Mo Lifeng: The Rhythm of Su Shi's Poems


2022-08-08: [Chinese Article Link]  Su-jung. Poetry. Rhyming. It's a second rhyme. The rhymes used in Su-yun poems are either narrow or wide, the rhythms chosen are difficult or easy, and the free rhymes in long ancient poems are subject to the needs of their poetic expression. Su-jung's most striking feature is the large number of rhymes written, not only by others, but also by himself, in a way that, although criticized by later generations, is in fact the result of a special artistic pursuit that is difficult to see and which has given rise to a great deal of fame. Keys: Sioux, poetry, rhyme. The rhymes of Su-yung's poems are very striking, and his brother, Li Yi-yun, says, "A thousand high-songs and so many strong rhymes. “[1] The first sentence of 11178 refers to Su Xin, who is good at sub-hymn and the second sentence, which means that he is good at “hymn”, that is, hymn, that is, very little and more difficult to rhyme. Look first at the latter. The most famous of them are the poem "Rhyming" by Xinning, who wrote in his eight years (1075) in the state of Mystery, "Before the snow, the north wall, two sides of the book: "The dusk is twirling, the night is quiet and the wind is stunned." But it was like pouring water without knowing that the courtyard had been stained with salt. “The first day of the city began with crows, and the strangeness of the sandy mud was left without a car. Frozen jade towers are frozen and stunned with silver beads, and the locusts should be thousands of feet in the ground, and there are several homes in the clouds. The old man's hymn retreats from his poetry, he sang an ice-coated fork, and the two poems retweet with "saline" and "paste" rhymes, all of which are tweaked with little hymn. Of the five rhymed feet in the previous one, only the word “story” is more commonly used, and the end-story “point” is particularly dangerous. The latter typed more easily, but the end-story “fork” is also difficult to type. These two rhymes drew attention at the time, and Su-jung then wrote "The Second Head of the Sunny Son".[2] Reverted to Quakers and the First Two: “The glass has been deluded, and the poetry has been severed. It's the best way to paint the fish, and it's the tallest salt, and it's the best thing to do, and it's the best thing to do, but it's the best thing to do, and it's the best thing to do. Booksman's career is so funny that he can't stand the cold, so he can't get away with it." You know, you can't make flowers, you can't drink, you can't sleep, you can't sleep, you can't sleep, you can't sleep, you can't sleep, you can't sleep, you can't sleep, you can't sleep, you can't sleep, you can't sleep, you can't sleep, you can't sleep, you can't sleep, you can't sleep, you can't sleep, you can't sleep. The pre-Day Warm King loves them, and the cold fish can be fork under the ice.”1 In terms of the two hymn feet of the “tips” and the “fork” alone, the four verses of Su-yun are an amazing victory and a great warning. "Accordingly, the rhymes are very dangerous, and again, Yu Jia... Although the king also believes, repeatedly and repeatedly, he can't be defeated." [3] 879,880 contrasts with the words “the night fork in front of the door” and the words “the night fork in the sky” “for whom the hand of Shaolin fork is displayed as the fork in the fork” [4] and “the fork in the Yuan for the fork”[4]. “The half-mount and the work are so hard to paint, the four chapters are so natural and interesting, and so are the so-called Skywalkers.”[5] It is so true. "The two poets are known for their narrow hymn, but they're not good at it." [6] Book II, 1231 is unconscionable. Another situation in which Su hymn is strong is that the rhymes are not narrow, but the rhymes contain rather difficult words. For example, in Xining’s four-year (1071) visit to La Niño's lonely mountain, the Two Monks: “The sky is full of snow, the clouds are full of lakes, and the towers are clear of the mountains. There are many fish in the water and no birds in the forest. And where is the abode of the people, and the path ahead of the Mount of Treasure; and whosoever is alone in the mountains, there is none left of them but the mountains. The paper-windowed bamboo house warms itself and sits with brown and sleeps in its folds. I went out to see the clouds, but I saw the map, and I was so happy to be home. In the end, the poem is in full danger (the seventeenth sentence only is in fish), and the word “fish” in ancient poems is in order to be broad, but Su-yun is still in detention, with 20 sentences (the first two words in the first), and as many as 16 sentences. There is a rhyme in the whole poem every four sentences, like the seven ancients that rhyme. Moreover, the nineteenth sentence rhymes, and the last four sentences are almost like the hymn beams. This has significantly increased the number of rhymed sentences and clearly increased the difficulty of rhymes: "According to rhymes, synonyms, syllables, natural movements, improbable." The second volume, 631, is even more noteworthy: Su Xi’s close addition to the article “The view of Li Xinjiang Temple and the first rewrite of the meta-hymn”, “Reconciliation of the Pilgrim Temple for Rehearsal”, three poems rehearsing each and every one, without exception to the nineteenth sentence, is a conscious and unexpected example. When it comes to the third rhyme, the poets become more intriguing, and write it as a cylindrical body, and look at the hymn of the Pilgrim's Temple: "You can't see it, Money Pond Lake, The King of Money is no longer here. The house was filled with gold and beads, and all the way around it was scattered and the palaces were left with idle people. There's no need to worry about it, but it's all there, and it's all there, and it's all there, and it's all there, and it's all there. Josone's 100-foot skyscraper, perturbing the willows and the pavilion, the high hall eats the roach, crashes the drums and murmurs. The condensed condensed condensed by the sea map, and the wind came and stunned the rest of the night, and the king was so proud. "The four poems are not revered, but they are not revered, but they are used in the rhymes of Chen Soo Myon: "This poem is only “Rai will not return to his wife,” “the sin of pursuing her husband and her husband” and “the hysteria of her”, “the hysteria of her” and “the hysteria of her” and “the hysteria of her” in four poems. Although the word “twilight” refers to children or wives and children, there is no sense of repetition of the term “twilight” when it comes to the phrase “to come home as a dream” and “twirling” and “twirling” and “twirling” and “twirling” and “twirling”. In the first sentence, the word “tone” is used to describe wonders. In the second sentence, the word “guard” is used to describe wonders. In the third sentence, the word “twilight” is used to mean each other’s and poetry, while their own poems are as ugly as weeds. In the fourth sentence, the word “twice” is the name of an ancient emperor (as in the Book of Mankind), a phrase that goes hand in hand with the saying that “in the cold, it is the Emperor himself” [10]. There are four different terms, one or three of which are used in the original term. Two or four of which are used in the name of the ancients. He is neither the author of the poem nor the author of the poem, but because of his high name and his great achievements, the Quest of the Book of the Snow, both of the North Sides, has been squeezing for a while to influence and influence future generations. As the South Song travels on the ground as the hymn poems of Uncle Lui Lui and Tung Po, the hymns of the hymns became the special term. “Today Su Wen is concentrated, with the snow poems in the words ‘flash’, ‘fork’, and “fork’,” according to the vernaculars of the vernacular zone. Wang Wen is a group, and there's a poem of soybean, and he thinks it's impossible for him to do it. Uncle Lu Wen, Neptune, and 100 articles, which are well written and unmotivated, were given as an example for more than 40 years after Uncle Cheng's poems. After visiting the area in the early millennium (1205), Uncle Lu's poems and poems should be written in the last year of the South Song Shao. Hu Xin and Zhao, among others, have sprung up and sprung with a hymn of “spills” and “forks.” [12] To go back to the two poems of North Taiwan after Tsang Po’s reading of the poems in Zhao – and to read the poems of the Tsang Po – and to read the poems – and to try to make peace with them. Winter is not snowy, and the snow of the 20th day is snowy, and it was approved after the poem – “The Chang father is a poet of his own colour, and so is, inappropriately and peacefully. In this case, we see the difficulties of the flowers, the fork, the salt, the forelock, the forelocks, the forelocks, the forelocks, the forelocks, the forelocks, the forelocks, the forelocks, the forelocks, the forelocks, the forelocks, the forelocks, the foregrounds, the forelocks, the forelocks, the foregrounds, the foregrounds, the forelocks, the foregrounds, the foregrounds, the foregrounds, the foregrounds, the foregrounds, the foregrounds, the foregrounds, the foremen, the foremen, the fore, the fore, the fore, the fore, the fore, the fore, the fore, the fore, the fore, the fore, the fore, the fore, the fore?? Indeed, Mr. Zhou Xuyu’s reference to “the aphrodisiac as a noun for the hymn of the hymn”[13] is true. Su-jung, who is good at rhymes, does not use this as a means of self-restraint, but rather as a response to poetic needs, chooses the right rhyme or rhymed feet. For example, in the year following the writing of the book "Behind the Snow", Su-jung wrote "Snow and Night": "It's so late, it's so late, it's clear that it's twirling. The dream is to wear windows, and the night is only to hear the sound of bamboo, and the winter is warm and the conversation is strong and the autumn is dry. It's hard to see the sky, and it's a glimmer of spring, and it's like, "The best, the best, the best, the best, the best, the best, the most often known, so it's a trick to be deluded. Book III, 1436 says that it is not appropriate for the poem to be “excellent,” but the poem is also famous for snow. In the first sentence, the word “snowing” is inserted, and the art book, vol. II, quotes the Korean poem: “Snowflakes.” The word "silk" is very good here. The word "g" is a hymn, and the rest of the four hymns of this poem are commonly used to use the same hymn as the word "g" for the word "clear". Even more noteworthy is the rehearsing of Su-yun’s long poems, which began with Yuan Fung for six years (1083) in Yellow County’s First Autumn Sons: “I have passed away day and night by day. Only the hearts of those who have lived in the past shall remain in their homes, and shall be remembered in the depths, in the summers, in the closed doors. There was a sudden wind in the west, and the leaves fell through the roof. I'm so proud of you, I'm so proud of you, and I'm so proud of you. Don't be afraid, it will be a difficult time, when both men and women will grow old. It's hard to catch up and learn to hate. In the night of the snow, the bed has been slammed.” The 24 sentences of the poem, each of the four, are one paragraph, rehearsing one by one, with the rhymes going to the hymn, the hymn to the north, the hymn to the east, the hymn to the back, the hymn to the back, the hymn to the back, the hymn to the back, the hymn to the back, and the hymn to the back. “The twisting of the five words is a turning point, and the reverberation of the pen is becoming deeper and more revered, so that other poets cannot do it.”[6] Volume IV, 2453 is again seen as “Sending the Chosen Dynasty to the ground for seven years (1092): “The Qingling City Clouds, the Qing Moon, the Qing Moon, the Qing Moon. I come with the northwest, and I shine, and in the dust, the clouds call me back. I'm swimming on the river and the moon is wet on the side of the sky and the moon is on the side of me. The dream of the southwest road, the silent long stand. It's like the Kaji River, jumping on the pillows, giving away nothing, the Chiangjiang drinking the horses. There is no need to be hoarded and sent to my friends. The trial is as a matter of hearing, as a family, and it is your judgement, and if any of the friends in the mountains ask me, what day will it be? To speak lightly, like a spring stone. The 28 sentences of the poem, each of which is a paragraph, rehearsing paragraph by paragraph, the rhymes of the sounding "lunch" (the ancient "dry" section), the "micro" tone of the sound, the "function" of the sound (the word "separated" is the "unknown" part of the sound), the "green" tone of the sound, the "horse" of the sound, the "g" of the sound of the sound, the "quality" of the sound of the sound (the "stone" is the "unknown" rhyme) are staggered, and the sound of the sound of the sound of the sound continues to coincide with the depression of the country. Wang Xianhan commented: “A man whose five words rhyme with his old system, and whose younger generations are less effective, he snuggles his ears with his breath. This is as heavy as the sound of the sound of the twilight, and a hundred readings. Zhao Kei also commented: "The five-year-old hymn, the hymn, the hymn, the hymn, the hymn and the hymn."[6] 3919-3920 shows that when Su Xi writes long ancient poems, symphony is the primary consideration in his choice of the rhyme and the hymn feet. And that's why Su's poems are often very moving, for example: "As long as you see Wu, you will see Wu." The phantom rises up and leaves nothing to be desired. There are nothing but a thousand stubbles, and the spring comes to an end, and it is even more sad to say that it is the fall and the spring. I remember Pan-Pi-Pi-Li-Li-Li-Yi-Yi-Yi-Yi-Yi-Yi-Yi. A hundred years of disillusionment is all the more tragic, and the pool stands are suspenseful, and the tourists are looking for my old place, but for Wu Shan to come all the way. "The shortness of the sound of the man makes it easier to feel." [6] Book II, 841 with 18 sentences, six rhymes. In the first eight sentences, two paragraphs equalize the hymn of the "winter" and the "object" of the hymn. 2 From the verb to the verb, the sentence is short, with a sense of "shortness". In the second ten sentences, there are four sentences with a equivaleous hyphenation, followed by four sentences with a hyphenated hyphenation with a hyphenation of the first sentence, as if it were two or seven sentences. The most subtle of all is the insertion between two paragraphs of a "culpture" that rhymes with the word "sculpture" and the "good" "old" two rhymes that are long and slow and that seem to read as if they are two long sighings. The tone of the whole poem goes hand in hand with the change in love, which has the effect of making people feel so easy on both sides of the voice and in love. This is an example of Su-jung’s poetry hymn-twilighting. Su-yung's poetry rhymes are characterized by second rhymes, the Southern Song Fei-yun: "Symphony is a wonder. Eun-yung, Eun-Poo, Lu are the most hymn, and the eastern slopes are better than the second rhymes, and the number of round trips is even more surprising. It is good that the words What is the meaning of harming a piece if it is bound to rhyme?”[14] Su Xian’s technique is most well known because it is best tested for the poet’s ability to rhyme, due to the double limitation of the rhythms and their sequence. The three examples given by Fisher are Su-jung’s own headlines, and leave it to the rest of the day to see what Su has done. For six years (1061), Su-jung is the brother of the Wai-jung family: “Don’t say anything together, don’t be afraid of snowfalls. He also sought out a stranger, and the pedestrians had crossed the border, and he was a resident of the county who knew whether or not the old temples were collided with each other. Thinking about traveling alone with little taste and no words but a groan, "Su Xi Xi Xi Xi Xi Xi Xi Xi Xi Xi Xi Xi Xi Xi Xi Xi Xi Xi Xi Xi Xi Xi Xi Xi Xi Xi Xi Xi Xi Xi Xi Xi Xi Xi Xi Xi Xi Xi Xi Xi Xi Xi Xi Xi Xi Xi Xi Xi Xi Xi Xi Xi Xi Xi Xi Xi Xi Xi Xi Xi Xi Xi Xi Xi Xi Xi Xi Xi Xi Xi Xi Xi Xi Xi Xi Xi Xi Xi Xi Xi Xi X Xi X Xi Xi Xi Xi X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X The old monk has died as a new tower, and there's no way to see the old question. The old days were rough, and the long-distancers were bewildered. "Sioux's original words were written, structured, but unstructured and pale. Su-yun's poems and poems are written from the void, and they begin with a literal metaphor in question-and-answer format, deeply revealing the commonality of life experience, which makes the word “squad claws” a writing. "The first four sentences of a single entry into the law, the Chinaman's old age, and the wildness of the mood, it's the East Poe." The first book, 188 poems, seems to be a reward, while Su-yun poems are like the original. In other words, the sub-hymn does not create any obstacles to Su-yun’s expression. If the above group and the poems are merely hymn, so Su-yung is not severely limited, then look at the long summation. Yuan Fung, a monk's way to Xuzhou to meet Su-yuan, presents a Master So-ja's visit to Pemmen's Dare: “The mountains are clear, the bells are clear, the bells of Qing-sook are swarmed. U-U-U-U-U-U-U-U-U-U-U-U-U. The young man, who wrote a book that is ancient and is eight-thousand-thousand-thousand-thousand-thousand-thirty-thousand-thirty-thirty-thirty-thirty-thirty-thirty-thirty-thirty-thirty-thirsty-thirty-thirty-thirty-thirty-thirty-thirty-thirty-thirty-thirty-thirty-thirty-thirty-thirty-thirty-thirty-thirty-thirty-thirty-tty-thirty-tty-thirty-thirty-tty-thirty-thirty-thirty-thirty-tty-thirty-thirty-tty-thirty-tty-thirty-t-thir-t-thirty-trem-t-t-t-t-t-t-t-t-t-t-t-t-t-t-t-t-t-t-t-t-t-t-t-t-t-t-t-t-t-t-t-t-t-t-t-t-t-t-t-t-t-t-t-t-t-t-t-t-t-t-t-t-t-t-t-t-t-t-t-t-t-t-t-t-t-t-t-t-t-t-t-t-t-t-t-t-t-t-t-t-t-t-t-t-t-t-t-t-t-t-t-t-t-t-t-t-t-t-t-t-t-t-t-t-t-t-t-t-t-t-t-t-t-t-t-t-t-t-t-t-t-t-t-t-t-t-t-t-t-t-t-t-t-t-t-t-t-t-t He's in a state of shock, he's in a state of disarray, he's out of control, he's out of control, he's up in paper, he's up in paper, he's up in paper, he's up in paper, he's up in paper, he's up in paper, he's up in paper, he's up in paper, he's up in paper, he's up in paper, he's up in paper, he's up in paper, he's up, he's up, he's up, he's up, he's up, he's up, he's up, he's up, he's up, he's up, he's up, he's up, he's in paper, he's up, he's up, he's up, he's up, he's in paper, he's up, he's in paper, he's up. At the same time, my father and son are very well known and famous to the courthouse. The year before, when the Angry Church had fought on its knees, the clouds were pouring into the shadows and the world was bellowed. The wildlings don't care about their age, they don't care about their love, they don't know what they're doing, they don't know what they're doing, they don't know what they're doing, they don't know what they're doing, they don't know what they're doing, they don't know what they're doing, they don't know what they're doing, they don't know what they're doing, they don't know what they're doing, they don't know what they're doing, they don't know what they're doing. To meet Wu twilight and dream of the night, he came to eat the beams and sighed for nothing. It's been a long time, and I've been able to do it in the autumn, and the bell squirming is a shadow, and it's a wave of the Milky Way. It's a 34-word poem, the first hymn, the first hymn, the second hymn, the second hymn, the second hymn, and the second hymn. And the twilights of the ancient temples shall be set up with the twilights, and at the bottom of the earth shall be the north and the south, and the geese shall be slain. This year has been an occasional attempt to find a way to join the sword. When the clouds come out of the water and the frosts come out, the children will not be surprised, and the people will know that the city of trust will not be left behind. The autumn winds dreamt of light water, and wanted to see orange grapefruits in an empty court, so that man was at the corner of the sky, looking at each other as morning stars. The city of Peng has been greeted by friends and friends of the day, and the thousands of mountains are far away from the market, trying to take advantage of it. There is a lot of linguistic talk, and there is a lot of poetic love, and the ape groaning doesn't mean anything, doesn't know what's going on down there. And the rain of the sky hath emptied itself, and whoso hath made a veil of loneliness, and We desire the mountains, and the baskets, sighing at it. The book whips the day, boils the chestnuts of the night, begs the moni for water, and looks at the bottom of the moon. Even though the original level of subterfuge is not low, in contrast, Su-jung's work is still higher than it is. Poets in the Highlands, "Apes Shout" both wrote, and it was wonderful. Book III, No. 1836, is true. Su Xi first uses eight sentences to glorify the futility of his chest and the coldness of his practice, then eight sentences to write about his moves to go out to seek justice without doing anything, then two sentences to make the transition, and then eight sentences to describe the process of visiting himself in a remote way, and finally eight sentences to write about himself as falling into the dust and seeking peace, so he looks forward to seeking relief from his friends from the outside world. The whole poem is well structured and structured, narratives and discourses are well organized, and 18 rhymes appear to follow the veins, as if they were entirely chosen by the poet, as the chronology has judged them to be “no sign of harmony”. Even if he sang in an oddly original way, Su-yun would be able to sing a little bit. For three years (1088), Su-yun would pay his respects, and he would sing more in the courtyard with his fellow examiner, Mr. Huang Tianjin, and Mr. Li, among others. When Li was drawing horses to ease the boredom, and when Huang was a poet, Su was paid for it. The wood runs through the rocks, the windows are thin, and the poor horse is a bean, and it is clear to the eye that these five flowers are slashed by the poet, and the city's Xishino is looking for Xiaohong. The rhythm of the poem is quite unique: nine sentences of the whole poem, divided into three sections, three sentences, rhymed. The rhymes of each of the three sections are called "g" and "g" and "g" and "g" and "g" and "g" and "g" of the peace. Su Xi wrote "At the Equestria": "A young man's saddle has gone far away, snooping about the grass and the wind. Ten years of hysteria have been ravishing, and it's much thinner for him than he's eating his rice. In front of the door, the King's three-day slumber, envied by the double orange red in the arms of the King, Liu Tianun commented: "I am also bound to the valley symphony, and it is not easy to see the difference." Wang Xianhan commented: “This is what the forbidden hymns call ‘promotion for rehearsing’. If it is to be rooted in a Qin monument, it must be done properly, with no reason to allow the conversion to take over, with no increase or loss, in order to be perfect... This rehearsing is natural, and it is amazing, and it is much better than the song from the top. " Vol. V, No. 3270, although not unreasonable, is a special poet with three sentences reverberating, whose artistic effect is supposed to be a symphony failure, and of course not “silence” in a similar term. Wang's assessment is that Su is indeed better than the song of Hwang Tianhara, trying to lighten it: yellow poems vividly carved the dead and dead life of the closed courtyard, in contrast to the joy of the horse riding on the side of the horse, which was painted by Li's time, but the turn between the layers was somewhat hard. All three sections of Su’s poems hold on to the idea of “horse,” saying that when there is less time to ride, the wind and rain, and the rest of the way, see Mattu come back and ride again. Sitting on horseback all the time, living in cold fast, it is better to go back home. After writing, he looked forward to seeing the horses outside the door, that is to say, the King’s History came to get everyone out of the hospital and to take a three-day vacation. The poems rose from the painting’s hymns, expressing their desire to lock down the Institute for so long. There are a lot of warnings in the poems, such as the second sentence, “Beeping on the grass and the rain,” which, while not traditionally appreciated, is deeply felt. The sentence was written by a friend, “Hotels outside the West Gate, Chouzi State,” “The cold forest is ravaging, there are light in the walls. A little rain has been said to be in a state of disarray, but the poem is only about the sound of the rain in the hotel, and Su Xi goes on to write about hearing the grass in the same situation and mistakenly thinking of the sound of the wind and the sound of the rain. A year later, Yuan Yue will be four years (1089), and Huang Jianqin will be famous for his book "The Day of June 17": "The Red Dust in the Hat, in the saddle, wants to see the white birds of the last continent. Ye Mondun: “The father is a true poet, and Su-zie looks in order, as are those who say, ‘in peace and quiet as a human being’. Huang Lu recites his words, ‘The little rain’, listening to the broken horses,’ and has a great reward. He's got a big day: 'The horse has a dream, and it's the wrong thing to do, 'and it's the right thing to do, 'I've got a poem from the protagonist.' `[15] In fact, the sentence is an important transition between poetry and yellow poetry, and it may be said that Su-jung has inadvertently provided important inspiration for Huang Jianjian. And like the last phrase, “I envy the double orange red in your arms,” Su says to himself, “Yung has a mother.” This phrase, which hides oranges between the thrones of Yuan at a young age, “wants to return to the mother” means that it is as precise as it is sensitive to the enviance of Huang Jingjian to be able to serve her mother on holiday home. Because Mrs. Su-yun’s mother was born 31 years ago, he was unable to return home to enjoy his family. This poem, which is a good one for depicting the trial courtyard, is a hymn, one by one, and every rhyme and order is set by the original song, but it is not easy, from the whole theme to the grandest and even every word. For example, the last hymn "Red" has been used in yellow poems to describe peaches that can be seen in the field in early March, and it is not easy to avoid this type of rhyme. But the word “red” – the word “red” – is well written and well – in the form of an orange hymn. This phrase, which closely unites the two sides of the singing and the movement, means forever, is the end of the ideal of singing and poetry. Sioux also has a unique type of sub-hymn, which is his own. The first type of work is produced for many more reasons, because the subject matter is the same, such as the "Sharf's Psalms" (1094) on the way to the south: "It's not like Yang's Day, it's just like the Day of Deutsch's Companion." The Anoon Show is different from the old, the girl Widmore, with a new choreographer and an old choreographer. Dan went after me three mountains and did not become a shaman.” Two years later, he laid his hand on Huixiang, and Su gave the eulogy of the clouds: “It is not fair that he should not show up, that he should not let the child be with Us.” A thousand-year-old drug has been given, and a three-year hiatus has been the focus of grief when it comes to paying off the debt. It's not far from the roots, it's in the towers of the nightlights, and it's clearly stated in the order that follows, “to the grave, and to the poems before it, to the self-constructed”, so it's a conscious underwriting. In addition, it is the same type of self-styled act that was carried out for three years by Yuan Yuyu (1088), in the case of “Class 7” and “Class 1090”, in the case of “Class 7” and “Class 1090”, in the case of “Class 1090,” in the case of “Class 1090,” in the case of “Class 7”, in the case of “Class 7”, in the case of “Classes 7”, in the case of “Classeau d'Etat”, in the same case. The second is the first of the same questions, such as what he wrote four years ago (1081), "The Nephew sits three times at night: "The South is not aware of his age, sits and listens to the rain." The Book of Covering the eyes is not read, and the companions are in love, and you have lived for half your life without a day. In order not to make Han’s life miserable, his head is still short-lighted.” “Heaves are thin, but he must know the old. "Where is the Eternal Thinker, who knows you've come from a long time ago, who sits silently and asks the old horrors of life and death. The dream of sobering up the mountain, laughing at the rodents on the lamp, "You're the first to taste the wine, and I'm the voice of hunger. There's nothing to think about, it's hard to say to go back to the fields, and there's plenty of slaves in the continent to live on. One can't see the other.” The main reason for the many questions is that there is a lot of poetry and a lot of space. The first two capitals of this group of poems are excellent, the third is weak, the first is unhygienic, and so there is no rehymn, which is allowed by the law firm, but it is also possible that the word “twilight” cannot be used on its own except as a form of “twig,” in order to avoid repeating it again. In the last sentence, the word “single” is also used to avoid repetition of the word “lighting,” so that the words “the instrument of the straight bow” are very cold and the last phrase is rather restrictive. Even Su-jung, it is difficult to repeat the second rhyme. The same is true of the three headlines produced by Yuan Fung for five years (1082), the first of which is excellent and the second one is rated as “snake foot”, volume 4[6], volume 2329. But Su-yung, after all, has produced a lot of good work, even in his own hymn, which is worth noting. For example, Yuan Fung, in Xu County, where Su-yung is the headline of the 100-step flood, one of which is “like rabbits who walk through eagles, with horses pouring waves.” The second is quite brilliant, and it says: "The good one doesn’t go back to the autumn, the young ones don’t talk." A boat with a smile and a swirling swirling shoulder, without the Changan Quill, the mink walk the fat slopes of the night. I don't know what it says, but I think the two cheeks have a vortex. I was wearing the yellow roof and I sat on the weasel's Trail, and the flute came back to the valley, and the moon was golden. So why did he leave me in the dust and disturb the herds of furs and lie on the camels, and do not speak of the old fasting, and go back with the serpents. And then the flood looked at the ruins and the moss of the teeth, and the poem was made of tears, and the groaning was nothing more than sheep. There are 13 rhymes in this poem, with the word "single" only, while the rest is full of "song" (the ancient poem "song" "song" bets), and the order is all the more difficult, such as "twilight" and "twirling" and "ha" and "ha". But Su Xing became famous for his unsurprising and unswervingness, and Wang Xianhan commented: "The rhymes have become more amazing, the steels have been turned into softener fingers, and there are no enemies in the past. This article, read in conjunction with the previous one, is very big and amazing. "Chucky says, "You know, you know, you know, you know, you know, you know, you know, you know, you know, you know, you know, you're like, "You know, you know, you're like, like, you know, you're like, you're like, you're like, you're like, "You know, you're like, you know, you're like, you know, you're like, you're like, you're like, like, you know, you're like, you're like, like, like, you know, you're like, like, like, you know, you're like, like, like, you know, you're like, like, like, like, you know, you know, you're like, like, like, like, you know, you're like, like, like, like, like, like, like, you know, you know, you're like, like, you know, you're like, you're like, you're like, like, you're like, you're like, like, you're like, like, you know, you're like, you're like, you know, you're like, you know, you're like, you know, you know, you know, you know, you're like, you're like, you're like, you're like, you're like, you're like, you're like, you know, you know, you're like, you're like, you're like, you're like, you're like, you're like, you're like, you're like, you're like, you're like, you're like, you're like, you're like, like, you're like, you're like, you're like, you're like, you're like, you're like, you know, you're like, you're like, you're like, you're like, you're like, you're like, you're like, you're like, you're like, you're Even if there are accusations against Su Xi, it is not surprising that “this is an attempt by the king to be a prostitute, but also to be generous.”[6] Book III, 1866, also notes that the poem is a long seven-year article with no limit in length, and that if it is intended to be rich, it can be dealt with entirely by adding more space. As in the case of the "Five Headings" produced between Yuan Fung's 3 years (1080) and Yuan Fung's 7 years (1084), they are 26-second-long, with 13 rhymes, of which the words “water” and “wet” and “duck” and “sleeping” and “sleeping” are difficult to cover. “Rhyming is the best way to put the word ‘wet’ in five poems.” Vol. 4 [6], 2537 – in fact, five hymn phrases such as “juice” and “duck” – are excellent, and try the first two of five poems: “Once yesterday, the sun was heavy, Dongfeng melted snow juice. Far forest grass is dark, near smoke and wet, "I'm crying in the basket with clams, shut my mouth to protect the juice. I'm so sorry about the fish in the net, and I'm soaking wet in my mouth. I wear a cow through my nose, and I talk to myself wet." Sour wine like soup, sweet wine like honey. Three years in Yellow County, drinking wine but drinking wet. The two poor met each other and wept. "The Five Psalms put the juicy "wet" in them, and they were safe and unbridled. In the whole poem, the five poems have reached a high standard, and look at the five: "The two poor people meet each other, they're not wet. I don't know what it's like to have a relationship with a king, but I'm not in a hurry. For the sake of the clouds, there will be no ducklings, and I will do it in the early summer, boiling wine. What is the matter with your homeland? When the joy returns, the dance begins, the bitter words will come, without the tears of the children. If I were strong enough, there would be no shortage of kings, and when I say good-bye, I will close my eyes and thank the guests. "This is the deepest part of the story." Zhao Kei commented: "The love of love, as it is, is so deep and so deep that it is not familiar with it."[6] Vol. 4, 2537 rhymes have gone up to five times and are still smooth and unhymn, so it can be seen that Su-yun's hymn art has reached the level of pureness of the fire. Since the writing of the Su poems cited above began at the age of six years (1061), the age of 26, and finally, the third year (1096), the age of 61, Sioux, the emphasis of poetry on rhymes is a tendency to create throughout his life. By the end of the year, Su-yun’s enthusiasm for second rhymes has not diminished, as evidenced by his first rhymes with each other in Huixiang and Su-hyun. Similarly, Su-yun’s enthusiasm for his second hymn has not faded, and it has been folded to show that he is full of glory. For example, during the first anniversary of Sio Shao (1094), Su-yung, in Huezhou, played three songs of the three hymns of the hymns of the hymn, which were passed on to the singers. Limited in length, and drew two of them: "The blooming of the clubs under the pine wind of November 26: "In the village of Huanan in the spring wind, the clubs of the past were desolate. I don't know if it's all coming back, but it's going to rain, and it's going to rain, and it's going to rain, and it's going to rain, and it's going to rain, and it's going to rain, and it's going to rain, and it's going to rain, and it's going to rain, and it's going to rain, and it's going to rain, and it's going to rain, and it's going to rain, and it's going to rain, and it's going to rain. It is not for the gloom to remain in the night, lest it be cold, cold and warm, and in the thorns of the frenzy, there shall be two jade dynasty dynasty. Henan's clouds are corrupted, and the moon's coats come to hold the door, and the spirits of a sobering dream rise around the trees, and there's nothing to be said about it. Mr. Señor, who drinks without groaning, is lucky to see the moon fall. "Requires the hymn: "The village of clubs below the Mount Roof, where the snow is the soul of bones and ice. Mr. Sojian lives on the river like a sick crane in the middle of nowhere. It's beautiful, and I know I'm good at wine and poetry, and the flowerbirds in Pompey's palace have their green clothes on their backs. I was so drunk that I knocked on the door, and the birds were able to sing and dance. The wine wakes up the silentness of the mountain, but only the weak ones. "Son Song Hu Qi Yun: "Ten Min Qi's Lei Xiao Qing" cloud: "Gong has two headlines in the mausoleum and Xu's " " ‘And, with the fine taste of the Pingchuan and the back of the eastern slopes, the word ‘’ is not a daily poem of justice......and the word ‘’ in the eastern slopes, which has been written, has not been followed by the people of the past. Three good ones, and a second one, Yuji."[6] Volume VII, 4460-4461 weeks of purple twilight clouds: "Lin and Concorrose Poe, with the words ‘silences and glitters and twilights of the moon,’ which are 200 years old. At the end of the year in Huixiang, he became the verse of a plume: 'The first twilight of the moon, he was alone and confused.' The words came out, and the spirit of appeasement came to pass. Book VII, 4461, general comment II: "The two poems are an excellent exercise. Book VII, 4462, Queer says, "Cho-Cho-Cho-Cho-Cho-Cho-Cho-Cho-Cho-Cho-Cho-Cho-Cho-Cho-Cho-Cho-Cho-Cho-Cho-Cho-Cho-Cho-Cho-Cho-Cha-Cho-Cho-Cho-Cho-Cho-Cho-Cho-Cho-Cho-Cho-Cho-Cho-Cho-Cho-Cho-Cho-Cho-Cho-Cho-Cho-Cho-Cho-Cho-Cho-Cho-Cho-Cho-Cho-Cho-Cho-Cho-Cho-Cho-Cho-Cho-Cho-Cho-Cho-Cho's-Cho-Cho-Cho-Cho-Cho-Cho-Cho's-Cha-Cha-Cha-Cha-Cha-Cha-Cha-Cha-C's-Cha's-Cha's-C's-C's-Cha's's's's's's's's's's's's's's's's's's-S's's's's's-S's-S's-S's's-S's's's's's's's's-S's's's's-S's-S's's-S's's's's's-S's-S's-S's-S's-S's-S's-S's-S's-S's-S's-S's-S's-S's-S's-S's-S's-S's-S's-S's-S's-S's's-S's-S's-S's-S's-S's-S's-S's-S's-S's-S's Book VII, No. 4457, does say, in his second poem and poem, that “Su Xian Xian Xian has gone to Xue Xi in the village of Huang Guo, under the Mount Roo.” The phrase is drawn from the mouths of Jo Xu, who sits in the middle of the mountain, and speaks with great seriousness and hostility towards Su Xi, suggesting that Sio Xi has a powerful artistic inflammation. In conclusion, Su-jung’s hymn approach to poetry is an important factor in the development of Su-jung’s artistic achievements. The latter is often displeased with Su-jung’s overwriting of secondary poetry, such as King Kim’s hymn: “The illness of second-shymn authors. Poetry has been self-defeating since the Songs, but it has been unique to each other. Known as the Eastern slopes, one of three of them concentrates on the secondary rhythms, and, even though they are poor, they turn for a while, at the expense of the whole universe. There is no way that the ancients could have been spared!”[16] It seems that the second rhyme may have the ills of “the Almighty” for the under-skilled poets, but the second rhyme would not have created any obstacle for the talented Su-hung. As noted above, Su-yun has been rated many times as better than the original, as evidenced by even the words “synchronous and symphony” [17], “The hymn sub-hymn of the hymn”. The most important factor is the quality of the work, not the ease with which it is done. What is wrong with someone who is willing and good enough to write poetry by using a more difficult method, as long as they can write good poems that are difficult to see? As long as we acknowledge the basic fact that there are many titles in Su-yun's secondary rhymes, we cannot deny that the great efforts he has invested in its creation have not been a waste of effort. Notes: One of the king's verses notes the two poems, “It's the Antxlator”, which is inaccurate. Wang An-seok's Five-Five-Five-Friendly Songs and His-Friendly-Friendly-Friendly-Friendly-Snow-Symph-Symph-Symph-Symph-Symph-Symph-Sill-Sill-Sill-Sill-Sill-Sill-Sill-Sill-Sill-Simple-Sill-Sill-Si-Si-Si-Si-Si-Si-Si-Si-Si-Si-Si-Si-Si-Si-Si-Si-Si-Si-Si-Si-Si-Si-Si-Si-Si-Si-Si-Si-Si-Si-Ni-Si-Si-Si-Si-Si-Si-Si-Si-Si-Si-Si-Si-Si-Si-Si-Si-Si-Si-Si-Si-Si-Si-Si-Si-Si-Si-Si-Si-Si-Si-Si-Si-Si-Si-i-i-i-i-i-i-i-i-i-i-i-i-i-i-i-i-i-i-i-i-i-i-i-i-i-i-i-i-i-i-i-i-i-i-i-i-i-i-i-i-i-i-i-i-i-i-i-i-i-i-i-i-i-i-i-i-i-i-i-i-i-i-i-i-i-i-i-i-i-i-i-i-i-i-i-i-i-i-i-i-i-i-i-i-i-i-i-i-i-i-i-i-i-i-i- The word “objects” is the rhyme of the word “objects”, the word “values” is the hymn of the word “objects”, the hymn of the word “objects”, and the reverberations of the hymn of the pronunciation are often held in Sioux poems, especially in the hymn of the hymn of the sound, and the Qing dynasty of the Qing dynasty : “The hymn of the eastern slopes, the hymn of the hymns, the hymn of the tycopics, the hymn of the hymns, the hymns of the hymns, the hymn of the hymn is unconstructed. "The hymns of the East slopes, the moths, vol. VII, 1958, p. 1217), are clouded with Yuan: "Rhythmists, no poetry." Lee, Doo, Han, and Sou are not full of symphonies. It's interesting to have a note.” The former is too strict, while the latter is too careful, as is the case with the people's literature publisher, vol. VII, 1960, p. 223. Three poems were written in an unknown year. In the seven years of Xining (1074), Su-yung was the author of a collection of his poems (Introduction of Xingjun Poetry, Sioux Book, vol. X, 1986 edition of the Chinese Bureau of Books, p. 319) and was certainly familiar with his poems. Into the column of Morpheus. Su-jung. Poetry. Rhyming. It's a second rhyme. This post is edited as follows: Poster: Ideas of Love (http://www.aisixiang.com), column: Academies of Heaven > Linguistics and Literature > Poetry Award Link to this paper: http://www.aisixiang.com/data/135840.html Source: JAC Forum, No. 1, 2019 Enter an e-mail address in the box, separated by a semi-accompanied comma (,) between multiple emails.


Note: This is a machine translated version of the Chinese news media article. A mature and nuanced reading is suggested.




Trending Topics


Trending News

What China Reads


Mo Lifeng: The Rhythm of Su Shi's Poems


2022-08-08: [Article Link]  Su-jung. Poetry. Rhyming. It's a second rhyme. The rhymes used in Su-yun poems are either narrow or wide, the rhythms chosen are difficult or easy, and the free rhymes in long ancient poems are subject to the needs of their poetic expression. Su-jung's most striking feature is the large number of rhymes written, not only by others, but also by himself, in a way that, although criticized by later generations, is in fact the result of a special artistic pursuit that is difficult to see and which has given rise to a great deal of fame. Keys: Sioux, poetry, rhyme. The rhymes of Su-yung's poems are very striking, and his brother, Li Yi-yun, says, "A thousand high-songs and so many strong rhymes. “[1] The first sentence of 11178 refers to Su Xin, who is good at sub-hymn and the second sentence, which means that he is good at “hymn”, that is, hymn, that is, very little and more difficult to rhyme. Look first at the latter. The most famous of them are the poem "Rhyming" by Xinning, who wrote in his eight years (1075) in the state of Mystery, "Before the snow, the north wall, two sides of the book: "The dusk is twirling, the night is quiet and the wind is stunned." But it was like pouring water without knowing that the courtyard had been stained with salt. “The first day of the city began with crows, and the strangeness of the sandy mud was left without a car. Frozen jade towers are frozen and stunned with silver beads, and the locusts should be thousands of feet in the ground, and there are several homes in the clouds. The old man's hymn retreats from his poetry, he sang an ice-coated fork, and the two poems retweet with "saline" and "paste" rhymes, all of which are tweaked with little hymn. Of the five rhymed feet in the previous one, only the word “story” is more commonly used, and the end-story “point” is particularly dangerous. The latter typed more easily, but the end-story “fork” is also difficult to type. These two rhymes drew attention at the time, and Su-jung then wrote "The Second Head of the Sunny Son".[2] Reverted to Quakers and the First Two: “The glass has been deluded, and the poetry has been severed. It's the best way to paint the fish, and it's the tallest salt, and it's the best thing to do, and it's the best thing to do, but it's the best thing to do, and it's the best thing to do. Booksman's career is so funny that he can't stand the cold, so he can't get away with it." You know, you can't make flowers, you can't drink, you can't sleep, you can't sleep, you can't sleep, you can't sleep, you can't sleep, you can't sleep, you can't sleep, you can't sleep, you can't sleep, you can't sleep, you can't sleep, you can't sleep, you can't sleep, you can't sleep, you can't sleep, you can't sleep. The pre-Day Warm King loves them, and the cold fish can be fork under the ice.”1 In terms of the two hymn feet of the “tips” and the “fork” alone, the four verses of Su-yun are an amazing victory and a great warning. "Accordingly, the rhymes are very dangerous, and again, Yu Jia... Although the king also believes, repeatedly and repeatedly, he can't be defeated." [3] 879,880 contrasts with the words “the night fork in front of the door” and the words “the night fork in the sky” “for whom the hand of Shaolin fork is displayed as the fork in the fork” [4] and “the fork in the Yuan for the fork”[4]. “The half-mount and the work are so hard to paint, the four chapters are so natural and interesting, and so are the so-called Skywalkers.”[5] It is so true. "The two poets are known for their narrow hymn, but they're not good at it." [6] Book II, 1231 is unconscionable. Another situation in which Su hymn is strong is that the rhymes are not narrow, but the rhymes contain rather difficult words. For example, in Xining’s four-year (1071) visit to La Niño's lonely mountain, the Two Monks: “The sky is full of snow, the clouds are full of lakes, and the towers are clear of the mountains. There are many fish in the water and no birds in the forest. And where is the abode of the people, and the path ahead of the Mount of Treasure; and whosoever is alone in the mountains, there is none left of them but the mountains. The paper-windowed bamboo house warms itself and sits with brown and sleeps in its folds. I went out to see the clouds, but I saw the map, and I was so happy to be home. In the end, the poem is in full danger (the seventeenth sentence only is in fish), and the word “fish” in ancient poems is in order to be broad, but Su-yun is still in detention, with 20 sentences (the first two words in the first), and as many as 16 sentences. There is a rhyme in the whole poem every four sentences, like the seven ancients that rhyme. Moreover, the nineteenth sentence rhymes, and the last four sentences are almost like the hymn beams. This has significantly increased the number of rhymed sentences and clearly increased the difficulty of rhymes: "According to rhymes, synonyms, syllables, natural movements, improbable." The second volume, 631, is even more noteworthy: Su Xi’s close addition to the article “The view of Li Xinjiang Temple and the first rewrite of the meta-hymn”, “Reconciliation of the Pilgrim Temple for Rehearsal”, three poems rehearsing each and every one, without exception to the nineteenth sentence, is a conscious and unexpected example. When it comes to the third rhyme, the poets become more intriguing, and write it as a cylindrical body, and look at the hymn of the Pilgrim's Temple: "You can't see it, Money Pond Lake, The King of Money is no longer here. The house was filled with gold and beads, and all the way around it was scattered and the palaces were left with idle people. There's no need to worry about it, but it's all there, and it's all there, and it's all there, and it's all there, and it's all there. Josone's 100-foot skyscraper, perturbing the willows and the pavilion, the high hall eats the roach, crashes the drums and murmurs. The condensed condensed condensed by the sea map, and the wind came and stunned the rest of the night, and the king was so proud. "The four poems are not revered, but they are not revered, but they are used in the rhymes of Chen Soo Myon: "This poem is only “Rai will not return to his wife,” “the sin of pursuing her husband and her husband” and “the hysteria of her”, “the hysteria of her” and “the hysteria of her” and “the hysteria of her” in four poems. Although the word “twilight” refers to children or wives and children, there is no sense of repetition of the term “twilight” when it comes to the phrase “to come home as a dream” and “twirling” and “twirling” and “twirling” and “twirling” and “twirling”. In the first sentence, the word “tone” is used to describe wonders. In the second sentence, the word “guard” is used to describe wonders. In the third sentence, the word “twilight” is used to mean each other’s and poetry, while their own poems are as ugly as weeds. In the fourth sentence, the word “twice” is the name of an ancient emperor (as in the Book of Mankind), a phrase that goes hand in hand with the saying that “in the cold, it is the Emperor himself” [10]. There are four different terms, one or three of which are used in the original term. Two or four of which are used in the name of the ancients. He is neither the author of the poem nor the author of the poem, but because of his high name and his great achievements, the Quest of the Book of the Snow, both of the North Sides, has been squeezing for a while to influence and influence future generations. As the South Song travels on the ground as the hymn poems of Uncle Lui Lui and Tung Po, the hymns of the hymns became the special term. “Today Su Wen is concentrated, with the snow poems in the words ‘flash’, ‘fork’, and “fork’,” according to the vernaculars of the vernacular zone. Wang Wen is a group, and there's a poem of soybean, and he thinks it's impossible for him to do it. Uncle Lu Wen, Neptune, and 100 articles, which are well written and unmotivated, were given as an example for more than 40 years after Uncle Cheng's poems. After visiting the area in the early millennium (1205), Uncle Lu's poems and poems should be written in the last year of the South Song Shao. Hu Xin and Zhao, among others, have sprung up and sprung with a hymn of “spills” and “forks.” [12] To go back to the two poems of North Taiwan after Tsang Po’s reading of the poems in Zhao – and to read the poems of the Tsang Po – and to read the poems – and to try to make peace with them. Winter is not snowy, and the snow of the 20th day is snowy, and it was approved after the poem – “The Chang father is a poet of his own colour, and so is, inappropriately and peacefully. In this case, we see the difficulties of the flowers, the fork, the salt, the forelock, the forelocks, the forelocks, the forelocks, the forelocks, the forelocks, the forelocks, the forelocks, the forelocks, the forelocks, the forelocks, the forelocks, the foregrounds, the forelocks, the forelocks, the foregrounds, the foregrounds, the forelocks, the foregrounds, the foregrounds, the foregrounds, the foregrounds, the foregrounds, the foregrounds, the foregrounds, the foremen, the foremen, the fore, the fore, the fore, the fore, the fore, the fore, the fore, the fore, the fore, the fore, the fore, the fore, the fore?? Indeed, Mr. Zhou Xuyu’s reference to “the aphrodisiac as a noun for the hymn of the hymn”[13] is true. Su-jung, who is good at rhymes, does not use this as a means of self-restraint, but rather as a response to poetic needs, chooses the right rhyme or rhymed feet. For example, in the year following the writing of the book "Behind the Snow", Su-jung wrote "Snow and Night": "It's so late, it's so late, it's clear that it's twirling. The dream is to wear windows, and the night is only to hear the sound of bamboo, and the winter is warm and the conversation is strong and the autumn is dry. It's hard to see the sky, and it's a glimmer of spring, and it's like, "The best, the best, the best, the best, the best, the best, the most often known, so it's a trick to be deluded. Book III, 1436 says that it is not appropriate for the poem to be “excellent,” but the poem is also famous for snow. In the first sentence, the word “snowing” is inserted, and the art book, vol. II, quotes the Korean poem: “Snowflakes.” The word "silk" is very good here. The word "g" is a hymn, and the rest of the four hymns of this poem are commonly used to use the same hymn as the word "g" for the word "clear". Even more noteworthy is the rehearsing of Su-yun’s long poems, which began with Yuan Fung for six years (1083) in Yellow County’s First Autumn Sons: “I have passed away day and night by day. Only the hearts of those who have lived in the past shall remain in their homes, and shall be remembered in the depths, in the summers, in the closed doors. There was a sudden wind in the west, and the leaves fell through the roof. I'm so proud of you, I'm so proud of you, and I'm so proud of you. Don't be afraid, it will be a difficult time, when both men and women will grow old. It's hard to catch up and learn to hate. In the night of the snow, the bed has been slammed.” The 24 sentences of the poem, each of the four, are one paragraph, rehearsing one by one, with the rhymes going to the hymn, the hymn to the north, the hymn to the east, the hymn to the back, the hymn to the back, the hymn to the back, the hymn to the back, the hymn to the back, and the hymn to the back. “The twisting of the five words is a turning point, and the reverberation of the pen is becoming deeper and more revered, so that other poets cannot do it.”[6] Volume IV, 2453 is again seen as “Sending the Chosen Dynasty to the ground for seven years (1092): “The Qingling City Clouds, the Qing Moon, the Qing Moon, the Qing Moon. I come with the northwest, and I shine, and in the dust, the clouds call me back. I'm swimming on the river and the moon is wet on the side of the sky and the moon is on the side of me. The dream of the southwest road, the silent long stand. It's like the Kaji River, jumping on the pillows, giving away nothing, the Chiangjiang drinking the horses. There is no need to be hoarded and sent to my friends. The trial is as a matter of hearing, as a family, and it is your judgement, and if any of the friends in the mountains ask me, what day will it be? To speak lightly, like a spring stone. The 28 sentences of the poem, each of which is a paragraph, rehearsing paragraph by paragraph, the rhymes of the sounding "lunch" (the ancient "dry" section), the "micro" tone of the sound, the "function" of the sound (the word "separated" is the "unknown" part of the sound), the "green" tone of the sound, the "horse" of the sound, the "g" of the sound of the sound, the "quality" of the sound of the sound (the "stone" is the "unknown" rhyme) are staggered, and the sound of the sound of the sound of the sound continues to coincide with the depression of the country. Wang Xianhan commented: “A man whose five words rhyme with his old system, and whose younger generations are less effective, he snuggles his ears with his breath. This is as heavy as the sound of the sound of the twilight, and a hundred readings. Zhao Kei also commented: "The five-year-old hymn, the hymn, the hymn, the hymn, the hymn and the hymn."[6] 3919-3920 shows that when Su Xi writes long ancient poems, symphony is the primary consideration in his choice of the rhyme and the hymn feet. And that's why Su's poems are often very moving, for example: "As long as you see Wu, you will see Wu." The phantom rises up and leaves nothing to be desired. There are nothing but a thousand stubbles, and the spring comes to an end, and it is even more sad to say that it is the fall and the spring. I remember Pan-Pi-Pi-Li-Li-Li-Yi-Yi-Yi-Yi-Yi-Yi-Yi. A hundred years of disillusionment is all the more tragic, and the pool stands are suspenseful, and the tourists are looking for my old place, but for Wu Shan to come all the way. "The shortness of the sound of the man makes it easier to feel." [6] Book II, 841 with 18 sentences, six rhymes. In the first eight sentences, two paragraphs equalize the hymn of the "winter" and the "object" of the hymn. 2 From the verb to the verb, the sentence is short, with a sense of "shortness". In the second ten sentences, there are four sentences with a equivaleous hyphenation, followed by four sentences with a hyphenated hyphenation with a hyphenation of the first sentence, as if it were two or seven sentences. The most subtle of all is the insertion between two paragraphs of a "culpture" that rhymes with the word "sculpture" and the "good" "old" two rhymes that are long and slow and that seem to read as if they are two long sighings. The tone of the whole poem goes hand in hand with the change in love, which has the effect of making people feel so easy on both sides of the voice and in love. This is an example of Su-jung’s poetry hymn-twilighting. Su-yung's poetry rhymes are characterized by second rhymes, the Southern Song Fei-yun: "Symphony is a wonder. Eun-yung, Eun-Poo, Lu are the most hymn, and the eastern slopes are better than the second rhymes, and the number of round trips is even more surprising. It is good that the words What is the meaning of harming a piece if it is bound to rhyme?”[14] Su Xian’s technique is most well known because it is best tested for the poet’s ability to rhyme, due to the double limitation of the rhythms and their sequence. The three examples given by Fisher are Su-jung’s own headlines, and leave it to the rest of the day to see what Su has done. For six years (1061), Su-jung is the brother of the Wai-jung family: “Don’t say anything together, don’t be afraid of snowfalls. He also sought out a stranger, and the pedestrians had crossed the border, and he was a resident of the county who knew whether or not the old temples were collided with each other. Thinking about traveling alone with little taste and no words but a groan, "Su Xi Xi Xi Xi Xi Xi Xi Xi Xi Xi Xi Xi Xi Xi Xi Xi Xi Xi Xi Xi Xi Xi Xi Xi Xi Xi Xi Xi Xi Xi Xi Xi Xi Xi Xi Xi Xi Xi Xi Xi Xi Xi Xi Xi Xi Xi Xi Xi Xi Xi Xi Xi Xi Xi Xi Xi Xi Xi Xi Xi Xi Xi Xi Xi Xi Xi Xi Xi Xi Xi Xi Xi Xi Xi Xi Xi Xi Xi Xi Xi Xi X Xi X Xi Xi Xi Xi X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X The old monk has died as a new tower, and there's no way to see the old question. The old days were rough, and the long-distancers were bewildered. "Sioux's original words were written, structured, but unstructured and pale. Su-yun's poems and poems are written from the void, and they begin with a literal metaphor in question-and-answer format, deeply revealing the commonality of life experience, which makes the word “squad claws” a writing. "The first four sentences of a single entry into the law, the Chinaman's old age, and the wildness of the mood, it's the East Poe." The first book, 188 poems, seems to be a reward, while Su-yun poems are like the original. In other words, the sub-hymn does not create any obstacles to Su-yun’s expression. If the above group and the poems are merely hymn, so Su-yung is not severely limited, then look at the long summation. Yuan Fung, a monk's way to Xuzhou to meet Su-yuan, presents a Master So-ja's visit to Pemmen's Dare: “The mountains are clear, the bells are clear, the bells of Qing-sook are swarmed. U-U-U-U-U-U-U-U-U-U-U-U-U. The young man, who wrote a book that is ancient and is eight-thousand-thousand-thousand-thousand-thousand-thirty-thousand-thirty-thirty-thirty-thirty-thirty-thirty-thirty-thirty-thirty-thirsty-thirty-thirty-thirty-thirty-thirty-thirty-thirty-thirty-thirty-thirty-thirty-thirty-thirty-thirty-thirty-thirty-thirty-thirty-tty-thirty-tty-thirty-thirty-tty-thirty-thirty-thirty-thirty-tty-thirty-thirty-tty-thirty-tty-thirty-t-thir-t-thirty-trem-t-t-t-t-t-t-t-t-t-t-t-t-t-t-t-t-t-t-t-t-t-t-t-t-t-t-t-t-t-t-t-t-t-t-t-t-t-t-t-t-t-t-t-t-t-t-t-t-t-t-t-t-t-t-t-t-t-t-t-t-t-t-t-t-t-t-t-t-t-t-t-t-t-t-t-t-t-t-t-t-t-t-t-t-t-t-t-t-t-t-t-t-t-t-t-t-t-t-t-t-t-t-t-t-t-t-t-t-t-t-t-t-t-t-t-t-t-t-t-t-t-t-t-t-t-t-t-t-t-t-t-t-t-t-t-t-t-t-t He's in a state of shock, he's in a state of disarray, he's out of control, he's out of control, he's up in paper, he's up in paper, he's up in paper, he's up in paper, he's up in paper, he's up in paper, he's up in paper, he's up in paper, he's up in paper, he's up in paper, he's up in paper, he's up in paper, he's up, he's up, he's up, he's up, he's up, he's up, he's up, he's up, he's up, he's up, he's up, he's up, he's in paper, he's up, he's up, he's up, he's up, he's in paper, he's up, he's in paper, he's up. At the same time, my father and son are very well known and famous to the courthouse. The year before, when the Angry Church had fought on its knees, the clouds were pouring into the shadows and the world was bellowed. The wildlings don't care about their age, they don't care about their love, they don't know what they're doing, they don't know what they're doing, they don't know what they're doing, they don't know what they're doing, they don't know what they're doing, they don't know what they're doing, they don't know what they're doing, they don't know what they're doing, they don't know what they're doing, they don't know what they're doing, they don't know what they're doing. To meet Wu twilight and dream of the night, he came to eat the beams and sighed for nothing. It's been a long time, and I've been able to do it in the autumn, and the bell squirming is a shadow, and it's a wave of the Milky Way. It's a 34-word poem, the first hymn, the first hymn, the second hymn, the second hymn, the second hymn, and the second hymn. And the twilights of the ancient temples shall be set up with the twilights, and at the bottom of the earth shall be the north and the south, and the geese shall be slain. This year has been an occasional attempt to find a way to join the sword. When the clouds come out of the water and the frosts come out, the children will not be surprised, and the people will know that the city of trust will not be left behind. The autumn winds dreamt of light water, and wanted to see orange grapefruits in an empty court, so that man was at the corner of the sky, looking at each other as morning stars. The city of Peng has been greeted by friends and friends of the day, and the thousands of mountains are far away from the market, trying to take advantage of it. There is a lot of linguistic talk, and there is a lot of poetic love, and the ape groaning doesn't mean anything, doesn't know what's going on down there. And the rain of the sky hath emptied itself, and whoso hath made a veil of loneliness, and We desire the mountains, and the baskets, sighing at it. The book whips the day, boils the chestnuts of the night, begs the moni for water, and looks at the bottom of the moon. Even though the original level of subterfuge is not low, in contrast, Su-jung's work is still higher than it is. Poets in the Highlands, "Apes Shout" both wrote, and it was wonderful. Book III, No. 1836, is true. Su Xi first uses eight sentences to glorify the futility of his chest and the coldness of his practice, then eight sentences to write about his moves to go out to seek justice without doing anything, then two sentences to make the transition, and then eight sentences to describe the process of visiting himself in a remote way, and finally eight sentences to write about himself as falling into the dust and seeking peace, so he looks forward to seeking relief from his friends from the outside world. The whole poem is well structured and structured, narratives and discourses are well organized, and 18 rhymes appear to follow the veins, as if they were entirely chosen by the poet, as the chronology has judged them to be “no sign of harmony”. Even if he sang in an oddly original way, Su-yun would be able to sing a little bit. For three years (1088), Su-yun would pay his respects, and he would sing more in the courtyard with his fellow examiner, Mr. Huang Tianjin, and Mr. Li, among others. When Li was drawing horses to ease the boredom, and when Huang was a poet, Su was paid for it. The wood runs through the rocks, the windows are thin, and the poor horse is a bean, and it is clear to the eye that these five flowers are slashed by the poet, and the city's Xishino is looking for Xiaohong. The rhythm of the poem is quite unique: nine sentences of the whole poem, divided into three sections, three sentences, rhymed. The rhymes of each of the three sections are called "g" and "g" and "g" and "g" and "g" and "g" and "g" of the peace. Su Xi wrote "At the Equestria": "A young man's saddle has gone far away, snooping about the grass and the wind. Ten years of hysteria have been ravishing, and it's much thinner for him than he's eating his rice. In front of the door, the King's three-day slumber, envied by the double orange red in the arms of the King, Liu Tianun commented: "I am also bound to the valley symphony, and it is not easy to see the difference." Wang Xianhan commented: “This is what the forbidden hymns call ‘promotion for rehearsing’. If it is to be rooted in a Qin monument, it must be done properly, with no reason to allow the conversion to take over, with no increase or loss, in order to be perfect... This rehearsing is natural, and it is amazing, and it is much better than the song from the top. " Vol. V, No. 3270, although not unreasonable, is a special poet with three sentences reverberating, whose artistic effect is supposed to be a symphony failure, and of course not “silence” in a similar term. Wang's assessment is that Su is indeed better than the song of Hwang Tianhara, trying to lighten it: yellow poems vividly carved the dead and dead life of the closed courtyard, in contrast to the joy of the horse riding on the side of the horse, which was painted by Li's time, but the turn between the layers was somewhat hard. All three sections of Su’s poems hold on to the idea of “horse,” saying that when there is less time to ride, the wind and rain, and the rest of the way, see Mattu come back and ride again. Sitting on horseback all the time, living in cold fast, it is better to go back home. After writing, he looked forward to seeing the horses outside the door, that is to say, the King’s History came to get everyone out of the hospital and to take a three-day vacation. The poems rose from the painting’s hymns, expressing their desire to lock down the Institute for so long. There are a lot of warnings in the poems, such as the second sentence, “Beeping on the grass and the rain,” which, while not traditionally appreciated, is deeply felt. The sentence was written by a friend, “Hotels outside the West Gate, Chouzi State,” “The cold forest is ravaging, there are light in the walls. A little rain has been said to be in a state of disarray, but the poem is only about the sound of the rain in the hotel, and Su Xi goes on to write about hearing the grass in the same situation and mistakenly thinking of the sound of the wind and the sound of the rain. A year later, Yuan Yue will be four years (1089), and Huang Jianqin will be famous for his book "The Day of June 17": "The Red Dust in the Hat, in the saddle, wants to see the white birds of the last continent. Ye Mondun: “The father is a true poet, and Su-zie looks in order, as are those who say, ‘in peace and quiet as a human being’. Huang Lu recites his words, ‘The little rain’, listening to the broken horses,’ and has a great reward. He's got a big day: 'The horse has a dream, and it's the wrong thing to do, 'and it's the right thing to do, 'I've got a poem from the protagonist.' `[15] In fact, the sentence is an important transition between poetry and yellow poetry, and it may be said that Su-jung has inadvertently provided important inspiration for Huang Jianjian. And like the last phrase, “I envy the double orange red in your arms,” Su says to himself, “Yung has a mother.” This phrase, which hides oranges between the thrones of Yuan at a young age, “wants to return to the mother” means that it is as precise as it is sensitive to the enviance of Huang Jingjian to be able to serve her mother on holiday home. Because Mrs. Su-yun’s mother was born 31 years ago, he was unable to return home to enjoy his family. This poem, which is a good one for depicting the trial courtyard, is a hymn, one by one, and every rhyme and order is set by the original song, but it is not easy, from the whole theme to the grandest and even every word. For example, the last hymn "Red" has been used in yellow poems to describe peaches that can be seen in the field in early March, and it is not easy to avoid this type of rhyme. But the word “red” – the word “red” – is well written and well – in the form of an orange hymn. This phrase, which closely unites the two sides of the singing and the movement, means forever, is the end of the ideal of singing and poetry. Sioux also has a unique type of sub-hymn, which is his own. The first type of work is produced for many more reasons, because the subject matter is the same, such as the "Sharf's Psalms" (1094) on the way to the south: "It's not like Yang's Day, it's just like the Day of Deutsch's Companion." The Anoon Show is different from the old, the girl Widmore, with a new choreographer and an old choreographer. Dan went after me three mountains and did not become a shaman.” Two years later, he laid his hand on Huixiang, and Su gave the eulogy of the clouds: “It is not fair that he should not show up, that he should not let the child be with Us.” A thousand-year-old drug has been given, and a three-year hiatus has been the focus of grief when it comes to paying off the debt. It's not far from the roots, it's in the towers of the nightlights, and it's clearly stated in the order that follows, “to the grave, and to the poems before it, to the self-constructed”, so it's a conscious underwriting. In addition, it is the same type of self-styled act that was carried out for three years by Yuan Yuyu (1088), in the case of “Class 7” and “Class 1090”, in the case of “Class 7” and “Class 1090”, in the case of “Class 1090,” in the case of “Class 1090,” in the case of “Class 7”, in the case of “Class 7”, in the case of “Classes 7”, in the case of “Classeau d'Etat”, in the same case. The second is the first of the same questions, such as what he wrote four years ago (1081), "The Nephew sits three times at night: "The South is not aware of his age, sits and listens to the rain." The Book of Covering the eyes is not read, and the companions are in love, and you have lived for half your life without a day. In order not to make Han’s life miserable, his head is still short-lighted.” “Heaves are thin, but he must know the old. "Where is the Eternal Thinker, who knows you've come from a long time ago, who sits silently and asks the old horrors of life and death. The dream of sobering up the mountain, laughing at the rodents on the lamp, "You're the first to taste the wine, and I'm the voice of hunger. There's nothing to think about, it's hard to say to go back to the fields, and there's plenty of slaves in the continent to live on. One can't see the other.” The main reason for the many questions is that there is a lot of poetry and a lot of space. The first two capitals of this group of poems are excellent, the third is weak, the first is unhygienic, and so there is no rehymn, which is allowed by the law firm, but it is also possible that the word “twilight” cannot be used on its own except as a form of “twig,” in order to avoid repeating it again. In the last sentence, the word “single” is also used to avoid repetition of the word “lighting,” so that the words “the instrument of the straight bow” are very cold and the last phrase is rather restrictive. Even Su-jung, it is difficult to repeat the second rhyme. The same is true of the three headlines produced by Yuan Fung for five years (1082), the first of which is excellent and the second one is rated as “snake foot”, volume 4[6], volume 2329. But Su-yung, after all, has produced a lot of good work, even in his own hymn, which is worth noting. For example, Yuan Fung, in Xu County, where Su-yung is the headline of the 100-step flood, one of which is “like rabbits who walk through eagles, with horses pouring waves.” The second is quite brilliant, and it says: "The good one doesn’t go back to the autumn, the young ones don’t talk." A boat with a smile and a swirling swirling shoulder, without the Changan Quill, the mink walk the fat slopes of the night. I don't know what it says, but I think the two cheeks have a vortex. I was wearing the yellow roof and I sat on the weasel's Trail, and the flute came back to the valley, and the moon was golden. So why did he leave me in the dust and disturb the herds of furs and lie on the camels, and do not speak of the old fasting, and go back with the serpents. And then the flood looked at the ruins and the moss of the teeth, and the poem was made of tears, and the groaning was nothing more than sheep. There are 13 rhymes in this poem, with the word "single" only, while the rest is full of "song" (the ancient poem "song" "song" bets), and the order is all the more difficult, such as "twilight" and "twirling" and "ha" and "ha". But Su Xing became famous for his unsurprising and unswervingness, and Wang Xianhan commented: "The rhymes have become more amazing, the steels have been turned into softener fingers, and there are no enemies in the past. This article, read in conjunction with the previous one, is very big and amazing. "Chucky says, "You know, you know, you know, you know, you know, you know, you know, you know, you know, you know, you know, you're like, "You know, you know, you're like, like, you know, you're like, you're like, you're like, you're like, "You know, you're like, you know, you're like, you know, you're like, you're like, you're like, like, you know, you're like, you're like, like, like, you know, you're like, like, like, you know, you're like, like, like, you know, you're like, like, like, like, you know, you know, you're like, like, like, like, you know, you're like, like, like, like, like, like, like, you know, you know, you're like, like, you know, you're like, you're like, you're like, like, you're like, you're like, like, you're like, like, you know, you're like, you're like, you know, you're like, you know, you're like, you know, you know, you know, you know, you're like, you're like, you're like, you're like, you're like, you're like, you're like, you know, you know, you're like, you're like, you're like, you're like, you're like, you're like, you're like, you're like, you're like, you're like, you're like, you're like, you're like, like, you're like, you're like, you're like, you're like, you're like, you're like, you know, you're like, you're like, you're like, you're like, you're like, you're like, you're like, you're like, you're like, you're Even if there are accusations against Su Xi, it is not surprising that “this is an attempt by the king to be a prostitute, but also to be generous.”[6] Book III, 1866, also notes that the poem is a long seven-year article with no limit in length, and that if it is intended to be rich, it can be dealt with entirely by adding more space. As in the case of the "Five Headings" produced between Yuan Fung's 3 years (1080) and Yuan Fung's 7 years (1084), they are 26-second-long, with 13 rhymes, of which the words “water” and “wet” and “duck” and “sleeping” and “sleeping” are difficult to cover. “Rhyming is the best way to put the word ‘wet’ in five poems.” Vol. 4 [6], 2537 – in fact, five hymn phrases such as “juice” and “duck” – are excellent, and try the first two of five poems: “Once yesterday, the sun was heavy, Dongfeng melted snow juice. Far forest grass is dark, near smoke and wet, "I'm crying in the basket with clams, shut my mouth to protect the juice. I'm so sorry about the fish in the net, and I'm soaking wet in my mouth. I wear a cow through my nose, and I talk to myself wet." Sour wine like soup, sweet wine like honey. Three years in Yellow County, drinking wine but drinking wet. The two poor met each other and wept. "The Five Psalms put the juicy "wet" in them, and they were safe and unbridled. In the whole poem, the five poems have reached a high standard, and look at the five: "The two poor people meet each other, they're not wet. I don't know what it's like to have a relationship with a king, but I'm not in a hurry. For the sake of the clouds, there will be no ducklings, and I will do it in the early summer, boiling wine. What is the matter with your homeland? When the joy returns, the dance begins, the bitter words will come, without the tears of the children. If I were strong enough, there would be no shortage of kings, and when I say good-bye, I will close my eyes and thank the guests. "This is the deepest part of the story." Zhao Kei commented: "The love of love, as it is, is so deep and so deep that it is not familiar with it."[6] Vol. 4, 2537 rhymes have gone up to five times and are still smooth and unhymn, so it can be seen that Su-yun's hymn art has reached the level of pureness of the fire. Since the writing of the Su poems cited above began at the age of six years (1061), the age of 26, and finally, the third year (1096), the age of 61, Sioux, the emphasis of poetry on rhymes is a tendency to create throughout his life. By the end of the year, Su-yun’s enthusiasm for second rhymes has not diminished, as evidenced by his first rhymes with each other in Huixiang and Su-hyun. Similarly, Su-yun’s enthusiasm for his second hymn has not faded, and it has been folded to show that he is full of glory. For example, during the first anniversary of Sio Shao (1094), Su-yung, in Huezhou, played three songs of the three hymns of the hymns of the hymn, which were passed on to the singers. Limited in length, and drew two of them: "The blooming of the clubs under the pine wind of November 26: "In the village of Huanan in the spring wind, the clubs of the past were desolate. I don't know if it's all coming back, but it's going to rain, and it's going to rain, and it's going to rain, and it's going to rain, and it's going to rain, and it's going to rain, and it's going to rain, and it's going to rain, and it's going to rain, and it's going to rain, and it's going to rain, and it's going to rain, and it's going to rain, and it's going to rain, and it's going to rain. It is not for the gloom to remain in the night, lest it be cold, cold and warm, and in the thorns of the frenzy, there shall be two jade dynasty dynasty. Henan's clouds are corrupted, and the moon's coats come to hold the door, and the spirits of a sobering dream rise around the trees, and there's nothing to be said about it. Mr. Señor, who drinks without groaning, is lucky to see the moon fall. "Requires the hymn: "The village of clubs below the Mount Roof, where the snow is the soul of bones and ice. Mr. Sojian lives on the river like a sick crane in the middle of nowhere. It's beautiful, and I know I'm good at wine and poetry, and the flowerbirds in Pompey's palace have their green clothes on their backs. I was so drunk that I knocked on the door, and the birds were able to sing and dance. The wine wakes up the silentness of the mountain, but only the weak ones. "Son Song Hu Qi Yun: "Ten Min Qi's Lei Xiao Qing" cloud: "Gong has two headlines in the mausoleum and Xu's " " ‘And, with the fine taste of the Pingchuan and the back of the eastern slopes, the word ‘’ is not a daily poem of justice......and the word ‘’ in the eastern slopes, which has been written, has not been followed by the people of the past. Three good ones, and a second one, Yuji."[6] Volume VII, 4460-4461 weeks of purple twilight clouds: "Lin and Concorrose Poe, with the words ‘silences and glitters and twilights of the moon,’ which are 200 years old. At the end of the year in Huixiang, he became the verse of a plume: 'The first twilight of the moon, he was alone and confused.' The words came out, and the spirit of appeasement came to pass. Book VII, 4461, general comment II: "The two poems are an excellent exercise. Book VII, 4462, Queer says, "Cho-Cho-Cho-Cho-Cho-Cho-Cho-Cho-Cho-Cho-Cho-Cho-Cho-Cho-Cho-Cho-Cho-Cho-Cho-Cho-Cho-Cho-Cho-Cho-Cha-Cho-Cho-Cho-Cho-Cho-Cho-Cho-Cho-Cho-Cho-Cho-Cho-Cho-Cho-Cho-Cho-Cho-Cho-Cho-Cho-Cho-Cho-Cho-Cho-Cho-Cho-Cho-Cho-Cho-Cho-Cho-Cho-Cho-Cho-Cho-Cho-Cho-Cho-Cho's-Cho-Cho-Cho-Cho-Cho-Cho-Cho's-Cha-Cha-Cha-Cha-Cha-Cha-Cha-Cha-C's-Cha's-Cha's-C's-C's-Cha's's's's's's's's's's's's's's's's's's-S's's's's's-S's-S's-S's's-S's's's's's's's's-S's's's's-S's-S's's-S's's's's's-S's-S's-S's-S's-S's-S's-S's-S's-S's-S's-S's-S's-S's-S's-S's-S's-S's-S's-S's-S's-S's's-S's-S's-S's-S's-S's-S's-S's-S's-S's-S's Book VII, No. 4457, does say, in his second poem and poem, that “Su Xian Xian Xian has gone to Xue Xi in the village of Huang Guo, under the Mount Roo.” The phrase is drawn from the mouths of Jo Xu, who sits in the middle of the mountain, and speaks with great seriousness and hostility towards Su Xi, suggesting that Sio Xi has a powerful artistic inflammation. In conclusion, Su-jung’s hymn approach to poetry is an important factor in the development of Su-jung’s artistic achievements. The latter is often displeased with Su-jung’s overwriting of secondary poetry, such as King Kim’s hymn: “The illness of second-shymn authors. Poetry has been self-defeating since the Songs, but it has been unique to each other. Known as the Eastern slopes, one of three of them concentrates on the secondary rhythms, and, even though they are poor, they turn for a while, at the expense of the whole universe. There is no way that the ancients could have been spared!”[16] It seems that the second rhyme may have the ills of “the Almighty” for the under-skilled poets, but the second rhyme would not have created any obstacle for the talented Su-hung. As noted above, Su-yun has been rated many times as better than the original, as evidenced by even the words “synchronous and symphony” [17], “The hymn sub-hymn of the hymn”. The most important factor is the quality of the work, not the ease with which it is done. What is wrong with someone who is willing and good enough to write poetry by using a more difficult method, as long as they can write good poems that are difficult to see? As long as we acknowledge the basic fact that there are many titles in Su-yun's secondary rhymes, we cannot deny that the great efforts he has invested in its creation have not been a waste of effort. Notes: One of the king's verses notes the two poems, “It's the Antxlator”, which is inaccurate. Wang An-seok's Five-Five-Five-Friendly Songs and His-Friendly-Friendly-Friendly-Friendly-Snow-Symph-Symph-Symph-Symph-Symph-Symph-Sill-Sill-Sill-Sill-Sill-Sill-Sill-Sill-Sill-Simple-Sill-Sill-Si-Si-Si-Si-Si-Si-Si-Si-Si-Si-Si-Si-Si-Si-Si-Si-Si-Si-Si-Si-Si-Si-Si-Si-Si-Si-Si-Si-Si-Si-Ni-Si-Si-Si-Si-Si-Si-Si-Si-Si-Si-Si-Si-Si-Si-Si-Si-Si-Si-Si-Si-Si-Si-Si-Si-Si-Si-Si-Si-Si-Si-Si-Si-Si-Si-i-i-i-i-i-i-i-i-i-i-i-i-i-i-i-i-i-i-i-i-i-i-i-i-i-i-i-i-i-i-i-i-i-i-i-i-i-i-i-i-i-i-i-i-i-i-i-i-i-i-i-i-i-i-i-i-i-i-i-i-i-i-i-i-i-i-i-i-i-i-i-i-i-i-i-i-i-i-i-i-i-i-i-i-i-i-i-i-i-i-i-i-i-i-i- The word “objects” is the rhyme of the word “objects”, the word “values” is the hymn of the word “objects”, the hymn of the word “objects”, and the reverberations of the hymn of the pronunciation are often held in Sioux poems, especially in the hymn of the hymn of the sound, and the Qing dynasty of the Qing dynasty : “The hymn of the eastern slopes, the hymn of the hymns, the hymn of the tycopics, the hymn of the hymns, the hymns of the hymns, the hymn of the hymn is unconstructed. "The hymns of the East slopes, the moths, vol. VII, 1958, p. 1217), are clouded with Yuan: "Rhythmists, no poetry." Lee, Doo, Han, and Sou are not full of symphonies. It's interesting to have a note.” The former is too strict, while the latter is too careful, as is the case with the people's literature publisher, vol. VII, 1960, p. 223. Three poems were written in an unknown year. In the seven years of Xining (1074), Su-yung was the author of a collection of his poems (Introduction of Xingjun Poetry, Sioux Book, vol. X, 1986 edition of the Chinese Bureau of Books, p. 319) and was certainly familiar with his poems. Into the column of Morpheus. Su-jung. Poetry. Rhyming. It's a second rhyme. This post is edited as follows: Poster: Ideas of Love (http://www.aisixiang.com), column: Academies of Heaven > Linguistics and Literature > Poetry Award Link to this paper: http://www.aisixiang.com/data/135840.html Source: JAC Forum, No. 1, 2019 Enter an e-mail address in the box, separated by a semi-accompanied comma (,) between multiple emails.

Note: This is a translated version of the Chinese news media article. A mature and nuanced reading is suggested.

Recent related articles

Counterfeit goods and identification of counterfeit items in the arrangement of epitaphs in the Tang Dynasty

2022-09-26: Author: Mao Sunshine (Deputy Director of the Helo Cultural Research Centre, Faculty of History and Culture, Luoyang Pedagogical College) In the history of Tang Dynasty since the twenty-first century, the consolidation and study of new tombs has become a very important academic hotspot.…  

Xu Haifeng

2022-09-26: Original title: To you and to me! Fighters on line one. Xinhua Xinhua Xinhua Xinhua Xinhua Xinhua Xinhua Xinhua Xinhua Xinhua Xinhua Xinhua Xinhua Xinhua Xinhua Xinhua Xinhua Xinhua Fighters on line one. Xinhua Xinhua Xinhua Xinhua Xinhua Xinhua Xinhua Xinhua Xinhua Xinhua Xinhua Xinhua…  

Miracles cannot save the common people, but the Communist Party can! The Revolutionary Course from Big Brother to Red Army Cadre - A Land of Nothing

2022-09-26: With the arrival of the Red Army and the anti-donor army, and with Soviet, commercial and southern territory, the Liu family house district alone, 27 landowners were confiscated from their land, which, according to statistics, amounted to 1,355 stones and was distributed to more than 500 poor…  

Lv Qixiang: "Dream of Red Mansions" New School Reading Notes

2022-09-26: The Red House Dream. One. In the spring of 1982, the People's Literature Press published a revised and annotated version of the Red House Dream, based on the Re-Assessment of the Stones of Fatsai (final version of the autumn and autumn). For the first time in the history of the Red House…

Lin Guanfu: On Ji Mao Geng Chen's Version - One of the Versions of A Dream of Red Mansions

2022-09-26: The Red House Dream. I'll tell you what I'm talking about. In the evolution of the version of the Red House Dream, a very special and very important early copy appeared, namely, the “done-to-eat” version. An early copy of the Red House Dream did have such a copy, and the researchers not…  

Jin Pinfang: Talking about the original text of nineteen of the forty chapters after Yang Jizhen's collection

2022-09-26: The Red House Dream. A copy of Qing Dae-jung's collection of Red House Dreams, discovered in the spring of 1959, was found in the collection of the Chinese Academy of Sciences' Institute of Literature, which is the first to be discovered today in 120 copies. On 20 June of the same year, the…

To you and me who are struggling! -News Channel-Hexun.com

2022-09-26: Fighters on line one. Xinhua Xinhua Xinhua Xinhua Xinhua Xinhua Xinhua Xinhua Xinhua Xinhua Xinhua Xinhua Xinhua Xinhua Xinhua Xinhua Xinhua Xinhua Fighters on line one. Xinhua Xinhua Xinhua Xinhua Xinhua Xinhua Xinhua Xinhua Xinhua Xinhua Xinhua Xinhua Xinhua Xinhua Xinhua Xinhua Xinhua…  

Gong Pixiang: The Inner Logic of the New Road to Chinese-Style Legal Modernization

2022-09-26: Xi Jinping idea of the rule of law China’s New Path to Modernizing the Rule of Law The process of modernizing the rule of law in the world Modernization of the rule of law in China The new Chinese-style approach to the modernization of the rule of law is a central feature of…

Recent related articles

Counterfeit goods and identification of counterfeit items in the arrangement of epitaphs in the Tang Dynasty

2022-09-26: Author: Mao Sunshine (Deputy Director of the Helo Cultural Research Centre, Faculty of History and Culture, Luoyang Pedagogical College) In the history of Tang Dynasty since the twenty-first century, the consolidation and study of new tombs has become a very important academic hotspot.…  

Xu Haifeng

2022-09-26: Original title: To you and to me! Fighters on line one. Xinhua Xinhua Xinhua Xinhua Xinhua Xinhua Xinhua Xinhua Xinhua Xinhua Xinhua Xinhua Xinhua Xinhua Xinhua Xinhua Xinhua Xinhua Fighters on line one. Xinhua Xinhua Xinhua Xinhua Xinhua Xinhua Xinhua Xinhua Xinhua Xinhua Xinhua Xinhua…  

Miracles cannot save the common people, but the Communist Party can! The Revolutionary Course from Big Brother to Red Army Cadre - A Land of Nothing

2022-09-26: With the arrival of the Red Army and the anti-donor army, and with Soviet, commercial and southern territory, the Liu family house district alone, 27 landowners were confiscated from their land, which, according to statistics, amounted to 1,355 stones and was distributed to more than 500 poor…  

Lv Qixiang: "Dream of Red Mansions" New School Reading Notes

2022-09-26: The Red House Dream. One. In the spring of 1982, the People's Literature Press published a revised and annotated version of the Red House Dream, based on the Re-Assessment of the Stones of Fatsai (final version of the autumn and autumn). For the first time in the history of the Red House…

Lin Guanfu: On Ji Mao Geng Chen's Version - One of the Versions of A Dream of Red Mansions

2022-09-26: The Red House Dream. I'll tell you what I'm talking about. In the evolution of the version of the Red House Dream, a very special and very important early copy appeared, namely, the “done-to-eat” version. An early copy of the Red House Dream did have such a copy, and the researchers not…  

Jin Pinfang: Talking about the original text of nineteen of the forty chapters after Yang Jizhen's collection

2022-09-26: The Red House Dream. A copy of Qing Dae-jung's collection of Red House Dreams, discovered in the spring of 1959, was found in the collection of the Chinese Academy of Sciences' Institute of Literature, which is the first to be discovered today in 120 copies. On 20 June of the same year, the…

To you and me who are struggling! -News Channel-Hexun.com

2022-09-26: Fighters on line one. Xinhua Xinhua Xinhua Xinhua Xinhua Xinhua Xinhua Xinhua Xinhua Xinhua Xinhua Xinhua Xinhua Xinhua Xinhua Xinhua Xinhua Xinhua Fighters on line one. Xinhua Xinhua Xinhua Xinhua Xinhua Xinhua Xinhua Xinhua Xinhua Xinhua Xinhua Xinhua Xinhua Xinhua Xinhua Xinhua Xinhua…  

Gong Pixiang: The Inner Logic of the New Road to Chinese-Style Legal Modernization

2022-09-26: Xi Jinping idea of the rule of law China’s New Path to Modernizing the Rule of Law The process of modernizing the rule of law in the world Modernization of the rule of law in China The new Chinese-style approach to the modernization of the rule of law is a central feature of…