Chapter 39 Translation and Editing Preface of Ms. Li Yian's Words-1

The twenty-five poems selected for this essay represent Li Yi'an's best writing, and they are selected from her collection of poems Shuyu Ci, edited and published by Wang Pengyun, a well-known nineteenth-century poet and scholar.The editor pointed out in the preface that among the fifty poems selected in this book, twenty-three are from "Yuefu Yaci".This collection of poems was compiled by Zeng V, a 13th-century writer. The rest of the collection is selected from different collections and books of various writers in the 12th and 3rd centuries.Wang Pengyun's version is relatively complete in the collection of Yi An's works.

Yi An's words are famous in China, but only two people have translated her words in Europe.Mrs. Judith Gaudier translated several of her poems in French in her "Shu Yu Ci", and seven of Yi An's poems were translated into French by George Surrey Dai Yinghang. These words, finally translated into French, are in many respects a timeless and harmonious text.But they failed to achieve the level of precision of the original as understood by the Chinese.Of course, this aspect is also unavoidable, because Chinese and European languages ​​are very different.Suli Dai Yinghang himself admits that it is almost impossible to translate.He said: "The Chinese translation can accurately express the author's thought according to the reader's feeling. Several translations can be completely different in form, but all are faithful to the original text. Every language is almost a creation.

Our language is quite precise, about 15,000 characters, but it pales in comparison to a Chinese dictionary of 53,165 characters. " Of course, as in French, it is impossible for an English translation to maintain the rhyme or beat of Yi'an's words in Chinese.These elements can only be cut off in translation, just like the accompaniment music that recited these words at that time had to be discarded when reading aloud.Admittedly, what appears to be possible in translation, and is hoped to be possible, is to translate verbatim precisely.It is necessary to maintain the charm of the ancient names and customs often cited in the original poem, and try to maintain the modality of the words, although the conservative tradition and historical nature of Chinese metaphors prevent the English translation from producing the effect in the Chinese mind.These words have now been translated into English metrical poems of different lengths based on the original words.

The author sincerely thanks Dr. Laura Heber Loomis, professor of English literature at Wellesley College. She has not been to the East, but she still gives her support and guidance, hoping to introduce this great Chinese poet to English readers.With her own imagination and poetic wisdom, she helped the author translate these Chinese words into English.For a poet, especially for a poetess, China is a difficult place.The kingdom of poetry with a history of 4,000 years, China is like a midsummer night sky full of twinkling stars, and it is difficult to distinguish a single star.A lonely poet is almost lost in many poets.Also, Eastern writers are very disgusted to praise a woman writer!

Even if they praise, they must use a kind of tolerance and sarcasm.Our poetess, Li Qingzhao is the first, and also the only one, who is loved by her contemporaries and even descendants with her incomparable poetic genius.She convinced them that they were inferior, and crowned her as the incarnation of the intellect of the universe.Her status in the history of Chinese literature is not only like a bright star in the sky of four thousand years of poetry history, but also a star in the Song Dynasty, which is famous for its words. Li Qingzhao, No. Yi'an Jushi.Born in 1084.She is a native of Jinan Prefecture, the capital of Shandong Province today, and the birthplace of our great teacher Confucius.Her father, Li Gefei, was a well-known scholar, and "Luoyang Famous Gardens" was handed down from generation to generation.Her father came from a scholarly family and was also a high-ranking official.Yi An's mother is Wang Gongchen's grandson, good at writing.Wang was a graduate of the Imperial Academy, the highest institution, winning the highest honor that could be bestowed on a scholar in the Middle Ages.He was the first scholar selected by the emperor from more than 3,000 scholars from all over the country.Yi An's parents are both famous for their work articles.

Little is known about Yi An's childhood.She grew up in such a family and was constantly influenced by the literary environment. Yi An showed her literary talent since she was a child.Yi An was eighteen years old and married Zhao Mingcheng, Zhao's father, Zhao Tingzhi, who was the deputy prime minister.Zhao Mingcheng is a man of profound knowledge, so their married life is very happy. In China, some instinctive hero worship may add some supernatural myths to the life anecdotes of some sages and poets, which is also inevitable.This is how it was recorded that Yi An would marry Zhao Mingcheng.According to legend, Mingcheng had a dream when he was a child. He dreamed that he was reading a book. When he woke up, he could only remember three sentences, "Words and Sihe", "Anshang has been taken off", and "Zhi Fu grass is pulled".When he woke up, he didn't understand what these meant.He went to ask his father.Father pondered for a moment, and then said happily: "Yan and Sihe are Ci characters, An Shang Ji Tuo is female characters, and Zhi Fu Cao Ba is husband, which means that you want to become the husband of Ci Nu."

Not long after Yi An and Mingcheng got married, Mingcheng went out. The young wife was sad about the parting. She was inspired by the sweet sadness and wrote the most famous poems. One of them, "Yijianmei", this poem Written on a silk handkerchief, brought to her husband.Mingcheng is a scholar, especially compared to his wife, he is not yet a poet.He himself recognized this, and there are stories to prove it. Once, during the famous Double Ninth Festival on September 9th in China, Yi An wrote to Mingcheng a poem he had just written called "Drunken Flower Yin" Mingcheng admired his wife's title of Ci, and he lived in seclusion for three days, forgot to eat and sleep, thought hard, and finally wrote fifty poems.

He mixed Yi An's words into his own, showed it to his friend Lu Defu, and asked for his opinion.After pondering over and over again, Lu Defu said, "There are only three excellent sentences."Mingcheng couldn't wait to know which lines they were, so Lu recited them to Mingcheng, and these were the lines Yi An wrote: "I can't help but lose my soul, the curtain rolls in the west wind, and people are thinner than yellow flowers." Both Yi An and her husband come from a scholarly family, but neither of them is rich. The young couple can only live frugally.Mingcheng is a Tai student, so he can only ask for leave at the beginning and middle of the month to go home.During holidays, Mingcheng always pawned his clothes in exchange for five hundred copper coins, and went to the temple fair of Xiangguo Temple, where people could buy books and some inscriptions.In addition, he often bought some fruit and dried fruit for his poet wife.Together they read and commented on the inscriptions and ate fruit and dried fruit.

After a few years of marriage, their luck improved, and Mingcheng's father was appointed prime minister, and Mingcheng also served in the government.The young couple loved reading and literary writing as much as ever, and now they had the opportunity to meet his father's friends in the government, and they could borrow original manuscripts of poems, histories, and autobiographies of famous writers from them.These manuscripts used to be very difficult to come by.Ming Cheng and Yi An copied them down and edited them.Sometimes she would find some famous artists' inscriptions and paintings, extraordinary stone carvings or gold casting works of art, and they couldn't put it down.In such cases, they always pawn their clothes and jewelry and buy them.Once they saw a picture of Xu Xi's peony, which was sold for 200,000 copper coins.They were fascinated by the painting, but they couldn't afford such a large sum of money.

They left the painting overnight and returned it to the seller the next day.After that, the couple regretted it for a long time. When Mingcheng left his job, he returned to his hometown and lived there for ten years.After spending ten years peacefully there, Mingcheng was re-elected as the sheriff of the two counties.He and Yi An can read and write most of the time.They compiled the "Jinshilu" to record the collection of Jinshi rubbings.They threw themselves into this work with zeal, and worked every evening until the candles were lighted.Whenever they collect books, paintings and ancient utensils, they study them carefully, point out their shortcomings and flaws, and sort them out.

Yi An has an amazing memory, she can remember almost all the books she has read. The story goes like this, once, after dinner, in Guihuitang—the place where they read, where their books were stored, they sat there and Yi An made tea.Play a kind of game with her husband, whoever wins will drink tea first.They brought up a certain matter, and then they wanted to tell the source of this matter, which book was on a certain page, a certain line, of course, Yi An won!Often they laugh so much that they spill the tea. In the winter of 1127 A.D., there was a mutiny in Qingzhou, and more than ten houses of Zhao Mingcheng's family were burned. The Jin people invaded the south, and the literati of the Song Dynasty moved south.At the same time, they also changed their literary style.Before the Jin people invaded, their poetic language was more cheerful, fresh and brisk.After the invasion, harassed by war, displacement and destruction of civilization, the poems written by these poets inevitably became more sentimental and moody. Its background is a background of chaos.Like other poets at that time, after she traveled south, Yi An's words also showed changes and influences in style. Yi An is very unhappy and misses the days of living in the north very much.Her sentimentality is shown in her poem "Yong Yu Le" and other words.Whenever it snows in the south, she puts on a bamboo hat and coir raincoat, walks along the city wall, and writes poems. She always asks for Mingcheng and rhyme. Mingcheng fell ill on the way to his post. Yi An learned the news that her husband had fallen ill, so she hurriedly set off by boat, and finally arrived before her husband died. « Previous Chapter◊ Contents◊ Next Chapter » Chapter 68 Translation and Editing Preface of Ms. Li Yi'an's Words (2) Extreme grief made her fall ill.He was also accused of giving the jade to the Jinren, that is, collaborating with the enemy. Yi An was very frightened.At this time, many of her books were also lost. Yi An was very sad and deeply disappointed after this loss, she went to her brother, her poems became more and more depressed, her grief over the loss of her husband and her nostalgia for her hometown were expressed again and again in her words . The poem "Wuling Spring" was written when she was fifty-two years old.It's one of the saddest words she's ever written, an emotional one. The year of Yi'an's death is unknown.She probably lived past sixty or seventy years old. Facts about Yi'an's life are gathered from a number of books from the twelfth century: 1. "Song History", authored by Tuotuo, a minister of the Yuan Dynasty; 2. "Yuefu Elegant Ci", author Zeng V of the Southern Song Dynasty; 3. "Qingbo Magazine", author Song Zhouhui; 4. "The Preface to Jinshilu", the author Li Yi'an, is our poetess herself.For my thesis, it is only possible to find the first book in the bibliography in the Chinese Library of Harvard University.In addition, because some details cannot be found in the original work, the author chose a biography of Li Yi'an written by Yu Chengxie in the 19th century, who was a famous poet and critic at that time. easy words 1. Morphology In order to explore and appreciate Yi An's poems, it is necessary to know a little bit of Chinese poetry skills, especially the special form of Chinese poetry and the evolution of words.Words are Yi'an's favorite form of expression and the form of poetry that has earned her the most reputation. Chinese poetry can be divided into two types, new style and old style.Archaic poetry refers to poems written from the tenth century BC to the fifteenth century AD, in other words, before the invention of stone books.Ancient poetry is divided into the following three types according to the number of words in each line of the poem: This form was created in the eleventh century BC, and it is used in ancient Chinese poetry.The first song titled "Zhou Nan" can be expressed as follows: o o o o o o o o o o o o This form was founded in the first century.The sixth one can be selected from the nineteen ancient poems as an example: o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o This form was created in the second and third centuries BC and did not become popular until the tenth century AD. o o o o o o o o o o o o o o o o o o o o o In addition to these three forms, there are three-character, six-character, and eight-character poems, but they are relatively rare.Generally speaking, there are no fixed rules to follow in ancient poetry, and the rhymes are not fixed. The rhyme of Chinese poetry was based on the simple and consistent pronunciation before the fifth century. Chinese characters or words have different sounds, and each sound may have different meanings. In the fifth century A.D., the poet Shen Yue (441-513) wrote a book about phonetic rhyme, and divided these similar musical notes into four types.The flat ones are called flat tones, and the uneven or skewed ones are called upper tones, falling tones, and entering tones, which are equivalent to stressed syllables in English.The level tone is flat and gentle. Among other uneven sounds, the upper tone is high and sharp, the outgoing tone is clear and long, and the incoming tone is short and rapid. Quatrains, also known as metrical poems.On the basis of the length of the stanza, the new-style poems can be divided into two categories, and the words in each category must obey the new-sound classification.In the following quatrains, the tones are arranged in this way: o means flat tone, e means oblique tone. This form has five characters per line, but the entire poem is limited to four lines.The rhyme usually falls on the first, second, and fourth lines, as illustrated in a poem by China's greatest poet, Li Po (701-762).Homesickness o e e o rhyme e o e o eo o o e o rhyme Du Fu (712-770) used seven-character quatrains in his poem "Jiangnan Meets Li Guinian". o e o o e e o rhyme o e o o e o ee o o e e o o rhyme This form has either five or seven characters per line, but the rhymes fall alternately in the second, fourth, sixth and on the eighth line.Sometimes it falls on the first line as well. Another Li Bai titled "Early Autumn in Taiyuan" is the five-character one: e e o o eo o e eo rhyme o o e e eo e e o o rhyme e e o o eo o e eo rhyme o o e e eo e e o o rhyme The nature of rhyming in Chinese poetry requires that all rhyming characters have the same sound, such as Tian and Yan rhyme, they have the same sound, and they are all flat. The old and new styles of poetry had reached a high degree of development by the fifth century, and a new style of poetry called Ci was created to distinguish it from poetry, and the number of words in each line of Ci was limited. Unlike poetry, which always has four, five, or seven characters in a line, words can have long and short sentences.The number of sentences and words is based on the music. Ci is different from poetry in that it is used for singing, and it must fit a certain key.The first poem written by Xiao Yan, titled "Jiangnan Lane", is arranged in the following way: o o o e o o o (a) o e e e e o o (a) e o o (a) o e o (b) o o o (c) e e o (b) This form, although known to people, was indeed after Li Bai wrote his wonderful poems.His first poem is called "Bodhisattva Man": o o e e o o e (a) e e e o o (b) e o o e o (b) o o o e e (c) e e o o e (c) o e e o o (d) o o e e o (d) The second is "Recalling Qin'e": o o e (a) o o e e o o o (a) o o e (a) o o e e (b) e o o e (a) e o o e o o e (c) o o e e o o e (c) o o e (c) o o o e (d) e o o e (c) During the Song Dynasty, around 959 A.D., the emperor asked court poets to correct Tang Yun.After adding a considerable number of characters, Tang Yun's rhymes reached 26,194 in total.This book is called "Guang Yun".In 1038, still in the same dynasty, a series of characters were added, bringing the total to 53,523 rhymes. This new collection of rhymes is called "Ji Yun".Poets of that time had enough material from which to choose the rhyme and metaphor they needed. Since the eighth century, the number of poets has gradually increased. In the ninth century, Ci almost completely replaced the old and new styles of poetry.Emperors, prime ministers, palace maids and poets made writing poetry a part of their lives.Many talented poets have been discovered. Our poet Li Yi'an is not only the most outstanding female poet, but also one of the few most respected poets at that time. The seventeenth century poet, Shu Menglan, named Baixiang, talked about her in his "Baixiang Cipu": "Among the male poets, the second emperor Li Yu did the best, and among the female poets Li Yi'an is the best. They are the real authority on words, because they understand the taste and charm of words." This is indeed true.Yi An not only wrote lyrics in this style, but also proposed a theory of writing lyrics in an article.She puts forward several principles for writing lyrics, and boldly criticizes previous and contemporary poets, and points out their weaknesses. Her article is as follows: During the Kaiyuan and Tianbao years of the Tang Dynasty, there lived a man named Li Balang who was the best singer in the country.At that time, scholars who had just passed the literature examination were preparing a banquet by the Qujiang River.One of the scholars invited Li Balang privately and asked him to dress up as a poor man and go to the banquet with him. The scholar introduced Li to his friend and said: "My cousin wants to come to our party." But no one even bothered to look at him.The banquet begins, the band starts to play, and the singers come forward.Cao Yuanqian, a famous singer at that time, was praised by the audience after reciting the slave song.Then, the scholar suddenly pointed to Li Balang and said, "Please let my cousin sing a song." The audience all laughed, and some were very angry.But as soon as Li started singing, everyone was moved by him.These scholars were all in tears. They walked forward, surrounded him, knelt down and said to him, "This must be Li Balang." In the following Five Dynasties (907-960), due to years of civil strife, there were not many poems created, but because Jiangnan Li (885-926) and his prime ministers loved literature, they maintained the creation of Ci, and also wrote He wrote some precious words, like: "The small building blows through the Yusheng cold", "Blows a pool of spring water". Astonishing as these words are, they all contain the aspirations of what we call the "national broken" people.They are full of poignancy, and the heart is very heavy.After that, the civilization of that dynasty reached its peak, and they have been perfecting their works for a hundred years. « Previous Chapter◊ Contents◊ Next Chapter » Chapter 69 Translation and Editing Preface of Ms. Li Yian's Ci (3) Liu Yong is one of the poets who changed the old music into a new style, which also made him famous all over the country.But he followed the old tradition.His ideas lack cultural literacy.Later, there were poets Zhang Ziye (990-1078), Song Zijing (998-1062), and other poets.Now and then they write some good words, but their words are fragmented and lack style.The other poets, Yan Shu (991-1055), Ouyang Xiu (1007-1072) and Su Shi (1037-1101), have extensive book knowledge and are great scholars.It seems that they write a poem like a small cup of water from the infinite sea.But their words are a bit rough, not refined, and their sounds and sounds are not very accurate. In prose and new words, the four tones are only divided into flat and narrow, but in words, the tones are divided into five tones, five tones, and high and low strong and weak tones.For example, some new songs like "Slow Sound", "Flowers in the Rain", and "Xiqian Ying", these words are all flat rhymes and also rhymes.A song that originally rhymes in zhe tones can still be sung when it becomes the upper tone, but if it is in the lower tone, it is completely impossible to sing.Wang Anshi (1021-1086) was on par with Western Han essayists in prose writing.But his words are difficult to pronounce and often make people laugh. This is due to the fact that the word "Don't Be a Family" is very different from other kinds of poems, so only a few poets really understand it.Yan Jidao (about 1030-1106), He Fanghui (1052-1125), Qin Shaoyou (1049-1100), and Huang Luzhi (1045-1105) were the first poets who understood Ci, but their Ci was not good. . Yan's imagination is not rich enough, and he doesn't know how to express his thoughts; Mrs. He is careless and not solemn enough; Mrs. Qin emphasizes emotion and ignores content. His words are like a poor and pretty girl who is beautiful but lacks elegance. Huang likes to quote classics, but his words are full of mistakes, like a flawed jade, the value will naturally be halved. Ian is not only a harsh critic, she is also very cautious about her own work, she is not the kind of person Pope said: "He cannot win the love of his mistress, but must court her servant," she remarked, because of her thorough understanding of the technique and poetry of words, but also because of her courage and conviction. The twenty-five words and prosody analysis selected into this paper are placed later. Two, style Yi'an's Ci is not only famous for its perfect technique, but also considered to have a rare poetic flavor.Almost all word selections of these words are collected.For example, "Slow voice" is included in Ms. Liang Lingxian's "Selected Cis of Yiheng Museum", page 82; it is also collected in P·H Huangtai Shangyi Blowing Xiao" is included in Ms. Liang Lingxian's "Selected Cis of Yihengguan" , p. 82, 1908; also included in P. H. Xia's "Selected Words of Famous Persons of Past Dynasties", Volume 9, Page 13, 1751; also included in Shu Menglan's "Baixiang Cipu" Volume 1, No. 45 pages. Yi An is not only a poet, but also a poet and essayist.In the History of Song by the twelfth-century chronicler Tuotuo, Yi An is said to have written six volumes of Ci and seven volumes of prose, but most of the work has been lost.A few quotes from twelfth-century authors survive: In Zhao Yanwei's "Yunlu Mansha", her "Shang Nei Han Qi Gong (Chongli) "Enlightenment", in Tuotuo's "History of the Song Dynasty" in "Jinshilu Post-Preface", in Zhao Yanwei's "Yunlu Manchao" in the poems of the crown prince and the prime minister, in Tuotuo's "History of the Song Dynasty" in " Hitting the Horse Picture".Her anthology "Shuyu Ci" compiled and published by Wang Pengyun is the best anthology, which has been mentioned in the previous preface. "Shuyu" means to wash one's mouth with clear and transparent water like pure jade. "Shuyu Ci" contains a person who has undergone such preparation and can only speak the purest and most elegant language. Twenty-five of the fifty poems in this volume were selected for this essay and translated into English.Although they do not represent all of Yi An's works, these twenty-five poems are excellent and can indeed represent her graceful style, her noble and passionate love, her keen insight into nature, and the reflection of the Chinese people. Background of life in the late tenth and early twelfth centuries. Yi'an words are divided into several different types.The nobility and delicacy of her love words are most admired by the Chinese people.The important experience of her life is the love for her husband, so it is only natural that she wrote a lot of words about love.She grew up in a scholarly family, and her husband was probably the first young man she met before getting married.Fortunately, her husband was also born in a quite family.He was a scholar, a lover of books and antiques, and above all poetry, although he was not a poet.Since his subjects and interests are very close to hers, it is natural that Yi An has respect and admiration for this young scholar. Their prolonged separation increased the intensity of her affection.They have pleasure in reading and writing together, and enjoyment in viewing art together, but they rarely have the opportunity to be together. It is not difficult to imagine that this kind of sadness of separation has become the main feature of Yi An's love poems.The world around her seemed serene, bleak and sad.This feeling of anticipation and yearning guided her thoughts through the thick clouds and along the greenery in spring to the horizon. Everything in her narrow world recalls her husband. The beautiful spring intensified her drinking, and the song reminded her of enjoying the song (Ci 6) with her husband.The flying geese reminded her of the folk tales in which these geese passed letters (words 1, 4, 8, 11).Blowjob reminds her of parting from her husband.Her poetic insight becomes sharper and deeper as she observes the world around her.Emotions gather in silence.Through poignancy and sweetness, deep and serene emotions, all deepening the atmosphere of palpable sadness.The heavy and luxurious window curtains (Ci. 19), the cool air that comes slowly at night penetrates the bedding and straw mats (Ci. 2).The noble cigarettes drift away slowly (cis. 2, 20).The raindrops are like a steady stream of tears (word 5), falling on the leaves of the sycamore tree (word 17).All of this, for her, is a symbol of love and separation.The simplest details of life are vividly presented in front of her, evoking her memories.She noticed the dust on her luxurious dressing mirror case that she had not used for a long time.She knew that a person who was sad alone could not have a good dream, so she settled down and sat in front of the oil lamp, stirring the wick to spend the long night (6 words).Spring deepened the sadness in her heart, and sometimes it changed her feelings from heaviness to joy (Vol. 8).When the curtains were rolled up in the west wind, she saw herself, a woman wasted in love, thinner than a yellow flower (word 2).Inspired by love, she sympathizes with these lovers who are like brilliant stars, and the Cowherd and the Weaver Girl meet only once a year (Ci. 17).She sympathizes with these flowers that wither alone and the stream that flows alone (word 1). Yi An's poems in her youth are naturally less sentimental than her later years.Death separated her from her husband.Losing her husband and having no children made her feel old.When she puts on the silks of happier times (Vol. 19), or puts bright spring flowers on her silver-gray hair, melancholy affects her deeply.Her sorrow seems too heavy for her boat to bear (Vol. 25).When she lived with her brother in "The End of the World", she hoped that by indulging in wine, she could forget the home she missed (Cit. 20).There is a deep sadness, a poignant emotion in all her poetry, but her inherent quietness and elegance are by no means diminished. Like a girl of status in China, Yi An's environment is a very restrictive one.She lived in her boudoir most of the time, served by servants, and it was not until later in her life that she had the opportunity to contact the outside world.But on the other hand, the familiar things she has seen many times made her ability to observe nature sharper and deeper.Indeed, in terms of lyrics, poets like to use conventional metaphors to express conventional feelings. Yi An also uses many conventional symbols, but what they express is only what she sees and feels.Like other poets, she uses the symbol of "plane tree", "geese" and other fixed expressions.Instead of using other familiar symbols, such as "roadside post station" and "proud white horse", these are beyond her observation and experience, so she has never used them, although these are also routinely used in Chinese poetic language symbol of.She only writes what she sees. Looking up at the sky, she sees the river of stars flowing arrogantly (word 19), and imagines thousands of stars jumping like sails on the water (word 21).She saw the thick clouds connected to the sea, and imagined that the clouds were billowing waves (Ci. 21). Looking out from the balcony and hut, she felt that the clear sky was like a blue tent covering her (word 12).She looks affectionately at the verdant meadow stretching to the sky, and the tops of the trees in the distance cover her husband's way back (word 7).She noticed with great interest all kinds of flying birds, especially the soaring swan goose (Ci.On many occasions she speaks of flowers and trees that grow and bloom and wither, of willow-like eyes and flower-like cheeks that awaken the heart of spring (Ci. 19), begonia flowers (word 13) and sycamore leaves (word 17).Anyway, she writes about the primrose (prunus), her favorite flower, and how it blooms in the snow (word 23).Seven of her first volumes are devoted to primroses, and she mentions them in other poems.Chrysanthemums are also flowers she likes and sympathizes with, because they are slender and resemble her frailty in shape (word 2).She observed that bamboo grows rapidly in spring, and the leaves of sycamore trees fall first in autumn (ci. 17). Much of the similes she takes from nature rely on inward and outward eye, noting form and color with an artist's precision.Her vocals are also sharp and poetic.In her Ci, she often refers to rain and wind (Ci. 13), the slow dripping of water on the leaves of the sycamore tree (Ci. (Cit. 6), she heard the geese in the clouds (C. 1), the cuckoo in the forest (C. 12), the crickets in the grass (C. 17), and the flute player in the distant attic (C. 5) , she is equally sensitive to the influence of the outside world, the coolness and coldness that falls on the green bamboo mat at night (Ci. , 18, 20).When she is depressed, her body also feels uncomfortable, and a light touch is like bearing a heavy weight.At this moment, she felt the heaviness of the hairpin of the phoenix head (ci. 6); she was caught by the intangible fragrance of yellow flowers, which filled her tiny sleeves (ci. 2). In Yi An's words, the description of the background is always delicate, with oriental luxury. From her vivid poems, even foreigners who study China can imagine the lives of Chinese girls in the twelfth century, their repose, their luxury and their entertainment at festival banquets (Ci. 20, 22, 25), Their boudoir life with the little maid and the painted buildings and pavilions (Ci. 13, 10);On the one hand, Yi An’s Ci describes a lot about herself, how she likes flowers (Ci. 13, 22), beautiful hairpins, pink and red (Ci. , 19, 20).She described viewing flowers, drinking wine, and describing the joy of rowing a boat to the water (words 1, 18, 25).These descriptions make a busy modern woman yearn to go back to the ancient times and escape the overworked world. For all her apparent candor and familiar self-revelation, Yi An's words still have the sublime connotations of Chinese art.Her feelings are always sweet and subtle, calm and free.The whole atmosphere of her words is full of high seriousness and prudence, which reflects her nobility of character, elegance of sentiment and depth of thought.She has all the best qualities of a poet, a poetess.As Ms. Browning said, "She was a real genius, a real poetess." Even among twentieth-century Chinese it would be hard to find another equal to her. (Translated by Chen Shu) Li Yi'an Ci I often remember that the sun is setting in the brook pavilion, and I don’t know my way back when I’m intoxicated. Returning to the boat late at the end of the day, I strayed into the depths of the lotus flower. Competing for crossing, competing for crossing, startled a pool of gulls and herons. Last night, the rain was dredging and the wind was sudden, and the heavy sleep could not eliminate the residual wine. Tried the questionnaire, but said that Haitang was still the same. Do you know?Do you know? It should be green, fat, red and thin. Lonely in the deep boudoir, tender intestines are full of worries. Xichun is gone, what time will the flowers rain. Leaning all over the railing, just no emotion! Where are people? The grass is dying in the sky, and the way back is broken. Skip the swing, get up lazy and slender hands. The dew is thick and the flowers are thin, and the sweat is light and the clothes are transparent. Seeing someone coming, the sock shovels the gold hairpin and slips away, and walks away in shame. Leaning on the door and looking back, I sniff the green plum. (This poem is signed by Anonymous in Volume 1 of "Flowers and Grass Collection") Mo Xu's cup of deep amber is thick, before the intoxication melts, the wind will come later. Ruinaoxiang eclipses the soul and breaks the dream, and the cold golden bun is loose, and the time and space are awakened to the candle flower red. In the small courtyard, the spring is deep in the idle windows, the heavy curtains are not rolled up, and the shadows are heavy, and there is no words to listen to the Yaoqin when leaning on the building. Yuanxiu comes out of the mountains to make the dusk, the wind blows and the rain makes the shade light, and the pear blossoms are about to fade. The light of spring is cold and the sky is cold, the jade furnace sinks into the water and smokes, and the dream returns to the mountain pillow to hide the flowers. Haiyan will fight grass in the future, Jiang Mei has passed willows and willows, and the swing is wet with rain at dusk. The bun hurts the spring and is more combed, the evening breeze in the courtyard is just beginning to fall, and the light clouds come and go and the moon is sparse. The jade duck smokes the furnace to relax the brain, the red cherry tent covers the tassels, and the rhinoceros can also relieve the cold. The embroidered curtain Furong smiled, and leaned on Baoya to kiss her fragrant cheeks, and her eyes moved to be guessed. On the one hand, the style is deep and rhyme, and half of the paper is full of love and hatred, and the moon moves and the shadow of the flowers promises to come back again. The wind is soft, the sun is thin, and spring is still early, and the shirt is in a good mood at first glance. It's cold when I sleep, and the plum blossoms are left on the temples. Where is my hometown?Forget about being drunk. When the water sinks and lies down, it burns, and the fragrance and wine do not disappear. The sound of returning home breaks the remnant cloud, and the snow falls on the back window, and the smoke from the furnace is straight. The phoenix hairpin at the bottom of the candle is bright, and the head of the hairpin is better than light. The sound of the horn reminds the dawn, and the dawn returns to the bullfight. It's hard to see flowers in spring, and the west wind keeps the old cold. The night comes intoxicated and it is late to remove makeup, and the plum calyx is inserted with residual branches. Awakening from drunkenness breaks the spring sleep, and the dream cannot be returned. People are quiet, the moon is Yiyi, and the green curtain is hanging. Move the remaining pistils more, pick up the lingering fragrance more, and get more time. The wind is fixed and the flowers are deep, and there are red piles of snow outside the curtain. After the Changji crabapple blooms, it is the season of hurting spring. The jade statue is empty after the wine is sung, and the green tank is dimly lit. Hunmeng couldn't bear the resentment, and cried out even more. Every year in the snow, plum blossoms are often inserted to get drunk, and there is no good intention to remove the plum blossoms, and win tears all over the clothes! This year, the ends of the earth, Xiao Xiao's temples are blooming. It depends on the late-coming wind, so it should be ugly to see plum blossoms. Lingao Pavilion, chaotic mountains and plains, thin smoke and light. The smoke is thin, and after the crow returns, the sky hears the corner. The broken fragrance and the residual fragrance have evil feelings, and the west wind urges the phoenix trees to fall. 梧桐落，又还秋色，又还寂寞。 揉破黄金万点轻，剪成碧玉叶层层。 风度精神如彦辅，太鲜明。 梅蕊重重何俗甚，丁香千结苦粗生。 熏透愁人千里梦，却无情。 When I get sick, my temples are blooming, and I lie down and watch the waning moon on the window screen. The cardamom shoots are boiled in water, don't share the tea. 枕上诗书闲处好，门前风景雨来佳，终日向人多酝藉，木犀花。 窗前谁种芭蕉树？阴满中庭；阴满中庭，叶叶心心、舒卷有馀情。 伤心枕上三更雨，点滴霖霪；点滴霖霪，愁损北人、不惯起来听！ The wind lives in the dust, the fragrant flowers are gone, and I am tired of combing my hair day and night. Things are people, but things don't matter. If you want to speak, tears will flow first. I heard that Shuangxi Spring is still good, and I plan to go boating. 只恐双溪舴艋舟，载不动、许多愁。 薄雾浓云愁永昼，瑞脑消金兽。 佳节又重阳，玉枕纱橱，半夜凉初透。 东篱把酒黄昏後，有暗香盈袖。 There is no way to lose your soul, the wind is blowing from the west, and people are thinner than yellow flowers. 天上星河转，人间帘幕垂。 凉生枕簟泪痕滋，起解罗衣聊问、夜何其？ 翠贴莲蓬小，金销藕叶稀。 旧时天气旧时衣，只有情怀不似、旧家时！ 湖上风来波浩渺，秋已暮、红稀香少。 水光山色与人亲，说不尽、无穷好。 莲子已成荷叶老，青露洗、苹花汀草。 眠沙鸥鹭不回头，似也恨、人归早。 寒日萧萧上锁窗，梧桐应恨夜来霜。 酒阑更喜团茶苦，梦断偏宜瑞脑香。 秋已尽，日犹长，仲宣怀远更凄凉。 不如随分尊前醉，莫负东篱菊蕊黄。 暗淡轻黄体性柔，情疏迹远只香留． 何须浅碧深红色，自是花中第一流． 梅定妒，菊应羞，画栏开处冠中秋． 骚人可煞无情思，何事当年不见收． 红酥肯放琼苞碎，探著南枝开遍末？ 不知酝藉几多时，但见包藏无限意。 道人憔悴春窗底，闷损阑干愁不倚。 要来小看便来休，未必明朝风不起。 春到长门春草青，红梅些子破，未开匀。 碧云笼碾玉成尘，留晓梦，惊破一瓯春。 花影压重门，疏帘铺淡月，好黄昏。 二年三度负东君，归来也，著意过今春。 红藕香残玉簟秋，轻解罗裳，独上兰舟。 Who in the cloud sent brocade books?When the word geese returns, the moon is full on the west tower. 花自飘零水自流，一种相思，两处闲愁。 There is no way to get rid of this feeling, so I lowered my brows, but raised my heart.