Original text of the work: The wild old fence is back by the river bank, and the firewood gate is not straight and opens along the river.
The fishermen’s nets are gathered under the pond, and Jia Ke comes with the boat to take photos.
The long road cares about the Beijiang Pavilion, but why does the cloud mean to be near the piano platform.
Unable to report that Wang Shi had taken over Dongjun, the city was closed and Qiu Sheng drew horns to mourn.
Appreciation of the work
The first four lines of the poem describe the scene of the thatched cottage, the writing style is leisurely and sparse, and the poems seem to be picked at random. The word "ye Lao" at the beginning is Du Fu's self-proclaimed name. The river bank is surrounded by bamboo fences and thatched cottages. At this time, the poet is strolling and admiring the riverside in front of the thatched cottage. The beauty of the sentence "Chai Men" is that it is written effortlessly. This firewood gate seems to have been installed at random. Since the river turned a corner here, the poet installed a gate facing the river. It doesn't matter if the orientation is not correct, and everything is left to its own devices. And in the clear green Baihua Pond over there, fishermen were happily fishing with nets. "Chengtan" refers to Baihuatan, which is the water area south of the thatched cottage. Perhaps because the river is meandering, it is suitable for berthing boats, and the merchant ships also docked here one after another, reflecting the sunset. These four sentences are the scene of the poet's ambition, and the words are pure and natural, just like sketching a simple and quiet picture of leisurely living in the river village. The whole picture is full of the interest of the countryside, conveying the poet's leisure mood at this moment. However, Du Fu was not a detached hermit. After looking at it for a long time, he actually had another emotion.
The "Long Road" comes from the "Jia Passenger Ship", and the connection is very natural. Du Fu has a poem that says: "The ships thousands of miles away from Dongwu are parked at the gate" ("Four Quatrains"), which probably refers to these "passenger ships". It was these "thousand-mile ships" that disturbed his calm state of mind and reminded him of the long journey. This "long road" first led his thoughts to the north and south of the Yangtze River, where there were his brothers and sisters who he missed day and night. He often wanted to go eastward along the river. From this, I thought of another "long road": going north to Chang'an, going east to Luoyang, and returning to my hometown. However, the fall of Jianmen not only cut off the return route, but also made the whole situation tense and critical, which made the poet increasingly worried. In this confusion and pain, he looked up and saw white clouds, and couldn't help but ask: "Why are the clouds near Qintai?" Qintai is a famous scenic spot in Chengdu. It is said that Sima Xiangru and Zhuo Wenjun were selling wine on the street. place, this refers to Chengdu. "Pianyun" is a metaphor used by the poet to describe himself, which means: "Why does my wandering body like a floating cloud stay in Shu?" First of all, it is because the war has not ended and the fighting has been blocked. Secondly, the poet is asking: Who is it? Drive him out of the court and deprive him of the opportunity to serve the country? This sentence expresses emotions through clouds, which is profound and subtle. Clouds near the piano platform are originally a natural phenomenon, so there is no need to ask questions. Therefore, this question seems to be clueless and impossible to answer. In fact, it expresses the poet's pain of living outside the sword and having no way to serve the country, as well as his confused mood of not being able to find a way out.
The two sentences at the end convey the poet's sad and sad mood. The poet lamented that after Luoyang fell again last year, it has not yet been recovered, and Tibet is eyeing it in the northwest. There is also a crisis of war lurking in Sichuan. It is very sad and sad to hear the sound of the horn drawn from the city wall of Chengdu in the bleak autumn wind. The whole poem ends with this, leaving an endless aftertaste.
The scene described in the first four lines of the poem is exactly what Wang Guowei said, "a state of selflessness". "In the state of selflessness, one observes things with objects, so one does not know which is me and which is the object." ("Human Words") This means that the poet observes external objects with a peaceful state of mind, and the "self" seems to be integrated into the objective world. The artistic conception written at this time is the "state of no self". In the first four sentences of this poem, the poet is in an indifferent and quiet state of mind, completely intoxicated by the beautiful evening scenery of the riverside, and has reached the state of forgetting both things and myself. After the last four sentences of the poem turn to lyricism, they are still describing the scene, but at this time they have entered the "realm of me": "In the realm of me, I observe things with me, and the old things all have my color." (" "Human Words") The scenery here, whether it is clouds or city towers, autumn colors or horn sounds, are all imbued with the poet's sad emotional color. The two realms set off each other and produce a strong artistic appeal. When the first half of the poem shows the picture of Jiangcun, the poet seems to have forgotten his feelings about nature. Only at the bottom of the poem does he show his deep concern for the country and the people. It turns out that his leisurely and unrestrained way is to serve the country in vain. A kind of self-relief from the dilemma. This helpless detachment, in turn, deepens the expression of painful emotions. The painful undercurrent rushing under the calm water is a deeper sorrow.
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