1. 古人或久宦在外，或长期流离漂泊，或久戍边关，总会引起浓浓的思乡怀人之情，所以这类诗文就特别多，它们或写羁旅之思，或写思念亲友，或写征人思乡，或写闺中怀人。写作上或触景伤情，或感时生情，或托物传情，或因梦寄情，或妙喻传情。

1. The ancients, either after long years of serving in distant places or after long periods of wandering, or after long garrisons at the border, would always evoke a deep sense of homesickness and longing for loved ones. Therefore, there are particularly many poems and verses of this kind, which may express thoughts of wandering, longing for relatives and friends, the longing of soldiers for home, or longing in the women's quarters. In terms of writing, it may touch the heart by depicting scenes, evoke emotion by sensing the times, convey emotion through objects, express emotion through dreams, or use wonderful metaphors to convey feelings.

2. 叙事诗：诗中有比较完整的故事情节和人物形象，通常以诗人满怀激情的歌唱方式来表现。史诗、故事诗、诗体小说等都属于这一类。史诗如古希腊荷马的《伊里亚特》和《奥德赛》；故事诗如我国诗人李季的《王贵与李香香》；诗体小说如英国诗人拜伦的《唐璜》，俄国诗人普希金的《叶甫盖尼·奥涅金》。

2. Narrative poetry: This type of poetry features a relatively complete storyline and vivid characters, often presented through the passionate singing of the poet. Epic poems, narrative poems, and poetic novels all fall into this category. Examples of epics include Homer's "Iliad" and "Odyssey" from ancient Greece; narrative poems include "Wang Gui and Li Xiangxiang" by Chinese poet Li Ji; and poetic novels include "Don Juan" by English poet Lord Byron and "Eugene Onegin" by Russian poet Alexander Pushkin.

3. 这“六义”中，“风、雅、颂”是指《诗经》的诗篇种类，“赋、比、兴”就是诗中的表现手法。

3. Among these "six meanings," "Feng, Ya, Song" refer to the types of poems in the Book of Songs, while "Fu, Bi, Xing" represent the expressive techniques in poetry.

4. 这首诗风格恬淡，用自然清新的语言、整齐的短句、和谐优美的韵律，表达了诗人纯真的理想。那意境都是平常的，那节奏也是缓慢的，如细流，如涟漪。但就是这平淡的意境带给了我们丰富的想象，让我们的心灵随着诗歌在遥远的天空中漫游，尽情驰骋美好的梦想。

4. This poem has a tranquil style, using natural and fresh language, uniform short sentences, and harmonious, beautiful rhythms to express the poet's innocent ideals. The imagery is all ordinary, and the rhythm is slow, like a tiny stream or ripples. However, it is this plain imagery that brings us rich imagination, allowing our souls to wander in the distant sky with the poetry, unrestrainedly pursuing beautiful dreams.

5. 诗人将明星比作街灯。点点明星散缀在天幕上，那遥远的世界引起人们无限的遐想。街灯则是平常的景象，离我们很近，几乎随处可见。诗人将远远的街灯比喻为天上的明星，又将天上的明星说成是人间的街灯。是诗人的幻觉，还是诗人想把我们引入“那缥缈的空中”？在诗人的心中，人间天上是一体的。

5. The poet compares the stars to streetlights. The twinkling stars scattered across the sky's canopy evoke boundless daydreams about the distant world. Streetlights, on the other hand, are a common sight, close to us and almost everywhere. The poet metaphorically equates the distant streetlights to the stars in the sky, and also describes the stars as streetlights on earth. Is this a poet's illusion, or is the poet trying to lead us to "that ethereal sky"? In the poet's heart, the world on earth and the heavens above are one.

6. 懂不懂的问题，是个永远的问题。我绝对不能说，我懂了毕加索，也绝对不能说懂了西方美术史，我更不敢说，我懂中国美术史。懂得，是无止境的过程。我在外面泡这么多年，学会一件事，就是你如果真想懂得，该怎样去懂法，前提，要有相对完整的文脉。懂到什么程度，是每个人自己的事，不容易衡量的。

6. Whether one understands or not is an eternal question. I absolutely cannot say that I understand Picasso, nor can I claim to understand the history of Western art, and I dare not say that I understand the history of Chinese art. Understanding is an endless process. After spending so many years outside, I have learned one thing, which is that if you truly want to understand, you should know how to understand, and the prerequisite is to have a relatively complete cultural context. To what extent one understands is a matter for each individual and is not easily measurable.

7. 很好，鲁迅话题总算回到民间，至少，回到一小撮书生那里。

7. Very good, the topic of Lu Xun has finally returned to the people, at least, to a small group of scholars.

8. 按内容来分类：可分为叙事诗、抒情诗、送别诗、边塞诗、山水田园诗、怀古诗（咏史诗）、咏物诗、悼亡诗、讽谕诗。

8. Categorized by content: They can be divided into narrative poems, lyrical poems, farewell poems, frontier poems, landscape and rural poems, ancient history poems (also known as history poems), descriptive poems, elegies, and satirical poems.

9. 律诗格律极严，篇有定句（除排律外），句有定字，韵有定位（押韵位置固定），字有定声（诗中各字的平仄声调固定），联有定对（律诗中间两联必须对仗）。例如，起源于南北朝、成熟于唐初的律诗，每首四联八句，每句字数必须相同，可四韵或五韵，中间两联必须对仗，

9. The rules of classical Chinese poetry are extremely strict. Each poem has a fixed number of lines (except for parallel poems), each line has a fixed number of characters, the rhyme has a fixed position (the position of the rhyme is fixed), each character has a fixed tone (the pitch of each character in the poem is fixed), and each couplet has a fixed match (the middle couplets of the poem must be matched). For example, the classical poetry, which originated in the Southern and Northern Dynasties and matured in the early Tang Dynasty, consists of four couplets and eight lines per poem. The number of characters in each line must be the same, and it can have four or five rhymes. The middle couplets must be matched.

10. 有时我看到不懂的作品，会非常欢喜，因为你不懂，本身就是一种状态，非常质朴的、原始的那么一种状态。

10. Sometimes I am very pleased with works I don't understand, because not understanding them is in itself a state, a very simple, primitive kind of state.

11. 在我们这个诗的国度，几千年来，诗歌一直是文学史的主流。

11. In our land of poetry, for thousands of years, poetry has always been the mainstream of literary history.

12. 曲：又称为词余、乐府。元曲包括散曲和杂剧。散曲兴起于金，兴盛于元，体式与词相近。特点：可以在字数定格外加衬字，较多使用口语。散曲包括有小令、套数（套曲）两种。套数是连贯成套的曲子，至少是两曲，多则几十曲。每一套数都以第一首曲的曲牌作为全套的曲牌名，全套必须同一宫调。它无宾白科介，只供清唱。

12. Poem: Also known as Ci Yu and Yuefu. Yuan Opera includes Sanqu (free-style poems) and Zaju (comedy-dramas). Sanqu originated in the Jin Dynasty, flourished in the Yuan Dynasty, and its style is similar to Ci. Characteristics: Additional words can be added within the fixed word limit, and it makes extensive use of colloquial language. Sanqu includes two types: Xiao Ling (short poems) and Tao Shu (sets of poems). A Tao Shu is a set of connected poems, consisting of at least two poems, but often dozens. Each set of Tao Shu uses the tune of the first poem as the title of the whole set, and all the poems in the set must belong to the same palace style. It does not include dialogue, stage directions, or intermissions and is meant to be sung cleanly without dialogue.

13. 散文诗：是兼有散文和诗的特点的一种文学体裁。作品中有诗的意境和激情，常常富有哲理，注重自然的节奏感和音乐美，篇幅短小，像散文一样不分行，不押韵，如，鲁迅的《野草》。

13. Prose poem: A literary genre that combines the characteristics of prose and poetry. Works in this genre have the artistic conception and passion of poetry, are often rich in philosophy, pay attention to the natural rhythm and musical beauty, have a short length, and are written without line breaks and rhyme like prose. For example, Lu Xun's "Wild Grass."

14. 从先秦就有了以边塞、战争为题材的诗，发展到唐代，由于战争仍频，统治者重武轻文，士人邀功边庭以博取功名比由科举进身容易得多，加之盛唐那种积极用世、昂扬奋进的时代气氛，于是奇情壮丽的边塞诗便大大发展起来了，形成一个新的诗歌流派，其代表人物是高适、岑参、王昌龄。

14. Poems with themes of frontier fortresses and wars have existed since the Pre-Qin period. By the Tang Dynasty, due to frequent wars and the rulers' emphasis on martial rather than literary pursuits, scholars sought to gain fame and recognition by winning glory on the frontiers, which was much easier than advancing through the imperial examinations. Additionally, the vibrant and progressive atmosphere of the prosperous Tang Dynasty fostered a spirit of active engagement with the world and resolute advancement. As a result, the grand and romantic poetry of the frontier saw significant development, giving rise to a new school of poetry. The representative figures of this school were Gao Shi, Cen Shen, and Wang Changling.

15. 当然，叙事和抒情也不是绝然分割的。叙事诗也有一定的抒情性，不过它的抒情要求要与叙事紧密结合。抒情诗也常有对某些生活片断的叙述，但不能铺展，应服从抒情的需要。

15. Of course, narration and lyricism are not entirely separate. Narrative poetry also has a certain lyrical quality, but its lyrical requirements must be closely integrated with narration. Lyric poetry often includes descriptions of certain segments of life, but these should not be elaborated upon; they should be subordinate to the needs of lyricism.

16. 南朝谢灵运开山水诗先河，东晋陶渊明开田园诗先河，发展到唐代，有山水田园诗派，代表人物是王维、孟浩然。山水田园诗以描写自然风光、农村景物以及安逸恬淡的隐居生活见长，诗境隽永优美，风格恬静淡雅，语言清丽洗练。

16. In the Southern dynasties, Xie Lingyun opened the way for landscape poetry, and in the Eastern Jin Dynasty, Tao Yuanming initiated the idyll poetry. By the Tang Dynasty, there emerged the School of Landscape and Idyll Poetry, with Wang Wei and Meng Haoran as the representative figures. Landscape and idyll poetry excels in depicting the beauty of nature, rural landscapes, and the tranquil, serene life of seclusion. The poetry is characterized by its elegant and enduring artistic conception, a tranquil and refined style, and clear and polished language.

17. 夸张。就是把所要描绘的事物放大，好像**里的“大写”“特写”镜头，以引起读者的重视和联想。李白的“桃花潭水深千尺，不及汪伦送我情”（《赠汪伦》）“飞流直下三千尺，疑是银河落九天”（《望庐山瀑布》），其中说到“深千尺”“三千尺”，虽然并非事实真相，但他所塑造的形象，却生动地显示了事物的特征，表达了诗人的激情，读者不但能够接受，而且能信服，很惊喜。然而这种夸张，必须是艺术的、美的，不能过于荒诞，或太实、太俗。如，有一首描写棉花丰收的诗：“一朵棉花打个包／压得卡车头儿翘／头儿翘，三尺高／好像一门高射炮。”读后却反而使人觉得不真实，产生不出美的感觉。

17. Exaggeration. It means to amplify the things that are to be depicted, as if through the "close-up" or "dramatic" shots in movies, to attract the reader's attention and association. In Li Bai's poem "The Depth of the Peach Blossom Pond Is a Thousand Li Deep, But It Cannot Match Wang Lun's Sentiment for Me" (A Gift to Wang Lun) and "The Water Flows Down in a Jet for Three Thousand Li, It Seems Like the Milky Way Falls from the Nine Heavens" (Looking at the Waterfall of Lushan Mountain), the phrases "a thousand li deep" and "three thousand li" are mentioned, although they are not the actual truth. However, the images he created vividly show the characteristics of things and express the poet's passion. The readers not only accept it but also find it convincing and delightful. However, such exaggeration must be artistic and beautiful; it cannot be too fantastical, or too realistic and common. For example, there is a poem describing a bountiful cotton harvest: "A cotton ball wrapped up / Pressed the truck's front end up / The end is up, three chi high / Like a high-velocity gun." After reading it, however, it makes people feel unrealistic and fails to evoke a sense of beauty.

18. 歌的称谓又是怎样来的呢？诗和歌原不是一个东西，歌是人类的劳动同时产生的，它的产生远在文学形成之前，比诗早得多。考察歌的产生，最初只在用感叹来表示情绪，如啊、兮、哦、唉等，这些字当时都读同一个音："啊"。歌是形声字，由"可"得声。在古代[歌]与[啊]是一个字，人们就在劳动中发出的[啊]叫作歌。因此歌的名字就这样沿用下来。

18. How did the name of songs come about? Poetry and songs were originally not the same thing. Songs were produced simultaneously with human labor, and their origin dates back far before the formation of literature, much earlier than poetry. Examining the origin of songs, they initially only used exclamations to express emotions, such as "ah," "xi," "oh," "eh," and so on. These characters were pronounced the same sound at the time, "ah." Songs are a form of character with phonetic and semantic components, with the sound coming from the character "可" (meaning "can" or "able"). In ancient times, the characters [歌] (song) and [啊] (ah) were the same, so the "ah" sounds emitted during labor were called songs. Therefore, the name of songs has been passed down in this way.

19. 在这一片宁静的秋景当中，突然掠过一只大雁，飞下地面。这一动态的骤然出现，打破了静景的观感，使人心为之一动。“一点”说明“飞鸿”的距离之远，“影下”更显速度之快！

19. Amidst this tranquil autumn scenery, a wild goose suddenly swept across, descending to the ground. The sudden emergence of this dynamic act broke the perception of the still scene, moving people to their hearts. "A dot" indicates the great distance of the "flying geese," while "the shadow beneath" highlights the speed!

20. 诗歌是高度集中地概括反映社会生活的一种文学体裁，它饱含着作者的思想感情与丰富的想象，语言凝练而形象性强，具有鲜明的节奏，和谐的音韵，富于音乐美，语句一般分行排列，注重结构形式的美。

20. Poetry is a literary genre that highly concentrates and reflects social life, brimming with the author's thoughts, emotions, and rich imagination. Its language is concise and vivid, characterized by distinct rhythms, harmonious sounds, and a strong sense of musical beauty. The sentences are generally arranged in lines, emphasizing the beauty of the structural form.

21. ③歌行体：是乐府诗的一种变体。汉、魏以后的乐府诗，题名为“歌”“行”的颇多，二者虽名称不同，其实并无严格区别，都是“歌曲”的意思，其音节、格律一般都比较自由，形式采用五言、七言、杂言的古体，富于变化，以后遂有“歌行”体。到了唐代，初唐诗人写乐府诗，除沿用汉魏六朝乐府旧题外，已有少数诗人另立新题，虽辞为乐府，已不限于声律，故称新乐府。此类诗歌，至李白、杜甫而大有发展。如，杜甫的《悲陈陶》《哀江头》《兵车行》《丽人行》，白居易的许多作品，其形式采用乐府歌行体，大多三言、七言错杂运用。

21. ③ Songxing Poem: It is a variant of the Lufu poetry. After the Han and Wei dynasties, there were many poems titled as "song" or "xing" in the Lufu poetry. Although the two names are different, there is no strict distinction between them; both mean "song." Their rhythm and rhyme scheme are generally more free, and the form adopts ancient styles of five-character, seven-character, and mixed-character verses, rich in variation, and thus the "songxing" style emerged. In the Tang Dynasty, early Tang poets wrote Lufu poetry, in addition to continuing to use the old Lufu titles from the Han, Wei, and Six Dynasties, a few poets also established new titles. Although the poems were still called Lufu, they were no longer limited to the prosody, so they were called New Lufu. Such poetry experienced significant development with Li Bai and Du Fu. For example, Du Fu's "Lament for Chen Nao," "Grief at the River Head," "Marching Soldiers," and "Gentlewomen's March," and many works by Bai Juyi, adopted the form of Lufu songxing poetry, mostly using a combination of three-character and seven-character verses.

22. 古代由于交通不便，通讯极不发达，亲人朋友之间往往一别数载难以相见，故古人特别看重离别。离别之际，人们往往设酒饯别，折柳相送，有时还要吟诗话别，因此离情别绪就成为古代文人一个永恒的主题。因各人的情况不同，故送别诗所写的具体内容及思想倾向往往有别。有的直接抒写离别之情，有的借以一吐胸中积愤或表明心志，有的重在写离愁别恨，有的重在劝勉、鼓励、安慰，有的兼而有之。

22. In ancient times, due to the inconvenience of transportation and the underdeveloped communication, it was often difficult for relatives and friends to meet after parting, which is why ancient people placed great importance on parting. At the moment of departure, people would often hold a farewell banquet, bid farewell by plucking willow branches, and sometimes recite poems to say goodbye, making parting emotions and feelings a permanent theme for ancient scholars. Since each person's situation is different, the specific content and ideological tendencies of farewell poems often vary. Some directly express the feeling of parting, some use it to vent their accumulated resentment or express their determination, some focus on writing about the sorrow and regret of parting, some focus on encouragement, encouragement, and comfort, and some have both.

23. 唐以后的诗体，从格律上看，大致可分为近体诗和古体诗两类。近体诗又叫今体诗，它有一定的格律。古体诗一般又叫古风，这是依照古诗的作法写的，形式比较自由，不受格律的束缚。

23. After the Tang Dynasty, poetry styles can be roughly divided into two categories in terms of rhyme and rhythm: near-form poetry and ancient-form poetry. Near-form poetry, also known as contemporary poetry, has a certain rhythm and rhyme scheme. Ancient-form poetry is generally referred to as ancient style poetry, which is written following the methods of ancient poetry, featuring more freedom in form and not constrained by the rules of rhyme and rhythm.

24. 我不敢点名啦。总之，讯息封锁是要付代价的。这个代价，今天还在付，很微妙地在付。然后就是控制眼界，控制久了，再开眼界，有用么？有的，但也很扭曲。

24. I dare not name names. In short, there is a price to pay for the information blockade, and this price is being paid today, subtly. Then comes the control of one's perspective. After controlling it for a long time, is it useful to broaden one's horizons? Yes, but it is also very distorted.

25. “古典诗”与“现代诗”的比较：“诗”者皆为感于物而作，是心灵的映现。“古典诗”以“思无邪”的诗观，表达温柔敦厚、哀而不怨，强调在“可解与不可解之间”。“现代诗”强调自由开放的精神，以直率的情境陈述，进行“可感与不可感之间”的沟通。

25. Comparison between "Classical Poetry" and "Modern Poetry": Both "poetry" is created due to the sensation of things, being the reflection of the soul. "Classical Poetry" follows the poetic view of 'thinking without malice,' expressing gentleness, kindness, sorrow without resentment, and emphasizing the 'between the understandable and the incomprehensible.' "Modern Poetry" emphasizes a free and open spirit, using straightforward situational statements to communicate between the 'felt and the unfelt.'

26. 借代。就是借此事物代替彼事物。它与比拟有相似

26. Metonymy. This refers to using one thing to stand for another. It is similar to metaphor.

27. 在古代，诗歌最初称"篇"或"章"，而不称"首"。例如我国最早的《诗经》，叫"三百篇"，屈原的诗叫"九章"，诗歌称"首"，最早出现于东晋初年。当时有个名叫孙绰的诗人，在《悲哀诗序》中写道："不胜哀号，作诗一首。"一个名叫支通的人，在《咏禅道人诗序》中写道："聊箸诗一首。"从此，人们普遍称诗为首。

27. In ancient times, poetry was initially referred to as "篇" or "章," rather than "首." For example, our country's earliest collection of poems, the "Book of Songs," was called "Three Hundred Poems," and Qu Yuan's poems were known as "Nine Chapters." The term "首" for poetry first appeared in the early years of the Eastern Jin Dynasty. At that time, a poet named Sun Chuo wrote in the preface of his "Poem of Sadness": "Unable to bear the sorrow, I composed a poem." Another person named Zhi Tong wrote in the preface of his "Poem on Chan Dao Ren": "I will just jot down a poem." From then on, people commonly referred to poems as "首."

28. 自由诗：是近代欧美新发展起来的一种诗体。它不受格律限制，无固定格式，注重自然的、内在的节奏，押大致相近的韵或不押韵，字数、行数、句式、音调都比较自由，语言比较通俗。美国诗人惠特曼（1819—

28. Free Verse: It is a new poetic form that has emerged in modern Europe and America. It is not restricted by meter or fixed format, emphasizing natural and internal rhythm, using rhymes that are roughly similar or not rhyming, and allowing relatively free use of word count, line count, sentence structure, and tone. The language is more popular and accessible. The American poet Walt Whitman (1819—

29. 之处，但又有所不同，不同之处在于：比拟一般是比的和被比的事物都是具体的、可见的；而借代却是一方具体，一方较为抽象，在具体与抽象之间架起桥梁，使诗歌的形象更为鲜明、突出，以引发读者的联想。这也就是艾青所说的“给思想以翅膀，给感情以衣裳，给声音以彩色，使流逝变幻者凝形。”

29. There is a difference in the use of comparison and metaphor, but they also have similarities. The difference lies in the fact that comparison usually involves concrete and visible things that are being compared and compared to; whereas metaphor involves one concrete element and one more abstract, building a bridge between the concrete and the abstract, making the imagery in poetry more vivid and prominent, thus evoking the reader's associations. This is what Ai Qing referred to as "giving wings to thought, clothing to emotion, color to sound, and making the fleeting and changing take on a solid form."

30. 从诗句的字数看，有所谓四言诗、五言诗和七言诗。四言是四个字一句，五言是五个字一句，七言是七个字一句。唐代以后，四言诗很少见了，所以通常只分五言、七言两类。五言古体诗简称五古；七言古体诗简称七古；三五七言兼用者，一般也算七古。五言律诗简称五律，限定八句四十字；七言律诗简称七律，限定八句五十六字。超过八句的叫长律，又叫排律。长律一般都是五言诗。只有四句的叫绝句；五绝共二十个字，七绝共二十八个字。绝句可分为律绝和古绝两种。律绝要受平仄格律的限制，古绝不受平仄格律的限制。古绝一般只限于五绝。

30. In terms of the number of characters in the verses, there are so-called four-character poems, five-character poems, and seven-character poems. Four-character poems consist of four characters per line, five-character poems consist of five characters per line, and seven-character poems consist of seven characters per line. After the Tang Dynasty, four-character poems are rarely seen, so they are usually categorized as either five-character or seven-character poems. Five-character ancient-style poems are briefly called "Wu Gu" (Five Antiquity); seven-character ancient-style poems are briefly called "Qi Gu" (Seven Antiquity); and poems using a combination of three, five, and seven characters are generally also considered as "Qi Gu". Five-character律诗 are briefly called "Wu Lu" (Five Rhythm), limited to eight lines and forty characters; seven-character律诗 are briefly called "Qi Lu" (Seven Rhythm), limited to eight lines and fifty-six characters. Poems with more than eight lines are called "Chang Lu" (Long Rhythm) or "Pai Lu" (Arranged Rhythm). Most long rhythms are five-character poems. Poems with only four lines are called "Jueju" (Perfect Poem). A five-character jueju has a total of twenty characters, and a seven-character jueju has a total of twenty-eight characters. Jueju can be divided into two types: regulated jueju and ancient jueju. Regulated jueju is subject to the restrictions of the prosody system, while ancient jueju is not. Ancient jueju is generally limited to five-character jueju.

31. 的传统表现手法有“赋、比、兴”。《毛诗序》说：“故诗有六义焉：一曰风，二曰赋，三曰比，四曰兴，五曰雅，六曰颂。”

31. The traditional methods of expression in Chinese poetry include "fu," "bi," and "xing." As stated in "The Preface to the Mao Poems": "Therefore, poetry has six categories: the first is 'feng' (wind), the second is 'fu' (ascription), the third is 'bi' (comparison), the fourth is 'xing' (inspiration), the fifth is 'ya' (elegant), and the sixth is 'song' (hymn)."

32. 抒情诗：主要通过直接抒发诗人的思想感情来反映社会生活，不要求描述完整的故事情节和人物形象。如，情歌、颂歌、哀歌、挽歌、牧歌和讽刺诗。这类作品很多，不一一列举。

32. Lyric Poem: Mainly reflects social life through the direct expression of the poet's thoughts and emotions, without the requirement to describe complete storylines and character images. For example, love songs, hymns, dirges, elegies, pastoral poems, and satirical poems. There are many such works, and they will not be listed one by one.

33. 郭沫若的诗一向以强烈的情感宣泄著称，他的《凤凰涅》热情雄浑；他的《天狗》带着消灭一切的气势；他的《晨安》《炉中煤》曾经让我们的心跳动不止。但这首诗却恬淡平和，意境优美，清新素朴。诗人作这首诗时正在日本留学，和那时的很多中国留学生一样，他心中有着对祖国的怀念，有对理想未来的迷茫。诗人要借助大自然来思索这些，经常在海边彷徨。在一个夜晚，诗人走在海边，仰望美丽的天空、闪闪的星光，心情变得开朗起来。诗人似乎找到了自己的理想，于是他在诗中将这种理想写了出

33. Guo Moruo's poetry has always been known for its strong emotional outpouring. His poem "The Phoenix Reborn" is passionate and powerful; his "Heavenly Dog" carries the momentum of destroying everything; and his "Good Morning" and "Coal in the Furnace" once made our hearts beat faster. However, this poem is serene and peaceful, with a beautiful and elegant artistic conception, fresh and simple. When the poet wrote this poem, he was studying in Japan, like many Chinese students of that time, he had a deep yearning for his motherland and was confused about the ideal future. The poet wanted to use nature to contemplate these things and often wandered by the seaside. One night, as he walked along the seaside, gazing at the beautiful sky and the twinkling stars, his mood brightened up. It seems that the poet found his ideal, so he expressed this ideal in his poem.

34. 既然诗与歌不是一回事，后来为什么又把二者连在一起以[诗歌]并称呢这只要弄清楚它们的关系就明白了。歌，最初只用简单的感叹字来表示情绪，在语言产生之扣，人类对客观事物的认识逐步深化，情绪更加丰富，用几个感叹字表达远远不够用了。于是在歌里加进实词，以满足需要。在文字产生之后，诗与歌的结合又进了一步，用文字书写的歌词出现。这时，一支歌包括两个部分:一是音乐，二是歌词，音乐是抒情的，歌词即诗，是记事的。这就是说，诗配上音乐就是歌，不配音乐就是诗。最初的诗都能配上音乐唱，歌就是诗，诗就是歌。关于诗与歌的结合，我国古籍中很早就有论述。

34. Since poetry and song are not the same thing, why were they later combined and referred to together as [poetry and song]? This can be understood by clarifying their relationship. Initially, songs were used solely to express emotions with simple interjections. As language was developed, human understanding of objective things gradually deepened, and emotions became richer, making it insufficient to express them with just a few interjections. Therefore, concrete words were added to songs to meet the need. After the invention of writing, the combination of poetry and song progressed further with the emergence of written lyrics. At this time, a song included two parts: one was music, and the other was the lyrics. Music was for expressing emotions, and the lyrics were the poetry, which served as narrative. This means that when poetry is set to music, it becomes a song, and without music, it remains poetry. The combination of poetry and song has been discussed in our ancient literature from an early stage.

35. 我国现代诗人、文学评论家何其芳曾说：“诗是一种最集中地反映社会生活的文学样式，它饱含着丰富的想象和感情，常常以直接抒情的方式来表现，而且在精炼与和谐的程度上，特别是在节奏的鲜明上，它的语言有别于散文的语言。”这个定义性的说明，概括了诗歌的几个基本特点：第一，高度集中、概括地反映生活；第二，抒情言志，饱含丰富的思想感情；第三，丰富的想象、联想和幻想；第四，语言具有音乐美。

35. The modern Chinese poet and literary critic He Qifang once said: "Poetry is a literary style that most concentratedly reflects social life. It is filled with rich imagination and emotion, often expressing itself through direct emotional expression, and its language is distinct from that of prose, especially in terms of refinement, harmony, and particularly in the clarity of rhythm." This defining explanation summarizes several basic characteristics of poetry: first, it reflects and summarizes life in a highly concentrated and comprehensive manner; second, it expresses feelings and intentions, filled with rich thoughts and emotions; third, it is rich in imagination, association, and fantasy; fourth, its language possesses musical beauty.

36. ldquo;当不成作家当画家，当不了画家，索性留长头发打大领结了事。这是上世纪鲁迅调笑不成器的文艺青年时脱口说的话。不料此后，长头发青年还是一茬一茬冒出来：我自己，年少时才画几笔画，出道成功远得还没谱，怎么办呢，管他娘，先留起满脑袋的长头发！

36. "If I can't be a writer, then I'll be a painter. If I can't be a painter, well, I might as well grow my hair long and wear a large tie. This was a remark that Lu Xun casually made to mock the flawed literary youth of the last century. Little did he know that long-haired youth would keep popping up one after another: myself, having only painted a few strokes in my youth, haven't even set foot on the path to success yet. What to do? Screw it, let's grow a head full of long hair first!"

37. 塑造诗歌形象，不仅可以运用视角所摄取的素材去描绘画面，还可以运用听觉、触觉等感官所获得的素材，从多方面去体现形象，做到有声有色，生动新颖。唐代诗人贾岛骑在毛驴上吟出“鸟宿池边树，僧推月下门”，但又觉得用“僧敲月下门”亦可。究竟是“推”还是“敲”，他拿不定主意，便用手作推敲状，不料毛驴挡住一位大官的去路，此人乃大文豪韩愈，当侍卫将贾岛带到他的马前，贾据实相告，韩沉吟良久，说还是用敲字较好。因为“敲”有声音，在深山月夜，有

37. To create a poetic image, one can not only use the materials captured by the perspective to depict a scene, but also employ the materials obtained through the senses of hearing and touch, among others, to reflect the image from multiple aspects, making it vivid and innovative with both sound and color. The Tang Dynasty poet Jia Dao recited the lines "Birds roosting by the pond's edge tree, monks push the moonlit gate" while riding a donkey, but he also felt that "monks knock on the moonlit gate" could also be a good choice. He was undecided between "push" and "knock," so he made a motion of pushing and knocking with his hand. Unexpectedly, the donkey blocked the path of a high-ranking official, who was the great literary figure Han Yu. When the guards brought Jia Dao before Han, he told the truth, and Han pondered for a long time before saying that "knock" was a better choice. Because "knock" has a sound, in the deep mountains at night, it

38. 汉魏六朝诗，一般称为古诗，其中包括汉魏乐府古辞、南北朝乐府民歌，以及这个时期的文人诗。乐府本是官署的名称。乐府歌辞是由乐府机关采集，并为它配上乐谱，以便歌唱的。《文心雕龙·乐府》篇说："凡乐辞曰诗，诗声曰歌。"由此可以看出诗、歌、乐府这三个概念之间的关系：诗指的是诗人所作的歌辞，歌指的是和诗相配合的乐曲，乐府则兼指二者而言。后来袭用乐府旧题或摹仿乐府体裁写的作品，虽然没有配乐，也称为乐府。中唐时白居易等掀起一个新乐府运动，创新题，写时事，因而叫作新乐府。

38. Han, Wei, and Six Dynasties poetry, generally referred to as ancient poetry, includes the ancient Ci poetry of the Han and Wei dynasties, the folk Ci poetry of the Southern and Northern Dynasties, as well as the poetry written by literati during this period. The Ci was originally the name of an official office. The Ci lyrics were collected by the Ci office and accompanied by musical scores for singing. The "Lun Heng Xiu Long" (The Literary Mind and the Carving of Dragons) section on Ci says, "All lyrics are called poetry, and the voice of poetry is called song." From this, we can see the relationship between the concepts of poetry, song, and Ci: poetry refers to the lyrics written by poets, song refers to the musical accompaniment that goes with the poetry, and Ci refers to both. Later works that adopted the old titles of Ci or imitated the style of Ci, even without musical accompaniment, were also called Ci. During the mid-Tang Dynasty, poets like Bai Juyi initiated a new Ci movement, creating new titles and writing about current events, hence the name "new Ci."

39. 诗歌的表现手法是很多的，而且历代以来不断地发展创造，运用也灵活多变，夸张、复沓、重叠、跳跃等等，难以尽述。但是各种方法都离不开想象，丰富的想象既是诗歌的一大特点，也是诗歌最重要的一种表现手法。在诗歌中，还有一种重要的表现手法是象征。象征，简单说就是“以象征义”，但在现代诗歌中，象征则又表现为心灵的直接意象，这是应予注意的。用现代的观点来说，诗歌塑造形象的手法，主要的有三种：

39. The methods of expression in poetry are numerous, and they have been continuously developed and created throughout the ages, with flexible and varied applications, such as exaggeration, repetition, overlap, and leap, etc., which are hard to list exhaustively. However, all these methods cannot do without imagination, and rich imagination is both a major characteristic of poetry and the most important kind of expression in poetry. In poetry, there is another important method of expression, which is symbolism. Simply put, symbolism is "expressing through symbolic meaning," but in modern poetry, symbolism is also manifested as a direct image of the mind, which should be noted. From a modern perspective, the methods of shaping images in poetry mainly include three types:

40. ②乐府：本是汉武帝时掌管音乐的官署名称，后变成诗体的名称。汉、魏、南北朝乐府官署采集和创作的乐歌，简称为乐府。魏晋和唐代及其以后诗人拟乐府写的诗歌虽不入乐，也成为乐府和拟乐府。如《敕勒歌》《木兰诗》《短歌行》（曹操）。一般来说，乐府诗的标题上有的

40. ②Lüfu: Originally the name of an official department in the Western Han Dynasty responsible for music, it later became the name of a poetic style. The musical songs collected and created by the Lüfu departments during the Han, Wei, and Southern and Northern dynasties are collectively referred to as Lüfu. Poems written in the style of Lüfu by poets of the Wei, Jin, Tang dynasties and later, although not set to music, are also considered Lüfu and pseudo-Lüfu. For example, the songs "The Song of the Lülu People," "The Ballad of Mulan," and "The Short Song of Journeying" (by Cao Cao). Generally speaking, the titles of Lüfu poems often contain:

41. 格律诗：是按照一定格式和规则写成的诗歌。它对诗的行数、诗句的字数（或音节）、声调音韵、词语对仗、句式排列等有严格规定，如，我国古代诗歌中的“律诗”“绝句”和“词”“曲”，欧洲的“十四行诗”。

41. Fixed-form poetry: It is poetry written according to certain formats and rules. It has strict regulations on various aspects such as the number of lines in a poem, the number of characters (or syllables) in a line, prosodic tone and rhyme, the matching of words, and the arrangement of sentences, such as the "Lawson" and "Quatrain" in ancient Chinese poetry, as well as the "Sonnet" in Europe.

42. “现代诗”名称，开始使用于1953年—纪弦创立“现代诗社”时确立。现代诗的含义：

42. The term "modern poetry" began to be used in 1953—when Ji Xuan established the "Modern Poetry Society," this term was officially established. The meaning of modern poetry:

43. ②一种称“律诗”，每首八句，五言的简称五律，七言的简称七律，超过八句的称为排律（或长律）。

43. ② A type of poem called "Lawson," each with eight lines, the abbreviated name for five-character lines is "Wu-Li," and for seven-character lines is "Qi-Li." Poems with more than eight lines are called "Pai-Li" (or "Chang-Li," meaning "Long Lawson").

44. 一般是怀念古代的人物和事迹。咏史怀古诗往往将史实与现实扭结到一起，或感慨个人遭遇，或抨击社会现实。如，苏轼《念奴娇·赤壁怀古》，感慨个人遭遇，理想和现实的矛盾，年过半百，功业无成。辛弃疾《永遇乐·京口北固亭怀古》表达对朝廷苟且偷生的不满，抨击社会现实。也有的咏史怀古诗只是对历史作冷静的理性思考与评价，或仅是客观的叙述，诗人自身的遭遇不在其中，诗人的感慨只是画外之音而已。如，刘禹锡的《乌衣巷》，今昔对比，表达了诗人的历史沧桑之感。

44. Generally, it is to recall ancient figures and events. Poems that lament the past often intertwine historical facts with reality, expressing personal grievances, or criticizing the social reality. For example, Su Shi's "Niangnu Jiao: Remembering the Red Cliffs," expresses personal grievances, the contradiction between ideals and reality, and the failure to achieve success in one's career after reaching the age of fifty. Xin Qiji's "Yong Yu Le: Remembering the North Stronghold in Jingkou," expresses dissatisfaction with the court's temporizing and criticizes the social reality. Some poems that lament the past are merely a calm, rational reflection and evaluation of history, or an objective narration, with the poet's own experiences not included; the poet's sentiments are just an extra voice. For example, Liu Yuxi's "Wu Yi Xiang," through a comparison of the past and present, expresses the poet's sense of historical vicissitudes.

45. 我刚出国时，头一个发现，就是自己很土。你跟世界几十年隔绝，等你拿到讯息，你的人格、趣味、感觉，早已被塑造了，被区域性的、封闭的文化，塑造了。

45. When I first went abroad, the first thing I noticed was how uncouth I was. You've been isolated from the world for decades, and by the time you receive information, your personality, tastes, and senses have already been shaped, molded by regional, closed cultures.

46. 叙事诗和抒情诗。这是按照作品内容的表达方式划分的。

46. Narrative poetry and lyrical poetry. This is a classification based on the expression of the content of the works.

47. 从诗句的字数看，有所谓四言诗、五言诗和七言诗。四言是四个字一句，五言是五个字一句，七言是七个字一句。唐代以后，四言诗很少见了，所以通常只分五言、七言两类。五言古体诗简称五古；七言古体诗简称七古；三五七言兼用者，一般也算七古。五言律诗简称五律，限定八句四十字；七言律诗简称七律，限定八句五十六字。超过八句的叫长律，又叫排律。长律一般都是五言诗。只有四句的叫绝句；五绝共二十个字，七绝共二十八个字。绝句可分为律绝和古绝两种。律绝要受平仄格律的限制，古绝不受平仄格律的限制。古绝一般只限於五绝。

47. From the perspective of the number of characters in the verses, there are so-called four-character poems, five-character poems, and seven-character poems. Four-character poems consist of four characters per line, five-character poems consist of five characters per line, and seven-character poems consist of seven characters per line. After the Tang Dynasty, four-character poems became very rare, so they are usually categorized only into five-character and seven-character poems. Five-character ancient-style poems are abbreviated as "Wu Gu"; seven-character ancient-style poems are abbreviated as "Qi Gu"; those that use both three, five, and seven-character lines are generally also considered as "Qi Gu". Five-character regulated poems are abbreviated as "Wu Lu", with a limit of eight lines and forty characters; seven-character regulated poems are abbreviated as "Qi Lu", with a limit of eight lines and fifty-six characters. Poems with more than eight lines are called "Chang Lu" (long regulated poems) or "Pai Lu" (arranged regulated poems). Long regulated poems are generally five-character poems. Poems with only four lines are called "Jue Ju" (quatrains); a five-character jue ju consists of twenty characters, and a seven-character jue ju consists of twenty-eight characters. Jue Ju can be divided into "Lu Jue" (regulated jue) and "Gu Jue" (ancient jue). Lu Jue is subject to the restrictions of the even-odd rhythm rules, while Gu Jue is not. Generally, Gu Jue is limited to five-character jue ju.

48. 第二句，则是在前两句描摹的大范围中的一角特景。

48. The second sentence depicts a particular scene within the broader scope described in the first two sentences.

49. 诗歌的表现手法很多，我国最早流行而至今仍常使用

49. There are many expressive techniques in poetry. In our country, the earliest ones that were popular and are still commonly used today.

50. 诗是最古老也是最具有文学特质的文学样式。来源于古代人们的劳动号子和民歌，原是诗与歌的总称。开始诗和歌不分，诗和音乐、舞蹈结合在一起，统称为诗歌。中国诗歌有悠久的历史和丰富的遗产，如，《诗经》《楚辞》和《汉乐府》以及无数诗人的作品。西欧的诗歌，由古希腊的荷马、萨福和古罗马的维尔吉、贺拉斯等诗人开启创作之源。

50. Poetry is the oldest and most literary of literary forms. It originated from the labor songs and folk songs of ancient people and was originally a general term for both poetry and songs. Initially, poetry and songs were not distinguished from each other, and poetry was combined with music and dance, collectively known as poetry. Chinese poetry has a long history and rich heritage, such as "The Book of Songs," "The Songs of Chu," and "The Han Music Bureau," as well as the works of countless poets. The poetry of Western Europe was initiated by poets such as Homer and Sappho of ancient Greece, and Virgil and Horace of ancient Rome.

51. 夸张。就是把所要描绘的事物放大，好像**里的“大写”“特写”镜头，以引起读者的重视和联想。李白的“桃花潭水深千尺，不及汪伦送我情”（《赠汪伦》）“飞流直下三千尺，疑是银河落九天”（《望庐山瀑布》），其中说到“深千尺”“三千尺”，虽然并非事实真相，但他所塑造的形象，却生动地显示了事物的特征，表达了诗人的激情，读者不但能够接受，而且能信服，很惊喜。然而这种夸张，必须是艺术的、美的，不能过于荒诞，或太实、太俗。如，有一首描写棉花丰收的诗： “一朵棉花打个包／压得卡车头儿翘／头儿翘，三尺高／好像一门高射炮。”读后却反而使人觉得不真实，产生不出美的感觉。

51. Hyperbole. It means to amplify the things to be described, as if through the "close-up" and "extreme close-up" shots in a movie, to attract the reader's attention and association. In Li Bai's poem "The Depth of the桃花Tang Is a Thousand Li, Which Is Not as Deep as the Emotion Sent to Me by Wang Lun" (A Gift to Wang Lun) and "The Water Flowing Down a Cliff, Falling Like the Milky Way from the Nine Heavens" (Looking at the Lushan Waterfall), the mention of "a thousand li deep" and "three thousand li" are not factual truths, but the images he created vividly demonstrate the characteristics of things and express the poet's passion. Readers not only accept it but also believe in it and are surprised. However, such hyperbole must be artistic and beautiful, and cannot be too fantastical, or too realistic and vulgar. For example, in a poem describing a bountiful cotton harvest: "A cotton ball wrapped up / Squeezed the truck's front end up / Up, three li high / Like a high-pressure cannon." After reading it, it instead gives a sense of unreality, failing to evoke a feeling of beauty.

52. 诗歌是一种主情的文学体裁，它以抒情的方式，高度凝练，集中地反映社会生活，用丰富的想象、富有节奏感、韵律美的语言和分行排列的形式来抒发思想情感。诗歌是有节奏、有韵律并富有感情色彩的一种语言艺术形式，也是世界上最古老、最基本的文学形式。诗歌起源于上古的社会生活，因劳动生产、两性相恋、原始宗教等而产生的一种有韵律、富有感情色彩的语言形式。《尚书虞书》：“诗言志，歌咏言，声依永，律和声。”《礼记乐记》：“诗，言其志也；歌，咏其声也；舞，动其容也；三者本于心，然后乐器从之。”早期，诗、歌与乐、舞是合为一体的。诗即歌词，在实际表演中总是配合音乐、舞蹈而歌唱，后来诗、歌、乐、舞各自发展，独立成体，诗与歌统称诗歌。

52. Poetry is a literary genre that is primarily emotional, reflecting social life in a highly condensed and focused manner. It expresses thoughts and emotions through rich imagination, rhythmic and melodious language, and the form of lineated arrangement. Poetry is a linguistic art form that is rhythmic, melodious, and emotionally charged, and it is also the oldest and most basic literary form in the world. Poetry originated from the social life of ancient times and emerged as a rhythmic and emotionally charged language form due to labor production, romantic relationships between the sexes, and primitive religions. The "Book of Songs" in the "Book of Documents": "Poetry expresses intentions, songs sing words, sounds follow duration, and music harmonizes with sounds." The "Book of Rites": "Poetry expresses intentions; songs sing sounds; dances move forms; the three originate from the heart, and then musical instruments follow." In the early period, poetry, songs, music, and dance were integrated into one. Poems were lyrics, and in actual performances, they were always sung in coordination with music and dance. Later, poetry, songs, music, and dance developed separately, becoming independent entities. Poems and songs are collectively referred to as poetry.

53. 木心先生的最后时光，你我都要经历，都要寂寞的求生最后落寞的放弃。

53. The final days of Mr. Mu Xin, we both must experience, we both must struggle for survival in loneliness, and ultimately submit to desolation.

54. 比拟。刘勰在《文心雕龙》一书中说：比拟就是“或喻于声，或方于貌，或拟于心，或譬于事。”这些在我们前面列举的诗词中，便有许多例证。比拟中还有一种常用的手法，就是“拟人化”：以物拟人，或以人拟物。前者如徐志摩的《再别康桥》：轻轻的我走了，／正如我轻轻的来；／我轻轻的招手，／作别西天的云彩。／那河畔的金柳，／是夕阳中的新娘；／波光里的艳影，／在我的心里荡漾。把“云彩”“金柳”都当作人来看待。以人拟物的，如，洛夫的《因为风的缘故》：……我的心意／则明亮亦如你窗前的烛光／稍有暧昧之处／势所难免／因为风的缘故／……以整生的爱／点燃一盏灯／我是火／随时可能熄灭／因为风的缘故。把“我的心”比拟为烛光，把我比作灯火。当然，归根结底，实质还是“拟人”。

54. Analogy. In his book "The Literary Mind and the Carving of Dragons," Liu Xie said: "Analogy is 'either by sound, or by appearance, or by heart, or by things.'" There are many examples of this in the poems and verses we mentioned earlier. There is also a commonly used technique in analogy, which is "anthropomorphism": representing objects as people, or people as objects. For example, in Xu Zhimo's "Another Farewell to Cambridge": / I walked lightly, / Just as I came lightly; / I waved lightly, / To bid farewell to the clouds in the west. / The golden willows by the river, / Are the bride in the sunset; / The resplendent reflections in the ripples, / Swell in my heart. / I treated "clouds" and "golden willows" as people. There are also those who represent people as objects, such as Luo Feng's "Because of the Wind": ... My heart / Is as bright as the candlelight before your window / A little ambiguous / Inevitable / Because of the wind / ... With all my love / Light a lamp / I am fire / May extinguish at any time / Because of the wind. I compared my "heart" to candlelight and myself to a lamp. Of course, fundamentally speaking, the essence is still "anthropomorphism."

55. 二记敲门声，便使得那种情景“活”起来，也更显得环境的寂静了。前述《枫桥夜泊》的“乌啼”“钟声”，也是这首诗的点睛之笔。还有白居易的《琵琶行》中的音乐描写，“大珠小珠落玉盘”一段，更是十分逼真，非常精彩！现代的如黄河浪的《晨曲》：“还有那尊礁石/在固执地倾听/风声雨声涛声之外/隐隐约约的/黎明/灵泉寺的晨钟/恰似鼓山涌泉的/悠远回应/淡淡淡淡的敲落/几颗疏星/而涨红花冠的/雄劲的鸡鸣/仿佛越海而来/啼亮一天朝霞/如潮涌。这首诗也写得很好。所以我们如果掌握了用声音塑造形象的手法，那将为诗歌创作开拓一个更加广阔的领域。

55. Two knocks on the door brought that scene to life, making the silence of the environment even more pronounced. The "crying of the magpie" and the "bell sound" mentioned in the aforementioned "Evening Dock at Fengqiao" are also the highlights of this poem. There is also the musical description in Bai Juyi's "The Song of the Pipa," where the line "Big beads and small beads fall onto the jade plate" is particularly vivid and exciting! In modern times, like in Huang He Lang's "Morning Song": "There is that rocky reef / stubbornly listening / beyond the sound of the wind, rain, and waves / faintly and indistinctly / dawn / the morning bell of Lingquan Temple / echoing distantly like the surging springs of Gushan / gently and softly / dropping a few scattered stars / and the vigorous crowing of the rooster with a red crest / seems to come from across the sea / to sing bright the morning glow / as surging waves. This poem is also very well-written. Therefore, if we master the technique of shaping images with sound, it will open up an even broader field for poetic creation.

56. 兴：是托物起兴，即借某一事物开头来引起正题要描述的事物和表现思想感情的写法。唐代孔颖达在《毛诗正义》中说：“兴者，起也。取譬引类，起发己心，诗文诸举草木鸟兽以见意者，皆兴辞也。”朱熹更明确地指出：“兴者，先言他物以引起所咏之辞也。”如《诗经》中的《关雎》《桃夭》等篇就是用“兴”的表现手法。

56. Xing: It refers to the technique of "Xing" (starting with an object), which means using a certain object as a starting point to evoke the main subject to be described and express thoughts and emotions. Kong Yingda of the Tang Dynasty said in "The Righteousness of the Mao Po": "Xing is to start. By using metaphors and analogies, it awakens one's own heart. Poems and verses that use grass, trees, birds, and beasts to express meanings are all examples of 'Xing'." Zhu Xi pointed out more explicitly: "Xing is to first mention other things to evoke the words that are to be praised." For example, the poems "The Passerine" and "The Peach Blossom" in the Book of Songs are expressions using the technique of "Xing."

57. 咏物诗的特点：内容上以某一物为描写对象，抓住其某些特征着意描摹。思想上往往是托物言志。由物到人，由实到虚，写出精神品格。常用比喻、象征、拟人、对比等表现手法。

57. Characteristics of Odes to Things: In content, they focus on depicting a particular object, emphasizing and meticulously describing its certain features. In terms of thought, they often use objects to express ideas. From objects to people, from the concrete to the abstract, they write about spiritual character and品格. They commonly employ expressive techniques such as metaphor, symbolism, personification, and contrast.