On Bu Operator's Poetry Translation from Butterfly Clothes and Light Clothes

The author of "The Butterfly Clothes of Bu Operator" is Liu Kezhuang, a poet in the Song Dynasty. The full text of his ancient poems is as follows:

Petals are like butterfly wings, bright red, small and lovely. If God doesn't love flowers, why are they so cleverly designed?

When I saw the trees blooming in the morning, there was not much left at night. If they say God loves flowers, why destroy them with wind and rain?

order

Bu Operator Die Yi Qing (also known as Bu Operator Wind and Rain Damage Begonia) is the work of Liu Kezhuang, a poet in the Southern Song Dynasty. As a A Xin poet, Liu Kezhuang is famous for his boldness. If you don't write, you will be immersed in love, and the wind will fade. But Liu Kezhuang also wrote graceful and restrained words, which were bold and unconstrained, especially his unique bold and unconstrained words. This is the case with the poem "The Symbol of Divination", which euphemistically and implicitly expresses the sadness that ci talents don't need it.

To annotate ...

(1) divination operator, lexical, that the name is changed to "the person who sells divination and fortune telling". Su Shi's ci is the main body in the ci book. Also known as "hundred-foot building", "plum wind wall" and "no moon hanging sparse trees" Double tone, 44 words, rhyming.

⑵ Butterfly clothes are light, and petals are as light as butterfly wings.

(3) scarlet, as bright as orangutan blood.

(4) It's over.

translate

Petals as light as butterfly wings, little red dot point, petite and lovely. If God doesn't love flowers, why did he design them so cleverly? When I saw the trees blooming in the morning, there was not much left at night. Since Heaven loves flowers, why use wind and rain to destroy them?

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This small print is about loving flowers, but it's not just about loving flowers. It has implications. Implicit expression of the poet's lack of talent, not being reused, repeatedly suppressed sad feelings.

The last one writes about the loveliness of flowers first. The first rhyme depicts flowers: petals are like the light wings of butterflies; Small flowers are scarlet, so bright and beautiful. The last sentence describes the state of flowers, using the ink on the petals, because the petals are thin, so the clouds are "light"; The color of the next sentence is written from the whole flower, and the begonia flower is small, so the word "small" and the color of the flower are written at the same time, and the word "light" is added to it. The two sentences are about a flower, but from different angles, which lays the foundation for the next sentence "A hundred kinds of ingenuity". The "patch" also saw many petals, and the "dot" also saw the density of flowers, which laid the groundwork for the next sentence "seeing trees in the morning". Take a break and write a lovely rhyme about flowers. The poet doesn't say it directly. Instead, I inserted a comment in a speculative tone, set off by "Tao is God's will not hesitate to spend", and then told "a hundred flowers blossom and a hundred schools of thought contend". This writing is not only calm and powerful, but also awkward in writing; Moreover, due to the introduction of God, the master of nature, it enriches the connotation of the whole word and highlights the implication of the author's creation of this word, which is very intriguing. Of course, the word "hundred kinds of ingenuity" in the two-part allegorical sayings includes the light and petite figure and bright colors mentioned above, but the word "ingenuity" with fine taste obviously includes the charm and inner beauty of flowers. Only the combination of appearance and charm, external expression and internal implication can be described as "cleverness" and beauty.

The next song is about the regret that flowers are blown away by rain and wind. The first article about flowers is lovely, which paves the way for the next article about flowers being blown away by wind and rain. So after a rhyme, he said, "There are many trees in the morning and few branches at night." Here, "numerous" and "few" are written in pairs, and "dynasty" and "dusk" are mentioned in pairs, which not only shows the rapid change of flowers, but also shows the poet's concern for flowers. From this, we can see the anxiety of the poet who is obsessed with flowers. Unlike the first rhyme in the last film, this rhyme seems to be right or wrong, but it has a charm, and a feeling of loving flowers and cherishing jade is fully revealed.

The final rhyme is the core of the whole poem, but the poet didn't say it directly, but first set it with the sentence "Tao is a heavenly fruit, cherish flowers", and then told the sad reality that flowers were blown away by rain and wind. This is also very thought-provoking and philosophical, because the rhyme of the last movie is two sides of the same question. Moreover, the sentence "Tao is" in the previous film is Yang, and the sentence "Tao is" here is repression. To suppress, raise it first. Between suppression and suppression, the poet's dissatisfaction with God's letting wind and rain destroy flowers is revealed.

This little sentence, all written in ordinary language, is naturally subtle and profound. Clever repetition of words and unconventional words have also formed a lasting appeal and are thought-provoking.

There is a question-and-answer style in words, or the next question, the next answer, or the answer with questions, which is a common question-and-answer style. The word was asked in the first part and in the second part, but the questions in the first part and the second part were tit for tat and incompatible with each other, and there was no answer in the end, which was very unique. The way of asking questions is the same as that of the last film, and they all use reduction to absurdity. If you look at the upper and lower films separately, it is not that there is no answer to the question, but that the answer is contained in the question. Q: If God doesn't care about flowers, then flowers dance like butterfly wings and glow like scarlet, aren't they all made by God? The answer should admit that "God loves flowers". However, the next film goes on to ask: If God really loves flowers, then it rains for no reason, destroys the spring flowers and makes the trees flourish overnight, isn't it destroyed by God? The answer should be to admit that "God does not hesitate to spend". Therefore, when the upper and lower films are put together, the two answers are actually exclusive, conflicting and mutually negative. The correct answer should be beyond the two. In fact, although the word Liu Kezhuang is a bit of a game pen and ink, it is clever to ask questions, and it is by no means trivial. He questioned the relationship between "heaven" and flowers, and by extension, everything in the world could not help asking this question, which was tantamount to a concrete and subtle "heaven question" about flowers. The real answer is both in the word and outside the word. Flowers bloom year after year, flowers fall year after year, the prosperity and decline of flowers, and the objective operation of nature have nothing to do with whether God loves flowers or not. "Everything comes and goes naturally", which is the real answer that Liu Kezhuang originally wanted to say, only revealed its meaning in his words without explanation. The whole word is humorous, humorous and interesting. Its writing or imitation of Su Shi's poem "Sizhou Sangha Pagoda".