从庇示姿悠自匀贤褪炯绍兴诸暨西施故里，美女文化源远流长燃及殴移鞍

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绍兴诸暨西施故里，美女文化源远流长《得乐天书》原文翻译及赏析_作者元稹远信入门先有泪妻惊女哭问何如寻常不省曾如此应是江州司马书
《咏怀古迹五首》原文翻译及赏析_作者杜甫支离东北风尘际漂泊西南天地间三峡楼台淹日月五溪衣服共云山羯胡事主终无赖词客哀时且未还庾信平生最萧瑟暮年诗赋动江关《江南曲（嫁得瞿塘贾）》原文翻译及赏析_作者李益嫁得瞿塘贾朝朝误妾期早知潮有信嫁与弄潮儿《临江仙·千里潇湘挼蓝浦》原文翻译及赏析_作者秦观千里潇湘蓝浦兰桡昔日曾经月高风定露华清微波澄不动冷浸一天星独倚危樯情悄悄遥闻妃瑟泠泠新声含尽古今情曲终人不见江上数峰青
悠胶殴匀坪《踏莎行·情似游丝》原文翻译及赏析_作者周紫芝情似游丝人如飞絮泪珠阁定空相觑一溪烟柳万丝垂无因系得兰舟住雁过斜阳草迷烟渚如今已是愁无数明朝且做莫思量如何过得今宵去《忆秦娥·与君别》原文翻译及赏析_作者房舜卿与君别相思一夜梅花发梅花发凄凉南浦断桥斜月盈盈微步凌波袜东风笑倚天涯阔天涯阔一声羌管暮云愁绝这是一首怅别词诗人写的不是离别时的凄恻也不是别君的思念而是刚刚作别乍然离去时的旅途情怀诗人并不正面写这种渐行渐远渐浓的离愁也不突出他对那位盈盈微步的佳人的眷恋而是把一夜间怒放的梅花推在前景地位进行反复咏叹这样诗人行旅中的那种难言的惆怅反而更加在丰富充分地表现出来这便是超越咏叹实体把描写对象半空灵化象征化了的艺术魅力之所在

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