The artistic conception of Du Fu's "Ascend the High" is:
The sky is high and the wind is strong, the autumn air is chilling, the apes are crying and howling, it is very sad; the clear river island, the white sandy beach, the gulls and herons Soaring low. Fallen leaves are falling, boundless, fluttering and rustling down; the endless Yangtze River is surging and rolling. The poem closely follows the seasonal characteristics of autumn and depicts the empty and lonely scene along the river.
Full poem:
"Climbing High"
Du Fu (Tang Dynasty)
The wind is strong, the sky is high, the ape is howling in mourning, and the sand is clear in the desert The white bird flew back.
Boundless falling trees rustle, and the endless Yangtze River rolls by.
Wanli is always a guest in the sad autumn, and he has been sick for hundreds of years and only appears on the stage.
Hard and bitter, I hate the frost on my temples, and my new wine glass becomes muddy.
Appreciation:
The first four sentences of this poem describe the experience of climbing high. First couplet. The poet focused on the specific environment of Kuizhou and used the word "fengji" to drive the whole couplet. From the beginning, he wrote a good sentence that has been passed down through the ages. Kuizhou is famous for its large number of apes, and the Xiakou is famous for its strong winds. It's a crisp autumn day, but it's windy here. The poet climbed to a high place, and the sound of "the high ape roaring" kept coming from the gorge, which had the meaning of "the sound is heard in the empty valley, and the sorrow lasts for a long time" ("Shui Jing Zhu·Jiang Shui"). The poet moved his gaze from the heights to the river and Zhouzhu. On the background of clear water and white sand, there are dotted with flocks of birds flying in the wind and constantly circling. It is really a beautiful picture. Among them, the sky, wind, sand, and rivers, the roar of apes, and the flight of birds are all created by heaven and earth, and they are naturally paired. Not only are the upper and lower sentences corresponding, but there are also self-contrasts within the sentences, such as "sky" vs. "wind" in the previous sentence, "gao" vs. "ji"; "sha" vs. "Zhu", "white" vs. "qing" in the next sentence, It reads rhythmically. After the poet's artistic refinement, the fourteen words are precise and accurate, and none of them are false. The use of words is "all thanks to the ax and chisel", reaching a wonderful and indescribable state. What's more noteworthy is that in the first sentence of the couplet, the last word is often in oblique tone, but this poem uses flat tone to rhyme. Shen Deqian was praised for his "reuse of rhyme in the two-sentence couplets, which changes the style" ("Biecai of Tang Poems").
The chin couplets express the typical characteristics of Kuizhou’s autumn. The poet looked up at the boundless swaying wooden leaves and looked down at the endlessly flowing and rolling river. While describing the scene, he deeply expressed his feelings. "Boundless" and "Endless" make the "Xiao Xiao" and "Rolling" more vivid, which not only reminds people of the sound of falling wood and the turbulent shape of the Yangtze River, but also conveys the feeling that time is fleeting and ambitions are hard to achieve. . Through the melancholy and sad couplets, it shows the superb writing power, and it has the majestic momentum of "building a bridge" and "paying attention to the east of hundreds of rivers". The predecessors praised it as the "transformation state in the sentence" that is "unparalleled in ancient and modern times", which is reasonable.
The first two couplets try their best to describe the autumn scenery, but it is not until the neck couplet that the word "Autumn" is clicked. "Only on the stage" indicates that the poet is looking far away from a high place, which closely links the vision of his eyes with the feelings in his heart. "Often a guest" points out the poet's wandering career. "A hundred years" is a metaphor for a limited life, here it refers specifically to the old age. The word "Sad Autumn" is written with sadness. Autumn is not necessarily sad, but when the poet saw the desolate and majestic autumn scenery, he couldn't help but think of his situation in a foreign land, old and sick, so he felt infinite sadness. The poet summarizes the feelings of Jiuke who is most prone to sadness and who is sick and loves to go on stage only in a couplet of "magnificent and loud, really loud", which makes people deeply feel his heavy beating. Emotional pulse. The "ten thousand miles" and "hundred years" in this couplet and the "boundless" and "endless" in the previous couplet also echo each other: the poet's travel sorrow and loneliness are like fallen leaves and rivers, endlessly pushing and driving away Continuously, emotions and scenes blend together. At this point in the poem, the general meaning of being a guest and homesickness has been added, and the content of being lonely for a long time has been added, the emotion of sadness and suffering in autumn has been added, and the sigh of being in one's twilight years after being thousands of miles away from home has made the poem even more profound.
The last couplet is a pairing, and contains five or six sentences. The poet is prepared to experience the pain of poverty and poverty. The national crisis and family worries will make his hair gray more and more. In addition, he stops drinking due to illness, which makes it even more difficult to relieve his sorrow. It was easy to understand the poet's contradictory mood when he was originally excited to climb high and look far away, but now he was aroused hatred and sorrow for no reason. The first six sentences are "flying and shaking", but here they are "soft and cold, and the infinite sadness overflows beyond the words" ("Shi Sou").
The first half of the poem describes the scenery, and the second half is lyrical. Each has its own intricacies in writing. The first couplet focuses on depicting the specific scenery in front of you, just like a painter's fine brushwork, where shape, sound, color, and attitude are all expressed one by one. The second couplet focuses on rendering the entire autumn atmosphere, just like a painter's freehand brushwork. It should only be expressive and understandable, allowing readers to supplement it with their imagination. The triptych expresses emotions, written from both vertical (time) and horizontal (space) aspects, from wandering in a foreign land to being sick and disabled. The four couplets also start with the increasing number of gray hairs and stopping drinking to protect the sick, which is attributed to the difficult times as the root cause of poverty. In this way, Du Fu's sentiment when he was worried about the country's injury came to the fore.
Du Fu (712-770), named Zimei, Han nationality, was born in Gongxian County, Henan Province (now Gongyi City, Zhengzhou, Henan Province) in the Tang Dynasty. He called himself Shaoling Yelao. He was a great realist poet in the Tang Dynasty, and Li Bai Collectively known as "Li Du". In order to distinguish them from the other two poets Li Shangyin and Du Mu, known as "Little Li Du", Du Fu and Li Bai are also collectively known as "Big Li Du", and Du Fu is often called "Old Du". Du Fu had a profound influence on Chinese classical poetry. He was called the "Sage of Poetry" by later generations, and his poems were called the "History of Poetry". Later generations called him Du Shiyi and Du Gongbu, and also called him Du Shaoling and Du Thatched Cottage.
The core of Du Fu's thoughts is the Confucian thought of benevolent government. He has the grand ambition of "bringing the emperors Yao and Shun to the throne, and then making the customs pure." Although Du Fu was not well-known during his lifetime, he later became famous and had a profound impact on both Chinese and Japanese literature. About 1,500 poems by Du Fu have been preserved, most of which are collected in "Du Gongbu Collection".
Chinese name
Du Fu
Date of birth
712 (Year of Renzi)
Foreign name< /p>
Du Fu, Tu Fu
Date of death
770 (Gengxu year)
Alias ??(character)
Zimei, nicknamed Shaoling Yelao
Main achievements
Creating realistic poetry
Nationality
Chinese
Representative works
"Collection of Du Gongbu"
Dynasty
Tang Dynasty
Nationalities
Han nationality
Birthplace
Gong County, Henan Province (now Gongyi City, Zhengzhou, Henan Province)
Occupation
Poet
Ancestral home
Xiangzhou Xiangyang in the Tang Dynasty (today's Xiangyang City, Hubei Province)
Honorary title
Poetry Saint
School
Tang Dynasty modern realism