Seventeen Qiupu songs, fifteen songs.
Li Bai [Tang Dynasty]
White hair three thousands of feet, sorrow like a beard.
I don't know where to get autumn frost in the mirror.
Translation:
White hair as long as three thousands of feet, it is because of sadness that it grows so long.
Somewhere in the mirror, autumn frost falls on my head.
Precautions:
A: So, so.
Autumn frost: describe hair as white as autumn frost.
Appreciate:
This poem is the most widely circulated in this group. "White hair and three thousands of feet, the fate seems long?" Split the air, such as spring tide rushing, such as volcanic eruption, shocking. Looking at the phrase "white hair is three thousands of feet" alone, it is really incomprehensible: how can white hair be "three thousands of feet"? When I read the next sentence "Sorrow is as long as sorrow", I suddenly understood that the "three thousands of feet" with white hair was born of sorrow and grew up because of sorrow. Worry makes white hair, people feel something, and grow three thousands of feet. How many deep worries should there be? The fateful weight of ten words falls on one word "sadness". It's incredible to write about sadness. Fantasy strange sentences can't help but make people marvel at the poet's boldness of vision and pen power. There are many sad examples in classical poetry. Luo Dajing, a poet in the Song Dynasty, wrote in "Jade Dew in the Crane Forest": "Some poets use mountains as a metaphor for their worries, and Du Shaoling said,' Worry comes like a mountain (according to newspapers and periodicals, it is regarded as' Qi finally goes south'), so you can't shovel holes'; Some people use water as a metaphor for sadness. Li Qiyun said,' Please measure the water in the East China Sea and look at the shallow and deep sorrow'. " Li Bai found another way to describe the depth of sadness with the length of "white hair and three thousands of feet". People will not only take the poet's unreasonable troubles seriously, but will sincerely appreciate this unnatural and popular strange sentence and feel sympathy for the poet's sigh.
People see the white hair on their heads and its length because they look in the mirror. The first two sentences are hidden in the mirror, and three or four sentences clearly say: "I don't know where to get autumn frost in the mirror!" " Autumn frost is white, representing its white hair. Seemingly repetitive but not repetitive, there is a sad and haggard emotional color that transcends the word "white" of white hair. "I don't know" in the previous sentence is not really unknown, nor is it because I don't know that I asked "where". These two sentences are not questions, but angry words and bitter words. Poetic eyes are on the word "de" in the next sentence. Where did you get so worried? The word "de" goes straight to the exclusion and oppression suffered by the poet for half his life; I don't know why I'm worried about my white hair and autumn frost on my temples. I feel it personally! Li Bai has the ambition of "bravely competing for his talents and willing to help him" and the ideal of "making the atlas area big and the sea county clear" (see Dai Shoushan's answer to Meng Shaofu's book). Despite his repeated setbacks, his ambition is not fade away. When he wrote this poem, he was already in his fifties, and his ambition had not been realized. When he was old, he had to suffer doubly. Then, I caught a glimpse of myself in the mirror, and a solitary chant of "Three thousands of feet with White Hair" occurred, which made the world's future generations know their grief and indignation, and the legendary sentence is a must.
Creative background:
This poem is the fifteenth in a series. Qiupu, Chizhou County in Tang Dynasty, named after Qiupu water, was one of the producing areas of silver and copper in Tang Dynasty. Li Bai visited Qiupu three times in his life, leaving more than 70 excellent works. These seventeen poems were written during the second visit to Qiupu in the 13th year of Tianbao (AD 754). At that time, Li Bai had left Chang 'an for ten years because of being left out in the cold. During these ten years, Li Baiyun traveled all over the world, and the four seas were home, from Yanzhao in the north to Jianghuai in the south; There were many happy times, especially with Du Fu, traveling hand in hand with Liang and Song, talking about wine and poetry. However, he was not in a good mood when he was in Qiupu. In the 12th year of Tianbao (753), he visited Ji in the north and witnessed the powerful forces of An Lushan and the monarch's ruby. At this time, he went to Jiangnan again with great grief and indignation.
About the author:
Li Bai (70 1-762), a great romantic poet in the Tang Dynasty, was called "Poet Fairy" by later generations and "Du Li" with Du Fu. In order to distinguish himself from two other poets, Li Shangyin and Du Mu, that is, "Little Du Li", Du Fu and Li Bai were also called together. According to the Book of the New Tang Dynasty, Li Bai is the ninth grandson of Gui Li, the king of Liang, and he is a descendant of all kings. He is cheerful and generous, loves to drink and write poems, and likes to make friends. Li Bai was deeply influenced by Huang Lao's idea of sorting out villages. Li Taibai's poems have been handed down from generation to generation, and most of his poems were written when he was drunk. His representative works include Looking at Lushan Waterfall, it is hard to go, Difficult Road to Shu, Entering Wine, Fu Zhi, and First Making Baidicheng.