Said by: Du Fu's Delighting in Rain on a Spring Night.
Original poem:
Delighting in Rain on a Spring Night
Tang Dynasty: Du Fu
Good rain knows the season, when spring comes.
Sneak into the night with the wind, moisten things silently.
The wild path is dark, and the river is bright.
Look at the red and wet place, the flowers in Jinguancheng are heavy.
Explanation:
Good rain seems to pick the right time, arrival in the spring when everything is born.
With the breeze, quietly into the night. Fine and dense, nourishing everything on the earth.
Thick dark clouds covered fields and alleys, and small lights were lit, and fishing boats on the river flashed.
Look at the flowers with dew tomorrow morning, and Chengdu will be full of flowers.
Know: I know, I know. Yes: just. Occurrence: germination and growth. In secret, quietly. Moisturizing: Nourishing plants through rain. Heavy: pronounced zhòng (heavy here means heavy. So the pronunciation is the fourth sound. )
Extended data creation background:
This poem was written in the spring of 76 1 year (last year). After a period of exile, due to the drought in Shaanxi, Du Fu finally settled in Chengdu, Sichuan. When writing this poem, he had lived in Chengdu Caotang for two years. He cultivates self-cultivation, grows vegetables and flowers, and interacts with farmers. He has deep feelings for the spring rain, so he wrote this beautiful poem, describing the rain on a spring night and nourishing everything.
The poet's achievements:
Du Fu's view of calligraphy creation is very mature and profound. According to the records, his calligraphy style is cursive and cursive, with overall intention, respect for the ancient and magnificent, and emphasis on speed, rhythm, brushwork, ink method and so on. He was also a very profound calligrapher in the Tang Dynasty.
At the same time, his praise of the official calligraphers in the Tang Dynasty and his evaluation of Cao Ba and Zhang Xu were enough to make him famous in the history of calligraphy. His theory of "calligraphy is expensive but thin and hard" laid an important position for Du Fu in the history of calligraphy theory.
In terms of meter, Du Fu's poems are characterized by refined words and neat antithesis, which conforms to the "architectural beauty" of China's poems. For example, "the wind blows in the wide sky, apes crow and birds crow, the blue lake and white sand return to their nests, the leaves fall like waterfalls, and I see the long river rolling in", which is the embodiment of Du Fu's superb diction and antithesis.