original text
The wild old hedge in front of the river bank has retreated, but the Chai Men by the river has not yet opened. Fishermen's nets gather under Chengtan, and Jia passenger ships come to accompany the light. The long road cares about the sad sword pavilion, but the floating clouds don't feel the piano platform. Julian Waghann didn't report to Dong Jun, and Anthony wong drew a corner of the city gate.
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The river winds, the thatched cottage. I'm walking by the river in front of the thatched cottage to watch, but Chai Men is crooked but naturally facing the river. Fishermen in Baihuatan over there are happily casting nets for fishing, and even merchant ships dock here in the sunset.
I thought of the way back to my hometown, but the sword door closed and the road was never broken. The overall situation is critical, people are deeply worried, and I am floating in Shu. After the fall of Luoyang last year, it has not been recovered yet, and the Tubo in the northwest is eyeing up, and the crisis of war is also lurking in Shu. In the bleak autumn wind, it is sad to hear the sound of painting corners from the wall of Chengdu.
Creation background
Written in 760 (the first year of Shangyuan). At this time, Du Fu had just settled down in the thatched cottage in the western suburbs of Chengdu and was satisfied with his life. But at that time, the country was still in turmoil and the people were in dire straits, which made him unable to be quiet, so he wrote this poem.
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The first couplet summarizes the surrounding environment of the thatched cottage, and the writing is simple and casual. At the beginning, the word "wild old man" was claimed by the poet. The river bank twists and turns, bamboo fence thatched cottage. At this time, the poet was strolling by the river in front of the thatched cottage. The beauty of this sentence "Chai Men" is that it is written effortlessly. This Chai Men seems to be faking it at will. Since the river turned a corner here, the poet set up a gate in Yingjiang. It doesn't matter if the direction is wrong, everything is resigned to fate.
Couplets, written about the activities of outsiders outside the thatched cottage and the scenery of Jiangcun, are leisurely and light, and poetry seems handy. In the beautiful Baihuatan, fishermen are happily fishing underground. Perhaps because the river bends backward, it is suitable for berthing ships, and merchant ships are also docked here in the setting sun.
The whole poem adopts the technique of borrowing scenery to express emotion. When the first half of the poem shows the picture of Jiangcun, the poet seems indifferent to nature. In the second half, he showed deep concern for the country and the people. It turns out that the poet's leisure is a kind of self-liberation in the dilemma of serving the country, and this detachment is deep helplessness and sorrow under calm.