《调笑·胡马》原文翻译及赏析_作者韦应物胡马胡马远放燕支山下跑沙跑雪独嘶东望西望路迷迷路迷路边草无穷日暮《秦宫诗并序（越罗衫袂迎春风）》原文翻译及赏析_作者李贺越罗衫袂迎春风玉刻麒麟腰带红楼头曲宴仙人语帐底吹笙香雾浓人间酒暖春茫茫花枝入帘白日长飞窗复道传筹饮十夜铜盘腻烛黄秃衿小袖调鹦鹉紫绣麻鞋踏哮虎斫桂烧金待晓筵白鹿青苏夜半煮桐英永巷骑新马内屋深屏生色画开门烂用水衡钱卷起黄河向身泻皇天厄运犹曾裂秦宫一生花底活鸾篦夺得不还人醉睡氍毹满堂月诗的第一联直接描写秦宫的穿着打扮越罗衫袂玉刻麒麟红腰带将一位俊美少年的形象惟妙惟肖地表现在读者面前第二联以楼下行人的视角看待秦宫他在如雾的浓香中仿佛是一个神仙足见秦宫的仙人之姿第三四联描绘了秦宫宴请的盛况人间酒暖春茫茫花枝入帘白日长对宴会的时间作了交代春色茫茫无边第四联通过烛台下堆积的烛泪昭示着秦宫日夜寻欢作乐生活荒淫无度第五联以鹦鹉哮虎指代孙寿梁冀秦宫可以驯服孙寿梁冀两类不同的人其手段之高明显而易见所以他能享受荣华富贵显得那么合情合理第六七八联详细地描述了秦宫奢华的生活半夜就要开始准备早宴而食物的材料更是千年难得一见的白鹿这等豪奢怎是一般人能够想象的第七联读者看到的是一个骑着骏马趾高气扬地欣赏图画的秦宫一副小人得势的丑恶嘴脸栩栩如生地展示出来第八联用夸张的手法将秦宫花钱的速度比拟为黄河之水倾泻毫无节制而梁冀怎么能供的起呢就是靠盗窃国库啊中国有句古话多行不义必自毙那么如此奢华的秦宫的下场呢第九联为读者作了解答秦宫一生都过着花天酒地的生活可悲可叹啊当劳动人民生活在水深火热之中时秦宫却醉倒在温柔乡里最后一联把秦宫的醉态细致地展县出来他仅仅是一个家奴怎么会有如此大的权利如此糜烂的生活这一切的一切都是外戚或是宦官专权造成的旧时王谢堂前燕飞入寻常百姓家古人对繁华鼎盛的感慨到此方显得深沉只是王谢乃是名门士族所出的名臣而梁冀则不过是横行一时祸乱国民的罪臣奸臣罢了梁氏一族久遭排挤压抑一旦得势却又骄横残暴终至一场春梦落得灰飞烟灭对感官印象的铺张必然导致诗中出现大量的通感手法李贺大概也是古代诗人当中通感手法运用得最具有个人特色的一位他将直觉经验进行综合变形转换并在视听触味嗅诸种感觉之外加入情意觉的作用使诗歌尽可能地复现出自己感觉中的世界李贺诗中成功使用通感的例子非常多通感的形式也多种多样有视听觉的互通在秦宫诗中帐底吹笙香雾浓将听觉与嗅觉结合使人感觉周围是一片仙境在李贺的诗中我们几乎随时可以看见泣啼惊恨一类反映作者那痛苦精神状态的诗而秦宫这样一个靠出卖色相获得重用和诗人拥有过人才华却无缘参加应举考试相比李贺又是作何感想这首诗没有冷艳而凄迷的意境也没有奇异乃至怪诞的想象通篇采用白描的手法秦宫以色侍人单看诗人的诗句就已经令人魂牵梦萦了在这首诗中采用白描的手法除了首联纯粹直接描写秦宫玉树临风的外表下面全部用一连串的动作来勾起人们对这个美少年的翩翩遐想或满堂花醉三千客或春宵帐底色香浓或飘然俊逸若神仙或打马侧帽风流过想想那生活也够糜烂够色情的他一生都是在花下生活就算是带着醉意抢梳子随意横躺地毯上也让人怜爱万分李贺善于创新表现在写诗如镂玉雕琼常反复琢磨呕心沥血千方百计使语句新奇以求陌生化的效果他喜欢用浓重艳丽和神秘诡异的色彩红黄紫白四色字使用使得意象繁多密集前呼后拥叠出层现这首诗在当时的背景下具有极其深刻的现实针对性从这首诗中可以看到李贺深重的忧患意识
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