istudy

Ancient Chinese fable – Short-Sightedness

古代寓言原是民间口头创作,文学体裁的一种。含有讽喻或明显教训意义的故事。它的结构简短。主人公可以是人,可以是动物,也可以是无生物。多借用比喻手法,使富有教训意义的主题或深刻的道理在简单的故事中体现,而还需要自己去理解,思考,这就是和西方寓言的不同之处。 《古代寓言·近视眼》 有二人短于视,百皆讳言之,喜以目力自多。一日,闻某家于神庙悬扁,乃先侦知其字。是日入庙,一人仰视曰:“美哉,‘赫耀声灵’四大字也!” 一人曰:“尚有小字,君未之见,乃‘某月日某书’也!” 正共夸诩,旁有一人问曰:“两君会何?”告以所见,其人笑曰:“扁尚未悬,何处有字?” ——《笑林新雅》 Short-Sightedness Two men were short-sighted, but instead of admitting it, both of them boasted of keen vision. One day they heard that a tablet was to be hung in a temple. So each of them found out what was written on it beforehand. When the day came, they both […]

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Ancient Chinese fable – Tree Forks

古代寓言原是民间口头创作,文学体裁的一种。含有讽喻或明显教训意义的故事。它的结构简短。主人公可以是人,可以是动物,也可以是无生物。多借用比喻手法,使富有教训意义的主题或深刻的道理在简单的故事中体现,而还需要自己去理解,思考,这就是和西方寓言的不同之处。 《古代寓言·树丫》 乡人多以树之丫叉,支为坐凳者。 父命其子求之山中,子持斧去,竞日,徒手归。你责之。子曰:“丫叉尽有,奈都是朝上生的。” ——《笑府》 Tree Forks The people living on a certain mountain use tree forks for stool legs. A father sent his son to get one. The son took an axe and went. But at the end of the day he came back empty-handed. When his father scolded him, he answered, “Of course,

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Ancient Chinese fable – All for the Love of a Donkey

古代寓言原是民间口头创作,文学体裁的一种。含有讽喻或明显教训意义的故事。它的结构简短。主人公可以是人,可以是动物,也可以是无生物。多借用比喻手法,使富有教训意义的主题或深刻的道理在简单的故事中体现,而还需要自己去理解,思考,这就是和西方寓言的不同之处。 《古代寓言·爱惜驴子》 某翁富而吝,善权子母,责负无虚日。后以年且老,难于途,遂买一驴代步。顾爱爱惜甚至,非甚困惫,未尝肯据鞍。驴出翁胯下者,步不过数四。 值天暑,有所索于远道,不得已,与驴俱中道,翁喘,乃跨驴,驰二三里;驴不习骑,亦喘,翁惊亟下,解其鞍。驴以为息也,望故道逸归。翁急遽呼驴,驴走不顾,追之弗及也;大惧驴亡,又吝于弃鞍,因负鞍趋归家,亟问驴在否?其子曰:“驴在。”翁乃复喜,徐释鞍,始觉足顿而背裂也,又伤于暑,病逾月乃瘥。 ——《耳食录》 All for the Love of a Donkey A rich old miser made much money by giving high-interest loans. When he became too old to walk, he bought a donkey. But he became so fond of the animal that he would not ride it except when he was extremely tried. One

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Ancient Chinese fable – I want your finger

古代寓言原是民间口头创作,文学体裁的一种。含有讽喻或明显教训意义的故事。它的结构简短。主人公可以是人,可以是动物,也可以是无生物。多借用比喻手法,使富有教训意义的主题或深刻的道理在简单的故事中体现,而还需要自己去理解,思考,这就是和西方寓言的不同之处。 《古代寓言·我想要你的手指》 一贫士遇故人于途;故人已得仙术矣。相劳苦中,因指道旁一砖成赤金赠之。士嫌其少,更指一大石狮为赠,士嫌未已。 仙曰:“汝欲如何?” 士曰:“愿乞公此指!” ——《笑府》 I Want Your Finger A poor man one day met an old friend who had become an immortal. After hearing his friend complain of his poverty, the immortal pointed his finger at a brick by the roadside, which immediately turned into a gold ingot. He presented it to his

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Nalanshinde: Buddhist Dancers ~ 纳兰性德·《菩萨蛮》 with English Translations

《菩萨蛮·窗前桃蕊娇如倦》是清代词人纳兰性德所写的一首词。此篇从闺阁中女子角度描写,写一丽人在乍暖还寒的春天里孤寂无聊的情态。上片前二句亦人亦景,含双关之意。后二句写红楼独处,借唱《石州》益而抒离情之苦。下片回写夜来之孤独寂寞,以双燕烘衬,更突出了孤苦凄清之离情别恨。 纳兰性德·《菩萨蛮》 窗前桃蕊娇如倦, 东风泪洗胭脂面。 人在小红楼, 离情唱《石洲》。 夜来双燕宿, 灯背屏腰绿。 香尽雨阑珊, 薄衾寒不寒? Buddhist Dancers Nalanshinde Delicate are the peach blossoms before the window, Tears streaming down the rouge face in the easterly wind. The person in the small red floor, Chanting in the most bitter touch of parting sorrow. The couple swallows lodging for the night, Their

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Li Po: Bathed and Washed ~ 李白·《沐浴子》 with English Translations

《沐浴子》是唐代诗人李白所作的一首五言古诗。诗人虽没有直接铺陈颂扬屈原的伟大人格,却反用《楚辞·渔父》,别具匠心地设置一个对立面,以屈原为主,以渔父为副,以副托主,以渔父“混世”的反语来激励屈原,亦是暗喻自己,流露出对同流合污者的憎恶与痛恨,也陈述了其对人生处事的鲜明独特认识与理解,披露出其政治失意后的激愤无奈心情。 李白·《沐浴子》 沐芳莫弹冠,浴兰莫振衣。 处世忌太洁,至人贵藏晖。 沧浪有钓叟,吾与尔同归。 Bathed and Washed Li Po ‘Bathed in fragrance, do not brush your hat; Washed in perfume, do not shake your coat: ‘Knowing the world fears what is too pure, The wisest man prizes and stores light!’ By Bluewater an old angler stat: You and I together, let us go home.

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Li Bai: Verses in the Old Style—24 ~ 李白·《古风其二十四·大车扬飞尘》 with English Translations

《古风·大车扬飞尘》是唐朝诗人李白所作的五言古诗。唐玄宗宠信宦官,让他们占据京郊的甲第、名园、良田竟达一半;又酷爱斗鸡,当时王公贵族也都以斗鸡为乐,形成风气,有些人甚至靠斗鸡的本领而获得高官厚禄。作者写这首诗时正在长安,根据自己的见闻,刻画了宦官的显赫和斗鸡徒的骄横形象,从而对唐玄宗的腐朽政治进行了无情的揭露和谴责。 李白·《古风其二十四·大车扬飞尘》 大车扬飞尘,亭午暗阡陌。 中贵多黄金,连云开甲宅。 路逢斗鸡者,冠盖何辉赫。 鼻息干虹蜺,行人皆怵惕。 世无洗耳翁,谁知尧与跖! Verses in the Old Style—24 Li Bai Great carriages raise swirls of dusk, Darkening the fields at noon; What golden plenty have these mighty eunuchs, Whose mansions reach the clouds! See them on their way to a cock-fight— What magnificent headgear, what canopies! The breath of their nostrils

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Li Pai: The Yellow River Flows East Ancient Wind 11~ 李白·《古风其十一·黄河走东溟》 with English Translations

《古风·黄河走东溟》是唐代伟大诗人李白创作的组诗《古风五十九首》之一。此诗感叹时光流逝,人世苦短,年貌易改,言外有劝人惜时之意。 李白·《古风其十一·黄河走东溟》 黄河走东溟,白日落西海。 逝川与流光,飘忽不相待。 春容舍我去,秋发已衰改。 人生非寒松,年貌岂长在。 吾当乘云螭,吸景驻光彩。 The Yellow River Flows East Ancient Wind 11 Li Pai Taking a jade cup, I fill it with good wine; after coming to see you off, we two riding together under the willows, then toasting each other good-bye; you going out over the horizon maybe, and then perhaps

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Li Bai: Descending Zhongnan Mountain and Meeting Si the Hermit ~ 李白·《下终南山过斛斯山人宿置酒》 with English Translations

《下终南山过斛斯山人宿置酒》是唐代大诗人李白的作品。此诗以田家、饮酒为题材,前四句写诗人下山归途所见,中间四句写诗人到斛斯山人家所见,末六句写两人饮酒交欢及诗人的感慨,流露了诗人相携欢言,置酒共挥,长歌风松,赏心乐事,自然陶醉忘机的感情。全诗都用赋体写成,情景交融,色彩鲜明,神情飞扬,语言淳厚质朴,风格真率自然。 李白·《下终南山过斛斯山人宿置酒》 暮从碧山下,山月随人归。 却顾所来径,苍苍横翠微。 相携及田家,童稚开荆扉。 绿竹入幽径,青萝拂行衣。 欢言得所憩,美酒聊共挥。 长歌吟松风,曲尽河星稀。 我醉君复乐,陶然共忘机。 Descending Zhongnan Mountain and Meeting Si the Hermit Li Bai At dusk I leave the hills behind, The moon escorts me all the way. Looking back, I see the path wind Across the woods so green and gray. We come to your cot hand in hand,

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Li Bai: Ascending Taibai Peak ~ 李白·《登太白峰》 with English Translations

《登太白峰》是唐代大诗人李白的作品。此诗描写作者登上太白山和太白星悄语密话,并幻想神游天界的情景,生动地表现出太白山高耸入云的雄姿壮景,含蓄地表达了诗人对黑暗现实的不满以及无法实现政治理想的愁闷心情。首二句点题,以极力攀登烘托太白峰的高峻并显示诗人勇敢的精神;中六句描绘游仙意境,表现诗人追求自由、向往光明的理想;末二句突然转折,思想又回到现实,反映出诗人出世与入世的矛盾心情。全诗借助丰富的想象,生动曲折地反映了诗人的思想感情,结构跌宕起伏,跳跃多变,充分体现了浪漫主义特色。 李白·《登太白峰》 西上太白峰,夕阳穷登攀。 太白与我语,为我开天关。 愿乘泠风去,直出浮云间。 举手可近月,前行若无山。 一别武功去,何时复更还? Ascending Taibai Peak Li Bai Ascending Taibai Peak from the west, I reach the summit in the sunset. The morning star speaks to me, Opening the gate of Heaven. I wish to go with the wind, Emerge from the floating clouds, Raise my hand to touch the moon

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