在浩瀚的宇宙中，存在着一种超越自然法则的哲学思考——超自然，无牵无挂。它引领我们探索生活的奥秘，揭开世界的另一面纱。今天，就让我们一同踏上这场探寻之旅，揭开超自然生活的神秘面纱。

In the vast universe, there exists a philosophical thinking that transcends natural laws – the supernatural, unburdened. It leads us to explore the mysteries of life and unveil another layer of the world. Today, let us embark on this journey of discovery together, to unveil the mysterious veil of supernatural life.

1. 元的统治者对读书人实行民族歧视政策，直到元仁宗延佑二年（公元1315年）才正式实行科举取士制度，况且这种制度也是不公平的，这就造成下层读书人在很大程度上对元统治者失去信心，对社会缺少责任感，所以同时期其他作家怀古作品都深刻地打上时代地烙印：他们或感伤古王朝之覆，发一通思古之幽情；或感叹古今之巨变，流露对世事人生把握不定之惶恐；或有感于岁月流逝，抒发个人沉沦不遇之忧情。惟有《潼关怀古》洋溢着沉重的沧桑感和时代感。

1. The rulers of the Yuan Dynasty implemented a policy of ethnic discrimination against scholars until the second year of Emperor Renzong's reign in the Yuan Dynasty (AD 1315) when the official imperial examination system for selecting officials was formally established. Moreover, this system was also unfair, which caused the lower-class scholars to lose confidence in the Yuan rulers to a great extent and to lack a sense of social responsibility. Therefore, the works of other contemporaneous writers that yearn for the past were deeply marked by the era: some mourned the fall of ancient dynasties and expressed a melancholic longing for the past; some sighed at the great changes between ancient and modern times, revealing their anxiety about not being able to grasp the world and life; and some felt the passage of time, expressing their personal worries about being lost and not finding their place. Only "Recollection of the Ancient Times at Tongguan" is filled with a heavy sense of vicissitude and the feeling of the times.

2. 人与人之间没有永远的朋友，也没有永远的敌人，只有永远的利益。当你可以给别人提供价值，别人才会伸手拉你一把，当你自身没有价值，或者别人不需要你的价值，没人愿意在你身上浪费时间和精力。

2. There are no permanent friends or enemies between people; there is only permanent interest. When you can provide value to others, they will reach out to help you; when you have no value to offer, or when others do not need your value, no one is willing to waste time and energy on you.

3. 可能你很渺小，很孤独，很无力，没有任何能量改变生活的现状，但也只能独立自主，自力更生，没有人会无缘无故地帮助你，生命就是一条孤独的河流，只有自己才是人生的摆渡人。

3. Perhaps you may feel small, lonely, and powerless, with no energy to change the current state of your life, but you can only rely on yourself and be self-reliant. No one will help you out of the blue. Life is a solitary river, and only you can be the ferryman of your own life.

4. 《潼关怀古》中对历史的概括，显指元代现实生活：怀古实乃伤今，沉重实乃责任。这种复杂的感情要结合作家的生平经历才能理解。张养浩自幼才学过人，曾向平章不忽木献书，被提拔，后任堂邑县尹、监察御史等职，因评时政，得罪当权者被罢官，为避祸不得不隐姓埋名；后被召起，官至礼部尚书。50岁时辞官归隐于济南云庄，关中旱灾时被重新任命，赶赴陕西救赈灾民。多年的宦海沉浮，让他把功名富贵都参破，不再在意统治者对自己的评判；济南云庄的归隐生活，不仅让他欣赏礼赞自然的风光，更让他体察民生只艰辛；尊奉孟子民本之思想，让他深深懂得民生之重要；刚正不阿、仗义执言的性格，让他有勇气面对现实说出心中真实的想法。元代百姓生活之苦被作家以怀古的形式表现出来。这种忧民之心使他“到官四月，倾囊以赈灾民，每抚膺痛哭，遂得病不起。”这是一个有良知的读书人真实的本性和真实的生活，也是当时社会所难得一见的。

4. The summary of history in "Tong Huaai Gu" subtly points to the realistic life of the Yuan Dynasty: nostalgia is actually a pain for the present, and solemnity is actually responsibility. This complex sentiment can only be understood by combining the author's life experience. Zhang Yanghao was exceptionally talented from a young age, once presented a book to the Prince of Ping'an Bu Humu and was promoted, later serving as the magistrate of Tangyi County, the censor-in-chief, and other positions. Because of his criticism of the government, he offended the authorities and was dismissed from office, having to go into hiding to avoid trouble. Later, he was recalled and served as the Minister of Rites. At the age of 50, he resigned and retreated to the Yun Zhuang in Jinan, and was reappointed during the drought in central Shaanxi, rushing to Shaanxi to assist the victims of the disaster. Years of ups and downs in the world of officials allowed him to see through fame and wealth, no longer caring about the rulers' judgments of himself. The life of retreat in the Yun Zhuang of Jinan not only allowed him to appreciate and praise the beauty of nature, but also made him deeply aware of the hardships of the people. Adhering to Mencius' philosophy of the people as the foundation of the state, he deeply understood the importance of the people's livelihood. His upright and just character, speaking out for justice, gave him the courage to face reality and express his true thoughts. The hardships of the people in the Yuan Dynasty were expressed by the author through the form of nostalgia. This concern for the people led him to "for four months in office, he emptied his purse to assist the disaster-stricken people, and would beat his chest and cry in pain, eventually falling ill and not being able to get up." This is the true nature and true life of a man of virtue, and something rarely seen in that society.

5. <<酬乐天扬州出风席上见赠>>

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6. 他的堂弟坚贞自守，不因外力压迫而改变本性。 ②亭亭：高貌。 ③瑟瑟：

6. His cousin remained steadfast and unyielding, not changing his nature due to external pressure. ② "Tingting" refers to a tall appearance. ③ "Sesese" refers to a rustling sound, possibly indicating the movement of leaves or grass.

7. 我对客人说：“你也知道那水和月的道理吗？水象这样不断流去，但它实际上不曾流去；月亮时圆缺，但它终于没有消损和增长。原来，要是从那变化的方面去看它，那么天地间的万事万物，连一眨眼的时间都不曾保持过原状；从容不那不变的方面去看它，那么事物和我们本身都没有穷尽，我们又羡慕什么呢？再说那天地之间，万物各有主宰者，如果不是我应有的东西，虽说是一丝一毫也不拿取。只有江上的清风，与山间的明月，耳朵听它，听到的便是声音，眼睛看它，看到的便是色彩，得到它没有人禁止，享用它没有竭尽，这是大自然的无穷宝藏，是我和你可以共同享受的。”

7. I said to the guest, "Don't you also know the principles of water and the moon? Water flows continuously like this, but in reality, it has never flowed away; the moon alternates between full and new, yet it never diminishes or grows. In fact, if one observes it from the aspect of change, then all things in the universe, not even for a blink of an eye, have ever remained unchanged. From the perspective of the unchanging, neither things nor ourselves have an end. What do we have to envy? Moreover, between heaven and earth, everything has its own master. Even if it is not something that belongs to me, I wouldn't take even the slightest bit of it. Only the breeze over the river and the bright moon in the mountains, when listened to, produce sound, when seen, produce color. No one forbids us to enjoy it, and it never runs out. This is the endless treasure of nature, something that you and I can enjoy together."

8. 全词运用形象的描绘和浪漫主义的想象，紧紧围绕中秋之月展开描写、抒情和议论，从天上与人间、月与人、空间与时间这些相联系的范畴进行思考，把自己对兄弟的感情，升华到探索人生乐观与不幸的哲理高度，表达了作者乐观旷达的人生态度和对生活的美好祝愿、无限热爱。

8. Utilizing vivid imagery and romantic imagination, the text centers on the Mid-Autumn Festival moon, engaging in descriptive, emotional, and argumentative writing. It reflects on interconnected categories such as heaven and earth, moon and people, space and time. It elevates the author's feelings towards his brothers to the philosophical heights of exploring the optimism and misfortunes of life, expressing the author's optimistic and broadminded attitude towards life, as well as his beautiful wishes and boundless love for it.

9. 对“千帆”和“万木”的理解，我以为卞氏所言更为有理，我们可以联系刘的另外两首诗来看看。

9. Regarding the understanding of "thousand sails" and "ten thousand trees," I believe that what Mr. Bian said is more reasonable. We can refer to two other poems by Liu to see.

10. 戴建业老师说:“50岁之后，我基本上就不怎么痛苦了，尤其是我太太死了以后，忽然认识到人都是要死的，那又有什么放不下的呢。

Professor Dai Jianye said: "After the age of 50, I have basically stopped feeling much pain, especially after my wife passed away. Suddenly, I realized that everyone has to die, so what is there to be unable to let go of?"

11. ，刘禹锡参加王叔文政治革新失败后，被贬为朗州司马，到元和十年(

11. After Liu Yuxi's participation in the political reform led by Wang Shuwen failed, he was demoted to the position of Secretary-General of Lang Prefecture, and arrived there in the 10th year of the Yuanhe era (______).

12. 赏析要点：诗人希望堂弟能向松柏那样坚贞自守，不因外力的压迫而改变本性，也有自况自勉的含义。诗人不是孤立地咏物写松，而是把松柏放在恶劣的环境中来刻画，突出了它与作为对立面的狂风、冰雹的搏斗，可谓是通过典型环境来刻画典型性格，使松柏的形象以胜利者的姿态傲然挺立在高山之巅，显示出一种激励人心和斗志的崇高美、悲壮美。人是环境的产物，也会受到各种环境因素的挫折、考验。诗人告诉我们，必须像松柏那样永远保持坚贞自强的个性，才不愧为一个顶天立地的人。

12. Analysis Key Points: The poet hopes that his son can be as steadfast and loyal as pine and cypress, not changing their nature due to external pressure, and this also contains the meaning of self-praise and self-encouragement. The poet does not write about pine trees in isolation but places them in a harsh environment to depict them, highlighting their struggle against the raging winds and hailstones as the opposing forces. This can be said to be depicting a typical character through a typical environment, with the image of pine and cypress standing proudly on the peak of high mountains as victors, displaying a sublime and heroic beauty that inspires and strengthens the spirit. Humans are the product of their environment and are also subject to setbacks and tests from various environmental factors. The poet tells us that one must maintain a steadfast and strong personality like pine and cypress forever, only then can one be worthy of being a dignified and upright person.

13. ？－ 217，字公干，东平（今山东省东平县）人，刘诗风格劲挺，不重雕饰。

13. question mark - 217, styled as Gonggan, from Dongping (now Dongping County, Shandong Province), Liu Shi's style is strong and upright, not emphasizing embellishment.

14. 对于《酬乐天扬州初逢席上见赠》之“沉舟侧畔千帆过，病树前头万木春”一联，人教版《教师教学用书》中的“课文评点”说：“颈联……以‘沉舟’‘病树’作为反衬，描绘出千帆竞发、万木争春的富于生机的景象，表现了诗人对仕宦升沉、世事变迁的豁达襟怀。”

14. Regarding the couplet "Beside the sinking boat, thousands of sails pass by; in front of the sickly tree, ten thousand trees bloom in spring" from "Recompense Le for His Gift at the Gathering in Yangzhou," the "Text Analysis" in the People's Education Edition of the "Teacher's Teaching Book" states: "The middle couplet...uses 'sinking boat' and 'sickly tree' as contrasts, depicting a scene rich in vitality with thousands of sails racing and ten thousand trees competing to bloom in spring, which reflects the poet's tolerant and open-minded attitude towards the rise and fall of officialdom and the changes of the world."

15. 苏子曰：“客亦知夫水与月乎？逝者如斯，而未尝往也；盈虚者如彼，而卒莫消长也。盖将自其变者而观之，则天地曾不能以一瞬；自其不变者而观之，则物与我皆无尽也，而又何羡乎？且夫天地之间，物各有主，苟非吾之所有，虽一毫而莫取，惟江上之情风，与山间之明月，耳得之而为声，目遇之而成色；取之无禁，用之不竭。是造物者之无尽藏也，而吾与子之所共适。”

15. Su Zi said: "Do you also know about water and the moon, my guest? The passing of time is like this, yet it never truly goes away; the filling and emptying are like that, yet in the end, nothing diminishes or grows. If one observes from the perspective of change, then the heavens and the earth cannot exist for even a moment; if one observes from the perspective of the unchanging, then both things and I are endless, and why should one envy? Moreover, between heaven and earth, each thing has its own owner. If it is not mine, I would not take even a single hair, only the gentle breeze over the river and the bright moon in the mountains, which the ears receive as sound, and the eyes perceive as color; they can be taken without restriction, and used without exhaustion. This is the boundless treasure of the creator, which we both can enjoy."

16. ，南宋爱国诗人。字履善，又字宋瑞，号文山，庐陵（今江西省吉安市）人。南宋末，全力抗敌，兵败被俘，始终不屈于元人的威逼利诱，最后从容就义。他后期的诗作主要记述了抗击元兵的艰难历程，表现了坚贞的民族气节，慷慨悲壮，感人至深。

16. Lu You, a patriotic poet of the Southern Song Dynasty. His courtesy name was Lü Shàn, also known as Song Rui, and his pen name was Wen Shan, from Luling (now in Jining City, Jiangxi Province). At the end of the Southern Song Dynasty, he devoted himself to resisting the enemy and was defeated and captured. Throughout his captivity, he never submitted to the coercion and temptation of the Yuan people. In the end, he faced death with composure. His later poems mainly described the arduous journey of resisting the Yuan army, showcasing his loyal and firm national spirit, which were full of generosity, sorrow, and deeply touching.

17. 因为只是旅行，我们不必在乎任何事，开开心心的，高高兴兴的，无忧无虑的，潇潇洒洒的，才是旅行的意义所在。

17. Because it's just a trip, we don't have to worry about anything. Being happy, joyful, carefree, and carefree is where the essence of traveling lies.

18. 人生就是一次孤独的旅行。

18. Life is a solitary journey.

19. 鉴赏提示：以昂然挺立于风雪中松柏形象隐喻坚贞不屈的人格美。写作手法全用比兴，咏物写怀，立意高远，构思巧妙，用语自然，用意得体。

19. Appreciation Tips: The image of pines and cypresses standing proudly in the wind and snow metaphorically represents the beauty of an unyielding and steadfast character. The writing technique is entirely based on metaphor and allusion, writing about objects to express emotions, with a profound theme, ingenious conception, natural language, and appropriate intentions.

20. 这首脍炙人口的中秋词，作于宋神宗熙宁九年（

20. This popular Mid-Autumn poem was written in the ninth year of Xining reign of Emperor Shenzong of the Song Dynasty.

21. 张养浩特殊的仕途经历，决定了他的怀古散曲中有一种参破功名富贵的思想，《骊山怀古》中写到“赢，都做了土；输，都做了土。” 《洛阳怀古》中写到“功，也不长；名，也不长。” 《北邙山怀古》中写到“便是君，也唤不应；便是臣，也唤不应。”这些曲中张养浩把胜负之数、功名之分、生死之际，看成了毫无差别的，只是借古人古事述说富贵无常、人生如梦。只有《潼关怀古》以难得的沉重，以深邃的目光，揭示了封建社会里一条颠扑不破的真理“兴，百姓苦；亡，百姓苦。”

21. Zhang Yanghao's unique political career experiences determined that his ancient-style ballads contain an idea of seeing through the pursuit of fame and wealth. In "Reflections on the Lishan Ancient Site," it is written, "The winner, all turned to dust; the loser, all turned to dust." In "Reflections on the Luoyang Ancient Site," it is written, "Fame does not last long; achievements do not last long." In "Reflections on the Beimang Mountain Ancient Site," it is written, "Even the king cannot be called; even the minister cannot be called." In these ballads, Zhang Yanghao treats the numbers of victory and defeat, the division of fame and achievement, and the moment of life and death as completely indistinguishable, merely using ancient stories and events to describe the impermanence of wealth and the dreamlike nature of life. Only in "Reflections on the Tonghua Ancient Site" does he reveal, with a rare gravity and a profound gaze, an unbreakable truth in the feudal society: "Prosperity brings suffering to the people; decline brings suffering to the people."

22. 以进士第一名及第。③干戈寥落：寥落意为冷清，稀稀落落。在此指宋元间的战事已经接近尾声。南宋亡于本年（

22. Passed the imperial examination as the first-place candidate. ③Dry and sparse: "Sparse" means desolate and scattered. Here it refers to the fact that the wars between the Song and Yuan dynasties were nearing their end. The Southern Song Dynasty fell this year (

23. 客人高兴地笑了，洗净酒杯重新斟酒。菜肴果品都已吃完，杯子盘子杂乱一片。大家互相枕着靠着睡在船上，不知不觉东方已经露出白色的曙光。

23. The guests happily laughed, washed the wine cups and refilled them. The dishes and fruits had been eaten, leaving a chaotic mess of cups and plates. They slept on the boat, leaning against each other, not realizing that the eastern sky had begun to show the white glow of dawn.

24. 苏子愀然，正襟危坐，而问客曰：“何为其然也？”客曰：“‘月明星稀，乌鹊南飞’，此非曹孟德之诗乎？西望夏口，东望武昌，山川相缪，郁乎苍苍，此非孟德之困于周郎者乎？方其破荆州，下江陵，顺流而东也，舳舻千里，旌旗蔽空，酾酒临江，横槊赋诗，固一世之雄也，而今安在哉？况吾与子渔樵于江渚之上，侣鱼虾而友麋鹿，驾一叶之扁舟，举匏樽以相属。寄蜉蝣于天地，渺沧海之一粟，哀吾生之须臾，羡长江之无穷。挟飞仙以遨游，抱明月而长终。知不可乎骤得，托遗响于悲风。”

24. Su Zi looked serious and sat up straight, and asked the guest, "Why is it like this?" The guest replied, " 'The moon is bright and the stars are sparse, crows and magpies fly south,' isn't this the poem of Cao Cao? Looking west to the mouth of the Xiang River, looking east to Wuchang, the mountains and rivers intertwine, dense and lush, isn't this where Cao Cao was trapped by Zhou Yu? When he captured Jingzhou, descended upon Jiangling, and sailed eastward along the river, his fleet stretched for thousands of miles, banners covering the sky, he would drink wine by the river, wield his spear and compose poetry, indeed a hero of his time. But where is he now? Moreover, I and you fish and chop wood on the riverbank, live with fish and shrimps, befriend deer and deer, sail in a small boat, raise the gourd cup to toast each other. We are like a mayfly in the vast universe, a grain of sand in the boundless sea, mourning the fleeting moments of our lives, envying the endlessness of the Yangtze River. We wish to ride on the wings of immortals to roam freely, hold the bright moon in our arms to live forever. Knowing that it is impossible to achieve this suddenly, we entrust our melancholic echoes to the wailing wind."

25. 在这个世界上，不管你多么牛，多么厉害，多么了不起，最后都会变成粪土，先变成粪，再变成土，淹没于历史的风沙之中，一点痕迹都没有。

25. In this world, no matter how great, formidable, or remarkable you may be, in the end, you will all turn to dung and then to earth, buried in the sands of history, leaving not a trace behind.

26. 有人曾认为《前赤壁赋》把黄州赤壁当作孙曹交兵之处是苏轼“用事疏舛”，这并不十分准确。苏轼所游之赤壁并非历史上发生大战的真正的赤壁；而苏轼文章之重心也不在周瑜破曹之壮举，他无非是借事写文，抒发他的心怀以求解脱罢了。

26. Some people have believed that the "Qian Chibi Fu" (The Former Preface to the Red Cliffs) treats the Chibi at Huangzhou as the battlefield where Sun Quan and Cao Cao fought, which they considered Su Shi's "use of inappropriate allusions." This is not entirely accurate. The Chibi that Su Shi visited was not the real Chibi where the historic battle took place; and the focus of Su Shi's article was not on Zhou Yu's heroic feat of defeating Cao Cao. He merely used the incident to write his article, expressing his inner feelings and seeking relief in the process.

27. 我们在乎的，不在乎的，纠结的，不纠结的，求不得的，放不下的，万般千种，形形色色，最后都要消失的，人生就是一次体验而已，不必有任何执念，更不要心怀畏惧，以自己喜欢的方式度过一生。

27. We care about, don't care about, worry about, not worry about, can't get, can't let go of, a myriad of things, all sorts and kinds, which will eventually fade away. Life is just an experience, and there is no need for any attachment. Moreover, don't be afraid in your heart, and live your life in the way you like.

28. 细细品味，“万木”“千帆”“千树桃”的比喻，对象是一致的。只是在两首“桃”诗中作者多了些轻蔑和嘲笑，而在白乐天这位老朋友面前，诗人则敞开肺腑，多了些愤激和沉郁。当然。刘禹锡始终是傲岸的、豪放的、坚忍不拔的，这在第四联“今日听君歌一曲，暂凭杯酒长精神”上可以看出来。

28. Upon careful appreciation, the metaphors of "ten thousand trees," "thousand sails," and "thousand peach trees" all refer to the same object. The difference lies in the two poems about peaches, where the author exhibits more sarcasm and mockery. In front of the old friend Bai Lao Tian, the poet, however, opens up his heart, showing more indignation and melancholy. Of course, Liu Yuxi has always been proud, unrestrained, and indomitable, which can be seen in the fourth couplet, "Today, I listen to your song for one verse, temporarily relying on the cup of wine to enhance my spirit."

29. 壬戌年秋天，七月十六日，我和客人荡着船儿，在赤壁下游玩。清风缓缓吹来，水面波浪不兴。举起酒杯，劝客人同饮，朗颂《月出》诗，吟唱“窈窕”一章。一会儿，月亮从东边山上升起，徘徊在斗宿、牛宿之间。白蒙蒙的雾气笼罩江面，水光一片，与天相连。任凭水船儿自由漂流，浮动在那茫茫无边的江面上。江在旷远啊，船儿象凌空驾风而行，不知道将停留到什么地方；飘飘然，又象脱离尘世，无牵无挂，变成飞升仙果的神仙。

29. In the autumn of the year of the Dog, on the sixteenth day of the seventh month, I was boating with guests along the lower reaches of the Red Cliffs. The gentle breeze blew, and the waves on the water were calm. I raised my cup of wine, urging the guests to join in the drink, and recited the poem "The Moon Rises," singing the chapter "Yao Qiao." Soon, the moon rose from the eastern mountains, hovering between the stars Dou and Ni. A white, misty fog enveloped the river surface, the water glistened, connecting with the sky. The water boat drifted freely, floating on the boundless expanse of the river. The river was vast, and the boat seemed to glide through the air, driven by the wind, not knowing where it would come to rest. Floating lightly, it also felt like a departure from the mundane world, unburdened, becoming a god ascending to heaven.

30. 客喜而笑，洗盏更酌。肴核既尽，杯盘狼藉。相与枕藉乎舟中，不知东方之既白。

30. The guests smiled with joy and cleaned the cups for another round. When the dishes were all finished, the table was left in a chaotic mess of cups and plates. They lay down together on the boat, not realizing that the eastern sky had already turned light.

31. ①零丁洋：在今广东中山南的珠江口。文天祥于宋末帝赵昺祥兴元年（

31. ①Lingdingyang: At the mouth of the Pearl River, south of Zhongshan, Guangdong today. Wen Tianxiang wrote this during the first year of Xiangxing of the last Emperor Zhao Bing of the Song Dynasty.

32. 你在意什么，就会被什么所束缚，你计较什么，就会被什么所捆绑，你纠结什么，就会被什么所限制。没心没肺，活着不累，学会放下，不把任何事当事，才能解放自己的内心。

32. What you care about will bind you, what you count will tie you, and what you are纠结 about will limit you. To live without a care is not tiring. Learn to let go, don't take anything too seriously, and you can liberate your inner self.

33. ，诗人才被召回长安任职。诗人《再游玄都观》云：“百亩庭中半是苔，桃花净尽菜花开。种桃道士归何处前度刘郎今又来。”有意重提旧事，向打击他的权贵挑战。诗人仍用此法，表面上写玄都观中桃花之盛衰存亡和世事难料的感慨，实则仍以桃花比新贵，种桃道士则指当时打击革新运动的当权者。这些人，经过20多年，有的死了，有的失势了，因而被他们提拔起来的新贵也就跟着改变了他们原有的煊赫声势，让位于另外一些人，正如“桃花净尽菜花开”一样，而桃花之所以净尽，正是“种桃道士归何处”的结果。而这时，“我”这个被排挤的人，却又回来了。对于扼杀那次政治革新的政敌，诗人再次投以轻蔑的嘲笑。(见沈祖语)

33. It was not until later that the poet was recalled to serve in Chang'an. In his poem "A Second Visit to Yuandu Temple," the poet wrote: "Half of the courtyard is covered with moss, peaches are gone, and cauliflower blooms. Where have the peach-growing immortals gone? The previous Liu Lang has come again." This intentional reminder of past events was a challenge to the powerful figures who had suppressed him. The poet still used this method, seemingly writing about the rise and fall of peach blossoms in Yuandu Temple and the unpredictable nature of worldly affairs, but in fact comparing the peach blossoms to the new nobility, and the peach-growing immortals to the powerful figures who suppressed the reform movement of the time. After more than 20 years, some of these people had died, and some had lost power, and thus the new nobility they had promoted also lost their former grandeur and gave way to others, just as "when the peaches are gone, cauliflower blooms." The reason why the peaches are gone is precisely because "where have the peach-growing immortals gone." At this time, "I," the person who had been excluded, returned once more. For the political rivals who had suppressed that political reform, the poet once again directed his disdainful and mocking laughter at them. (See Shen Zuyu)

34. ＜＜山坡羊 潼关怀古＞＞

34. << The Shepherd's Song: Reflections on Tóngguāi <<

35. 写出了松柏的凛然正气，成功地通过咏松柏来表现自已对高风亮节的赞美和

35. Expresses the dignified and majestic spirit of pines and cypresses, successfully using the ode to pines and cypresses to convey admiration for high moral standards and noble character.

36. 曹丕曾称赞他的五言诗“妙绝时人”，但作品流传很少，仅存十五首。

36. Cao Pi once praised his five-character poems as "excellent beyond his contemporaries," but the works are very rare, with only fifteen surviving.

37. 那一天，京城的达官显贵，都在为了自己的功名利禄而奔忙不迭，徐霞客一个人爬到黄山的绝顶，听了一整夜的大雪融化声。

37. On that day, the officials and dignitaries in the capital city were busy pursuing their own wealth and fame, while Xu Xiake climbed alone to the peak of Mount Huangshan, listening to the sound of snow melting all night long.

38. 从作品内容、作家其他怀古作品、同时期其他作家怀古作品三个层面上看，《潼关怀古》都表现为 一份难得的沉重。

38. From three perspectives: the content of the work, the writer's other nostalgic works, and the nostalgic works of other contemporary writers, "Tong Huaai Gu" (The Ancient Scenes at Tong River) presents itself as a rare heavy and profound piece.

39. 如果一件事情没有做好，那就算了，没有必要折磨自己的内心，下次注意一点，如果下次又没有做好，那就说明你不适合做这一类事情，不用太介意！人生除了生死，没有一件大不了的事，站在更广阔的宇宙时空来看，生死也不是什么大不了的事，生有何欢，死有何苦，顺其自然，听天由命，如此而已。

39. If something is not done well, just let it go. There is no need to torture your own mind. Pay more attention next time. If you still do not do well the next time, it may mean you are not suited for such tasks. Don't worry too much about it! In life, aside from life and death, there is nothing that is really a big deal. From a broader perspective of the universe and time-space, life and death are also not big deals. What joy is there in living, and what suffering in dying? Just go with the flow, let fate decide, and that's all.

40. 工作没了，可以再找。爱人跑了，可以再追。钱财丢了，可以再挣。职务被罢免了，可以不要。机会错过了，可以不争。关系破裂了，可以不管。别人看不起你了，可以忽略。

40. If you lose your job, you can find another one. If your loved one leaves, you can pursue them again. If you lose money, you can earn more. If you are dismissed from your position, you can let it go. If you miss an opportunity, you can choose not to compete for it. If relationships break, you can ignore them. If others look down on you, you can choose to ignore them as well.

41. 壬戌之秋，七月既望，苏子与客泛舟游于赤壁之下。清风徐来，水波不兴。举酒属客，诵明月之诗，歌窈窕之章。少焉，月出于东山之上，徘徊于斗牛之间。白露横江，水光接天。纵一苇之所知，凌万顷之茫然。浩浩乎如冯虚御风，而不知其所止；飘飘乎如遗世独立，羽化而登仙。

41. In the autumn of the year of the Dog, on the 15th day of the seventh month, Su Zi and his guest sailed a boat under the Red Cliffs. The breeze came gently, and the water waves did not stir. They raised their cups to each other, recited poems about the bright moon, and sang the verses of elegance. Soon, the moon rose above the eastern mountains, hovering between the stars of the Big Dipper and the Cow. The dew lay across the river, the water's shimmer touching the sky. Weaving through the vastness with a single reed, we soared over the boundless expanse. It was as if riding the wind in an ethereal realm, not knowing where to stop; as if stepping out of the world alone, transforming into a divine being and ascending to the heavens.

42. 作家当年明月说：

42. The writer Zhang Mingyue said:

43. 作者简介：刘桢，字公干，“建安七子”之一，为曹操幕僚，任丞相掾属。曹丕《与吴质书》中说：“其五言诗之善者，妙绝时人。”与曹植并称“曹刘”。有辑本《刘公干集》。

43. Author's Introduction: Liu Zhen, styled Gonggan, was one of the "Seven Sons of the Jian'an Era," a counselor to Cao Cao, serving as a department head under the Chancellor. In Cao Pi's letter "To Wu Zhi," it is said: "Among his five-character poems, the excellent ones are absolutely superb among contemporaries." He is jointly referred to as "Cao and Liu" with Cao Zhi. There is a compiled collection titled "The Collection of Liu Gonggan."

44. 追求。全诗格调劲健，语言质实，具有清刚之气。象诗中“风声一何盛，松

44. Pursuit. The entire poem is vigorous in tone, straightforward in language, and exudes a sense of clarity and strength. As in the line of the poem, "The wind's roar is so fierce, the pine... "

45. ①刘桢有《赠从弟》诗三首，都用比兴。这是第二首，作者以松柏为喻，勉励

45. ① Liu Zhen has three poems titled "Presenting to My Cousin," all of which use metaphor and allegory. This is the second poem, where the author uses pine and cypress as metaphors to encourage...

46. 风声。 ④罹：遭受。凝寒：严寒。

46. Wind whispers. ④Li: suffer. Ning Han: severe cold.

47. 这时候，喝着酒儿，心里十分快乐，便敲着船舷唱起歌来。唱道：“桂木做的棹啊兰木做的桨，拍击着澄明的水波啊，在月光浮动的江面逆流而上。我的情思啊悠远茫茫，瞻望心中的美人啊，在天边遥远的地方。”客人中有会吹洞箫的，随着歌声吹箫伴奏，箫声呜咽，象含怨，象怀恋，象抽泣，象低诉。吹完后，余音悠长，象细长的丝缕延绵不断。这声音，能使深渊里潜藏的蛟龙起舞，使孤独小船上的寡妇悲泣。

47. At this moment, while sipping wine, my heart was filled with great joy, and I began to sing while tapping the hull of the boat. The song went: "The paddle made of osmanthus wood, the oar made of orchid wood, striking the clear water waves, rowing upstream against the flowing river under the floating moonlight. My thoughts are distant and endless, longing for the beauty in my heart, far away in the distant sky." Among the guests, there was one who could play the dizi flute, and he played along with the song, the sound of the flute being sorrowful, as if it contained resentment, as if it were reminiscing, as if it were sobbing, as if it were whispering. After playing, the lingering sound was long, like a thin thread that stretched endlessly. This sound could make the hidden dragons in the deep sea dance, and make the widowed woman on the lonely boat weep.

48. 张养浩的《山坡羊 潼关怀古》把潼关的地形与历史巧妙地结合在一起，寓情于景，触景生情，以潼关作为历史的见证者，发出一声沉甸甸的“兴，百姓苦；亡，百姓苦”的千古奇叹。

48. Zhang Yanghao's "Shanpo Yang Taohua Hui Gu" skillfully combines the terrain and history of Taohua Pass, expressing emotions through the scenery and being moved by the scenery. Taking Taohua Pass as a witness to history, it emits a heavy and profound ancient sigh: "When the state prospers, the people suffer; when the state perishes, the people suffer."

49. 于是饮酒乐甚，扣舷而歌之。歌曰：“桂棹兮兰桨，击空明兮溯流光；渺渺兮予怀，望美人兮天一方。”客有吹洞箫者，倚歌而和之。其声呜呜然，如怨如慕，如泣如诉；余音袅袅，不绝如缕，舞幽壑之潜蛟，泣孤舟之嫠妇。

49. Thus, they drank and were very merry, clapping the sides of the boat and singing. The song went: "O, the osier oar and the orchid paddle, striking the clear sky and following the flowing light; vast and profound are my thoughts, looking for the beautiful person afar in the sky." Among the guests was one who played the bamboo flute, who leaned against the song and harmonized with it. The sound was mournful and yearning, like a complaint or a plea; the lingering afternotes were like threads, not ceasing, dancing the hidden dragon in the deep ravine, and weeping for the widowed woman on the solitary boat.

50. 最强悍的活法，不把任何事当回事，不把任何人当希望。

50. The most formidable way of living is to take nothing seriously and not hold anyone as a hope.

51. 锦上添花的人一定会有，雪中送炭的人就不要指望了！

51. There will always be people who add flowers to the brocade, but don't expect anyone to send charcoal in a snowstorm!

52. 其后“有关资料”中卞孝萱、卞岐两人对此联的赏析则为：“‘千帆’和‘万木’则比喻在他贬谪之后那些仕途得意的新贵们。这一联本是刘禹锡感叹身世的愤激之语。”

52. Subsequently, in the "relevant materials," both Bian Xiaoxuan and Bian Qi's appreciation of this couplet is as follows: "The words 'thousand sails' and 'ten thousand trees' metaphorically refer to the newly affluent officials who succeeded in their careers after his banishment. This couplet was originally Liu Yuxi's angry and passionate words expressing his sentiments about his own life circumstances."

53. 比如这件事情没做好，没做好就没做好，下次做好就行了。没什么好痛苦的。”

53. For instance, if this thing wasn't done well, it wasn't done well. That's it. Just do it better next time. There's no need to be upset about it."

54. 《前赤壁赋》写于苏轼一生最为困难的时期之一――贬谪黄州期间。元丰二年（1079年），苏轼因“乌台诗案”被扣上诽谤朝廷的罪名，被捕入狱。“几经重辟”，惨遭折磨。后经多方营救，于当年十二月释放，贬为黄州团练副使，但“不得签署公事，不得擅去安置所。”这无疑是一种“半犯人”式的管制生活。1082年壬戌，苏轼作《前赤壁赋》。他在黄州作的诗中，曾经痛苦地描写过此时的忧郁苦闷的心情。“我谪黄岗四五年，孤舟出没烟波里，故人不复通问讯，疾病饥寒疑死矣”①。《前赤壁赋》正是作于苏轼政治上失意，行动上不自由，生活困苦，心情极其苦闷的时期。在他的赤壁词中，即有过明显表露，“大江东去，浪淘尽，千古风流人物。”而现实中的我却只能“早生华发”，“一樽还酹江月”地慨叹“人生如梦”。在这种沉重的精神压力之下，东坡内心有着深刻的感发，他开始比任何时候都更加感慨世事的纷忧与虚无，但如果仅是“入乎其内”地感叹人类的沧桑，这就不能产生我们今天对他的文采及人品的钦佩。东坡之所以成为“白首忘机”的“东坡老”②，更有他善于“出乎其外”的“自我解脱”的另一面（这一面至关重要）。人的一生中，不可能没有打击，问题是面对打击的态度。在残酷的政治斗争面前，苏东坡既想超脱又不能超脱。他在《书＜前赤壁赋＞后中说：“轼去岁作此赋，未尝轻以示人，见者盖一二人而已。钦之（傅尧偷的字）有使至，求近文，遂亲书以寄。多难畏事，钦之爱我，必深藏之不出也。”这段跋语，对于了解作者当时深受压抑的心境提供了帮助。苏轼不得不从佛老思想中寻求寄托，黄州的山水，勾起了他对古人的怀念，于是触景生情地倾吐了自己对前辈英雄的钦慕，同时也流露了自己治世立业的壮志。总之，苏轼当时的心境极其复杂：消极隐退与积极进取，疾世忿懑与逍遥山水的双重情绪，在与世无争的思想背后，却流露出对世道不平的满腔愤怒，不甘妥协的积极进取精神，鄙弃富贵，傲然独立的旷达情怀。

54. "The Preface to the Red Cliffs" was written during one of Su Shi's most difficult periods in his life – during his exile to Huangzhou. In Yuanfeng second year (1079), Su Shi was accused of slander against the court due to the "Wutai Poetry Case" and was imprisoned. After suffering through multiple trials, he was tortured. After being rescued by many people, he was released in December of the same year and was demoted to the position of deputy commander of the Huangzhou military training. However, he "was not allowed to sign official documents, nor was he allowed to leave the place of his appointment." This was undoubtedly a form of "half-criminal" control over his life. In the year of Wuxu, 1082, Su Shi wrote "The Preface to the Red Cliffs." In his poems written in Huangzhou, he had once painfully described his melancholic and anxious feelings at that time. "I have been exiled to Huanggang for four or five years, my boat sailing in and out among the mist and waves, my old friends no longer communicating, I suspect I am near death from illness and hunger." "The Preface to the Red Cliffs" was written during a period when Su Shi was politically frustrated, his movements were restricted, his life was difficult, and his mood was extremely bleak. In his poems about the Red Cliffs, he had clearly expressed his feelings, "The great river flows eastward, waves wash away, the heroes of all time." However, in reality, I could only sigh, "Early white hair," "drinking a cup to the moon over the river," and lament "life is but a dream." Under this heavy mental pressure, Dongpo had profound feelings, and he began to feel more and more nostalgic and worried about the chaos and emptiness of the world. But if it's just a "feeling from within" to sigh over the vicissitudes of human life, it cannot produce the admiration we have for his literary style and character today. Dongpo became the "Old Dongpo" who "forgets his ambitions at white hair"②, not only because he was good at "reaching beyond" and "self-relief" (this aspect is crucial). In one's life, it is impossible not to face setbacks, the question is the attitude towards the setbacks. In the face of the cruel political struggle, Su Dongpo wanted to transcend but could not transcend. In his postscript to "The Preface to the Red Cliffs," he said: "I wrote this preface last year, I have never shown it to anyone lightly, only one or two people have seen it. Qinzhi (the character of Fu Yaoke) had an envoy, he asked for recent writings, so I wrote it personally and sent it. Faced with many difficulties and fears, Qinzhi loves me, he must deeply hide it and not show it." This postscript helped to understand the author's then-suppressed state of mind. Su Shi had to seek solace in the thoughts of Buddhism and Taoism, the landscapes of Huangzhou awakened his memories of the ancients, and thus he poured out his admiration for the senior heroes and also revealed his ambition to govern the world and establish his career. In short, Su Shi's state of mind at that time was extremely complex: the dual emotions of negative withdrawal and positive advancement, of being indignant against the world and逍遥山水, behind the thought of not fighting with the world, but expressing a full heart of anger against the injustice of the world, the spirit of positive advancement that was not willing to compromise, and the magnanimous feelings of rejecting wealth and status and proudly standing alone.

55. 震荡，正显示了此诗以气胜的特色。全诗章法浑成，承转自然。尤其是结尾

55. The fluctuations in the poem vividly demonstrate its characteristic strength in spirit. The entire poem is well-structured, with smooth transitions and natural shifts. Particularly so in the conclusion.

56. 第一，充分显示了散文“形散神不散”的特质。这篇赋有诗情、有画意、有哲理。就景而言，有明月，有江水，有秋风；就情而言，有悲伤，有欢乐。时而泛舟秋江，扣舷而歌；时而遗世独立，羽化登仙；时而愀然发问，畅谈哲理。景色的转换，情感的跳跃很频繁，但却不杂乱，而是以作者的主观感受作为线索贯穿始终。苏轼在文章中阐述了变与不变的哲理，这个论点尽管来源于老庄的相对主义哲学观，具有唯心主义的成分，但却同时具备了辩证法的因素，这是作者所要集中表达的思想，是文章的“神”之所在。神聚而形散，随着主观感受的辗转生发，散文的文字起伏跌宕，意趣横生。文章寓情于景，借景明理，具有极高的艺术感染力，为后世散文的创作提供了成功的范例。

56. First of all, it fully demonstrates the unique trait of prose, "the form is scattered but the essence is not." This piece is imbued with poetic sentiment, artistic imagery, and philosophical depth. In terms of scenery, there is the bright moon, the flowing river, and the autumn breeze; in terms of emotion, there is sorrow and joy. Sometimes it is boating on the autumn river, singing while beating the paddle; sometimes it is transcending the world, transforming into a fairy; sometimes it is solemnly posing questions, freely discussing philosophy. The transformation of scenery and the jumps in emotion are frequent, yet they are not chaotic, but rather, they are consistently guided by the author's subjective experiences. Su Shi expounds on the philosophy of change and constancy in the article. Although this argument originates from the relativistic philosophical view of Laozi and Zhuangzi, which contains elements of idealism, it also possesses dialectical factors. This is the thought that the author intends to focus on expressing, and it is the "essence" of the article. The essence is concentrated, but the form is scattered; as the subjective experiences evolve and unfold, the prose is characterized by fluctuating and dynamic text, brimming with interest. The article embodies emotion within scenery, and uses scenery to clarify principles, possessing an extremely high artistic appeal and providing a successful example for the creation of prose in later generations.

57. 这是一首咏物诗。诗人紧紧扣住松柏经寒不衰、枝干坚劲的特征来描写，

57. This is a poem that describes an object. The poet tightly focuses on the characteristics of pine and cypress trees, which remain evergreen through the cold and have strong trunks, to depict them.

58. 从苏轼的《前赤壁赋》可看出他豁达淡然的人生态度。

58. From Su Shi's "Qian Chi Bi Fu", one can see his open and indifferent attitude towards life.

59. ＜＜赠从弟 ＞＞

59. << Gift to My Cousin >>

60. 不把任何人当希望，咬紧牙关往前走，自己救赎自己，就不会有失落和感伤。

60. Not to hold anyone as a hope, to grit your teeth and move forward, to redeem yourself, there will be no disappointment and melancholy.

61. 因为孤独，我们只能靠自己，一个人也可以把世界点缀得五彩缤纷。

61. Because of loneliness, we can only rely on ourselves, and a single person can make the world colorful and vibrant.

62. 我们曾经多么想给自己找一座靠山，后来发现，山上不是悬崖峭壁，就是怪石嶙峋，不是飞禽走兽，就是毒虫遍地，只有自己才是最靠谱的那一座山。

62. We once so much wanted to find a mountain to rely on for ourselves, but later found that the mountain was either steep cliffs or jagged rocks, with either birds and beasts flying about or poisonous insects everywhere, and only ourselves were the most reliable mountain.

63. 这首词是苏轼哲理词的代表作。词中充分体现了作者对永恒的宇宙和复杂多变的人类社会两者的综合理解与认识，是作者的世界观通过对月和对人的观察所做的一个以局部足以概括整体的小小总结。作者俯仰古今变迁，感慨宇宙流转，厌薄宦海浮沉，在皓月当空、孤高旷远的意境氛围中，渗入浓厚的哲学意味，揭示睿智的人生理念，达到了人与宇宙、自然与社会的高度契合。

63. This poem is a representative work of Su Shi's philosophical poetry. The poem fully reflects the author's comprehensive understanding and perception of both the eternal universe and the complex and changing human society. It is a small summary made by the author's world view through observing the moon and humans, where a partial perspective is sufficient to generalize the whole. The author contemplates the changes of ancient and modern times, feels nostalgic for the flowing of the universe, and is tired of the fluctuations in the sea of politics. In the artistic atmosphere of a bright moon in the sky, solitude and vastness, it permeates a strong philosophical flavor, reveals wise life philosophies, and achieves a high degree of harmony between humans, the universe, nature, and society.

64. ，即丙辰年的中秋节，为作者醉后抒情，怀念弟弟苏辙之作。

64. This refers to the Mid-Autumn Festival in the year Bingchen, when the author wrote a poem expressing his feelings after being drunk, in memory of his younger brother Su Zhe.