【正文】 dances for nomadic families. The 54yearold was born in Tongliao, in eastern Inner Mongolia and joined the troupe in says there are 74 branch troupes across Inner Mongolia and actors give around 100 shows every year to local nomadic people. I can still recall the days when I toured with the troupe in the early 39。 he wondered how in the world he came to belong there. Indeed his penning and publishing this essay caused his exmunication from high society and also caused him a lot of legal trouble. The legal trouble came as a result of the fact that he was speaking out against the government. I like to reference such texts from time to time as an example both of the fact that history does repeat itself and that this world is not so big that what applies to one society does not in any way touch another society. On a much smaller scale,Emerson39。s to e and recapping the key points. This device, not used in the original, is culturally understandable but artistically mediocre. What puzzles me is the two new songs for the opening and end credits. They were written in English, but sung by Chinese with an unfortable accent. They were obviously designed to appeal to an Englishspeaking base, but do not jibe with the Chinese dialogue. Speaking of the dialogue, the English translation, picked apart by some Chinese, is too literal for my taste. I can imagine a typical American hit by a flurry of royal ranks, addresses and greetings, even multiple names and titles for the same person. The first half hour must be a swamp to wade through, very much like my experience of getting through a Tolstoy tome with its endless inflections of names transliterated into lengthy Chinese. I see the choice of verbatim translation as an effort for conveying exotica. It is fairly petent, with no error that I could detect, but fails to rise above words or capture the essence of the language. A cultural product usually crosses over to a foreign territory first by an emphasis on the monalities. But whether inside or outside China, the temptation to sell it for the differences is just too great. Sure, the sumptuous sets and costumes are a big attraction, but the narrative technique has bee－ how shall I put it?－ a bit anglicized, which is necessary for cultural export. Judging by the responses, this legend, which, contrary to the claim of the English trailer, is totally fictitious, has departed from China but not yet landed on American shores. I am a big fan of Ralph Waldo Emerson39。這詩句讓人哀毀，寫下了人生的苦難，也寫出了蘇軾與朝云相知相慰的恩愛，十七后，蘇軾也在七月二十八日仙逝，他與兒子蘇遁共擔(dān)著一個忌日。 衣薪那免俗，變滅須臾耳。我亦困詩酒，去道愈茫渺。臨行，蘇軾贈送一方硯給蘇邁，硯底刻有銘文兩句“以此進道常若渴，以此求進常若驚。 老大蘇邁很淳樸、很治實，不是那么聰明，但是都干的是實事，蘇軾對他的評價是“天資樸魯”。蘇軾在這個時候?qū)懴铝酥摹段鹘隆罚? 世事一場大夢，人生幾度秋涼？夜來風(fēng)葉已鳴廊，看取眉頭鬢上。當(dāng)時蘇軾出任徐州知府，四月離家赴任，蘇轍與之同行，并在徐州停留百余日，臨別之際，適逢中秋佳節(jié)，他們一同泛舟賞月，蘇轍 就寫了 《水調(diào)歌頭 徐州中秋》 來告別其兄。蘇軾到密州后做了知州，中秋節(jié)到了，他想跟蘇轍見面，就繞道濟南去看他的弟弟。恨此生、長向別離中，添華發(fā)。去世以后，蘇軾在寫給她的祭文里邊，沒有一句話表達出來男女之間那樣一種非常柔情的、非常思念的兒女情長的話，而是寫得更象是給一個同道者、給一個知己、給一個朋友的祭文，這非常充分地說明了朝云在蘇軾心目當(dāng)中的一個重要的位置和獨特的位置。“不合時宜，唯朝云能識我；獨彈古調(diào)，每逢暮雨，更思卿。詞中化用李商隱《無題》詩中 “ 相見時難別亦難，東風(fēng)無力百花殘。這些年的宦海的風(fēng)波、仕途上的種種的不順利和坎坷，都一次又一次地使蘇軾想起妻子是多么地寶貴。 一、 夫妻之情，相濡以沫。這些詞作既有震古爍今的豪情篇，也有表現(xiàn)內(nèi)心感情的真情篇，在這些令人蕩氣回腸的親情詩詞中，無論是含蓄蘊籍，還是自然流露，都貫穿蘇軾的真性情。 千里孤墳， 無處話凄涼”，夫人遠葬在眉山老家，再也無法跟他相見，多 么地凄涼。回首彭城，清泗與淮通。蘇軾關(guān)于朝云留下來的文字，是最多的，紀(jì)念朝云的文字也是最多的。 據(jù)說蘇軾寫了這首詞后，請朝云唱，朝云還沒開始唱就淚流滿面，說“奴所不能歌者， 惟枝‘上柳綿吹又少，天涯何處無芳草’ 二句”。著名的《滿江紅》： 清潁東流，愁目斷、孤帆明滅。待到重逢日，我定要和你同游池上，到如雪落花中尋覓春天 的痕跡。滿懷愁情苦緒，問月話凄涼。下闕設(shè)想兄弟二人 退而相從之樂 ，以安慰蘇轍，尤其 我醉歌時君和，醉倒須君扶我 兩句，溫情脈脈，又讓人忍俊不住。惟愿孩 兒愚且魯，無災(zāi)無難到公卿。 蘇軾不僅把這個塊石硯也成了蘇東坡家的傳家寶，而且讓其精神代代相傳。 大兒牧眾稚，四歲守孤嶠。搖頭卻梨栗，似識非分恥。蘇軾的悲痛已近極至，朝云的哀傷更是可想而知，正如詩中寫的“我淚猶可拭，日遠當(dāng)日忘。s Liaoning province, decades ago. The solider gave the old man a handmade saddle when they bid farewell. The story inspired Nasun to write Carved Saddle, a song that later became one of his most popular numbers. Now, every year, Nasun recruits young singers and dancers for the troupe. The troupe has also designed a new repertoire, which is mostly based on the daily lives of Mongolian people, especially the lives of nomadic families, and has bined contemporary musical elements with folk songs of the region. Haimu, a 25yearold khoomei (a local variant of overtone singing) singer, joined the troupe thr