The flowers in Huangsi's maiden are full of different ways, and thousands of flowers are low.
The butterflies dance all the time, and the charming warblers just crow.
2. Translation:
The flowers in Huangsi's maiden covered the path, and thousands of flowers bent their branches low from the ground.
The butterflies in the fragrant flowers are flying all the time, and Oriole, who is free and soft, is just crying with joy.
3. Appreciation:
This poem recounts the scenes and feelings in Shang Huashi, the maiden of Huangsi, describes the splendid spring scenery around the thatched cottage, and expresses the love and comfort for beautiful things. The beauty of spring flowers and the cordial harmony between man and nature are all on paper. The first sentence points out that the place to find flowers is on the path of "Huangsi Niangjia". This sentence is written in poems with people's names, which has a strong interest in life and quite a folk song flavor. The second sentence "thousands of flowers" is the embodiment of the word "full" in the previous sentence. "The branches are pressed low", depicting the flowers bending the branches heavily, and the scenery seems vivid. The words "pressure" and "low" are used accurately and vividly. In the third sentence, the colorful butterflies on the flower branches wander around, and they "linger" because of their love for flowers, suggesting that the flowers are fragrant and fresh. The flowers are lovely, and the butterfly's dance is also lovely, which inevitably makes the strollers "linger". But he may not stop, but move on, because the scenery is infinite and there are still many beautiful scenery. "All the time" is not an occasional sight. With this word, the fun of spring is rendered. Just as it was pleasing to the eye, a string of beautiful songs from Oriole happened to wake up the poet who was intoxicated with flowers. This is the artistic conception of the last sentence. The word "jiao" describes the soft voice of warbler. "Freedom" is not only an objective portrayal of Jiao Ying's posture, but also conveys the author's psychological happy and relaxed feeling. The poem ends in the sound of Yingge "Cha Cha", which is full of lingering charm. This poem is about enjoying the scenery, and this kind of theme is common in the quatrains of the prosperous Tang Dynasty. However, it is rare to see such a poem with very subtle depiction and unusually beautiful colors. For example, "So people are on the peach blossom bank until the stream flows in front of the door" (Chang Jian's "Looking for Li Jiuzhuang in Three Days"), "Last night, the wind opened the peach well, and the moon in the front hall of Weiyang was high" (Wang Changling's "Spring Palace Song"), these scenes all appear "beautiful"; After Du Fu's "full of flowers", he added "thousands of flowers" and butterflies and songs, and the scenery was beautiful. This kind of writing is unprecedented. Secondly, people in the prosperous Tang Dynasty paid great attention to the harmony of poetic tone. Their quatrains can often be stringed, so they are very harmonious. Du Fu's quatrains are not written for singing, but purely reciting poems, so there are often awkward sentences. In this poem, the sentence "thousands of flowers are pressing down the branches" should be used as a flat word according to the law. However, this kind of "contradiction" is by no means an arbitrary destruction of melody, and the overlapping of "thousands of flowers" has a kind of oral beauty. However, the word "Duo" of "Thousand Flowers" and the word "Si" in the same position in the previous sentence, although both belong to the same sound, are different from each other in rising and falling tones, and their tones still change. It's not that poets don't pay attention to the musical beauty of poetry. This is manifested in the use of disyllabic words, onomatopoeic words and reduplicated words in three or four sentences. "Liulian" and "Ziyou" are both disyllabic words, such as the connection of beads, and the tone turns around. "Shi Shi" and "Cha Cha" are overlapping words. Even if the upper and lower sentences form an antithesis, the meaning is stronger and more vivid, which can better express the poet's sudden joy when he is infatuated with flowers and butterflies and suddenly awakened by the sound of warblers. Except for the words "dance" and "warbler", these two sentences are all tongue-toothed sounds, and the use of this series of tongue-toothed sounds creates a sense of language that mumbles to itself, vividly showing the feeling that the beholder is intoxicated and surprised by the beautiful scenery. The utility of sound is very helpful to the expression of mood. Syntactically, most of the poems in the prosperous Tang Dynasty are natural and muddy, while Du Fu is different from them. For example, "antithesis" (later couplet) is the style of quatrains in the early Tang Dynasty, and quatrains in the prosperous Tang Dynasty are rare, because it is difficult to achieve a perfect ending. Du Fu, however, because it is difficult to see coincidence, so the poem couplet is not only stable in antithesis, but also full of lingering charm, and it is used properly: when it is pleasing to the eye, hearing Yingge "cha cha" adds a lot of appeal. Besides, according to the customary grammar, these two sentences should be written as follows: the butterfly dances when playing, and the warbler crows freely. Putting "Linglian" and "Ziyou" at the beginning of a sentence is not only out of phonological needs, but also emphasizes them in semantics, making the meaning easier to appreciate and the syntax more novel and changeable.
Last song: "Love flowers or die". Happy and crisp, not hiding. Du Fu used to fight to the end, often using harsh words, such as "words are not surprising and never stop", which is the case. He also wrote: "I am afraid that the flowers will be exhausted." What I'm afraid of is that flowers fade and people get old. The next two sentences are about the scenery, about the easy falling of flowers, the slow opening of flowers, and the deep affection of flowers in the scenery, so as to express it in pairs, which is even more double-worded, airtight and affectionate.
4. About the author:
Du Fu (712-77), with beautiful words, was called Shaoling Yelao, known as "Du Gongbu" and "Du Shaoling" in the world, Han nationality, a native of Gongxian County, Henan Province (now gongyi city, Henan Province), and a great realistic poet in the Tang Dynasty. Du Fu was honored as a "poet saint" by the world, and his poems were called. Du Fu and Li Bai are called "Li Du" together, and in order to distinguish them from the other two poets, Li Shangyin and Du Mu, namely "Little Li Du", Du Fu and Li Bai are also called "Great Li Du". He is concerned about the country and the people, and his personality is noble. About 1,4 of his poems have been preserved, and his poetic skills are exquisite, which is highly respected in China's classical poems and has far-reaching influence. He lived in Chengdu from 759 to 766, and was commemorated by Du Fu's Caotang in later generations.