The preface of the poem is written like a prose poem, which aims to show that I witnessed Li Shierniang's dancing, listened to her former teacher, recalled the past, remembered the scene of watching Gong Sundaniang's sword dance as a child, admired her superb dancing skills, and embellished it with the story of Zhang Xu's watching dance and great progress in calligraphy.
The poem begins with eight sentences, among which Gong Sundaniang is a superb dancer, such as Shooting Nine Days and Flying Dragon. Then there are six sentences in "Crimson Lips", which write that after the death of Gongsun, the sword dance was silent. Fortunately, there were disciples in his later years. "The First Emperor" is a six-sentence change. It is written that fifty years ago, Gongsun was second to none among the 8,000 dancers in the palace. However, after the Anshi Rebellion, the talents of "Yichun" and "Liyuan" have already vanished. Today, only Jiao Fang artist Li Shierniang is left. The six sentences of "Jin Su" are the end, and I feel sad about my life experience.
The whole poem is vigorous and powerful, gloomy and tragic. Watching "Sword" hurts the past, cares about things generously, and has a different sense of time sequence and waste of personnel. Poetry praises Li, thinking of gongsun; Ode to the Sun and Thinking of the First Emperor have entrusted the author with his obsession with the prosperity of the first emperor and his lament for today's decline. Language is rich and flashy, and syllables are changeable.
Brief analysis:
The poet was 55 years old when he wrote this poem, but he was still stranded in a foreign land, and he felt invincible in ancient and modern times. In the poem, he recalled watching the disciples of the famous dancer Gong Sundaniang dance swords decades ago.
Some people say that Du Fu writes poetry and Han Yu writes poetry. Du Fu's preface is based on poetry. Not only are the subject function words mostly omitted, but also the brushwork of jumping off is used at the turning point of emotion. However, the content of the preface is still very clear: he first watched the sword dance performed by Gong Sundaniang's disciples in Kuizhou, and then recalled that he personally watched Gong Sundaniang's dance in Yancheng when he was a child, indicating that Gong Sundaniang became famous in fencing in the early years of Emperor Xuanzong of the Tang Dynasty. Looking back, I was deeply touched, so I wrote this song "Sword and Sword". This preface is very poetic. Finally, it tells the story of Zhang Xu, a great calligrapher, who watched Sun Jian's dance, and his cursive script grew, especially the poet's admiration for Sun's dance art.
What kind of dance is "sword dance"? Dances in the Tang Dynasty are divided into two categories: healthy dance and soft dance, and sword dance belongs to healthy dance. In the late Tang Dynasty, Qin Shihuang's Jinyangmen Poetry said, "Gongsun's swordsmanship is magical", and noted that "Gong Sundaniang danced swords, and his title was magnificent at that time." Si Kongtu's poem "Sword" says: "Sun is used to playing in the field downstairs, and empty women love military attire." It can be seen that this is a dance in which women wear military uniforms. Dance with vigorous posture and clear thinking.
The first eight lines of this poem are about Gong Sundaniang's dance: A long time ago, there was a Gong Sundaniang whose reputation as a good swordsman spread all over the world. A sea of people watched her dance in surprise, and the whole world seemed to rise and fall with her fencing, unable to restore calm. "? For example, the four sentences of "shooting in nine days", or "four sentences", have different interpretations by predecessors, and generally describe the beautiful impression left by Gongsun Dance on Du Fu. Shooting for nine days may be a description of Gongsun's spinning or tumbling dance with a red flag, torch or sword, as if one fireball was spinning from top to bottom; "Dragon Dance" is about Sun Pian's lightness and dancing; The wrath of thunder describes that the dance is coming to an end and the momentum is converging; When the rivers and seas converge, the dance stops completely, and the dance floor is quiet and open inside and outside, as if the rivers and seas are calm and the water is as clear as water.
The next six sentences, "Red lips and beads are exhausted", suddenly became the silence of fencing after Sun's death. Fortunately, some disciples inherited her talent in her later years. Then she wrote about her disciple Li Linying Twelve Niangs' heavy sword dance in Baidicheng and the past of Sun's daylights out. The conversation with Li Shierniang not only revealed the origin of her dancing skills, but also aroused her infinite feelings of thinking about the past and the present.
The next six sentences, "There are 8,000 ladies in the harem", are another turning point, and the thought goes back to fifty years ago. Looking back at the early years of Kaiyuan, the government was harmonious and the country was strong. In his spare time, Emperor Xuanzong of the Tang Dynasty opened a teaching workshop and a pear garden, personally selected musicians and taught music, which contributed to the unprecedented prosperity of the song and dance art in the Tang Dynasty. At that time, there were 8,000 showgirls in the palace and teaching workshops at home and abroad, and Gong Sundaniang's fencing was the first among these 8,000 people. But how much the history of fifty years has changed! An Anshi rebellion made the whole world of the Tang Dynasty dusty and dark. Thousands of pear garden disciples and dancers personally selected and trained by Emperor Xuanzong of the Tang Dynasty also vanished in this catastrophe. Now, only the dance of Li Shierniang, the only artist left in Jiao Fang, still reflects a beautiful and desolate shadow in the corner of the sunset in winter. For Du Fu, an old poet who witnessed the prosperity of Kaiyuan literature and art and the sword dance in Gong Sundaniang, it was a rare spiritual comfort in his later years, but it made him feel dejected! This passage is the climax of the whole poem. Being good at summarizing historical changes and broad social content with the shortest sentences is the expression of Du Fu's "depression and frustration".
The following six sentences are the end of the whole poem, "the south wood of the golden millet pile has been arched." The poet went on to say with deep affection that Xuanzong had been dead for six years, and there were enough trees on his mausoleum on Jinsu Mountain to hug with both hands. And I, a junior minister in Xuanzong era, lived in this depressed Baidicheng. Finally, the grand banquet in the mansion ended after another song and dance. At this time, the last quarter moon is in the East, and a feeling of extreme sadness dominates the poet. He couldn't help looking around, not knowing where to go, but also not knowing where to live. His feet are covered with calluses, dragging an old and sick body, wandering in the cold months. The sadness of life experience is self-evident. The word "last stand" means that you drag your cocoon feet slowly on the mountain road, but you blame yourself for walking too fast when you are in a heavy mood.
From beginning to end, this seven-character poem did not leave Gong Sundaniang's mentoring and swordsmanship. However, judging from the majestic momentum of the whole poem and the poetic history of "fifty years have passed, like a palm turning to dust, filling the world and obscuring the emperor's home", I feel that the poet is really reflecting the chaotic rise and fall history of the past 50 years through singing and dancing. Wang Siyuan commented on this poem and said, "This poem is called generosity. So, I admire Li, but I think of Sun. Praise gongsun, but think of the first emperor; All for the rise and fall of the fifty-year rebellion of Kaiyuan Tianbao. Otherwise, a dancer's ears are not enough to shake her pen! " ("Du Zhu" quotes ") This comment analyzes the level and center of the whole poem, which is quite pertinent. However, he said, "A dancer's ears are not enough to shake her pen!" " "This is not in line with Du Fu's original thought. Du Fu attached great importance to and loved art.
The artistic style of this poem not only has the momentum rhythm of "clear thinking, frustration", but also has the touching power of "heroic gratitude", which is a melancholy and tragic masterpiece in the seven-character songs. The first eight sentences are rich and flashy, elaborate and not dull. With the opening and closing of random environment and the ups and downs of ideological trend, the language syllables suddenly change under the Red lip bead Sleeve. The whole poem does not lose its majestic and complete beauty, but also has the ability to make sentences with words and temper them. Although the length is not too long, it is quite broad. From the comparison of ancient and modern music and dance, we can see the rise and fall of fifty years of chaos control, and we can't write it without lowering the pen power.
PS: About Gong Sundaniang
That gongsun is so beautiful. Years ago, he danced with swords and flaunted everywhere. "。 The audience is like a mountain lost between them, and the world moves back and forth with her movements. This is the description of Gong Sundaniang's sword dancing in the famous poet Du Fu's Song of Lady Gong Sun's Female Students Dancing Daggers in the Tang Dynasty.
Gong Sundaniang was one of the most outstanding dancers in the Tang Dynasty. His native place and life experience are unknown. Good at dancing "fencing" and superb dance skills. He often performs among the people and enjoys a high reputation. He was repeatedly called into the official to perform sword dancing skills. She was one of the few famous dancers in the Tang Dynasty who was active in leisure and enjoyed a good reputation in the court.
Both Tang poetry and historical records show that Gong Sundaniang's "sword dancing" was superb and unique, which was second to none at that time. According to Du Fu's Preface to Poetry, during the Xuanzong period, only Gong Sundaniang's Sword Art and When I Won the Crown were among the concubines (referring to the most skilled musicians who often performed for the emperor in Yichun Courtyard) and offerings outside the palace (similar to "special actors" outside the court) in the court music and dance institutions such as Liyuan, Jiao Fang and Yichun Courtyard. There is another sentence in the poem: "There are 8,000 maids in the harem, but none of them can jump the dagger like Mrs. Sun". Qin Shihuang's "Poem of Jinyang Gate" describes that when Emperor Tang Ming held a grand music and dance performance in the palace on his birthday, he was "amazed at the palace skills" and noted that "there was a sword dance, and the horn was wonderful at that time". "Ming Taizu Miscellaneous Notes" records that "Shang (Xuanzong) is familiar with temperament. Sometimes Gong Sundaniang is good at sword dancing, which can be called "Neighboring Song", "General Pei's Full House" and "Xihe Sword". Everything left behind is beautiful, and everything in time is beautiful. Gong Sundaniang is not only a superb dancer, but also good at dancing many sets of "sword dances", including "Xihe sword" and "vigorous sword" mentioned in Du Fu's Preface to Poetry, as well as "General Pei's full house" and "neighborhood songs". One of the most striking is "General Pei's Hall Full", which must refer to a dance adapted from General Pei Min's unique sword dance skills. In this dance, the status was greatly mobilized, colorful and thrilling. It was an extremely fierce sword dance.