Tang poetry is one of the precious cultural heritages of the Chinese nation and a pearl in the treasure house of Chinese culture. It has also had a great impact on the cultural development of many countries in the world and will be of great help to future generations when they study the Tang Dynasty. It has important reference significance for politics, people's sentiments, customs, culture, etc. Below is the Tang poem "Spring Snow" that I compiled. You are welcome to share it.
"Spring Snow"
There is no youth in the new year,
I was surprised to see grass buds in early February.
The white snow is too late for spring, so
so flying flowers fly through the trees in the garden.
Appreciation of Han Yu's poems
This poem "Spring Snow" has a novel and ingenious conception and is the best among Han Yu's poems.
"The New Year is not yet blooming, but we are surprised to see grass buds in early February." The New Year is the first day of the first month of the lunar calendar. This day is the beginning of spring, so it marks the arrival of spring. There are no fragrant flowers in the New Year yet, which makes people who have been looking forward to spring for a long time in the long cold winter extremely anxious. The word "du" reveals this eager mood. The second sentence "I was surprised to see grass buds in early February" means that there are no flowers in February, but it is said from the side, and the feelings are not pure sighs and regrets. The word "surprise" is the most interesting word. It describes the poet's expression of surprise when he finally saw the bud of "spring" in anxious anticipation. In addition, the word "surprise" expresses the feeling of novelty, surprise and joy after getting rid of the winter cold. The word "chu" contains the regret, regret and dissatisfaction that spring comes too late and flowers bloom too late. Han Yu once wrote in "Early Spring Presents the Water Department Zhang Shiba Yuanwai": "The color of grass looks far away but there is nothing close" and "The most advantageous thing about spring is the spring." The poet seems to be particularly passionate about "grass buds", that is, because he comes from grass. Ya must have seen the news about spring. Judging from the composition, the first sentence, "There is no youth", is suppressed; the second sentence, "The grass buds are first seen", is raised, with ups and downs.
On the surface, the third and fourth sentences say that there is snow but no flowers, but the actual feeling is: people can still wait for the belated spring, and see the figure of spring in the grass buds in February, But Bai Xue couldn't wait any longer, and actually flew into the air, flying through the trees, and decorated herself with a spring scenery. The future of true spring (flowers in full bloom) will certainly make people feel a little regretful, but doesn’t the spring snow flying through the trees and flowers still give people the breath of spring! The poet is not mainly melancholy or regretful about the spring snow and flying flowers, but is full of joy. A poet who is looking forward to spring can create a spring scenery if there is no spring scenery in nature yet. This is the beauty of sentences three and four. It is full of strong romanticism and can be described as a stroke of genius. "But it's too much" and "I'm wearing it", how beautifully and spiritually Chun Xue is portrayed. The idea of ??the poem is very strange. In early spring, snowflakes are flying, which is originally the reason why "there is no youth in the new year, and grass buds are surprised to see in early February". However, the poet prefers to say that snowflakes are flying through the trees in the garden because they feel that spring comes too late. Come. This way of translating cause and effect adds to the interest of the poem.
The three words "flying flowers" turn static into dynamic, turning the desolation of early spring into the bustle of mid-spring. It is turned over and over again, making readers dizzy.
About the author
Han Yu (768-December 25, 824), also known as Tuizhi, was a native of Heyang, Henan (now Mengzhou City, Henan Province), and called himself "Jun Wang" Changli", known as "Han Changli" and "Mr. Changli" in the world. An official, writer, thinker and philosopher in the mid-Tang Dynasty.
In the eighth year of Zhenyuan (792), Han Yu ascended to the rank of Jinshi. He served as an official in Jiedu twice, and he was appointed as a supervisor to supervise the imperial censor. Later, he was demoted to Yangshan for discussing affairs and held the positions of official wailang in Lidu, editor of the History Museum, and secretary of Zhongshu. In the twelfth year of Yuanhe (817), he served as Prime Minister Pei Du's marching Sima and participated in pacifying the "Huaixi Rebellion". Later, he was demoted to Chaozhou for admonishing and welcoming the Buddha's bones. In his later years, he became a minister of the Ministry of Personnel, and was known as "Han's Ministry of Personnel". In the fourth year of Changqing (824), Han Yu died of illness at the age of fifty-seven. He was given the posthumous title "Wen" by the Minister of Rites, so he was called "Han Wen Gong". In the first year of Yuanfeng (1078), he was granted the title of Chang Li Bo and worshiped in the Confucius Temple. [1]
Han Yu was an advocate of the ancient prose movement in the Tang Dynasty. He was respected by later generations as the head of the "Eight Great Masters of the Tang and Song Dynasties". Together with Liu Zongyuan, he was also known as "Han Liu". The name of "A Hundred Generations of Wen Zong". Later generations will call him, Liu Zongyuan, Ouyang Xiu and Su Shi, the "Four Great Masters of Eternal Writing". The prose writing theories he proposed, such as "the unity of literature and Taoism", "the spirit of the spirit and the appropriateness of the words", "the Wu Qu Chen Yan" and "the text follows the word order", are of great guiding significance to future generations. There is "Han Changli Collection" handed down from generation to generation.