Tang Yin (1470-1523), born in the sixth year of Ming Xianzong Chenghua, Gengyin Year Yin Yue Yin Day Yin Shi, hence the name Tang Yin, the word Bohu, the word Ziwei, the name Liuru Jushi, the master of Taohua Temple, etc., Han nationality, A native of Wu County (now Suzhou, Jiangsu). Born in a merchant family, his father Tang Guangde and his mother Qiu Shi, he was smart since he was a child. When he was in his 20s, his family suffered a series of misfortunes. His parents, wife, and younger sister died one after another, and his family was in decline. With the persuasion of his friend Zhu Yunming, he devoted himself to studying. Beijing will take the exam, but was implicated in the fraud case in the exam room and was dismissed as an official. After that, he decided to forge ahead and made a living by selling paintings. In the ninth year of Zhengde (1514), he went to Nanchang for more than half a year at the invitation of King Ning Zhu Chenhao. Later, he realized that King Ning was plotting something wrong, so he pretended to be mad and was able to escape. Life was difficult in his later years, and he died of illness at the age of 54. He is cynical and talented, and is famous for his poetry and prose. Together with Zhu Yunming, Wen Zhengming, and Xu Zhenqing, he is called the "Four Talents in the South of the Yangtze River".

    Shen Zhou wrote ten poems of Luohua Qilu because of the loss of his son. This is Tang Yinhe's "Luohua Poetry Book" with a total of 30 poems. Seeing the fallen flowers all over the ground, he connected with his own ups and downs, felt very sad, and expressed his indignation. This "Poetry of Falling Flowers" is one of Tang Yin's masterpieces of calligraphy handed down from generation to generation. It should be written by him earlier.

Various Versions of Falling Flower Poetry Ink

     Tang Yin wrote Luohua poems many times in his life. Each time, the number of poems recorded was different, the content was different, and the calligraphy style was also different. The known ones are in the collection of Suzhou Museum, Liaoning Provincial Museum, Princeton University Affiliated Art Museum, National Art Museum of China.      

Suzhou Museum collection, paper album, thirty-four pages, each page size ranging from 27cm x 30cm. A total of 30 poems of Qilu were recorded, of which thirteen were collected from the original collection and Shen Zhou's Luohua poems. The seventeen poems are supplementary works. The end of the volume is neither signed nor dated. Later, there were postscripts inscribed by Fang Hao, a Jinshi in the third year of Zhengde, written in Jiajing Bingxu, and postscripts inscribed by Weng Fanggang in the second year of Jiaqing. Among them, Weng Fanggang's postscript said: "...These six are like thirty drafts, which are so different from the collected editions. Do you want to revise them repeatedly?" Yaotian got this from the capital, and there are two poems in Zhongque. And return to the south, meet Jiang Qiushi, and there are just these two poems in Qiushi. It seems to be suitable..." Weng Fanggang thinks that this is a draft copy, which shows that the time of this collection is relatively early. At the same time, this album was missing two songs. Add later. Is Weng's conjecture correct? This happens to be corroborated from the Princeton Collection

"Falling Flower Poetry Book" Suzhou Museum Collection Part

Collection of Liaoning Provincial Museum, long paper scroll, 26.6cmX 406cm. Included are ten poems in Qilu, all of which are poems in the addendum to "The Complete Works of Tang Bohu". Tang Yin has a postscript after the poem, but the writing time is not marked. According to the postscript, Mr. Yang Renkai inferred that it was written in the year of Heshi, that is, the seventeenth year of Hongzhi (1504), but this speculation is open to discussion. There is another inscription by Gu Wenbin at the back of the volume: "Baishi Weng (Shen Zhou) hates losing his poems for Luohuatu, and Liuru layman Luohuashi hates losing his poems. This is a joint volume between the two families of Hehui. The so-called two wounds of separation, together The double beauty is also. Renxu summer. ’ This is the postscript of 1862. According to this, it can be known that Shen Zhou and Tang Yin each wrote the picture of falling flowers, and wrote poems about falling flowers behind the picture. Later, Shen Yi's poems and Tang Yi's pictures were combined into one volume until the Qing Dynasty. According to Mr. Yang Renkai, the extant painting of Shen Zhou in Liaobo Museum is dilapidated, and the rocks on the slopes are drawn with thick lines and painted with thick and light ink without cracking. research. But Tang Yin's Poetry on Falling Flowers is authentic. Tang Yin said in his postscript: "Mr. Shitian tasted 10 pieces of chanting about falling flowers. The human feelings and physical state are exhausted, and he surpassed his predecessors with his intentions and words... To show me, I can't put it down after reading it for many days." Gu Yufang was arrested by Yi Linyue, and Chen Xizai was paid by himself. Zhan Feiying's rhetoric, there are those who don't like it. Reluctant to follow in the footsteps, the government does not know its ugliness. As soon as the holidays are over because of the book, I send it with a small picture. In this passage, there are not only memories of the past, but also an apology for not knowing how ugly I was when I was young, expressing my complex emotions when I wrote Luohua Poetry. And it can be seen that this volume of poems is inscribed after the picture of falling flowers. It is more confirmed that this volume was written by Tang Yin.

"Falling Flower Poetry Book" Collection of Liaoning Provincial Museum Partial  

Collection of the Art Museum affiliated to Princeton University, long scroll on paper, 25.1cm x 649.2cm. Twenty-one poems of Qilu are recorded, the first eight are supplementary works, and the last thirteen are Luohua poems of the original collection. At the end of the volume, there is Tang Yin's signature "Jinchang Tang Yin's Manuscript", which is not dated. There is also a postscript to Ma Riguan's book. The words "Tang Yin Draft". Proof that it's a draft. This "draft" is of course a transcript. Because the handwriting is very neat. In terms of style of writing, the Subo collection is closer to the Princeton collection. Judging from the transcribed content, both have thirteen poems of the original collection of Luohua. Although the order of arrangement is different, the content of these thirteen poems is basically the same. Therefore, the writing time of the Princeton Collection and the Subo Collection will not be very far apart. But never at the same time, because there are a few changes in the same poem. For example, in the Princeton collection, there is a sentence "what is the matter of leaning on the fence when spring comes", and in the Su Bo collection is "what is the matter of leaning on the railing in the spring".

 "Falling Poems" Collection of the Art Museum Affiliated to Princeton University

National Art Museum of China, long scroll on paper, 23.5cm x 445.3cm. This is currently recognized as the most mature pinnacle of art, with a total of seventeen poems in seven rhythms. The end of the volume is marked on Qingming Day, the first year of Jiajing (1522), which is the year before Tang Yin died of illness. Although it is called Luohua Poems Volume, only seven of them are supplementary Luohua Poems, and the remaining ten are Manxing Poems written by Tang Yin.

"Falling Flower Poems" Collection of National Art Museum of China

    To sum up, there are four authentic works of Tang Yin’s Falling Flower Poetry, namely, the collection of Suzhou Museum, the collection of Liaoning Provincial Museum, the collection of the Art Museum Affiliated to Princeton University and the collection of National Art Museum of China. There are many kinds of Tang Yinshu's Luohua poems recorded in the records, such as "Fa Tie of Vegetable Fragrance Museum", "Three Kes of Zhenzhen Collected by Haishan Xianguan", "Coral Net" and so on.

Appendix: Textual Research on Tang Yin's Falling Flower Poems
Author: Sheng Shilan Transferred from "Chinese Calligraphy" Magazine, Issue 11, 2004

Tang Yin was born in Wu County (now Suzhou, Jiangsu Province), originally styled as Bohu, and later changed to Ziwei. After converting to the Buddha's vehicle, he called himself Liuru.
It is generally believed that Tang Yin's paintings are better than poems, and poems are better than words. Therefore, the titles of his poems and books have been concealed by the titles of paintings for a long time, and there are not many poems and books left. According to Mr. Yang Xin's statistics, the total number of his poems in ancient and modern styles, plus various addenda, is only about 600. ①The Poetry of Falling Flowers should be regarded as a well-deserved classic among them. Tang Yin is very fond of his poems about falling flowers, and has written them many times. The poems and books complement each other, and the chapters are wonderful.

1. The origin and main content of Luohua Poetry

    Tang Yin's Poetry on Falling Flowers is a harmonious composition. In the spring of the seventeenth year of Hongzhi in the Ming Dynasty (1504), Shen Zhou wrote ten poems about falling flowers, except for Tang Yin. Wen Zhengming, Xu Zhenqing, etc. all have harmony poems. According to historical records, there are thirty poems of Tang Yin's harmony as seven rhythms, which are included in various engraved editions of Tang Yin's poems and essays. The "Complete Works of Tang Bohu" edited and corrected by Zhou Daozhen and Zhang Yuezun includes them in the original collection. However, according to the ink marks written by Tang Yin every time, there are many poems of Luohua that are different from those collected in the original collection, and they have obviously been revised. According to statistics, there are seventeen poems with great differences, and "The Complete Works of Tang Bohu" compiled them into the supplement. ②Therefore, there are actually a total of forty-seven poems on falling flowers. The poem "Tenderness and grace, such as weeping and complaining", ③ was widely praised at that time. Some people think that the content of Luohua Poetry reflects the sentimental and decadent mood of feudal literati, so it is not desirable. In fact, such an understanding completely distorts the deep meaning in Tang Yin's poems.

    Tang Yin has a bright personality and extraordinary intelligence. He was the first in the middle school for Tong Pei, and Xie Yuan, the first in the township examination at the age of 29. When he entered Beijing for the examination at the age of 30, he was exhausted and sent to prison due to the bribery case of Xu Jing's examination room. Thereafter. Not only did he have no hope of fame, but his livelihood was also dwindling. He divorced his wife, and soon lived with his younger brother Shen. It can be said to be extremely desperate. Tang Yin was thirty-five years old at the time when he wrote the Luohua Poetry. He was only five years away from being dismissed from the imperial examination. He had just experienced a trough in his life. Of". ④ Therefore, the poems of falling flowers seem to hurt spring, but they are actually self-absorbed. To understand them as frivolous and romantic works, it can be said that they have not read it at all.

In many places in the poem, he expresses his emotion about the passing of time and the easy aging of time, which is the aftertaste of his "Poem with White Hair" when he was young. When Tang Yin was twenty-five years old, he discovered that he "has a flower in his head", and he couldn't help being "sorrowful and happy", and encouraged himself to "give fame and fame". At that time, he was still young and energetic, and his future was bright; now that his situation has changed drastically, although the same sigh happened in vain, it added a bit of a lonely hero.
At the same time, the poem is also full of depressed and unsatisfactory emotions, and many places hint at his own painful experiences. "In the midst of sorrow and illness at the end of spring, the flowers and branches are exposed to rain and wind" is undoubtedly a portrayal of his experience; and "how many good flowers have fallen to nothing, and I have never met a flower appreciator" borrows the image of "falling flowers". Expressed the sadness of being underappreciated.
    With Tang Yin's talents, it is indeed sad and deplorable to encounter such misfortune. Only by understanding such a background can we understand that his thousands of emotions of pity and pity for flowers are by no means the groans of the scholar-bureaucrats when they have nothing to do, let alone express their sorrow for writing new words, which contains generous and intense grief and indignation. But it is worth mentioning that Luohua Poetry is not just a work of sorrow, especially the revised poems, which have repeatedly revealed Tang Yin's new understanding of fame and wealth after the accident, and he began to have a heart for the impermanence of life. A harbinger of converting to Buddha in the future. It is precisely because of the detached and broad-minded meaning contained in the poems that Tang Yin still prefers these poems of his own years even after his peace of mind in his later years.

2. Comparison of Calligraphy Styles in Different Versions

    Since Wang Shizhen commented in "Yanzhou Shanren Manuscript" that "Bohu's book entered Wu Xingtang. After "poor and weak ears", it is generally believed that Tang Yin's calligraphy was deeply influenced by Zhao Mengfu, and it was more than elegant but not strong enough, and lacked variety. In fact, Tang Yin studied books in many disciplines, with different emphases in different periods, and his style of calligraphy varied greatly with age. When Tang Yin was young, his calligraphy was thin, well-structured, rigorous in stippling, and he had a good foundation in Tang Kai. And the couplet poem he wrote impromptu at the age of forty-one in the fifth year of Zhengde (1510) was deeply inspired by Li Beihai. The posture is slanted, and the pen is strong. In the meantime, I also wrote rich and round running scripts, but it is only in my later years that I can truly integrate the strength of the bones into the wonderful posture, integrate the strengths of each school and reveal my own style.
    Tang Yin's works are especially easy to be compared with Zhao Mengfu because of their beauty, handsomeness and ease of circulation. In fact, there is still a certain difference between Tang Shu's solemn and unrestrained hermit morale and Zhao Shu's radiant affluence. The characteristics of Tang Yin's calligraphy, which are soft yet firm, and graceful but strong, are relatively more prominent in the Subo Collection and the Princeton Collection. These two Tibetan editions have handsome faces and very similar calligraphy styles, and both of them are biased towards regular script. The structure of the characters is relatively neat, most of which are independent of each character, and rarely connected with each other. The pen is round and elegant, and the stippling is relatively in place. For characters such as "one" and "ten", the pen is written against the front and closed at the front, and the explanation is clear, showing excellent regular script skills. The rhythm is quite relaxed, and the combination of thickness and length is also very natural, without any trace of artificiality. The slanted stroke on the side of the single person is bold and quick, with obvious Li Beihai's brushwork, and the bones are clear and strong. The arrangement of the composition is also natural. Each verse occupies the space of eight lines, and the number of spaces in each line is not consistent, but the vertical line is straight and has a strong sense of form.
    The Liaobo Collection and the Falling Flower Poems in the National Art Museum of China have a cursive style of calligraphy. The use of pens, knots and composition are all different from the first two Tibetan editions. For example, the word "send" in the first sentence of "severance" in the Liaobo collection has been simplified, and it is a cursive style. When using the pen, there are many fronts and sides, and most of the horizontal strokes start with a slightly pointed pen, which brings greater freedom in writing. Both the Liaobo Collection and the Guan Collection of Chinese Fine Arts have a large number of continuous strokes. The writing is smooth and flowing, and a piece of magic is flowing away. For example, the last sentence of the poem "Cocoon Eyebrows Gathered in Clusters" in the Liaobo collection is almost a stroke of calligraphy, with seven characters written in one go, and the strokes flow downstream. The same is true for the treatment of this sentence in the collection of the National Art Museum of China. This can show that the Liaobo collection is indeed the work of Tang Yin in his later years. In addition, there are very exaggerated brushstrokes in the Liaobo collection. For example, the word "to" in "heavy to" has an exaggerated vertical shape at the end. Very lyrical. The last stroke of the word "Xuan" could have been treated as a single point, but Tang Yin wrote it in an exaggerated vertical stroke, which gave people a strong shock.
    Such proficient skills have reached the point of perfection in the collection of the National Art Museum of China written by him one year before his death. The handwriting and strokes of this volume are slightly fat, and the ends are flat. Compared with the sparse and delicate appearance of the two early Tibetan editions, it is a bit old and vigorous. Due to the speed of writing, there are jumps and omissions, which are randomly filled in beside the lines, which shows that the writing process is completely driven by emotion. Therefore, the flow of strokes is like flowing clouds and flowing water, continuous and continuous, giving people a vigorous and stretched momentum. Among them, ten Manxing poems are included, the content of which is more vicissitudes than Luohua poems. Especially the last song, "Acquaintances are scattered and the robes are cold, and the ice in the crock pot is blowing in the wind and snow", is soaked in desolation and written in a gloomy and desolate way.

4. The reason why Tang Yin wrote Luohua poems many times

    Tang Yin repeatedly wrote Luohua poems many times in his life, which had something to do with the literati atmosphere at that time. On the one hand, the Suzhou area in the mid-Ming Dynasty was a gathering place for literati and refined scholars. Like-minded teachers and friends exchanged songs with each other and exchanged poems and paintings very frequently. It is a common phenomenon to write poems written by yourself and give them to others, or to write poems written by others, or to write poems and postscripts on other people's paintings and calligraphy. Among Tang Yin's calligraphy and painting works handed down from generation to generation, many of them were created upon invitation, and some volumes indicated that they were given to someone or made for someone. Therefore, he wrote Luohua poems many times, which may be given to different friends. On the other hand, it was also a common practice for literati and scholars at that time to repeatedly self-record their favorite works. For example, Zhu Yunming wrote his own "Twenty Poems of Drinking with Tao Yuanming" many times, and Wen Zhengming, who was with Tang Yin and Shen Zhou's poems about falling flowers, also wrote his poems about falling flowers many times later.
    Of course, Tang Yin's choice of falling flower poems as the content of repeated writing has his own internal driving force. If it is said that he wrote Luohua Poetry for the first time out of feelings, expressing the anguish and annoyance of frustration in the examination room, then his subsequent writings will have other sustenance. "Falling flowers" is a symbolic image in Tang Yin's poems. It not only uses flowers to describe people, but also expresses emotions with flowers. On "Falling Blossoms", Tang Yin's complex and rich life experience and life experiences are enshrined. In the poems of the first time and Shen Zhou. His mood is relatively low, more sad and distressed than complaining. Some verses are very negative in emotion, such as "Bury Xishi in the wind and rain at the fifth watch", Chen Jiru said after reading it: "Tang Bohu chanted the poem of falling flowers, and he felt short of breath when he reached the line "Buried Xishi in the wind and rain at the fifth watch". 』⑥ From the technical point of view, ""The Five Watches Bury Xishi in the Wind and Rain", the imitation and engraving is not yet as natural as Xu Changguo. 』⑦In the first year of Jiajing (1522), Tang Yin had already experienced more ups and downs and hardships. His youthful elation had long since vanished, coupled with old age, sickness and poverty, he had reached the end of his life. He himself is like a falling flower, about to die and return to the earth. At this time, because of more experience, such poems as "Buried Xi Shi in the wind and rain at the fifth watch" were no longer written, and they were replaced by desolation and desolation, sending out "a ten-year dream of lead and flowers, I will pay my mind to Canglang' with emotion. And "the two items are not planned, and the field bears Guo, and one meal is divided into porridge and monks." Drunk to test Qian's family's way, exhausted all heroism, etc., it is really exhausted, revealing one's true body. "Exhausting all roughness" shows that his state of mind has tended to be flat and calm, and he is no longer "a person who ends up with fame and fortune", and "no anger" shows that he has not lost his confidence in life. Therefore, although the volume of Luohua poems in the National Art Museum of China was written in his later years, it is not decadent. The full size of this collection is about 4.5 meters, and the whole piece has a smooth flow of energy, surging with the vitality of life. Tang Yin wrote and sang about falling flowers, which is a song about the life that is about to die, so reading his poems and appreciating his universe, he still feels the brilliance of his life.

Explanation of Fallen Flower Poetry Book:

In an instant, it is very spring, and the rich and noble gardens are washed away. May I ask the shepherd boy to set up wine, try plums and produce kernels. If you deceive Huadan for Ruanwu, it's hard to guarantee Yuxiang laughs at the tree god. It is expected that the green shoes will accompany you hand in hand, and Rigao will be a Yanmian man.

The setting sun is dim and the flute is long, and the spring breeze turns around again in a flash. The accusation wants to call the sky to the North Pole, and the rouge is all gone. Three feet of rain and mud poured down, half a hook was embroidered around the beautiful woman around the tree. The colors are always dreamy, and some add to the worry in the mirror.

The spring breeze is all over for a moment, and there are no flowers left. Quickly pour the new wine into the cup and put green on it, and the old face has changed to vermilion in the mirror. If you don't see the rafters stealing incense, you will turn into a chasing stinky husband. The body gradually decays like this, the tree and the tearful eyes dry up.

When the silkworms are busy breaking black in season, the flower branches are comparable to the red ones. It seems that there is no owner for cold food and spring, and the butterfly flying over the neighbor is selfish. Even if the money is piled up in the Big Dipper, it is difficult to bury Xi Shi in the wind and rain. Kuang's bed is blown to sleep in the clear day, and a wisp of smoke and tea is on the temples.

Sitting and watching Fang Fei feel bored, Qu teaches to cover the screen to show the wind. Ya honey is cooked, fragrant and sticky white, and Liang Yan's nest becomes moist and red. The beauty of the country is pitiful and hard to come by, why is the wine glass not empty. I can't bear to watch the horses fly under the wheels, flying west and east.

Cui Huikong writes the truth in the mirror, but Luoshui is hard to convey the spirit of Fu Li. The country's beauty comes from a long life, and the peach red will see another spring. There are no brocade tents to surround the golden valley, and the green shoes are trampled on the dust. Circling the tree a hundred times back to the heart, who will be in charge next year?

The end of the world is dark and blue clouds are horizontal, and the purple swallows in the garden of the society are light. The peach leaves are scattered, who asks to cross, and the apricot blossoms are scattered, recalling the title. In the middle of the night in the village where the dog barks in the moonlight, after the rain, the warbler cries and the leaves fill the city. If people don't come back, spring will go again, who will sing Yingying with arm in arm?

The white weeping willows make new sunshine, and the purple-backed duckweed grows finely. In March, Xunfang and her phoenix couple sang and walked on Shasha in unison. When the lights are turned off, the swallows are hurt by the fall of the courtyard, and the warblers are wet on the terrace in the drizzle. Don't ask Dongjun to complain about grievances, since the spring dream is not clear.

What's the matter in the Spring Dynasty? Flowers and tears fly a little bit, and Xu drifts his eyes to look forward to the long. The book should be unintentionally open to loneliness and anger, with He Xinwan acacia. And I am glad that the remnants are still there, so that I can report peace with the bamboo.

The peach blossoms are clean and the apricot flowers are empty, and the blooming and falling are about the same every year; since the festival is approaching the end of March, why should people hate the wind of the fifth watch. Pounce on the eaves and break the curtains and green clothes, and build them up like a bully brocade red; pick them up in Luluo Fangpari, and there are a pair of mandarin ducks in the middle.

Sorrowful and sad, self-sufficient, and the flowers and branches are scattered and added to the temples. Zhou Zheyan speaks spring in March, and the sun is half-curtained with rippling ripples. Sick and drunk, the court turns to the drama, listening to the wind and likes to come late to Tian. On the green moss in the shadow of the green poplar, I pick it up to cherish the red hand.

It's half a month before Yangliu Tower, and it's late at night in the Shengge Academy. The flowering branches are scorching and hard to grow well, and the water leaks are not too late. The gold-stringed armholes are slippery with new lotus roots, and the emerald eyebrows are mirrored by small scorpions. There are as many worries as there are styles, and who to talk to with a hundred knots of worries.

Li Tai and Fan Xiang recalled the old trip, and Peng Feiping was very sad. All haggard with Maochai wine, March hurts the spring and the mirror is full of sorrow. It's hard to cherish and give a poor hakama as a gift, but it's like keeping your sleeping shoes when it withers. The beautiful spring trees are not yesterday, and the green grass is empty and buried in the earth.

Apricot petals and peach whiskers make piles, youthful white hair feels decadent. The new taste of the clam is on the market, and 鶗鴂 teaches people to wash the cup again. I can't bear to sing the Li song to send the spring, but I regret that I will remind you of the Jie drum. If I get old, I will grow old. How can I be happy in the next year?

The beauty is worthy of eating, don't boast, look at Yi's house once it is bad. Zhaojun met Mao Yanshou, and it was difficult for Yangdi to keep Zhang Lihua. The deep courtyard is youthful and empty, and the embankment is red and the sun is slanting westward. Small bridges and flowing waters idle in the villages, and there are no singing warblers and dog frogs.

Full of laughter and strong company, don't worry nine times a day. The season frightens Liang Yanru again, but Qianhua has no choice but to urge her. Xiangxiao's belt hurts her waist and makes her thin, and her dream is broken from Liaoyang. No letter comes from Liaoyang. The door is closed and the flowers fall at dusk, and the cow is crispy and recommends the cup in the palm.

Milu Terrace by the side of Yazi City, the situation is turning leisurely in the depth of spring. Fold clothes and jade appearance to ride the wind, and push the rain to the wine canopy window. The fruit-bearing peach blossoms fell like rain, carrying a female butterfly over the wall. There are many idle courtyards in the south of the Yangtze River, but the Zhu households still lock the green moss.

Tao Qi and Li Jing Xie Chunrong, fighting for wine and fighting for night. On the Moshang, the new music is dark and the dust is dark, and the moon and the jade plate are tilted on the wall. There are no traces in the green curtain alley, and the embroidered waist and limbs feel thin and raw. Don't know why you are ruthless, because we are in love with each other.

Clusters of double eyebrows are gathered together, flooding when leaning on the curved railing alone. The thousand-year-old Qingzhongkong complained, and it was so serious that Xuandu only wrote poems. The fragrance chases the horseshoe and returns to the anthill, and the shadow and the spider silk of the insect arm. After finding the fragrance, but paying off the New Year's debt, I saw that the branches were full of Yinzi again.

Fangfei is grateful for a new year, and she can endow there is no bad luck today. * Thin wrong throws the country's beauty, and the fate is light and the gold buyer is not met. The cuckoo sings in the middle of the night in the blood mountain, and the butterfly wanders in the spring at the bottom of the tree. Color is emptiness, color is color, desire to control greed and hatred.

She is charming and fate is in a dilemma, and the old lady Ying is dying. Elder Lu Ji mourns for her late marriage, while the sun is high and yellow birds call for spring sleep. Life has been seventy since ancient times, so how can a fight of wine be worth ten thousand. It's a pity that I'm slender and late, so I like to burn silver candles and cover the boat.

Flowers fall and flowers bloom always belong to spring, when they bloom, don’t be envious or angry. I know that Qingcao Skull Tomb is the man who hides his face in the Red Mansion. Mountain clogs have been taught to stop pan-La, and firewood carts no longer need towels. Immortal dust and Buddha kalpas will end together, so why talk about toilets where they fall.

In the sound of urging farming, there is a short firewood door, and in the pheasant grass garden in the fragrant orchid. Xizi returned to the lake and there was a well, and Zhaojun left the village of Seshangliu. The courtyard of Chunfeng Courtyard was locked in a deep cage, and the drizzle wanted to break the soul. Picking up Can Hong reluctantly gave up, and also taught to cling to Ah Xianxuan.

The new cries of banana wine are full of sleeve marks, and I feel sorry for the fragrance and jade. Pity the trees blowing in the wind outside the window, and let down the moon and manxuan before you. Running to the well is like hating the subjugated country, and falling from the building is like repaying the master's favor. Changzhou grows fragrant grass at dusk, and sells out Jiang Yan's sad soul.

Shrike went to Yanxi to fly east, and the king and grandson of Nanpu complained that he was lost. The bird calls Chunxiu to carry people away, and the rain makes up flowers and sings to the corner. Luyin Maoyuan closes the string pipe, and locks the door during the day for the maidservant. Nymphs rummaged through their dreams, Qulan slender hands recalled together.

Green shoes and cloth socks thank you for traveling together, and the white butterflies and wasps worry about each other. In the old days, the love changes, and Xi Hua's heart dies before she can rest. Jiao* (a word is suspected missing) The sun and the moon have no long-term strategy, and there are near-term worries for wine and tea. A song of mountain fragrance, spring silence, blue clouds and dusk, separated from the red building.

Spring comes and frightens away in a hurry, the dazzling prosperity is empty in an instant, Xingzi's single shirt is just taking off the warmth, and the deep courtyard of pear blossoms is full of hatred and wind. Burning lamps and sitting on the golden night, thinking about a little red in the wine space. If Dongjun asked Yuyan, his mood was in the sound of rain.

Wuwu Xiaojiao rises from the spring city, cleverly making the sound of the east wind shaking the ground. The lights illuminate the eaves and the flowers bloom and fall, and the tree collection in the crow's garden is still shocked. The beauty is not stationed for the old heart of the piano, and the green wine rests and the face is full. Silently comparing yourself to the mirror, the mane is another year's win.

Dreaming of spring, next to the shadow of geese at three o'clock, in front of a horse's hoof with fragrant mud. It's hard to pour ash wine into a new love, only a sachet to repay the pity. In the deep courtyard, the flowers should be like sleet, and Nagato's worries are like years. Who is right, but the peaches and plums are idle, and the stones of joy and sorrow are destined.

The flowers are blown intentionally by the wind, and the spring leaves me like nothing. Flying dreams around Wu Gorge at five o'clock, and Fei Chu's words for calling back the soul at nine. Aging is no longer what it used to be, and withered vegetation has its time of glory. There are thirty million worries in Heshi, but who knows about the heartbroken spring breeze.