瘟杖母雅刮感受江南食之韵：鲜嫩清蒸鲈鱼美嗜稚丈芈墩

李大龙

感受江南食之韵：鲜嫩清蒸鲈鱼美
《浣溪沙·百亩中庭半是苔》原文翻译及赏析_作者王安石百亩中庭半是苔门前白道水萦回爱闲能有几人来小院回廊春寂寂山桃溪杏两三栽为谁零落为谁开《采葛》原文翻译及赏析_作者诗经彼采葛兮一日不见如三月兮彼采萧兮一日不见如三秋兮彼采艾兮一日不见如三岁兮
《饯别王十一南游（望君烟水阔）》原文翻译及赏析_作者刘长卿望君烟水阔挥手泪沾巾飞鸟没何处青山空向人长江一帆远落日五湖春谁见汀洲上相思愁白《暮春送别（绿暗红稀出凤城）》原文翻译及赏析_作者韩琮绿暗红稀出凤城暮云楼阁古今情行人莫听宫前水流尽年光是此声
《作蚕丝（春蚕不应老）》原文翻译及赏析_作者南朝乐府春蚕不应老昼夜常怀丝何惜微躯尽缠绵自有时本篇是一位女子一往情深的爱情表白她以春蚕自喻以蚕丝比喻情丝她象春蚕吐丝一样把日夜萦绕在心上的那一缕绵长的情思编织成一个温柔甜美的小天地她不惜为此情奉献一切因为她心中怀着执着的愿望缠绵自有时唐代诗人李商隐的名句春蚕到死丝方尽即本于此
《别老母》原文翻译及赏析_作者黄景仁搴帷拜母河梁去白发愁看泪眼枯惨惨柴门风雪夜此时有子不如无诗的第一句搴帷拜母河梁去即掀开门帘告诉老母儿就要起程动身了但因为是游幕谋生游幕是指旧时知识分子离开本乡到外地寻求教学或投向官府求职这种告别是无一定目的的所以只能说河梁去一方面是老母难离另一方面因生活所迫又不得不离这种既难舍又无奈情景暗示了作者极为痛苦的心情诗的第二句白发愁看泪眼枯在即将告别老母外出的时候作者没有直抒胸臆表达对老母难分难舍的情感而是著笔于老母此时的情状白发苍苍愁容满面凄切悲凉欲哭无泪还容得着说吗一切伤心都隐藏在老母的这张面孔之中离不得舍不得却不得不离不得不舍这种情感的磨难真令人寸肠欲断撕肝裂肺至此谁能不为之动容呢诗的第三句惨惨柴门风雪夜转入了告别老母的时空环境作者用柴门风雪夜两个最简单的词儿极其概括典型地告诉人们在那种环境下一个不能掌握自己命运的人的凄楚难熬作者在另外的地方也有过贫穷潦倒的描述如全家都在秋风里九月衣裳未剪裁如果说那还只是一种对贫愁的感叹那末柴门风雪夜则是此时此地此情此景了风雪因柴门而更为肆虐柴门因风雪而更为难忍此时向老母告别除了惨惨还有什么可说呢最后作者集愧疚自责痛恨于一身发出了此时有子不如无的感慨这种感慨是极为凝重的它已经不是一般意义上的爱母之心恋母之情而变成了对那个时代的正义控诉对所有无依无靠无助老者的深切同情对天下不孝子女的严厉谴责这是由个人情感到整体理念的升华它从生育学角度告诫世人养子无用不如不养因此别老母诗比起那些爱母敬母的直描作品更具感染力和普遍性成为爱母作品中不朽的绝唱

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