“雕锦帆幢使乱风”的出处是哪里

“雕锦帆幢使乱风”出自唐代鲍溶的《隋帝陵下》。

“雕锦帆幢使乱风”全诗

《隋帝陵下》

唐代 鲍溶

白露沾衣隋主宫，云亭月馆楚淮东。

盘龙楼舰浮冤水，雕锦帆幢使乱风。

长夜应怜桀何罪，告成合笑禹无功。

伤心近似骊山路，陵树无根秋草中。

《隋帝陵下》鲍溶 翻译、赏析和诗意

《隋帝陵下》是唐代诗人鲍溶的作品。下面是这首诗词的中文译文、诗意和赏析：

白露沾衣隋主宫，云亭月馆楚淮东。

盘龙楼舰浮冤水，雕锦帆幢使乱风。

长夜应怜桀何罪，告成合笑禹无功。

伤心近似骊山路，陵树无根秋草中。

中文译文：

白露沾湿衣衫，是隋朝皇帝的宫殿。

云亭、月馆位于楚淮之东。

盘龙楼舰浮在冤魂的水上，雕锦帆幢被狂风吹乱。

长夜里应该同情桀纣的罪行，庆祝禹王的功绩只能是无功而返。

伤心近似骊山的道路，陵墓树木无根长在秋草之中。

诗意和赏析：

《隋帝陵下》描绘了一个荒凉的景象，以隋朝的帝陵为背景，表达了对历史沧桑和人事易逝的感慨。

首句“白露沾衣隋主宫”揭示了秋天的景象，白露凝结在诗人的衣衫上，暗示了时光的流逝和岁月的更迭。诗人站在隋朝帝王的宫殿下，感叹着这一切的荣华富贵已然烟消云散。

接下来的两句描绘了楚淮地区的云亭和月馆，以及盘龙楼舰。云亭和月馆是楚地的建筑，与隋朝的帝陵形成了鲜明的对比。盘龙楼舰浮在冤魂的水上，雕锦帆幢被狂风吹乱，给人一种阴冷、凄凉的感觉，也暗示了历史的血泪和悲痛。

下半首诗以对比的方式表达了诗人的感慨。长夜里，诗人应该同情桀纣王的罪行，庆祝禹王的功绩却只能是空洞的笑声。这里揭示了历史的无常和人事的无常，即使是邪恶的桀纣王也能够引起同情，而伟大的禹王却被人们遗忘。

最后两句“伤心近似骊山路，陵树无根秋草中”揭示了隋朝帝陵的凄凉景象。骊山是古代帝王陵墓的象征，诗人通过比喻表达了自己的悲伤之情。陵树无根，秋草蔓延，暗示着帝陵的荒芜和隋朝的没落。

整首诗以凄凉的景色和对历史沧桑的思考为主题，通过对比和象征的手法，表达了诗人对兴亡历史和人世无常的感慨。在荒凉的隋帝陵下，诗人展现了对盛衰兴废的深思和悲伤之《隋帝陵下》 is a poem written by the Tang dynasty poet Bao Rong. Here is the Chinese translation, the poetic meaning, and an analysis of the poem:

白露沾衣隋主宫，云亭月馆楚淮东。盘龙楼舰浮冤水，雕锦帆幢使乱风。长夜应怜桀何罪，告成合笑禹无功。伤心近似骊山路，陵树无根秋草中。

Chinese translation:

白露沾湿衣衫，隋朝皇帝的宫殿。云亭、月馆在楚淮的东边。盘龙楼舰漂浮在冤魂之水上，雕锦的帆幢被狂风吹乱。长夜里该同情桀纣的罪行，庆祝禹王的功绩却只能是无功而返。伤心近似骊山的路，陵墓中的树木无根长在秋草之中。

Poetic meaning and analysis:

"Under the Tomb of the Sui Emperor" depicts a desolate scene and expresses the poet's contemplation of the vicissitudes of history and the transience of human affairs.

The first line, "Bai Lu zhan yi Sui zhu gong," reveals an autumn scene where the white dew moistens the poet's clothes, suggesting the passage of time and the changing seasons. The poet stands beneath the palace of the Sui dynasty emperor, lamenting the ephemeral nature of all the prosperity and glory.

The following two lines describe the Yunting and Yueguan, which are buildings in the Chu and Huai regions situated to the east. They form a stark contrast to the imperial tombs of the Sui dynasty. The Panlonglou ship floats on waters haunted by resentful spirits, and the ornate sails are tossed about by the wild winds, evoking a sense of coldness and desolation, and implying the tears and sorrows of history.

The second half of the poem expresses the poet's reflections through contrasts. In the long night, the poet should sympathize with the crimes of King Jie, but celebrating the achievements of Emperor Yu would only result in hollow laughter. This reveals the capriciousness of history and the fickleness of human affairs, where even the wicked King Jie can evoke sympathy while the great Emperor Yu is forgotten.

The final two lines, "Shangxin jin si Lishan lu, ling shu wu gen qiucao zhong," depict the desolate scene of the Sui dynasty tombs. Lishan symbolizes the ancient imperial tombs. Through metaphor, the poet expresses their sorrow. The trees in the tombs have no roots, and autumn grass spreads, indicating the desolation of the tombs and the decline of the Sui dynasty.

The poem revolves around a desolate scenery and the poet's contemplation of the vicissitudes of history. Through contrasts and symbolism, it conveys the poet's reflections on the rise and fall of civilizations and the impermanence of human affairs. Under the desolation of the Sui dynasty tombs, the poet reveals their deep thoughts and sorrow regarding the cycles of prosperity and decline.