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地址：兴义市桔山街道荣泰・德嘉花园对面渔小站君山酱板鱼（602县道）旁 

New Store Launch｜Authentic Hunan Flavor Spicy Salted Duck & Spicy Salted Fish Arrive 🔥

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Address: Next to Yu Xiaozhan Junshan Sauce Fish Shop, across from Rongtai–Dejia Garden, Jishan Street, Xingyi City (County Road 602).

锦缠道·梦游荔波

（中华新韵）

天宜居士

梦旅樟江，

水碧树青潭黝。

小桥边、飞歌依旧。

俊男靓女抛生藕。

笑看谁能，

抗这般诓诱。

自然生态绝，

古拙穹厚。

美之巅、可知然否？

问社神、遥指绿宝石，

荔波真个，

处处风光秀。

      注：①抛生藕：男女抛媚眼；②社神：土地神，又称土地爷；③绿宝石：地球绿宝石。世界自然遗产——贵州荔波茂兰自然保护区，被誉为“地球绿宝石”。

（作者简介:天宜居士，本名夏金峣，贵州人，欧洲大学工商管理博士。北京大学未名湖文学社签约作家。)

点评：

这首《锦缠道·梦游荔波》以传统词牌书写现代山水与民族风情，在虚实之间勾勒出荔波的自然灵性与人文活力。下面逐句解析并综合鉴赏。

一、逐句解析

上阕：

“梦旅樟江，”

开篇“梦旅”二字，既点题“梦游”，又定下全词虚中带实的基调——这是梦境中的行旅，亦是心驰神往的精神游历。“樟江”为荔波母亲河，以实名入词，将缥缈之梦锚定在具体地理空间。

“水碧树青潭黝。”

三组色彩并列，以最凝练的笔法勾画荔波典型景观。“碧”“青”“黝”三色递进，由明到暗，写出水的清透、树的葱茏、潭的深邃。这种白描式铺排，是古典山水词常用的写意手法。

“小桥边、飞歌依旧。”

视角由自然转为人文。“小桥边”收束空间，将视线引向具体场景。“飞歌”指山歌飘荡，“依旧”二字极有分量——暗示这种歌声穿越时间，是生生不息的文化传承，也为梦境赋予历史纵深。

“俊男靓女抛生藕。”

此句为全词最具当代气息与地域特色之处。“抛生藕”词人自注为“男女抛媚眼”，以方言俚语入雅词，鲜活生猛。藕断丝连，暗喻情意绵绵，“抛”字大胆直白，写尽青年男女眉目传情的泼辣与天真。

“笑看谁能，抗这般诓诱。”

“诓诱”一词用得极妙，表面是“哄骗、诱惑”，实则带调侃意味——这风情万种的场面，谁能抵挡？以问句收束上阕，语气轻快诙谐，写尽了词人对这人间烟火气的沉醉与赞叹。

下阕：

“自然生态绝，古拙穹厚。”

换头处以评论笔法总括荔波生态。“绝”字斩钉截铁，不容置疑；“古拙穹厚”四字气象宏大——“古拙”写时间之悠远，“穹厚”写空间之深邃，天高地厚，是天地初开般的浑然与朴素。

“美之巅、可知然否？”

由客观描述转入主观设问。以问句推进，仿佛词人在梦中喃喃自语，又似在向读者发出邀请。这种问而不答，留白给读者，反而强化了言外之意——美到极致，语言已然无力。

“问社神、遥指绿宝石，”

“社神”即土地神，词人自注此典。此句化用杜牧“借问酒家何处有，牧童遥指杏花村”的经典句式，却将牧童置换为土地神，将杏花村置换为“绿宝石”。这一化用极为精彩：问的是守护这片土地的神灵，答的是“地球绿宝石”这一世界自然遗产的荣名——仙境就在眼前，神灵可为见证。

“荔波真个，处处风光秀。”

以口语“真个”入词，与前文“抛生藕”“诓诱”一脉相承，不避俚俗，反显率真。这是全词情感的最终落脚：前文的铺陈、赞叹、设问，最终都归结于此——“处处风光秀”是直抒胸臆的惊叹，亦是对荔波最朴素的告白。

二、综合鉴赏

这首词最突出的艺术特征，是古典形式与当代内容的高度融合。

词牌《锦缠道》本为宋代旧调，用以抒写春游旅思，而词人借古调写今景，毫无违和。根本原因在于，词人抓住了古典山水词的两大核心精神：写意的笔法与物我合一的观照方式。

上阕写人文风情，下阕写自然生态，结构分明。手法上，上阕以叙事见长，有场景、有人物、有情节，仿佛一段微电影；下阕以抒情为主，“自然生态绝”是断语，“美之巅”是追问，“问社神”是点睛之笔，层层递进，最终在“处处风光秀”中完成情感的喷发。

语言上，最值得称道的是雅俗张力的精妙平衡。“水碧树青潭黝”是典型的古典诗语，“飞歌依旧”有词境之空灵，“古拙穹厚”甚至带汉赋的沉雄。而“抛生藕”“诓诱”“真个”又是鲜活的口语乃至方言俚语。这两套语汇在同一首词中和睦相处，雅不伤俗、俗不掩雅，形成一种独特的审美张力——这恰是对传统词学“本色”观念的一次当代实践。

更深层的价值在于，这首词完成了对荔波的文化赋形。通过“梦旅”的设定，词人将现实的山水之旅升华为精神的游历与文化的寻根。“社神”“绿宝石”的意象对举，将古老的土地信仰与当代的世界遗产话语并置，暗示荔波之美是一种从古至今、从地方到世界的贯通之美。

结尾“处处风光秀”看似平常，实则是大巧若拙。在所有华丽的铺陈与庄严的发问之后，以最朴素的语言收束，让一切归于平淡、归于真切。这不是技穷，而是词人选择将话语权交还给山水本身——最好的赞美，就是最直接的告白。

Jin Dao - Dreamwalking Li Bo

(Chinese New Romance)

A paradise of paradise

A dream trip to Changjiang,

The water was green and the pool was lush.

By the little bridge, the flying song was still there.

A beautiful man and a beautiful woman leaves an lotus root.

Just laugh and see who can,

Fight these kinds of tricks.

Nature is ecologically destroyed,

It was a clumsy dome thick.

Top of beauty, can you tell?

Asked the gods and pointed to the green stones,

Libo is a real person,

There is a great scenery everywhere.

Note: 1 Casting raw lotus root: men and women casting coquettish eyes; 2 The God of the Land, also known as Lord of the Land; 3 Green stones: Earth's green stones. World natural heritage - the Maolan Nature Reserve in Libo, Guizhou, is known as the "green jewel of the Earth."

(Introduction: Tian Yisheng, real name Xia Jinji, a native of Guizhou, PhD in Business Administration at European University.) Peking University does not have a signed writer for the unnamed HKU literary society. )

Comments:

This song, "Jintang Dao - Dream Traveling to Libo," writes modern landscapes and national styles with traditional notation, which outlines Libo's natural spirituality and human vitality between reality. Below you will analyze and appreciate it sentence by sentence.

I. Explanation by sentence

The first verse:

"Dream travelling in Changjiang,"

The word "dream travel" begins with both the title "dream travel," and sets the tone of the whole word between false and real - it is a travel in a dream, and a spiritual travel with a passion. "Changjiang" is the mother river of Libo, and it is taken for its real name, anchoring the dream of a vague dream in a specific geographical space.

"The water is green and the pool is lush."

The three sets of colors are listed in parallel, illustrating the typical landscape of Libo with the most meticulous pen. The three colors "green," "green" and "brown" progressed, from light to dark, writing about the clear water, the green trees, and the deep pool. This type of white-brushed arrangement is a written technique commonly used in classical landscape words.

"By the little bridge, the flying song remains."

The perspective shifted from nature to humanities. The "bridge edge" constrains space and directs the view to a specific scene. "Flying songs" refers to mountain songs wandering, and the word "still" carries great weight - suggesting that such songs travel through time, are an endless cultural heritage, and give dreams historical depth.

"A beautiful man and a beautiful woman leaves an lotus root."

This sentence is the most contemporary and geographically characteristic of the word. The phrase "throwing raw lotus" entered itself as "men and women throwing coquettish eyes," which was incorporated into the dialect slang, and was alive and strong. The words "drop" are bold and straightforward, which describes the sensuality and naivety of the eye contact between young men and women.

"Laugh to see who can resist this kind of trickery."

The word "baiting" is very well used. On the surface, it means "cheating, temptation" but it actually means a joke - and who can resist this wonderful scene? The opening sentence is closed with a question, in a brisk and witty tone, which writes out the poet's intoxication and admiration for the fireworks of this world.

The next verse:

"Nature is remarkable, and the dome is thick."

The head change to summarize the ecology of Libo with a commentary. The word "absolute" is unequivocal and unquestionable. The four words "Crude and thick" have a great climate - "Crude" means the long history of time, and "thick" means deep space. The sky is high and the earth is thick, and it is as plain and simple as the first opening of the earth.

"At the top of beauty, can you tell?"

Move from objective description to subjective questioning. Proceeding with a question, as if the worder were muttering to himself in a dream, and as if he were offering an invitation to the reader. This questioning without answering, which leaves the reader blank, reinforces the message - so beautiful that the language is powerless.

"Ask the gods and point to the green stones,"

The word "the community" is the God of the land, as the phrase states. This sentence uses the classic sentence of Du Mo, "Ask where the winery is, and the shepherd boy refers to the apricot village," but replaces the sheep boy with the land god and the apricot Village with the "green jewel." The utility was remarkable: a question was asked about the gods that guarded the land, and a question answered about the world's natural heritage - a wonderland right in front of which the gods could witness.

"Liobo is truly a beautiful city, with beautiful scenery everywhere."

In the colloquial terms, the word "real" is in line with the previous words "dropping lotus" and "baiting." It does not avoid slang and shows truth. This is the ultimate conclusion of the whole word's emotions: all the exaggerations, admirations, and questions mentioned above ultimately come down to this - "The scenes of beauty everywhere" is an outspoken marvel and the simplest confession of Libo.

II. Comprehensive appreciation

The most prominent artistic feature of the word is the high integration of classical forms with contemporary content.

The phrase "Jintan Road" was originally an old Song dynasty tune used to write about spring vacations, and the psalmist used the ancient tune to write about the present scene, without contradiction. The root cause is that the poet captured the two core spirits of classical landscape words: the written wordplay and the way of seeing things in the same way.

The upper part devotes attention to the humanistic character and the lower part to the natural ecology, with a clear structure. In terms of tactics, the upper sentence is characterized by the narrative, with scene, characters, and plot, as if it were a microfilm. The following sentence is mainly lyricist, "Nature ecological perfection" is a sentence, "The summit of beauty" is asking, "Asking the social gods" is critical, step by step, and finally complete the eruption of emotion in "Every scenery."

In language, the most laudable thing is the fine balance of politeness. "Water, green trees, and a lush pool" is typical classical poetry, "Flying songs still" has a poetic sense of meaning, and "Climb and thick" even carries a Chinese character of majesty. "Dumpling lotus," "baiting," and "real" are living colloquial and even dialect slang. These two sets of vocabulary coexist in the same word, without being vulgar and unpretentious, creating a unique aesthetic tension - a contemporary exercise in the traditional notion of "the color" of vocabulary.

The deeper value is that the word completes the cultural appropriation of Libo. Through the setting of "dream travel," the phrase translates the realistic landscape journey into spiritual travel and cultural roots search. The figurative interplay of the "social god" and the "green jewel" combines ancient land beliefs with contemporary World Heritage discourse, suggesting that the beauty of Libo is a beauty that has lived throughout history, from place to place.

The ending of "scenes of beauty everywhere" seems ordinary, but it's really clumsy. After all the gorgeous displays and solemn questions, confine everything to plainness and to truth in the simplest of words. This is not poverty, but a choice by the writers to return the power of the word to the landscape itself - the best compliment, the most direct confession.

钱不是问题

龍龘龘

钱不是问题

问题是没钱

没钱是大问题

千方百计赚钱

是问题中的问题

合理合法赚钱

不会有问题

违法犯罪掠夺财富

是致命问题

2025.1.27.22:30于贵州兴义龙腾文化事务所。

（作者简介:龍龘龘，男，媒体人，鲁迅文学员学员，北大、清华校友，微文学作家。）

Money is no issue.

Long Taotao

Money is no issue.

The problem is that we have no money.

Lack of money is a major problem.

Do whatever it takes to make money.

A problem within a problem.

Earn money in a legitimate and lawful manner.

There won’t be any issues.

Committing crimes to plunder wealth.

This is a fatal issue.

January 27, 2025, 22:30, Long Teng Cultural Agency, Xingyi, Guizhou Province.

(Author’s Profile: Long Dan Dan, male, media professional, student of the Lu Xun Literature Program, alumni of Peking University and Tsinghua University, micro-literature author.)

未名湖文学社头条号组织机构

主     管：北京大学未名湖文学社         

主     编：韦元龙

责任编辑：舒晓丽

投稿邮箱：3237866@163.com

 来源：北京大学未名湖文学社

The organization of the unnamed Herald Tribune Headline Number

Director: Unnamed HKU Literary Society, Peking University

Editor-in-Chief: Wei Yuanlong

By: Shu Xiaoli

Posting email: 3237866@163.com

Source: Unnamed HKU Literature Society, Peking University