与“九百六十万平方”构成小与大的对比，寓意“我”是祖国的一分子，但“我”的胸中又包容着整个祖国。接着以乳房养“我”与从“我的血肉之躯上去取得”又成一对照，突出“我”同祖国的血乳关系；甚至迷惘、深思、沸腾，与富饶、荣光、自由，也是性质相反的对衬，以见出痛苦和欢欣的无限。如果前三节是写“我”与祖国的关系，第四节则是反过来写祖国和“我”的关系。句法参差正是心情激动至极的表现，在对主词的双重呼唤中结束全篇，达到最高潮。

75. The first six lines are concise and do not indulge in description; the following three lines stretch out, with shorter lines packed with meanings, showing the fluctuations of emotion and the emergence of the subject. The second section builds on the previous one, revealing that the hope flower embedded in the soul of the Chinese nation has never been extinguished. Despite the heavy disasters, ideals remain eternal, but are yet to be realized. This section starts with short sentences followed by long ones, and then the subject reappears, as if leaving an unfinished story. This evokes a deep sense of regret that spills onto the page. The third section expresses hope with enthusiasm, using five groups of imagery to describe the face of the motherland that is ready for rejuvenation during a historical turning point. Each imagery has its unique meaning, and the combination of five groups forms a rich metaphorical parallel, reinforcing the fervent and enthusiastic mood, expressing the poet's joy and encouragement. The fourth section uses the contrast of "one out of ten billion" and "9.6 million square kilometers" to represent the small and the large, symbolizing that "I" am a part of the motherland, yet "I" also contain the whole motherland within myself. The contrast continues with nurturing "me" with breasts and obtaining from "my flesh and blood," emphasizing the blood and milk relationship between "me" and the motherland; even confusion, contemplation, and fervor contrast with richness, glory, and freedom, illustrating the boundless dimensions of pain and joy. If the first three sections were about the relationship between "me" and the motherland, the fourth section reverses this, focusing on the relationship between the motherland and "me." The varied sentence structure reflects an intensely passionate mood, and the article ends with a dual call to the subject, reaching the climax.

76. 故国山川，故园心眼，还似王粲登楼。周密《一萼红·登蓬莱阁有感》

76. The mountains and rivers of the homeland, the heart's eyes of the old garden, still resemble Wang Can ascending the pagoda. Zhou Mi's "Yi E Hong · Feelings on Ascending the Penglai Pavilion."

77. 待罪居东国，泣涕常流连。曹植《怨歌行》

77. Imprisoned in the Eastern Country, tears often flow in sorrow. Cao Zhi's "Complaint Song"

78. 誓扫匈奴不顾身，五千貂锦丧胡尘。陈陶《陇西行》

78. Vows to sweep the Huns without regard for oneself, five thousand cloaked and embroidered warriors perish in the Huns' dust. — Chen Tao, "Travel to Longxi"

79. 你是昂首高吭的雄鸡-----唤醒拂晓的沉默，

79. You are the proud rooster with a loud crow——awakening the silence of dawn.

80. 秦时明月汉时关，万里长征人未还。王昌龄《出塞曲》

80. The moon is bright in the Qin Dynasty, the gate is closed in the Han Dynasty, the long march of ten thousand miles brings no return. Wang Changling's "Song of Crossing the Passes."

81. 武侯祠堂常邻近，一体君臣祭祀同。杜甫《咏怀古迹五首·其四》

81. The Wu Hou Temple is often close by, and the king and his ministers offer sacrifices together. Du Fu's "Five Poems on Ancient Sites · The Fourth."

82. 更持银盏起，为君寿。辛弃疾《感皇恩·滁州为范倅寿》

82. Raise the silver bowl once more, to toast your longevity. Xin Qiji's "Feeling the Imperial Grace · Chuzhou for Fan Cai's Birthday Celebration"

83. 山围故国绕清江，髻鬓对起。周邦彦《西河·大石金陵》

83. Mountains encircle the ancient kingdom, winding around the clear river, hairpins rise in pairs. Zhou Bangyan's "Xihe · Da Shi Jinling."

84. 象床锦帐无言语，从此谯周是老臣。温庭筠《过五丈原》

84. The embroidered canopy of the elephant bed speaks no words, from now on Qiao Zhou is an old minister. — Wen Tingyun's "Passing by the Wuzhangyuan"

85. 惜秦皇汉武，略输文采。毛泽东《沁园春·雪》

85. Regrettably, Qin Huangdi and Han Wu, though great, fell short in literary talent. - Mao Zedong, "The Snow - A Song of Chinen Spring"