大提琴：杨柳 作曲：范宗沛
演奏：范宗沛 林海 来源：云飘何处
咏柳 贺知章
碧玉妆成一树高，万条垂下绿丝绦。
不知细叶谁裁出，二月春风似剪刀。 
泊秦淮 杜牧
烟笼寒水月笼沙，夜泊秦淮近酒家。
商女不知亡国恨，隔江犹唱后庭花。 
如梦令 李清照
昨夜雨疏风骤，浓睡不消残酒。
试问卷帘人，却道海棠依旧。
知否？知否？应是绿肥红瘦。
金缕衣 杜秋娘
劝君莫惜金缕衣，劝君惜取少年时；
花开堪折直须折，莫待无花空折枝。
浪淘沙 李煜
帘外雨潺潺，春意阑珊，罗衾不耐五更寒。
梦里不知身是客，一晌贪欢。
独自莫凭栏，无限江山，别时容易见时难。
流水落花春去也，天上人间。
醉花阴 李清照
东篱把酒黄昏後，有暗香盈袖。
莫道不消魂，帘卷西风，人比黄花瘦。
相见欢 李煜
无言独上西楼，月如钩，
寂寞梧桐深院锁清秋。
剪不断，理还乱，是离愁，
别是一番滋味在心头。
咏柳
林贝卡 发表评论于
回复云飘何处的评论:
我得感谢你的分享，我才知道这音乐，这电影，这小说的。
Have a nice day,
Rebecca
我得感谢你的分享，我才知道这音乐，这电影，这小说的。
Have a nice day,
Rebecca
云飘何处 发表评论于
谢谢你把这么好的音乐介绍出来，并配上精美的画面和诗词。
林贝卡 发表评论于
回复静谧海湾的评论:
Thank you very much for sharing it.
Have a nice evening,
Rebecca
Thank you very much for sharing it.
Have a nice evening,
Rebecca
静谧海湾 发表评论于
阅读白先勇长篇小说:
http://www.yangyouning.com/niezi/nz.htm
http://www.yangyouning.com/niezi/nz.htm
林贝卡 发表评论于
回复雪坊的评论:
问候雪坊，谢谢你。
Have a nice week,
Rebecca
问候雪坊，谢谢你。
Have a nice week,
Rebecca
林贝卡 发表评论于
回复静谧海湾的评论:
Thank you so much for your wonderful messages as always.
愿静谧海湾春节愉快，永远幸福美丽，
Rebecca
Thank you so much for your wonderful messages as always.
愿静谧海湾春节愉快，永远幸福美丽，
Rebecca
雪坊 发表评论于
诗词画曲让人热泪盈眶， 流连忘返。
问贝卡好！
问贝卡好！
静谧海湾 发表评论于
回复娓娓的评论:
Really agree with you.
" 心贴 .... 贝卡的帖子都是用心而来的，美不胜收，美图美乐，滋养心灵。"
"愿Rebecca春节愉快，永远像春天般美丽着。"
Really agree with you.
" 心贴 .... 贝卡的帖子都是用心而来的，美不胜收，美图美乐，滋养心灵。"
"愿Rebecca春节愉快，永远像春天般美丽着。"
林贝卡 发表评论于
回复娓娓的评论:
谢谢你的美言，总让我感到温馨无比。
也祝你春节快乐，永远幸福美丽，
Rebecca
谢谢你的美言，总让我感到温馨无比。
也祝你春节快乐，永远幸福美丽，
Rebecca
娓娓 发表评论于
原本是“新贴”不是“心贴”，但看看也很好，因为你的帖子都是用心而来的，美不胜收，美图美乐，滋养心灵。
愿Rebecca春节愉快，永远像春天般美丽着。
愿Rebecca春节愉快，永远像春天般美丽着。
娓娓 发表评论于
不上网则以，上来就没法不来看看你的心贴。音乐是骨髓，没了它可怎么活？
林贝卡 发表评论于
回复翠花姐的评论:
Thank you very much.
Have a nice evening,
Rebecca
Thank you very much.
Have a nice evening,
Rebecca
翠花姐 发表评论于
好美的杨柳曲子~~~一如既往地喜欢你贴的精华作品~~~:)
林贝卡 发表评论于
《杨柳》是台湾作曲家范宗沛为白先勇原著改编的电视剧《孽子》所做的配乐。
主要乐器是大提琴，钢琴，其它的配器还有双簧管和口琴。大提琴部分是范宗沛演奏，钢琴部分则是范宗沛的好搭档林海演奏。
来源：云飘何处
主要乐器是大提琴，钢琴，其它的配器还有双簧管和口琴。大提琴部分是范宗沛演奏，钢琴部分则是范宗沛的好搭档林海演奏。
来源：云飘何处
林贝卡 发表评论于
白先勇
维基百科
白先勇（1937年7月11日－）是當代中文作家。他生於廣西桂林，其父是國軍桂系重要將領白崇禧。
旅美學人夏志清教授曾說：“旅美的作家中，最有毅力，潛心自己藝術進步，想為當今文壇留下幾篇值得給後世朗誦的作品的，有兩位：於梨華和白先勇。”
歐陽子認為，“白先勇才气纵横，不甘受拘；他尝试过各种不同样式的小说，处理过各种不同类式的题材。而难得的是，他不仅尝试写，而且写出来的作品，差不多都非常成功。……白先勇讲述故事的方式很多。他的小说情节，有从人物对话中引出的《我们看菊花去》，有以传统直叙法讲述的《玉卿嫂》，有以简单的倒叙法（flashback）叙说的《寂寞的十七岁》，有用复杂的“意识流”（stream of consciousness ）表白的《香港——一九六○》，更有用“直叙”与“意识流”两法交插并用以显示给读者的《遊園驚夢》。……他的人物对话，一如日常讲话，非常自然。
除此之外，他也能用色调浓厚，一如油画的文字，《香港——一九六○》便是个好例子。而在《玉卿嫂》裡，他采用广西桂林地区的口语，使该篇小说染上很浓的地方色彩。他的头几篇小说，即他在台湾时写的作品，文字比较简易朴素。从第五篇《上摩天楼去》起，他开始非常注重文字的效果，常借着文句适当的选择与排列，配合各种恰当‘象征’（symbolism）的运用，而将各种各样的‘印象’（impressions），很有效地传达给了读者。”
http://zh.wikipedia.org/wiki/%E7%99%BD%E5%85%88%E5%8B%87
维基百科
白先勇（1937年7月11日－）是當代中文作家。他生於廣西桂林，其父是國軍桂系重要將領白崇禧。
旅美學人夏志清教授曾說：“旅美的作家中，最有毅力，潛心自己藝術進步，想為當今文壇留下幾篇值得給後世朗誦的作品的，有兩位：於梨華和白先勇。”
歐陽子認為，“白先勇才气纵横，不甘受拘；他尝试过各种不同样式的小说，处理过各种不同类式的题材。而难得的是，他不仅尝试写，而且写出来的作品，差不多都非常成功。……白先勇讲述故事的方式很多。他的小说情节，有从人物对话中引出的《我们看菊花去》，有以传统直叙法讲述的《玉卿嫂》，有以简单的倒叙法（flashback）叙说的《寂寞的十七岁》，有用复杂的“意识流”（stream of consciousness ）表白的《香港——一九六○》，更有用“直叙”与“意识流”两法交插并用以显示给读者的《遊園驚夢》。……他的人物对话，一如日常讲话，非常自然。
除此之外，他也能用色调浓厚，一如油画的文字，《香港——一九六○》便是个好例子。而在《玉卿嫂》裡，他采用广西桂林地区的口语，使该篇小说染上很浓的地方色彩。他的头几篇小说，即他在台湾时写的作品，文字比较简易朴素。从第五篇《上摩天楼去》起，他开始非常注重文字的效果，常借着文句适当的选择与排列，配合各种恰当‘象征’（symbolism）的运用，而将各种各样的‘印象’（impressions），很有效地传达给了读者。”
http://zh.wikipedia.org/wiki/%E7%99%BD%E5%85%88%E5%8B%87
林贝卡 发表评论于
范宗沛的曲目
1. 杨柳 2. 勇敢的幸福 3. 摇篮曲 4. 飞翔
6. 水色 7. 戏水 8. 秘密 9. 告别 10. 曾经
http://mp3.baidu.com/singerlist/%B7%B6%D7%DA%C5%E6.html
1. 杨柳 2. 勇敢的幸福 3. 摇篮曲 4. 飞翔
6. 水色 7. 戏水 8. 秘密 9. 告别 10. 曾经
http://mp3.baidu.com/singerlist/%B7%B6%D7%DA%C5%E6.html
林贝卡 发表评论于
Du Mu
From Wikipedia, the free encyclopedia
Du Mu (Chinese: 杜牧; pinyin: Dù Mù; Wade-Giles: Tu Mu, 803—852) was a leading realistic Chinese poet of the late Tang Dynasty. His courtesy name was Muzhi (牧之), and sobriquet Fanchuan (樊川).
He was born in Chang'an at a time when his family's fortunes were declining. He passed the jinshi exam in 827 at the age of 25, and went on to hold many official positions over the years. However, he never achieved a high rank, apparently because he made enemies in a factional dispute in 835. He was appointed to the office of Secretariat Drafter shortly before his death.
Du Mu was skilled in shi, fu and ancient Chinese prose. He is best known as the writer of sensual and lyrical quatrains. He also wrote long narrative poems, as well as a commentary on the Art of War and many letters of advice to high officials.
Among his influences were Du Fu, Li Bai, Han Yu and Liu Zongyuan.
He is often mentioned with another famous poet Li Shangyin as the Little Li-Du (小李杜), in contrast to the Great Li-Du: Li Bai and Du Fu.
http://en.wikipedia.org/wiki/Du_Mu
From Wikipedia, the free encyclopedia
Du Mu (Chinese: 杜牧; pinyin: Dù Mù; Wade-Giles: Tu Mu, 803—852) was a leading realistic Chinese poet of the late Tang Dynasty. His courtesy name was Muzhi (牧之), and sobriquet Fanchuan (樊川).
He was born in Chang'an at a time when his family's fortunes were declining. He passed the jinshi exam in 827 at the age of 25, and went on to hold many official positions over the years. However, he never achieved a high rank, apparently because he made enemies in a factional dispute in 835. He was appointed to the office of Secretariat Drafter shortly before his death.
Du Mu was skilled in shi, fu and ancient Chinese prose. He is best known as the writer of sensual and lyrical quatrains. He also wrote long narrative poems, as well as a commentary on the Art of War and many letters of advice to high officials.
Among his influences were Du Fu, Li Bai, Han Yu and Liu Zongyuan.
He is often mentioned with another famous poet Li Shangyin as the Little Li-Du (小李杜), in contrast to the Great Li-Du: Li Bai and Du Fu.
http://en.wikipedia.org/wiki/Du_Mu
林贝卡 发表评论于
Li Qingzhao's Biography
Li Qingzhao was born in Licheng to a family of officials and scholars; her father was a friend of Su Shi.
Before she got married, her poetry was already well known with elite circles. In 1101 she married Zhao Mingcheng, with whom she shared interests in art collection and epigraphy. They lived in the province Shandong. After he started his official career, her husband was often absent. This inspired some of the love poems that she wrote. Both her husband and she collected many books. Her husband and she shared a love of poetry and often wrote poems for each other. They also wrote about bronze artifacts of the Shang and Zhou dynasties.
The northern Song capital of Kaifeng fell in 1126 to the Jurchens. Fighting took place in Shandong and their house was burned. Zhao died in 1129. The death of her husband was a cruel strike from which she never recovered. It was then up to Li to keep safe what was left of their collection. Li described her married life and the turmoil of her flight in Hou hsu. Her earlier poerty portray her carefree days as a woman of high society, and is marked by elegance and vitality. After her husbands death however, her poems depicted her as a grief-stricken woman who was 'too lazy to comb her hair'.
Li subsequently settled in Hangzhou, where the Song government was now etablished. She continued writing poetry and published her husband's work, Jin shi lu.
Only around a hundred of her poems are known to survive, mostly in the ci form and tracing her varying fortunes in life. Also a few poems in the shi form have survived, the hou hsu and a study of the ci form of poetry. She was regarded as a master of wanyue pai（婉約派） "the delicate restraint".
http://en.wikipedia.org/wiki/Li_Qingzhao
Li Qingzhao was born in Licheng to a family of officials and scholars; her father was a friend of Su Shi.
Before she got married, her poetry was already well known with elite circles. In 1101 she married Zhao Mingcheng, with whom she shared interests in art collection and epigraphy. They lived in the province Shandong. After he started his official career, her husband was often absent. This inspired some of the love poems that she wrote. Both her husband and she collected many books. Her husband and she shared a love of poetry and often wrote poems for each other. They also wrote about bronze artifacts of the Shang and Zhou dynasties.
The northern Song capital of Kaifeng fell in 1126 to the Jurchens. Fighting took place in Shandong and their house was burned. Zhao died in 1129. The death of her husband was a cruel strike from which she never recovered. It was then up to Li to keep safe what was left of their collection. Li described her married life and the turmoil of her flight in Hou hsu. Her earlier poerty portray her carefree days as a woman of high society, and is marked by elegance and vitality. After her husbands death however, her poems depicted her as a grief-stricken woman who was 'too lazy to comb her hair'.
Li subsequently settled in Hangzhou, where the Song government was now etablished. She continued writing poetry and published her husband's work, Jin shi lu.
Only around a hundred of her poems are known to survive, mostly in the ci form and tracing her varying fortunes in life. Also a few poems in the shi form have survived, the hou hsu and a study of the ci form of poetry. She was regarded as a master of wanyue pai（婉約派） "the delicate restraint".
http://en.wikipedia.org/wiki/Li_Qingzhao
林贝卡 发表评论于
Li Qingzhao
From Wikipedia, the free encyclopedia
Li Qingzhao (Traditional Chinese: 李清照; Simplified Chinese: 李清照, pinyin: Lǐ Qīngzhào; Wade-Giles: Li Ch'ing-chao) (1084–c. 1151) was a Chinese writer and poet of the Song Dynasty, regarded by many as the premier woman poet in the Chinese language.
http://en.wikipedia.org/wiki/Li_Qingzhao
From Wikipedia, the free encyclopedia
Li Qingzhao (Traditional Chinese: 李清照; Simplified Chinese: 李清照, pinyin: Lǐ Qīngzhào; Wade-Giles: Li Ch'ing-chao) (1084–c. 1151) was a Chinese writer and poet of the Song Dynasty, regarded by many as the premier woman poet in the Chinese language.
http://en.wikipedia.org/wiki/Li_Qingzhao
林贝卡 发表评论于
Li Houzhu 's Devotion to the arts
Li Houzhu devoted much of his time to pleasure-making and literature, and this is reflected in his early poems. However, his best-known poems were composed during the years after the Song formally ended his reign in 975. He was created the Marquess of Wei Ming (Chinese: 違命侯; literally, the Marquess of Disobeyed Edicts). Li's works from this period dwell on his regret for the lost kingdom and the pleasures it had brought him.
He developed the ci by broadening its scope from love to history and philosophy, particularly in his later works. He also introduced the two stanza form, and made great use of contrasts between longer lines of nine characters and shorter ones of three and five. Only 45 of his poems survive, thirty of which have been verified to be his authentic works, the other of which maybe are composed by other writers. His story remains very popular in many Cantonese operas. In 2006, a 40-episodes wuxia TV series named 'Li Hou Zhu yu Zhao Kuang Yin' or 'Li Hou Zhu and Zhao Kuang Yin' was made, with main stars Nicky Wu (as Li Hou Zhu), Huang Wen Hao (as Emperor Taizu) and Liu Tao (as Empress Zhu, wife of Li Hou Zhu).
http://en.wikipedia.org/wiki/Li_Houzhu
Li Houzhu devoted much of his time to pleasure-making and literature, and this is reflected in his early poems. However, his best-known poems were composed during the years after the Song formally ended his reign in 975. He was created the Marquess of Wei Ming (Chinese: 違命侯; literally, the Marquess of Disobeyed Edicts). Li's works from this period dwell on his regret for the lost kingdom and the pleasures it had brought him.
He developed the ci by broadening its scope from love to history and philosophy, particularly in his later works. He also introduced the two stanza form, and made great use of contrasts between longer lines of nine characters and shorter ones of three and five. Only 45 of his poems survive, thirty of which have been verified to be his authentic works, the other of which maybe are composed by other writers. His story remains very popular in many Cantonese operas. In 2006, a 40-episodes wuxia TV series named 'Li Hou Zhu yu Zhao Kuang Yin' or 'Li Hou Zhu and Zhao Kuang Yin' was made, with main stars Nicky Wu (as Li Hou Zhu), Huang Wen Hao (as Emperor Taizu) and Liu Tao (as Empress Zhu, wife of Li Hou Zhu).
http://en.wikipedia.org/wiki/Li_Houzhu
林贝卡 发表评论于
Li Houzhu
From Wikipedia, the free encyclopedia
Li Houzhu (Chinese: 李後主; pinyin: Lǐ Hòuzhǔ; literally "The Latter Lord Li", 936–978), also known as Houzhu of Southern Tang (南唐後主, literally "the latter lord of Southern Tang"), personal name Li Yu (李煜), né Li Congjia (李從嘉), courtesy name Chongguang (重光; pinyin: chòngguāng), posthumously known as Prince of Wu (吳王), was a Chinese poet and the last ruler of the Southern Tang Kingdom from 961 to 975 during the Five Dynasties and Ten Kingdoms Period; he has been called the "first true master" of the ci form (Indiana Companion p. 555).
http://en.wikipedia.org/wiki/Li_Houzhu
From Wikipedia, the free encyclopedia
Li Houzhu (Chinese: 李後主; pinyin: Lǐ Hòuzhǔ; literally "The Latter Lord Li", 936–978), also known as Houzhu of Southern Tang (南唐後主, literally "the latter lord of Southern Tang"), personal name Li Yu (李煜), né Li Congjia (李從嘉), courtesy name Chongguang (重光; pinyin: chòngguāng), posthumously known as Prince of Wu (吳王), was a Chinese poet and the last ruler of the Southern Tang Kingdom from 961 to 975 during the Five Dynasties and Ten Kingdoms Period; he has been called the "first true master" of the ci form (Indiana Companion p. 555).
http://en.wikipedia.org/wiki/Li_Houzhu
林贝卡 发表评论于
林海简介
作者：XIAO
林海是NEW AGE音乐钢琴诗人，林海有著萧邦的气质，以及德布西的慵懒与优雅；具有George Winston亲和而强烈的旋律性，及Keith Jarrett丰富而充满想像的思考性。
92年，从中央音乐学院毕业。 林海游艺於古典、New Age、现代、爵士多风格之间，琴音流露出乾净、空灵、温暖、恬静、自然的况味。
2001年林海的《月光边境》感动数万人的心。2年后，《远方的寂静》听到林海用最单纯的心情，去掉了繁复与奢华。深夜里，他的琴音，轻轻地触动情感，微微闪露光芒，清雅的香气荡漾着，将你带到远方，乘着微光的羽翼，轻轻落在寂静的国度。
http://blog.wenxuecity.com/blogview.php?date=200711&postID=41895
作者：XIAO
林海是NEW AGE音乐钢琴诗人，林海有著萧邦的气质，以及德布西的慵懒与优雅；具有George Winston亲和而强烈的旋律性，及Keith Jarrett丰富而充满想像的思考性。
92年，从中央音乐学院毕业。 林海游艺於古典、New Age、现代、爵士多风格之间，琴音流露出乾净、空灵、温暖、恬静、自然的况味。
2001年林海的《月光边境》感动数万人的心。2年后，《远方的寂静》听到林海用最单纯的心情，去掉了繁复与奢华。深夜里，他的琴音，轻轻地触动情感，微微闪露光芒，清雅的香气荡漾着，将你带到远方，乘着微光的羽翼，轻轻落在寂静的国度。
http://blog.wenxuecity.com/blogview.php?date=200711&postID=41895
林贝卡 发表评论于
春晓 孟浩然
春眠不觉晓，处处闻啼鸟。
夜来风雨声，花落知多少？
春眠不觉晓，处处闻啼鸟。
夜来风雨声，花落知多少？
林贝卡 发表评论于
《春晓》唐-孟浩然赏析
孟浩然（689－约740），唐代诗人，长年住在湖北故乡。他对农村生活和山川景色有深入的观察体验，作品朴素自然，平淡的语句中含有浓厚的韵味。孟浩然和王维同是山水田园诗派的代表。
①晓――天明，天刚亮的时候。
②啼鸟――鸟啼，为押韵而颠倒了。
③夜来――昨夜。
④知――不知，表示推想，诗词中常有这样的用法。
春夜睡眠可真好。要不是给窗外的鸟儿们叫唤醒，诗人还不知已经天光大亮呢。听，外面鸟儿们叫得多起劲，啁啁啾啾，滴滴丽丽，各种唱腔，各种音调，远远近近，从四面八方传来，汇成一片优美悦耳的和鸣，一部丰富多彩的晨曲。不用瞧，也不用问，只凭鸟儿们的喧呼就能想风这是一个晴和明媚、花红叶绿的早晨。
诗人忽然记起，昨夜睡梦中恍恍惚惚听到有风雨来过，那呜呜的风声夹着沙沙的雨声，经过这一番折腾，也不知有多少正开的花儿被吹落，过早地离开枝头。
这里，诗人凭听觉和回想描写了两促春之声：清晨鸟啼声，夜间风雨声。其中的感情是复杂而微妙的。诗人一觉醒来就听到一片百鸟和鸣的晨曲，心中的喜悦自可不言而喻；但记起夜间风雨声而想到会有许多鲜花夭折。所谓“十分春色”，一种愿望。大概说来，总是既有清晨啼鸟，也有风雨落花，所以众也是既有欢乐，也难免要叹息和悲伤。然而，春天毕竟是春天，纵有花儿被风雨打落，但春雨过后，便是鸟雀呼晴的早晨，大地上的鲜花不是会更加姹紫嫣红吗？
（摘自网络）
孟浩然（689－约740），唐代诗人，长年住在湖北故乡。他对农村生活和山川景色有深入的观察体验，作品朴素自然，平淡的语句中含有浓厚的韵味。孟浩然和王维同是山水田园诗派的代表。
①晓――天明，天刚亮的时候。
②啼鸟――鸟啼，为押韵而颠倒了。
③夜来――昨夜。
④知――不知，表示推想，诗词中常有这样的用法。
春夜睡眠可真好。要不是给窗外的鸟儿们叫唤醒，诗人还不知已经天光大亮呢。听，外面鸟儿们叫得多起劲，啁啁啾啾，滴滴丽丽，各种唱腔，各种音调，远远近近，从四面八方传来，汇成一片优美悦耳的和鸣，一部丰富多彩的晨曲。不用瞧，也不用问，只凭鸟儿们的喧呼就能想风这是一个晴和明媚、花红叶绿的早晨。
诗人忽然记起，昨夜睡梦中恍恍惚惚听到有风雨来过，那呜呜的风声夹着沙沙的雨声，经过这一番折腾，也不知有多少正开的花儿被吹落，过早地离开枝头。
这里，诗人凭听觉和回想描写了两促春之声：清晨鸟啼声，夜间风雨声。其中的感情是复杂而微妙的。诗人一觉醒来就听到一片百鸟和鸣的晨曲，心中的喜悦自可不言而喻；但记起夜间风雨声而想到会有许多鲜花夭折。所谓“十分春色”，一种愿望。大概说来，总是既有清晨啼鸟，也有风雨落花，所以众也是既有欢乐，也难免要叹息和悲伤。然而，春天毕竟是春天，纵有花儿被风雨打落，但春雨过后，便是鸟雀呼晴的早晨，大地上的鲜花不是会更加姹紫嫣红吗？
（摘自网络）
林贝卡 发表评论于
春晓
唐-孟浩然
春眠不觉晓，
处处闻啼鸟。
夜来风雨声，
花落知多少？
孟浩然（689－约740），唐代诗人，终生没有作官，长年住在湖北故乡。他对农村生活和山川景色有深入的观察体验，作品朴素自然，平淡的语句中含有浓厚的韵味。孟浩然和王维同是山水田园诗派的代表。
①晓――天明，天刚亮的时候。
②啼鸟――鸟啼，为押韵而颠倒了。
③夜来――昨夜。
④知――不知，表示推想，诗词中常有这样的用法。
春夜睡眠可真好沾枕便是一个通宵。要不是给窗外的鸟儿们叫唤醒，诗人还不知已经天光大亮呢。听，外面鸟儿们叫得多起劲，啁啁啾啾，滴滴丽丽，各种唱腔，各种音调，远远近近，从四面八方传来，汇成一片优美悦耳的和鸣，一部丰富多彩的晨曲。不用瞧，也不用问，只凭鸟儿们的喧呼就能想风这是一个晴和明媚、花红叶绿的早晨。
诗人忽然记起，昨夜睡梦中恍恍惚惚听到有风雨来过，那呜呜的风声夹着沙沙的雨声，经过这一番折腾，也不知有多少正开的花儿被吹落，过早地离开枝头。唉，但愿不是太多吧… …
这里，诗人凭听觉和回想描写了两促春之声：清晨鸟啼声，夜间风雨声。其中的感情是复杂而微妙的。诗人一觉醒来就听到一片百鸟和鸣的晨曲，心中的喜悦自可不言而喻；但记起夜间风雨声而想到会有许多鲜花夭折，岂不是大杀风景？是的，生活从来就不是完美无缺的，所谓“十分春色”，只是人们的一种夸张，一种愿望。大概说来，总是既有清晨啼鸟，也有风雨落花，所以众也是既有欢乐，也难免要叹息和悲伤。然而，春天毕竟是春天，纵有花儿被风雨打落，但春雨过后，便是鸟雀呼晴的早晨，大地上的鲜花不是会更加姹紫嫣红吗？
细细品味诗意，我们对生活似乎有了一些新的领悟。
唐-孟浩然
春眠不觉晓，
处处闻啼鸟。
夜来风雨声，
花落知多少？
孟浩然（689－约740），唐代诗人，终生没有作官，长年住在湖北故乡。他对农村生活和山川景色有深入的观察体验，作品朴素自然，平淡的语句中含有浓厚的韵味。孟浩然和王维同是山水田园诗派的代表。
①晓――天明，天刚亮的时候。
②啼鸟――鸟啼，为押韵而颠倒了。
③夜来――昨夜。
④知――不知，表示推想，诗词中常有这样的用法。
春夜睡眠可真好沾枕便是一个通宵。要不是给窗外的鸟儿们叫唤醒，诗人还不知已经天光大亮呢。听，外面鸟儿们叫得多起劲，啁啁啾啾，滴滴丽丽，各种唱腔，各种音调，远远近近，从四面八方传来，汇成一片优美悦耳的和鸣，一部丰富多彩的晨曲。不用瞧，也不用问，只凭鸟儿们的喧呼就能想风这是一个晴和明媚、花红叶绿的早晨。
诗人忽然记起，昨夜睡梦中恍恍惚惚听到有风雨来过，那呜呜的风声夹着沙沙的雨声，经过这一番折腾，也不知有多少正开的花儿被吹落，过早地离开枝头。唉，但愿不是太多吧… …
这里，诗人凭听觉和回想描写了两促春之声：清晨鸟啼声，夜间风雨声。其中的感情是复杂而微妙的。诗人一觉醒来就听到一片百鸟和鸣的晨曲，心中的喜悦自可不言而喻；但记起夜间风雨声而想到会有许多鲜花夭折，岂不是大杀风景？是的，生活从来就不是完美无缺的，所谓“十分春色”，只是人们的一种夸张，一种愿望。大概说来，总是既有清晨啼鸟，也有风雨落花，所以众也是既有欢乐，也难免要叹息和悲伤。然而，春天毕竟是春天，纵有花儿被风雨打落，但春雨过后，便是鸟雀呼晴的早晨，大地上的鲜花不是会更加姹紫嫣红吗？
细细品味诗意，我们对生活似乎有了一些新的领悟。
林贝卡 发表评论于
花开堪折的杜秋娘
杜秋娘原是间州(镇江)人，江南女子的秀丽与文采她身上尽数体现。她十五岁时，镇海节度使李锜以重金将她买入府中为歌舞妓。杜秋娘不满于只表演别人编好的节目，自己谱写了一曲“金缕衣”，声情并茂地唱给李锜听：劝君莫惜金缕衣，劝君惜取少年时；花开堪折直须折，莫待无花空折枝。此诗正合了李锜之意，当时就把她纳为侍妾。
唐德宗驾崩，李诵继位为顺宗，在位仅八个月就禅位给儿子李纯，是为唐宪宗。唐宪宗试图削减节度使的权利，李锜不满，举兵反叛，在战乱中被杀，杜秋娘入宫为奴，仍旧当歌舞姬。有一次杜秋娘为宪宗表演了“金缕衣”，宪宗被深深地感染两人马上陷入爱河，杜秋娘被封为秋妃。
杜秋娘不仅是宪宗的爱妃，还是他的机要秘书，杜秋娘以女人的柔情和宽容弥补了宪宗年轻气盛、性情浮躁的缺点，宪宗常常与她讨论治国大事，二人过了十几年同心协力的日子。不料元和十五年，宪宗突然不明不白地死在宫中，有人传言是内侍弘志蓄意谋弑，但当时宦官专权，此事不了了之。
二十四岁的太子李恒嗣位为唐穆宗，杜秋娘则负责皇子李凑。李恒好色荒淫，沉迷于声色犬马，不满三十岁一命呜呼。十五的太子李湛继位为唐敬宗，他只知道打猎游玩，不理国事，不久又在宫中被刺身亡。这时，李凑已被封为漳王，杜秋娘眼见三位帝王连续暴死，必为宦官所弑，于是与宰相宋申锡密谋，决心除掉宦官王守澄，立李凑为帝。岂知宦官的耳目众多，计划王守澄所知，结果是李凑贬为庶民，宋申锡则谪为江州司马，而杜秋娘也削籍为民，返回乡里，结束了她的“折花”岁月。
http://tieba.baidu.com/f?kz=161872546
杜秋娘原是间州(镇江)人，江南女子的秀丽与文采她身上尽数体现。她十五岁时，镇海节度使李锜以重金将她买入府中为歌舞妓。杜秋娘不满于只表演别人编好的节目，自己谱写了一曲“金缕衣”，声情并茂地唱给李锜听：劝君莫惜金缕衣，劝君惜取少年时；花开堪折直须折，莫待无花空折枝。此诗正合了李锜之意，当时就把她纳为侍妾。
唐德宗驾崩，李诵继位为顺宗，在位仅八个月就禅位给儿子李纯，是为唐宪宗。唐宪宗试图削减节度使的权利，李锜不满，举兵反叛，在战乱中被杀，杜秋娘入宫为奴，仍旧当歌舞姬。有一次杜秋娘为宪宗表演了“金缕衣”，宪宗被深深地感染两人马上陷入爱河，杜秋娘被封为秋妃。
杜秋娘不仅是宪宗的爱妃，还是他的机要秘书，杜秋娘以女人的柔情和宽容弥补了宪宗年轻气盛、性情浮躁的缺点，宪宗常常与她讨论治国大事，二人过了十几年同心协力的日子。不料元和十五年，宪宗突然不明不白地死在宫中，有人传言是内侍弘志蓄意谋弑，但当时宦官专权，此事不了了之。
二十四岁的太子李恒嗣位为唐穆宗，杜秋娘则负责皇子李凑。李恒好色荒淫，沉迷于声色犬马，不满三十岁一命呜呼。十五的太子李湛继位为唐敬宗，他只知道打猎游玩，不理国事，不久又在宫中被刺身亡。这时，李凑已被封为漳王，杜秋娘眼见三位帝王连续暴死，必为宦官所弑，于是与宰相宋申锡密谋，决心除掉宦官王守澄，立李凑为帝。岂知宦官的耳目众多，计划王守澄所知，结果是李凑贬为庶民，宋申锡则谪为江州司马，而杜秋娘也削籍为民，返回乡里，结束了她的“折花”岁月。
http://tieba.baidu.com/f?kz=161872546
林贝卡 发表评论于
《咏柳》 贺知章赏析
这是一首咏物诗，写的是早春二月的杨柳。写杨柳，该从哪儿着笔呢？毫无疑问，它的形象美是在于那曼长披拂的枝条。一年一度，它长出了嫩绿的新叶，丝丝下垂，在春风吹拂中，有着一种迷人的意态。这是谁都能欣赏的。古典诗词中，借用这种形象美来形容、比拟美人苗条的身段、婀娜的腰支，也是我们所经常看到的。这诗别出新意，翻转过来。“碧玉妆成一树高”，一开始，杨柳就化身为美人而出现；“万条垂下绿丝绦”，这千条万缕的垂丝，也随之而变成了她的裙带。上句的“高”字，衬托出美人婷婷袅袅的风姿 ；下句的“垂”字，暗示出纤腰在风中款摆。诗中没有“杨柳”和“腰支”字样，然而这早春的垂柳以及柳树化身的美人，却给写活了。《南史》说刘悛之为益州刺史，献蜀柳数株，“条甚长，状若丝缕。”齐武帝把这些杨柳种植在太昌云作殿前，玩赏不置，说它“风流可爱”。这里把柳条说成“绿丝绦”，可能是暗用这个关于杨柳的著名典故。但这是化用，看不出一点痕迹的。
“碧玉妆成”引出了“绿丝绦”，“绿丝绦”引出了“谁裁了”，最后，那视之无形的不可捉摸的“春风”，也被用“似剪刀”形象化地描绘了出来。这“剪刀”裁制出嫩绿的鲜红的花花草草，给大地换上了新妆，它正是自然活力的象征，是春给予人们的美的启示。从“碧玉妆成”到“剪刀”，我们可以看出诗人艺术构思一系列的过程。诗歌里所出现的一连串的形象，是一环紧扣一环的。
我国古代有不少著名的美女，柳，为什么单单要用碧玉来比呢？我想，这有两层意思：一是碧玉这个名字和柳的颜色有关，“碧”和下句的“绿”，是互相生发、互为补充的。二是碧玉这个人在人们头脑中永远留下年轻的印象。提起碧玉，人们就会联想到“碧玉破瓜时”这首广泛流传的《碧玉歌》，还有“碧玉小家女”（肖绎《采莲赋》）之类的诗句。碧玉在古代文学作品里，几乎成了年轻貌美的女子的泛称。用碧玉来比柳，人们就会想象到这美人还未到丰容正盛的年华；这柳也还是早春稚柳，没有密叶藏鸦的时候；和下文的“细叶”“二月春风”又是有联系的。
（摘自网络）
这是一首咏物诗，写的是早春二月的杨柳。写杨柳，该从哪儿着笔呢？毫无疑问，它的形象美是在于那曼长披拂的枝条。一年一度，它长出了嫩绿的新叶，丝丝下垂，在春风吹拂中，有着一种迷人的意态。这是谁都能欣赏的。古典诗词中，借用这种形象美来形容、比拟美人苗条的身段、婀娜的腰支，也是我们所经常看到的。这诗别出新意，翻转过来。“碧玉妆成一树高”，一开始，杨柳就化身为美人而出现；“万条垂下绿丝绦”，这千条万缕的垂丝，也随之而变成了她的裙带。上句的“高”字，衬托出美人婷婷袅袅的风姿 ；下句的“垂”字，暗示出纤腰在风中款摆。诗中没有“杨柳”和“腰支”字样，然而这早春的垂柳以及柳树化身的美人，却给写活了。《南史》说刘悛之为益州刺史，献蜀柳数株，“条甚长，状若丝缕。”齐武帝把这些杨柳种植在太昌云作殿前，玩赏不置，说它“风流可爱”。这里把柳条说成“绿丝绦”，可能是暗用这个关于杨柳的著名典故。但这是化用，看不出一点痕迹的。
“碧玉妆成”引出了“绿丝绦”，“绿丝绦”引出了“谁裁了”，最后，那视之无形的不可捉摸的“春风”，也被用“似剪刀”形象化地描绘了出来。这“剪刀”裁制出嫩绿的鲜红的花花草草，给大地换上了新妆，它正是自然活力的象征，是春给予人们的美的启示。从“碧玉妆成”到“剪刀”，我们可以看出诗人艺术构思一系列的过程。诗歌里所出现的一连串的形象，是一环紧扣一环的。
我国古代有不少著名的美女，柳，为什么单单要用碧玉来比呢？我想，这有两层意思：一是碧玉这个名字和柳的颜色有关，“碧”和下句的“绿”，是互相生发、互为补充的。二是碧玉这个人在人们头脑中永远留下年轻的印象。提起碧玉，人们就会联想到“碧玉破瓜时”这首广泛流传的《碧玉歌》，还有“碧玉小家女”（肖绎《采莲赋》）之类的诗句。碧玉在古代文学作品里，几乎成了年轻貌美的女子的泛称。用碧玉来比柳，人们就会想象到这美人还未到丰容正盛的年华；这柳也还是早春稚柳，没有密叶藏鸦的时候；和下文的“细叶”“二月春风”又是有联系的。
（摘自网络）
林贝卡 发表评论于
杨柳
林子祥
柳丝风中特别柔
无奈春风不为情留
情人蜜语时常在耳边
可惜心曲非因你轻奏
柳丝叫江水漫漫流
无奈流水不肯再回头
情人示爱含情在折花分手
偏偏折枝柳
谈情不再向著垂杨柳
不想你添上点点忧
回头再问垂杨柳
可知你怎么会消瘦
雨中柳丝彷似特别愁
情泪点点叶上流
情缘结问谁为你解春风
不知你消瘦
柳丝叫江水漫漫流
无奈流水不肯再回头
情人示爱含情在折花
分手偏偏折枝柳
谈情不再向著垂杨柳
不想你添上点点忧
回头再问垂杨柳
可知你怎么会消瘦
雨中柳丝彷似特别愁
情泪点点叶上流
情缘结问谁为你解
春风不知你消瘦
来源：云飘何处
林子祥
柳丝风中特别柔
无奈春风不为情留
情人蜜语时常在耳边
可惜心曲非因你轻奏
柳丝叫江水漫漫流
无奈流水不肯再回头
情人示爱含情在折花分手
偏偏折枝柳
谈情不再向著垂杨柳
不想你添上点点忧
回头再问垂杨柳
可知你怎么会消瘦
雨中柳丝彷似特别愁
情泪点点叶上流
情缘结问谁为你解春风
不知你消瘦
柳丝叫江水漫漫流
无奈流水不肯再回头
情人示爱含情在折花
分手偏偏折枝柳
谈情不再向著垂杨柳
不想你添上点点忧
回头再问垂杨柳
可知你怎么会消瘦
雨中柳丝彷似特别愁
情泪点点叶上流
情缘结问谁为你解
春风不知你消瘦
来源：云飘何处
林贝卡 发表评论于
“杨柳”
“杨柳”本身就不是在随意的场合用的意象 “柳” 经常暗喻离别；.“柳”多种于檐前屋后，常作故乡的象征；.“柳”絮飘忽不定，常作遣愁的凭借。
杨柳最早就是杨树与柳树的意思，因为一到春天，杨树与柳树都会飞絮，是为“杨花柳絮”，很容易引起古人的伤感。
杨柳并称据说是后来隋炀帝游江南时，最喜欢江南岸的柳树，因此封赐它姓杨，南人都称柳树为“杨柳”。
来源：云飘何处
“杨柳”本身就不是在随意的场合用的意象 “柳” 经常暗喻离别；.“柳”多种于檐前屋后，常作故乡的象征；.“柳”絮飘忽不定，常作遣愁的凭借。
杨柳最早就是杨树与柳树的意思，因为一到春天，杨树与柳树都会飞絮，是为“杨花柳絮”，很容易引起古人的伤感。
杨柳并称据说是后来隋炀帝游江南时，最喜欢江南岸的柳树，因此封赐它姓杨，南人都称柳树为“杨柳”。
来源：云飘何处
林贝卡 发表评论于
感谢云飘何处分享的音乐，云飘何处的博客网址：
http://blog.wenxuecity.com/myindex.php?blogID=31478
http://blog.wenxuecity.com/myindex.php?blogID=31478
林贝卡 发表评论于
曲名：杨柳
作曲：范宗沛
演奏：范宗沛
来源：云飘何处
http://space.wenxuecity.com/media/1200931853.mp3
作曲：范宗沛
演奏：范宗沛
来源：云飘何处
http://space.wenxuecity.com/media/1200931853.mp3
登录后才可评论.
