在梦境的微光里，心灵共歌，正量三觉，一句点醒梦中人。

In the faint light of dreams, the soul sings together, the three perceptions are fully realized, and a single sentence awakens the dreamer.

1. ❶生活不会辜负每一个认真的人，但偶尔会打个盹儿，所以你要多努力几次，才能把它叫醒。

1. ❶Life will not let down every serious person, but it occasionally takes a nap, so you need to try harder several times to wake it up.

2. ❷善良不是选择，而是一种本能；但你的善良必须带点锋芒，否则就是对自己的残忍。

2. ❷ Kindness is not a choice, but an instinct; but your kindness must have a bit of edge to it, otherwise it is cruel to yourself.

3. ❸真正的成熟，不是看破红尘，而是历经沧桑后，依然热爱生活。

3. ❸ True maturity is not about seeing through the world, but about continuing to love life after having gone through many hardships.

4. ❹你可以不光芒万丈，但别停止自己发光，因为总有人借着你的光走出黑暗。

4. ❹ You don't have to shine brightly, but don't stop yourself from shining, because there will always be someone who will walk out of the darkness by your light.

5. ❺人生没有白走的路，每一步都算数，哪怕是绕了远路，也看到了别人没看过的风景。

5. There's no wasted path in life, every step counts, even if it's taking a longer route, as you see scenery that others haven't seen.

6. ❻不要用别人的标准衡量自己，你的价值，从来不在别人的嘴里，而在自己的心里。

6. ❻Do not measure yourself by others' standards; your value is never in the mouths of others, but in your own heart.

7. ❼世界可以浮躁，但你要保持清醒；别人可以躺平，但你要知道自己的方向。

7. The world may be turbulent, but you should remain composed; others may choose to relax and not strive, but you should know your own direction.

8. ❽真正的自由，不是想做什么就做什么，而是不想做什么的时候，有勇气说不。

8. True freedom is not doing whatever one wants, but having the courage to say no when one does not want to.

9. ❾温柔不是软弱，而是一种力量；它能治愈别人，也能保护自己。

9. Gentleness is not weakness, but a form of strength; it can heal others as well as protect oneself.

10. ❿人生最大的遗憾，不是‘我不行’，而是‘我本可以’，所以别让犹豫，偷走你的可能性。

10. The greatest regret in life is not "I can't," but "I could have," so don't let hesitation steal your possibilities.

11. ，晚唐著名诗人，汉族，字乐天，号香山居士，祖籍太原[今属山西]。到了其曾祖父时，又迁居下邽（音guī）（今陕西渭南北）。白居易的祖父白湟曾任巩县（今河南巩义）县令，与当时的新郑[属河南]县令是好友。见新郑山川秀美，民风淳朴，白湟十分喜爱，就举家迁移到新郑城西的东郭宅村（今东郭寺）。唐代宗大历七年正月二十（公元772年2月28日），白居易在东郭宅降生了。武宗会昌六年(846年)八月，卒于洛阳[属河南]履道理私第，葬香山，享年75岁。著有《白氏长庆集》七十一卷。

11. Bai Juyi, a famous poet of the late Tang Dynasty, was of Han nationality, with the character name Leyi and the title of Xiangshan Junshi (Hermit of Xiangshan). He was originally from Taiyuan (now part of Shanxi Province). By the time of his great-grandfather, they moved to Xiagui (pronounced guī) (now in Weinan North, Shaanxi Province). Bai Juyi's grandfather, Bai Nong, served as the County Magistrate of巩县 (now Gongyi, Henan Province) and was a friend with the County Magistrate of Xinzheng (then part of Henan Province). Impressed by the beautiful scenery and simple folk customs of Xinzheng, Bai Nong decided to move his family to Dongguo Zhai village in the west of Xinzheng city (now Dongguo Temple). On the 20th day of the first month of the seventh year of the Dali era of the Tang Emperor Dezong (February 28, 772 AD), Bai Juyi was born in Dongguo Zhai. In the sixth year of the Huichang era of Emperor Wuzong (August 846), he died in Lu Dilu Si (a private residence) in Luoyang (now part of Henan Province), and was buried on Xiangshan, at the age of 75. He authored the "Bai's Changqing Ji" (Collection of Bai's Longest Happiness), a total of seventy-one volumes.

12. 晚年官至太子少傅，谥号“文”，世称白傅、白文公。在文学上积极倡导新乐府运动，主张"文章合为时而著，诗歌合为事而作",写下了不少感叹时世、反映人民疾苦的诗篇，对后世颇有影响。是我国文学史上相当重要的诗人。 元和时曾任翰林学士、左赞善大夫，因得罪权贵，贬为江州司马，晚年好佛，因而人称诗佛,又自号乐居士。他一生作诗很多，以讽喻诗为最有名，语言通俗易懂，被称为“老妪能解”。叙事诗中《琵琶行》、《长恨歌》等极为有名。

12. In his later years, he held the position of the Minister of Education to the Crown Prince, with the posthumous title "Wen" (Cultured), and was known as Bai Fu (White Professor) or Bai Wen Gong (Cultured Marquis). He actively promoted the New Music Poetry Movement in literature, advocating that "prose should be written for its time and poetry for its subject," and wrote many poems expressing his sorrow for the times and reflecting the sufferings of the people, which had a significant influence on later generations. He is a quite important poet in the history of Chinese literature. During the Yuanhe era, he served as an Academician and the Left Minister of Eulogy, but was demoted to the post of Prefect of Jiangzhou due to得罪 (displeasing) the powerful. In his later years, he was fond of Buddhism, hence he was also called the "Buddhist Poet" and styled himself as the "Happy Hermit." He wrote a large number of poems in his lifetime, with satirical poems being his most famous, known for their easy-to-understand language and being said that "even an old woman can understand them." Among his narrative poems, "The Song of the Pipa" and "The Song of the Long Grudge" are particularly famous.

13. 长相思 白居易

13. The Song of Longing - Bai Juyi

14. 汴水流，泗水流，流到瓜洲古渡头。吴山点点愁。

14. The river Bian flows, the river Si flows, flowing to the ancient渡head of Guazhou. The Wu mountains are sprinkled with worry.

15. 思悠悠，恨悠悠，恨到归时方始休。明月人倚楼。

15. Thoughts wander, resentments linger, and the resentment ends only when I return. The bright moon shines as someone leans against the tower.

16. 汴水与泗水是古代淮河下游两条最大的支流，也是古代我国两道南北大动脉。如今，这两条河流已成为宿迁市的“文物”和“市宝”。瓜洲：在江苏扬州市南长江北岸。瓜洲本为江中沙洲，沙渐长，状如瓜字。吴山：在浙江杭州，春秋时为吴国南界

16. The Bian River and the Sishui River were the two largest tributaries of the lower reaches of the ancient Huaihe River, and they were also two major north-south transportation arteries in ancient China. Now, these two rivers have become the "cultural relics" and "city treasures" of Suqian City. Guazhou: Located on the north bank of the Yangtze River in the south of Yangzhou, Jiangsu Province. Guazhou was originally a sandbar in the middle of the river, which gradually grew longer and took the shape of the character "gua" (melon). Wu Mountain: Located in Hangzhou, Zhejiang Province, it was the southern boundary of the Wu Kingdom during the Spring and Autumn period.

17. 全词以月下脉脉的流水映衬，象征悠悠的离情别绪,深深的思念和由此产生的绵绵的怨恨，又频用叠字叠韵，再配上那柔和的民歌风味，更加抒发悠悠不尽的“思”和“恨”。

17. The entire word is set against the backdrop of a quietly flowing river under the moonlight, symbolizing the endless feelings of parting and longing, as well as the deep resentment that arises from it. It frequently employs alliteration and rhyming, coupled with the soft folk melody, which further expresses the endless "thoughts" and "regrets."

18. “月明人倚楼”，想象皓月当空、独自倚楼远望这样一幅画面，觉得更有意境。

18. "Moonlit night, people leaning against the tower," imagining such a scene where a bright moon shines in the sky and one leans against the tower to look far into the distance, it feels more poetic.

19. 这是一首怀人念远的抒情小词。上阕从眼前所见流水写起，并且目送远波，想象这流水将流到瓜洲渡和长江汇合，再想到吴中（江南）的山也面带愁容，实则深切怀念远在江南的情人，希望情人能从吴地归来，过瓜洲古渡，溯流北上与自己相会。下阕直接抒写情怀，因所思之人没有回来，只得在这月明之夜，独倚高楼。

19. This is a lyrical poem expressing a longing for distant love. The first section starts with the view of flowing water before the eyes, and the gaze follows the distant waves, imagining the water flowing to join the Guazhou ferry and the Yangtze River. Then it thinks of the mountains in Wu Zhong (Jiangnan) looking sad, which in fact deeply misses the beloved one far away in Jiangnan, hoping that the beloved one can return from Wu, cross the ancient Guazhou ferry, and come upstream to meet the poet. The second section directly expresses the poet's feelings, as the person missed has not returned, so the poet can only stand alone on a high building on this moonlit night.

20. 抒发悠悠不尽的“思”和“恨”。全词以月下脉脉的流水映衬，象征悠悠的离情别绪,深深的思念和由此产生的绵绵的怨恨，又频用叠字叠韵，再配上那柔和的民歌风味，因而能深深打动读者心弦。

20. It conveys an endless "thought" and "grudge." The entire word uses the silently flowing water under the moonlight as a contrast, symbolizing the endless feelings of parting and farewell, deep yearning, and the persistent resentment that arises from it. Moreover, it frequently uses repeated characters and rhymes, coupled with the soft folk song style, thus deeply touching the heartstrings of the readers.

21. <<长相思>> 陈东甫

21. <> Chen Dongfu

22. 花深深。柳阴阴。度柳穿花觅信音。君心负妾心。

22. Deep flowers. Dark willow shadows. Passing through willows and flowers in search of a message's sound. Your heart betrays my heart.

23. 怨鸣琴。恨孤衾。钿誓钗盟何处寻？当初谁料今。

23. Wailing lute, resentment fills the quilt. Where to find the adorned hairpins and the promise of alliance? Who could have guessed what would be today at the beginning?

24. 词人对弃妇抱同情之感，设身处地为其作词，难能可贵。此词纯为女子声口，明白如话，如诉如泣，故能感染人。篇幅短小，言辞简练，却淋漓尽致地展示出爱情悲剧女子痴情，故富于含蕴。

24. The poet expresses sympathy for the discarded wife and writes the poem from her perspective, which is a rare and commendable act. This poem is entirely written in the voice of a woman, clear and straightforward, like a narrative or a lament, and thus it is able to touch the hearts of readers. Despite its short length and concise wording, it fully exhibits the tragic love and the steadfast affection of the female protagonist, hence it is rich in implication.

25. 长相思 林逋

25. Longing for You - Lin Bu

26. 此词采用民歌中常见的复沓形式，以回旋往复、一唱三叹的节奏和清新优美的语言，托为一个女子声口，抒写了她因爱情生活受到破坏，被迫与心上人江边诀别的悲怀。

26. This word adopts the repetitive form commonly seen in folk songs, using a rhythm that twists and turns, with three repetitions to one, and with fresh and beautiful language, embodying the voice of a woman. It expresses her sorrow and longing as her love life is destroyed and she is forced to bid farewell to her beloved on the riverbank.

27. 长相思 晏几道

27. "Longing for You" - Yan Jidao

28. 此词纯用民歌形式，上下片均以“长相思”迭起，上片言只有相见才得终了相思之情；下片言由于不得相见，相思之情无处诉说，以浅情人不能理解自己的心情反衬自己一往而情深。

28. This word is purely in the folk song form, both the upper and lower sections begin with the repetition of "Chang Xiang Si". The upper section expresses that only by seeing each other can the longing be ended; the lower section says that because they cannot see each other, the longing has nowhere to be expressed, and it contrasts the shallow-hearted people's inability to understand one's own feelings with the deep affection of the one who is deeply in love.

29. 此词为作者词中别调，语极浅近，情极深挚，朴直中自饶婉曲之致，缠绵往复，姿态多变，回肠荡气，音节尤美。

29. This word is a unique style in the author's vocabulary, with extremely simple language and profound emotions. It is straightforward yet naturally contains a touch of elegance, with a lingering and repetitive charm, displaying a variety of postures and expressions. It twists and turns the intestines, stirring the spirit, and its rhythm is particularly beautiful.

30. 唐天宝年间，骊山北麓秦始皇陵。晁衡（日本来华友人）、李白相邀采风，搜求中华文物，与一白衣少年邂逅相逢。少年与晁衡以地震仪及日本折扇互赠。

30. During the Tang Dynasty's Tianbao era, at the northern foot of the Lishan Mountain lies the mausoleum of Emperor Qin Shi Huang. Zhao Heng, a friend from Japan visiting China, and Li Bai were invited to collect folk customs and seek Chinese cultural relics. They met by chance with a young man dressed in white. The young man exchanged gifts with Zhao Heng, a seismograph and a Japanese folding fan.

31. 三月三日，长安曲江池畔。仕子百姓沿古代风习，踏青流饮，共舞《赤白桃李花》。是日，李白、晁衡联袂游春，赋诗会友。柳青娘与晁衡会晤，出示折扇，原是秦陵相识的白衣少年。二人诗文酬和，彼此倾慕。李白即席赋《白苎辞》以为祝贺。

31. On the third day of March, at the Qujiang Pool by Chang'an. The scholars and common people followed the ancient custom, walked through the greenery and drank along the way, and danced together to the song "Chih-Pai Tao Li Hua" (Red and White Peach and Plum Blossoms). On this day, Li Bai and Akira Nagamine went sightseeing together, composing poems to meet friends. Liu Qingniang met with Akira Nagamine, showing him a folding fan, which was originally a white-clothed young man she had met at the Qin Mausoleum. The two of them exchanged poems and admired each other. Li Bai composed a poem titled "Bai Zu Ci" (Poem of White Ramie) on the spot to celebrate the occasion.

32. 数年后，长安晁衡官邸。柳青娘与晁衡缔结良缘，积极赞助丈夫研习中华文化。晁衡集入唐数十年之所学，撰《大唐胜览》百卷。七月十五日，为中、日民间怀亲祭祖的中元节。适日本第十一次遣唐使藤原清河抵长安。晁衡思乡心切，欲与藤原氏同返故国，作《思乡》诗抒其愿。

32. Years later, in Chang'an, the residence of Chao Heng. Liu Qingniang and Chao Heng were united in a good marriage, actively supporting her husband's study of Chinese culture. Chao Heng compiled what he had learned in the Tang Dynasty over several decades into a hundred-volume work, "The Splendor of Great Tang." On the 15th day of the seventh lunar month, the Ghost Festival, a day for Chinese and Japanese people to honor their ancestors and express filial piety. It happened that the eleventh Japanese envoy to the Tang Dynasty, Fujiwara Kenghe, arrived in Chang'an. Chao Heng, deeply homesick, wished to return to his homeland with the Fujiwara family, and composed a poem, "Yearning for Home," to express his desire.

33. 玄宗皇帝于大明宫以乐舞款待藤原清河大使，藤原以《扶桑扇舞》奉献。柳青娘携晁衡《思乡》诗晋见玄宗，请求恩准晁衡回国。

33. Emperor Xuanzong hosted a musical and dance reception at the Great Bright Palace for the ambassador,藤原清河 (Fujiwara Seika), who presented the dance "The Sadafu Fan Dance." Liu Qingniang brought to Emperor Xuanzong the poem "Thoughts of Homesickness" by Zhao Heng, and requested permission for Zhao Heng to return to his homeland.

34. 八月十五日，玄宗皇帝于含元殿前的丹凤楼宴会各国使节，欢送日使回国，命表演《霓裳羽衣舞》、《剑器》、《秦王破阵乐》，与各国朋友共度佳节，作诗《送日本使》予藤原，钦命晁衡为大唐奉还使，东渡日本。

34. On the 15th day of the eighth month, Emperor Xuanzong held a banquet at the Danfeng Pavilion in front of the Han yuan Hall to farewell the Japanese envoys returning to their country, ordering the performance of the dance "Rainbow Robe and Feather Dress," "Sword Dance," and "Qin King's Battle March," to celebrate the festival with friends from various countries, and composed a poem "Farewell to the Japanese Envoy" for Fujiwara. He was honored with the appointment of Zhao Heng as the envoy returning to the Tang Dynasty, and he set sail for Japan.

35. 灞水桥头，浣纱村姑和乡亲们欢送自愿去日本的工匠、农艺师。村妇依古风，舞《折杨柳》送亲人远行。晁衡赋诗《衔命还国作》并赠剑予挚友李白。柳青娘不顾航海艰险，毅然别离幼子晁英，同晁衡联袂东渡。

35. At the bridge over the灞 River, the village maiden and the villagers bid farewell to the craftsmen and agricultural experts who volunteered to go to Japan. The village women, following the ancient customs, danced the "Bend Willow" dance to send off their loved ones as they set off on their journey. Zhao Heng composed the poem "Returning to the Country on a Mission" and gave a sword to his close friend Li Bai. Liu Qingniang, disregarding the dangers of the sea voyage, resolutely left her young son Zhao Ying and embarked on the journey to the East with Zhao Heng.

36. 使船在海上骤遇风暴，中日两国水手、官兵同舟共济，患难相扶。船漂流至中南半岛，触礁沉没，又遭海匪袭击，死伤殆尽，两国难友拼死搏斗，血染滩头。

36. When the ship encountered a sudden storm at sea, the Chinese and Japanese sailors, officers, and soldiers worked together in solidarity, helping each other in times of difficulty. The ship drifted to the Indochinese Peninsula, struck a reef, sank, and was then attacked by pirates. The majority of the crew were killed or injured, but the two nations' distressed friends fought desperately, their blood staining the beach.

37. 李白得知晁衡等遇难噩耗，悲恸欲绝，作中日友好之千古绝唱《哭晁卿衡》。海岛遇险，青娘罹难，晁衡遇救生还，复归长安。八月中秋，皓月当空，晁衡怀念青娘，思恋祖国，夜不成寐，神驰奈良……晁衡振奋精神，重修散佚的《大唐胜览》，以遂交流中日文化、报效祖国的宿愿。

37. Li Bai learned about the tragic news of Zhao Heng and others, and was so heartbroken that he was on the verge of despair, writing the timeless masterpiece "Lament for Zhao Qingheng" in friendship between China and Japan. He encountered danger on an island, Qing Niang met with disaster, Zhao Heng was saved and returned to Chang'an. During the Mid-Autumn Festival in August, with the bright moon in the sky, Zhao Heng missed Qing Niang and longed for his homeland, unable to sleep at night, his thoughts flying to Nara... Zhao Heng revitalized his spirit, reconstructed the lost "Great Tang Panorama," to fulfill his long-cherished wish to promote cultural exchanges between China and Japan and to serve his country.

38. 灞水桥头，青年晁英告别老父晁衡，偕同又一代自愿东渡的和尚、工匠、技师、学生赴日，谱写中日两国人民世代友好的诗章。舞剧《长相思》涉及的三首诗送日本使唐玄宗日下非殊俗，天中嘉会朝。念余怀义远，矜尔畏途遥。涨海宽秋月，归帆駃夕飙。因惊彼君子，王化远昭昭。衔命还国作〔日本〕阿倍仲麻吕（晁衡）衔命将辞国，非才忝侍臣。天中恋明主，海外忆慈亲。伏奏违金阙，騑骖去玉津。蓬莱乡路远，若木故园林。西望怀恩日，东归感义辰。平生一宝剑，留赠结交人。哭晁卿衡

38. At the bridge over the灞水, the young Chao Ying bid farewell to his elderly father Chao Heng, and together with another generation of monks, artisans, technicians, and students who volunteered to cross the sea to Japan, they composed a poem of eternal friendship between the peoples of China and Japan. The three poems involved in the dance drama "Longing for Each Other" are: "In the eyes of the Tang Emperor, the Japanese envoy is not different from others, and at the celestial gathering in the middle of the sky. I think of your distant righteousness, and I admire your distant journey. The broad sea is bright in autumn, and the returning sails rush against the evening wind. I am startled by the noble gentleman, whose influence is far-reaching. With the mission to return to the country, Abe no Nakamaro (Chao Heng) is about to leave the country, not feeling worthy to serve as a courtier. I am loyal to the wise ruler in the middle of the sky, and I miss my kind parents overseas. I submit my petition in violation of the golden palace, and ride off to the jade spring. The road to the Penglai homeland is far, and the old garden where the Aokigahara trees grew is gone. Looking west, I think of the day of gratitude, and looking east, I feel the day of gratitude. In my life, I have one precious sword, which I leave as a gift to my friends. Weeping for Chao Qingheng.

39. 演出单位: 陕西省歌舞团

39. Performing Unit: Shaanxi Provincial Dance and Music Troupe

40. 创作者编剧：卫天西、李晓白、康正愿、吕冰。编舞导演：卫天西、张曼石、康正愿、张勇、宫定远。作曲：吕冰。打击乐设计：安志顺。舞美设计：蔡恬（布景），赵翔（服装），樊林（道具），张亚春（灯光），李金保（化妆），蔡小鹤（效果）。

40. Scriptwriters: Wei Tianxi, Li Xiaobai, Kang Zhengyuan, Lü Bing. Choreographer and Director: Wei Tianxi, Zhang Manshi, Kang Zhengyuan, Zhang Yong, Gong Dingyuan. Composer: Lü Bing. Percussion Design: An Zishun. Scenic Design: Cai Tian (set), Zhao Xiang (costumes), Fan Lin (props), Zhang Yachun (lighting), Li Jinkao (makeup), Cai Xiaohè (effects).

41. 演出者主要演员：武世民、赵长水（饰阿倍仲麻吕即晁衡A、B），胡杰、郑凯、呼延芬（饰柳青娘A、B、），任远、骆志刚（饰李白A、B），张永春（饰唐玄宗），邱枫（饰芸娘），毛飞（饰藤原清河大使），张洋（饰晁英幼年），张先（饰晁英青年）。乐队：陕西省歌舞团民乐队。伴唱：本团合唱队。领唱：杨巧、张秀珍、车凯、张东方。指挥：杨洁明。

41. Principal actors of the performance: Wu Shimin, Zhao Changshui (as Abe no Sataki, also known as Zhao Heng A, B), Hu Jie, Zheng Kai, Huyan Fen (as Liu Qingniang A, B), Ren Yuan, Luo Zhigang (as Li Bai A, B), Zhang Yongchun (as Emperor Tang Xuanzong), Qiu Feng (as Yun Niang), Mao Fei (as the Ambassador of Fujiwara no Takahira), Zhang Yang (as the young Zhao Ying), Zhang Xian (as the young Zhao Ying). Band: Shaanxi Provincial Dance and Music Troupe Folk Music Band. Accompaniment: Choir of this troupe. Lead singers: Yang Qiao, Zhang Xiu珍, Che Kai, Zhang Dongfang. Conductor: Yang Jieming.

42. 《长相思》的编导们搜集了大量的文字记载、诗歌、陶俑、石雕、壁画，考证它们的形态，模拟它们的舞姿，研究它们各个造型之间连接过渡的舞蹈方式，创作、设计符合唐代社会生活的人们表达思想感情的舞蹈形式。这是多么艰苦而有意义的艺术劳动呵！我们可以看到《秦王破阵乐》、《剑器》、《霓裳羽衣舞》、《白纻舞》。唐代著名乐舞共达十个舞段，这是何等艰巨细致的工程啊！这些舞蹈并不是孤立地存在于舞蹈的场次中，而是有机地糅合在戏剧情节和人物性格的发展之中，使我们看到八世纪的唐代社会风貌和生活脉搏的跳动。

42. The creators of the "Everlasting Love" collected a vast amount of textual records, poems, pottery figurines, stone carvings, and frescoes. They investigated their forms, simulated their dance movements, researched the dance styles for the transitions between different sculptures, and created and designed dance forms that conformed to the expression of thoughts and emotions of the people of the Tang Dynasty society. What a laborious yet meaningful artistic endeavor this is! We can see "The Qin King's Conquering Music," "Sword Dance," "The Rainbow and Silk Dance," and "Bai Zhi Dance." The famous musical and dance pieces of the Tang Dynasty amount to a total of ten dance segments, which is an arduous and meticulous project! These dances are not isolated in the dance scenes, but are organically integrated into the development of the plot and characters, allowing us to witness the social风貌 and pulse of life in the Tang Dynasty of the 8th century.

43. 《长相思》的作者，主要用唐代舞蹈的语汇、舞姿、造型、组合，适当地吸收了中国戏曲舞蹈和芭蕾舞蹈的少量技术、动作，比较成功地塑造了柳青娘这个感人的艺术形象。

43. The author of "Longing for a Face" primarily uses the vocabulary, dance movements, postures, and combinations of Tang Dynasty dance, appropriately absorbing a small amount of techniques and movements from Chinese opera dance and ballet, and has successfully created the touching artistic image of Liu Qingniang.

44. 对民族遗产的继承、改造、发展，是一个对立的统一体。首先要有对传统的“孝子”精神，尽可能完整地继承下来，但又要有勇气批判它、改造它、发展它。继承和发展都是手段，目的还是古为今用。（摘自《群众歌舞》1981年第4期）

44. The inheritance, transformation, and development of the national heritage form a contradictory unity. First, there must be the traditional "filial piety" spirit, inheriting it as completely as possible, but also having the courage to criticize, transform, and develop it. Both inheritance and development are means, with the ultimate goal of utilizing the ancient for the modern. (Excerpted from "Mass Songs and Dances" Issue 4, 1981)

45. 长相思 李白

45. "Longing for You" - Li Bai

46. 络纬秋啼金井阑， 微霜凄凄簟色寒。

46. The gossamer threads in autumn moan by the golden well rail, the thin frost makes the bamboo mat cold and melancholic.

47. 孤灯不明思欲绝， 卷帷望月空长叹。

47. The lone lamp dimly flickers, my longing thoughts cannot be contained; Unfurling the curtain, I gaze at the moon and sigh longingly.

48. 上有青冥之长天， 下有渌水之波澜。

48. Above, there is the vast, azure sky; below, there are the undulating waves of the clear water.

49. 天长路远魂飞苦， 梦魂不到关山难。

49. The road is long and the journey is far, the soul flies in distress; dreams and spirits cannot reach the pass, the mountains and rivers stand in the way.

50. 李白七言歌行往往逞足笔力，写得豪迈奔放，但他也有一些诗篇能在豪放飘逸的同时兼有含蓄的思致。象这首《长相思》，大约是他离开长安后于沉思中回忆过往情绪之作，就显然属于这样的作品。

50. Li Bai's seven-character gexing (a type of poem) often fully demonstrates his writing strength, with a style that is bold and unrestrained. However, he also has some poems that, while bold and flowing, also possess a reserved depth of thought. This poem "Chang Xiang Si" (Longing for You), for instance, is likely a piece he composed in contemplation of past emotions after leaving Chang'an, and it clearly belongs to such works.

51. “长相思”本汉代诗中语（如《古诗》：“客从远方来，遗我一书札。上言长相思，下言久离别”），六朝诗人多以名篇（如陈后主、徐陵、江总等均有作），并以“长相思”发端，属乐府《杂曲歌辞》。现存歌辞多写思妇之怨。李白此诗即拟其格而别有寄寓。

51. "Chang Xiang Si" is a phrase from Han Dynasty poetry (such as the "Ancient Poems": "A guest comes from afar, leaving me a letter. The upper part speaks of eternal love, and the lower part speaks of long separation"), and many poets from the Six Dynasties used it in their famous works (such as Chen Houzhu, Xu Ling, Jiang Zong, etc., all had their works with this title). It starts with "Chang Xiang Si" and belongs to the "Miscellaneous Songs" of the Music Bureau. The existing songs mostly depict the grievances of women who miss their husbands. Li Bai's poem here imitates its style but has a different meaning.

52. 赵瑟：相传古代赵国的人善弹瑟。瑟：弦乐器。

52. Zhao Se: It is said that the people of the ancient state of Zhao were skilled at playing the se. Se: a string instrument.

53. 琦注云：“蜀中桐木宜为乐器，故曰蜀桐。”蜀桐实即蜀琴。似古人诗中常以蜀

53. Qi writes: "The Paulownia wood from Sichuan is suitable for making musical instruments, hence the term 'Shu Paulownia'." The so-called "Shu Paulownia" is actually the Shu zither. It seems that ancient poets often used "Shu" to refer to the Sichuan region.

54. 琴喻佳琴，恐与司马相如、卓文君事无关。鸳鸯弦也只是为了强对凤凰柱。

54. The metaphor of the lute to Jiaqin, may not be related to the story of Sima Xiangru and Zhuo Wenjun. The鸳鸯 strings are only used to match the Fenghuang pillar.

55. 其二，以春花春风起兴，写女思男。望月怀思，抚琴寄情，忆君怀君，悱恻缠

55. Secondly, inspired by the spring flowers and the spring breeze, the text describes a woman's longing for a man. Gazing at the moon, she cherishes her thoughts; playing the guqin, she expresses her emotions; she constantly remembers you and yearns for you, feeling pained and entangled.

56. 这两首诗，在李太白诗集中，一收卷三，一收卷六。所写时地迥异，格调也

56. These two poems are found in volumes three and six of the Li Bai poetry collection, respectively. The time and place depicted in them are vastly different, as is the style and tone.

57. 截然不同，实为风马牛不相及。但蘅塘退士辑为先后，看起来似乎是一对男女，天各

57. Totally different, they are as unrelated as wind and horses. But the editor of Hengtang Retuisi arranged them in order, which seems to be a pair of a man and a woman, separated by heaven and earth.

58. 长相思·雨 万俟咏

58. The Song of Longing: Rain - Wan Qiuyong

59. 1一更更: 一遍遍报时的更鼓声

59. 1 yī gèng yī gèng: Yī biàn biàn bào shí de gēng gǔ shēng. Translation: 59.1 A gong for every beat: The sound of the gong signaling the time, beat by beat.

60. 2道: 知

60. 2. Know

61. 3阶: 台阶

61. 3rd level: Steps

62. 这首小令抒写孤客听雨愁思。上片着重渲染雨夜的孤寂气氛；下片直抒愁怀。通篇写雨而不出“雨”字。

62. This short song expresses the melancholic thoughts of a lonely traveler listening to the rain. The upper part focuses on depicting the desolate atmosphere of a rainy night; the lower part directly expresses the sorrow. Throughout the song, the word "rain" is not used at all.

63. 长相思 纳兰性德

63. The Song of Longing - Nalan Xingde

64. 山一程，水一程，身向榆关那畔行，夜深千帐灯。 风一更，雪一更，聒碎乡心梦不成，故园无此声。

64. A journey over a mountain, a journey over a river, I walk towards the Yuguan Pass on the other side. At midnight, thousands of tents are lit up. With every wind, with every snow, the sound breaks the dream of the hometown, and there is no such sound in the ancestral home.

65. 走过一条山路，走过一条水路，正向榆关那边走去。夜深了，人们在帐篷里点灯。晚上又刮风又下雪，

65. Having walked through a mountain path and a waterway, we are now heading towards Yu Guan. It's late at night, and people are lighting lamps inside their tents. It's windy and snowing at night.

66. 声音嘈杂打碎了我思乡的梦，家乡没有这样的声音。

66. The loud noise shattered my dream of longing for home; there is no such noise in my hometown.

67. ，字容若，满族正黄旗人。本词写于康熙二十一（

67. , style Rongruo, Manchu of the Zheng Huang Banner. This poem was written in the 21st year of Emperor Kangxi.

68. “山一程，水一程”仿佛是亲人送了我一程又一程，山上水边都有亲人送别的身影。“身向榆关（这里

68. "A mountain journey, a river journey" seems like my relatives have been accompanying me step by step. The身影 of my relatives bidding farewell are seen both on the mountains and by the rivers. "My body turns towards Yu Guan (here"

69. 借指山海关）那畔行”是使命在身行色匆匆。“夜深千丈灯”则是康熙帝一行人马夜晚宿营，众多帐篷

69. "By the Shanhai Pass" refers to "that side of the journey," which indicates that the mission at hand is urgent and there is a sense of haste. "In the deep of the night, the lanterns are thousands" describes the scene where Emperor Kangxi and his entourage camped at night, with numerous tents.