二胡之于江南,恰如杏花春雨之于江南一般地诗意和绵长。虽然高山流水,我们只见过俞伯牙的那具焦尾琴;浔阳江边,我们也只闻见白居易的那把琵琶。虽然众多的唐诗、宋词、元曲、明剧之中,我们很难听得二胡的那一声低泣,触到二胡的那一脉无奈,但是谁能说,倘无焦尾琴和琵琶,二胡就不会在江南寂寞地流浪呢?
Erhu is as poetic and long as apricot blossom and spring rain in Jiangnan. Although there are mountains and rivers, we have only seen Yu Boya's Jiaowei Qin, and we have only heard Bai Juyi's Pipa by the Xunyang river. Although it's hard for us to hear erhu's low cry and feel its helpless in many Tang poetry, Song Ci, Yuan Opera and Ming opera, who can say that erhu would not be lonely in the south of the Yangtze River without jiaoweiqin and Pipa?
六朝金粉、王谢侯府的秦淮,有太多的声色犬马,那不是二胡弦线上开放的花;三秋桂子、十里荷花的钱塘,有太浓的绮丽繁华,那不是二胡琴弓中跳动的律。纤道、乌篷、台门、廊棚,雨巷、石桥、茶肆、谷场,这才注定了二胡流浪的行脚。本不属于墨客骚人、显贵官宦,流浪的二胡注定只是在百姓黎民、俗子凡夫中开放的花,流淌的画;流浪的二胡天生就是贩夫走卒、商贾戏子开心时的道具,潦倒间的支撑。
There are too many voices and horses in Qinhuai of Jinfen and wangxihoufu in the Six Dynasties, which are not the flowers on the erhu string; there are too many beautiful and prosperous Qiantang of Guizi and shilihua in the three autumn, which are not the beating rhythm in the erhu bow. The path, wupeng, taimen, langpeng, Yuxiang, Shiqiao, teahouse and Guchang are all destined for Erhu's wandering. The wandering erhu is destined to be a flower and a flowing painting among the common people and common people. The wandering erhu is born to be a prop for the peddler and the merchant actor when they are happy and a support for the poor.
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