Array ( [0] => < [1] => p [2] => > [3] => 何 [4] => 事 [5] => 添 [6] => 凄 [7] => 咽 [8] => ? [9] => 但 [10] => 由 [11] => 他 [12] => 、 [13] => 天 [14] => 公 [15] => 簸 [16] => 弄 [17] => , [18] => 莫 [19] => 教 [20] => 磨 [21] => 涅 [22] => 。 [23] => 失 [24] => 意 [25] => 每 [26] => 多 [27] => 如 [28] => 意 [29] => 少 [30] => , [31] => 终 [32] => 古 [33] => 几 [34] => 人 [35] => 称 [36] => 屈 [37] => 。 [38] => 须 [39] => 知 [40] => 道 [41] => 、 [42] => 福 [43] => 因 [44] => 才 [45] => 折 [46] => 。 [47] => 独 [48] => 卧 [49] => 藜 [50] => 床 [51] => 看 [52] => 北 [53] => 斗 [54] => , [55] => 背 [56] => 高 [57] => 城 [58] => 、 [59] => 玉 [60] => 笛 [61] => 吹 [62] => 成 [63] => 血 [64] => 。 [65] => 听 [66] => 谯 [67] => 鼓 [68] => , [69] => 二 [70] => 更 [71] => 彻 [72] => 。 [73] => < [74] => / [75] => p [76] => > [77] => < [78] => p [79] => > [80] => 丈 [81] => 夫 [82] => 未 [83] => 肯 [84] => 因 [85] => 人 [86] => 热 [87] => , [88] => 且 [89] => 乘 [90] => 闲 [91] => 、 [92] => 五 [93] => 湖 [94] => 料 [95] => 理 [96] => , [97] => 扁 [98] => 舟 [99] => 一 [100] => 叶 [101] => 。 [102] => 泪 [103] => 似 [104] => 秋 [105] => 霖 [106] => 挥 [107] => 不 [108] => 尽 [109] => , [110] => 洒 [111] => 向 [112] => 野 [113] => 田 [114] => 黄 [115] => 蝶 [116] => 。 [117] => 须 [118] => 不 [119] => 羡 [120] => 、 [121] => 承 [122] => 明 [123] => 班 [124] => 列 [125] => , [126] => 马 [127] => 迹 [128] => 车 [129] => 尘 [130] => 忙 [131] => 未 [132] => 了 [133] => , [134] => 任 [135] => 西 [136] => 风 [137] => 吹 [138] => 冷 [139] => 长 [140] => 安 [141] => 月 [142] => 。 [143] => 又 [144] => 萧 [145] => 寺 [146] => , [147] => 花 [148] => 如 [149] => 雪 [150] => 。 [151] => < [152] => / [153] => p [154] => > ) Array ( [0] => 金 [1] => 缕 [2] => 曲 [3] => · [4] => 慰 [5] => 西 [6] => 溟 )
清代·纳兰性德的简介
纳兰性德(1655-1685),满洲人,字容若,号楞伽山人,清代最著名词人之一。其诗词“纳兰词”在清代以至整个中国词坛上都享有很高的声誉,在中国文学史上也占有光采夺目的一席。他生活于满汉融合时期,其贵族家庭兴衰具有关联于王朝国事的典型性。虽侍从帝王,却向往经历平淡。特殊的生活环境背景,加之个人的超逸才华,使其诗词创作呈现出独特的个性和鲜明的艺术风格。流传至今的《木兰花令·拟古决绝词》——“人生若只如初见,何事秋风悲画扇?等闲变却故人心,却道故人心易变。”富于意境,是其众多代表作之一。
...〔► 纳兰性德的诗(223篇)〕