Original text:
spring scenery
Chang' an fell, the country was broken, and only the mountains and rivers remained; Spring has come, and the sparsely populated Chang' an city is densely forested.
Sad state, can not help but burst into tears, amazing birds, leaving sorrow and hate.
The war lasted for more than half a year, and letters from home were rare, with a hundred thousand gold.
Twisting with melancholy, scratching my head and thinking, the more I scratch my white hair, I can hardly insert a hairpin.
Notes on Hope in Spring;
Country: The capital refers to Chang 'an (now Xi 'an, Shaanxi).
Break: fall.
Mountains and rivers still exist: the old mountains and rivers still exist.
City: Chang 'an City.
Deep planting: refers to a vast territory with few people.
Sense of time: sentimentality about the present situation of the country.
Splash: Tears.
Hate parting: regret parting.
Beacon: Fireworks used in ancient frontier warning refers to the war of An Shi Rebellion. March: the first month, February and March.
Arrival: value, quite.
Whitehead: here refers to white hair. Scratch: scratch gently with your fingers.
Xiongnu: Very simple. Desire: think, want, want.
Win: endure, endure. Hairpin: a kind of jewelry for tying hair. Ancient men had long hair, which was tied on the top of their heads when they were adults and inserted horizontally with hairpins to avoid scattering.
The different meanings of the hope of spring in ancient and modern times;
1, (China) Broken Mountain River exists.
Ancient meaning: the national capital; Modern significance: country.
2, (muddy) want to smoke heart
Ancient meaning: simplicity; Today's meaning: turbid; Confused.
3, home (book) to ten thousand gold.
Ancient meaning: letter; Modern significance: a bound volume.
Appreciation of Hope in Spring:
The first four sentences of this poem describe the miserable and dilapidated scene of Chang 'an in spring, with ups and downs. In the last four sentences, the poet's feelings of caring for relatives and state affairs are full of bitterness and indignation. The rhyme of the whole poem is rigorous. The couplet expresses the sigh of the first couplet with "the place where the petals flow like tears", and expresses the anxiety of homesickness with "the lonely bird sings sorrow", while the couplet emphasizes that deep anxiety leads to a vast expanse of whiteness, exquisite confrontation and tragic voice.
"Although the country is divided, the mountains and rivers remain forever, and the vegetation turns green in spring." At the beginning of the poem, I described what I saw in the spring: the mountains and rivers are still there, but the capital has fallen and the city was destroyed in the war. The grass is overgrown with weeds and the trees are barren. The poet remembers how prosperous the spring in Chang 'an was, with birds singing and flowers fragrant, sheep flying, bright smoke and tourists lingering, but that scene has disappeared today. A word "broken" makes people stunned, and another word "deep" makes people sad. The poet wrote about today's scenery, which truly expressed people's sense of history, pinned their feelings on things, and created a desolate atmosphere for the whole poem with the help of scenery.
The two diametrically opposite images of "national destruction" and "urban spring" coexist, forming a strong contrast. "Spring in the city" refers to the season of lush flowers and trees and bright smoke in spring. However, due to the "destruction of the country", the decline of the nation and the fall of the capital, the glory of spring has been lost, leaving only ruins and only "deep planting". The word "deeply planted" has a profound meaning, indicating that Chang 'an is no longer a neat and orderly city, but a barren and dilapidated city with sparse vegetation. Here, the poet sees that things are sad and shows a strong sadness of separation.
"Petals fall like tears, and lonely birds sing their sorrows." Flowers shed tears mercilessly, birds are frightened without hatred, and flowers and birds have grievances because of people. Flowers in spring are originally beautiful and fragrant; Birds in spring should cheer and sing euphemistic songs to make people happy. Whether it is "feeling for time" or "hating farewell", it embodies Du Fu's misery. The meaning of these two sentences can be understood as follows: I felt the defeated situation and burst into tears when I saw bloom; I feel depressed and resentful, and I feel scared when I hear birds singing. People's inner pain, when they meet happiness, will cause more pain, just like "I have been there, and there is another village;" Today, I think, this is how it rains. Du Fu inherited this artistic technique of expressing sadness with musical scenes, and endowed it with deeper feelings, and obtained stronger artistic effects. The poet felt the pain of national destruction and death. The more beautiful the scene, the more it will increase his inner pain. This kind of association creates feelings and empathizes with things through the description of scenery. It shows the poet's deep feelings of worrying about the country and the people and missing his family.
"After three months of war, a letter from home is worth a ton of gold." The poet thought: The war has been going on for a spring and it is still not over. Emperor Xuanzong of the Tang Dynasty was forced to flee to Shu, and Tang Suzong just succeeded to the throne. However, loyalists have not yet achieved a favorable situation and failed to recover Xijing. It seems that the war will last for a long time. I still remember that I was captured and locked up in the enemy camp. I haven't heard from my wife and children for a long time. Their lives are uncertain, and I don't know what happened. If only I could get a letter from home. "A letter from home is worth a ton of gold" contains a lot of bitterness and expectation, which reflects the poet's urgent mood in the case of news isolation and long-awaited situation. War is the real reason why family letters are better than "all-purpose oil", and it is also the empathy of all people in war-stricken countries. It reflects the good wishes of the broad masses of people to oppose war and look forward to peace, which naturally makes people cry.
"I stroked my white hair. It has become so thin that it can no longer hold hairpins. "When the war lasted for several months, letters from home didn't come, and the worries of the country and the family came to mind, and domestic and foreign troubles were entangled. I have a miserable scene in front of me and I am extremely anxious. I was bored, scratched my head, hesitated, and my hair turned white. After leaving home, I have been wandering in the war and trapped in Chang' an for several months. I have less hair. I scratch my hair with my hands, and I feel that my hair is scarce and my eyes are short-sighted. I can't even get my hair in. The poet wrote about his own experience of getting old because of the destruction of the country and the division of the war. "White hair" comes from troubles, and "scratching" is because I want to relieve troubles. Hair is white and thin. From the change of hair, readers feel the poet's inner pain and sadness, and readers can better understand the poet's true image of worrying about the country and home when he is injured. This is a touching, complete and full artistic image.
This poem is a blend of scenes, deep feelings, implicit and concise, which fully embodies the artistic style of "depression and frustration". This poem has a compact structure and revolves around the word "Wang". The first four sentences are lyrical by borrowing scenery and scenery. The poet's sigh and anger, in the cross-transformation of feelings and scenery, have been conveyed implicitly, from ascending to overlooking to focusing on the perspective, from far and near, from light to strong. From the beginning, I described the bleak scenery of Beijing, to the tears when I saw the spring flowers and the resentment when I listened to the birds singing; Then I wrote that the war lasted so long that there was no news at home. Finally, I wrote my own sadness and aging, interwoven and progressive, creating a realm that can arouse people's voices and deep thoughts. It shows the typical feelings under the background of typical times, reflects the good wishes of contemporary people to love the country and yearn for peace, and expresses everyone's unanimous inner voice. It also shows the poet's noble feelings of worrying about the country and the people and being sad at times.
Artistic features of Hope in Spring;
(of literary works) the feeling and background blend happily/appropriately.
The first four sentences focus on painting landscapes (mountains and rivers, plants, flowers and birds), but there are feelings in landscapes (broken, deep, tears and earthquakes), and there is intention in landscapes (I hate parting when I feel it). The last four sentences focus on lyricism, which means lyricism by borrowing things (breaking the letter from home and scratching the "white head"), and there are scenes in love.
Deep artistic conception
"The country is broken" but "the mountains and rivers are there" and "the city is spring" is "the vegetation is deep"; Flowers and birds are entertaining things, but they are "tear-jerking" and "shocking". The sharp contrast of meaning and the gradual reversal of language situation make the poet's frustration and anxiety expressed artistically.
A vivid sentence
The word "broken" in "Although the country is broken, the mountains and rivers will last forever, and the vegetation will recover in spring" is shocking, and the word "deep" is bleak everywhere. The "splash" and "shock" in Where Tears Are Crying, Lonely Birds Sing Sorrow embody the dynamic beauty of poetic language and endow the poet with strong emotions.
The creative background of Hope in Spring;
In November of the 14th year of Tianbao reign of Emperor Xuanzong of the Tang Dynasty (AD 755), An Lushan rebelled against the Tang Dynasty. In June of the following year, the rebels captured Tongguan, and Tang Xuanzong fled to Sichuan in a hurry. In July, Prince Hengli succeeded to the throne in Lingwu (now Ningxia), assisting Tang Suzong. When Du Fu heard the news, he settled down in the boat and went to the Suzong court alone. Unfortunately, he was captured by the rebels on the way and sent to Chang 'an, but he was not imprisoned because of his humble position. In the spring of the second year from Tang Suzong to German (AD 757), Du Fu, who was in the occupied area, witnessed the scene of depression in Chang 'an with mixed feelings, so he wrote this masterpiece that will be told for generations.
About the author:
Du Fu (7 12 February 12? ~ 770), with beautiful words, is called Shaoling Yelao, a great realistic poet in Tang Dynasty, and is also called "Du Li" with Li Bai. Born in Gongxian County, Henan Province, his ancestral home is Xiangyang, Hubei Province. In order to distinguish Li Shangyin, Du Mu and Xiao Du Li, Du Fu and Li Bai are also called Da Du Li, and Du Fu is often called Lao Du.
As a teenager, Du Fu traveled to wuyue and Zhao Qi successively, during which he also visited Luoyang. After thirty-five, I came first and last in Chang 'an. Later, he presented gifts to the emperor and presented them to the nobles. The frustration of officialdom witnessed the extravagance and social crisis of the upper class in the Tang Dynasty. In the 14th year of Tianbao (755), the Anshi Rebellion broke out, Tongguan fell, and Du Fu moved to many places. In the second year of Gan Yuan (759), Du Fu abandoned his official position and went to Sichuan. Although he fled the war and lived a relatively stable life, he still cared about the whole life and the affairs of the country. Du Fu wrote such famous works as Climbing to the Top and Looking at Spring, Northern Expedition, Three Officials and Three Farewells. Although Du Fu is a realistic poet, he also has a wild and unruly side. It is not difficult to see Du Fu's heroism and dry clouds from his masterpiece Song of Drinking Eight Immortals.
The core of Du Fu's thought is benevolent government, and he has the great ambition of "making the monarch Yao and Shun superior and then making the customs pure". Although Du Fu was not famous during his lifetime, his fame spread far and wide, which had a far-reaching impact on China literature and Japanese literature. About 65,438+0,500 poems of Du Fu have been preserved, most of which are collected by Du Gongbu.
He died in the winter of the fifth year of Dali (770) at the age of 59. Du Fu's influence on China's classical poetry is far-reaching, and he is called "Poetic Sage" by later immortals, and his poems are called "Poetic History". Later generations called him Du Shiyi and Du Gongbu, and also called him Du Shaoling and Du Caotang.