Early Tang Dynasty This period is the beginning of the Tang Dynasty poets. The representative writers are mainly famous for the "Four Heroes of the Early Tang Dynasty". They are Wang Bo, Yang Jiong, Lu Zhaolin, Luo Binwang; in addition, Chen Zi'ang. His famous representative works include "Sending Du Shaofu to Shuzhou", "Poems in Prince Teng's Pavilion" and so on.
Send Du Shaofu to Shuzhou
Author Wang Bo, compared with the Tang Dynasty translation
The city gate assists the Three Qin Dynasties, and the wind and smoke look out to Wujin.
I want to say goodbye to you, both are eunuchs.
There are close friends in the sea, and there are neighbors in the world.
If you do nothing, you will be on the wrong road, and your children will be stained with towels.
Vernacular translation
The majestic Chang'an City is guarded by the land of Sanqin, looking at Wujin through the wind, clouds and smoke.
I say goodbye to you with infinite affection in my heart, because we are both ups and downs in the officialdom.
As long as I have you as my close friend in this world, I feel as if I am close to you even if I am far away.
Never break up at a fork in the road, weeping like a child with tears wet on your face.
"Sending Du Shaofu to Shuzhou" is a work by Wang Bo, a poet of the Tang Dynasty. The purpose of this poem is to encourage friends not to be sad when parting. The first couplet depicts the situation and style of the place of farewell and the place of departure for friends, implying the feelings of farewell and carefully contrasting; the first couplet is a word of comfort, pointing out the inevitability of parting. ; The neck couplet has strange peaks protruding, which highly summarizes the scene of "deep friendship and mountains and rivers are unstoppable", sublimating friendship to a higher aesthetic realm; the tail couplet points out the theme of "sending", and continues to exhort and exhort friends, which is also Confession of one's own feelings. This poem opens and closes, the energy flows, and the artistic conception is broad-minded. It can be called an unparalleled classic among farewell poems. The whole poem only has forty words, but it changes endlessly, as if it contains countless words on a small picture. The hills and valleys have endless scenery and are widely circulated to this day.
Poetry of Prince Teng's Pavilion
Tang Dynasty: Wang Bo
The high pavilion of Prince Teng is located near the Yangtze River, and he sings and dances while wearing a jade-colored luan.
The painted building is flying towards Nanpu clouds, and the bead curtain rolls into the west mountain rain at dusk.
The shadows in Xianyuntan Lake are long, and things change and the stars move several autumns.
Where is the emperor's son in the pavilion now? Outside the threshold, the Yangtze River flows freely.
Appreciation
This poem is attached to the author's famous "Preface to Prince Teng's Pavilion" and summarizes the content of the preface. The first couplet points out the situation of Tengwang Pavilion and recalls the luxurious and prosperous banquet when the pavilion was built; the first couplet follows the second sentence and writes that the painted building flew up to the clouds in Nanpu, and the bead curtain was caught in the rain on the west mountain, which expresses the pavilion. The height of the sky; the neck couplet transfers from space to time, pointing out the length of time, naturally giving rise to the emotion of changing seasons and constellations changing directions, leading to the tail couplet; End the whole article. The whole poem unfolds the chanting of Tengwang Pavilion in the dual dimensions of space and time. The writing is vertical and horizontal, the images are exhaustive, the language is concise, and the emotion is profound. It is lofty and far-reaching, and has a grand realm. It can be said that it is a pair of twins with the same brilliance and complement each other.
The first sentence of this poem goes straight to the point, using simple and old-fashioned writing style to point out the situation of Tengwang Pavilion. Tengwang Pavilion was built by Tengwang Li Yuanying, the son of the great ancestor Li Yuan, when he was the governor of Hongzhou. The former site is located on the Jiangmen Gate of Xizhang, a new building in today's Jiangxi Province, next to the Ganjiang River. You can see it from a distance or overlook it. The words "Nanpu", "Xishan", "Xianyun", "Tanying" and "Yangtze River outside the threshold" below are all from the 1st. The phrase "a high pavilion is adjacent to the river" came out. The situation of Prince Teng's Pavilion is so good, but who in the pavilion comes to visit now? I think that the King of Teng who built the pavilion has died. He came to the pavilion in a Luanling carriage and hung jade pendants and held a banquet. Gone are the luxurious scenes. The first sentence describes space, the second sentence describes time, the first sentence is full of interest, and the second sentence is full of interest, contrasting the two. The poet uses the method of "sweeping and standing" to make readers naturally feel the uncertainty of ups and downs. Only two sentences have covered the whole theme of the poem.
The third and fourth sentences follow the second sentence and further describe the deserted loneliness of Tengwang Pavilion. The beams carved with exquisite pictures and the door curtains made of jade are accompanied by the rain from Yunxi Mountain in Nanpu day and night. These two sentences still imply a contrast. In the past, the prince's residence in the carved and painted pavilion made it more imposing, and the bead curtain with jade surface made it more gentle and noble. But now that people have left the building, it looks desolate.
The last four sentences express the lament that life is short, prosperity is fleeting, and life is impermanent.
Readers who have read Su Shi's "Red Cliff Ode" can't help but think of the sentence "(Cao Cao) has been a hero for a lifetime, and where is he now?" This is the expression of the poet's negative mood. The lyrical technique here is excellent. Not only do the scenes in the first four sentences pave the way for the emotion, but there are also the perfect integration of the scenery and emotion of "The shadows of leisurely clouds and the sun lingering in the pond" and "The Yangtze River flows emptyly outside the threshold". In this way, the emotion is full, thick, real and palpable, forcing readers to immerse themselves in it and feel sad with the poet.
The last two sentences express the emotion of "Where is the emperor's son in the pavilion now?" "The Yangtze River flows empty outside the threshold" draws people's eyes to a broader space and leads people's thoughts to a deeper history. . The Yangtze River continues to flow ruthlessly, and time passes indifferently and eternally. No matter how glorious and prominent a life in history is, it is destined to pass away miserably and quietly. "Empty" expresses the sadness to the extreme and condenses the depressed thoughts to the top. The glory and wealth are empty, the fame and fortune are empty, and the love and morality are also empty.
There are only fifty-six words in this poem. Among them, those belonging to space include pavilions, rivers, buildings, curtains, clouds, rain, mountains, pools, and pool shadows; those belonging to time include sun. The words "long time", "things change", "stars move", "several autumns", "where are we now", are blended together without any sense of stacking a bed frame. The main reason is that they all revolve around a center - Tengwang Pavilion, and each plays the role of the stars over the moon.
Tang poems mostly use real words (i.e. nouns), which is obviously different from Song poems which like to use imaginary words (especially turning words). For example, in the sentences 34 and 3, except for the word "fly" and the word "juan" which are verbs, the other twelve characters are all real words, but the two virtual words bring the twelve real words to life. The Tang Dynasty people The good use of real words, real but not real, can be seen here.
In addition, the end of the poem uses dual syntax, which is very distinctive. Generally speaking, couplets are often placed in the middle paragraph to serve as a layout. It is used here to end, and it is not juxtaposed like two doors (the term is called a fan pair), but opens and closes in a "lateral position". The reader only feels the flow, not the duality, which is obvious. This shows Wang Bo's extraordinary talent. Later, Du Fu's seven-character rhymed poems and even seven-character quatrains often used this technique, such as "From the Ba Gorge to the Wu Gorge, then go down to Xiangyang to Luoyang." ", "The butterflies dance around and play, and the orioles crow at ease" etc. This shows Wang Bo’s influence on the development of Tang poetry.