She came out of the purple palace and entered the desert. Now she has become a green grave in the yellow dusk.
Her face! Can you imagine the spring wind? Back to the soul in the moonlight.
The Tatar song on her jade guitar tells her eternal sadness.
This is the third of five poems about historical sites. The poet expressed his embrace by chanting Zhaojun Village and remembering Wang Zhaojun.
"Thousands of mountains and valleys are near Jingmen, only girls are in the village". The poem begins with two sentences, pointing out the place where Zhaojun Village is located. According to Tongzhi, "Zhaojun Village is forty miles northeast of Jingzhou Prefecture." Its address is Xiangxi, Zigui County, Hubei Province. When Du Fu wrote this poem, he was living in Baidicheng, Kuizhou (now Fengjie, Chongqing). This is the western end of the Three Gorges, with high terrain. He stood at the height of Baidicheng, looking east at Jingmen Mountain outside the East Gate of the Three Gorges and Zhaojun Village nearby. Hundreds of miles away, out of sight, he used his imagination to conceive a magnificent picture of mountains and valleys going to Jingmen Mountain with dangerous rivers. He took this picture as the first sentence of this poem, which is very unusual. There is an epigram in the Three Gorges River written by Du Fu, that is, "More water will prosper the country, and Qutang will fight for a gate" ("Two Poems of the Yangtze River"). He used the word "fight" to highlight the thrills of the Three Gorges water potential. Here, the word "go" highlights the majesty and vividness of the Three Gorges Mountain. This is an interesting contrast. However, the next sentence of the poem falls in a small Zhaojun village, which is quite surprising, because it has caused some different comments from critics. Amin Hu Zhenheng's Du Shitong said: "Wan He is close to Jingmen, and the first sentence is like a hero. It is not cooperation." This means that such a dignified sentence is only suitable for the place where heroes grow up, not for Zhaojun Village, which is not harmonious. Wu Zhantai's "Du Shi Tiyao" is another view. He said, "The abrupt beginning is the first sentence in the Seven Laws, which means that beautiful scenery and beautiful Zhong Ling only produce one princess. This is very beautiful and earth-shattering. " It means that Du Fu wanted to raise Zhao Jun's "gentle and graceful beauty" and write about her "earth-shattering", so he used the majestic atmosphere of mountains and rivers to contrast her. Yang Qinglun's Du Jing Quan said: "Mentally speaking, the earth is somewhat solemn. "It is also close to this meaning. Who is right and who is wrong, and how to understand the poet's conception need to be combined with the theme and center of the whole poem to make it clear, so we will talk about it later.
"She came out of the purple palace and walked into the desert. Now she is a green grave in the yellow dusk." The first two sentences were written by Zhaojun Village, and these two sentences were written by Zhaojun himself. The poet wrote the tragedy of Zhao Jun's life in just two powerful poems. Judging from the conception and wording of these two poems, Du Fu probably borrowed the words from Liang Jiangyan's "Hate Fu" in the Southern Dynasties: "When Princess Ming went, I was too relieved to look up to the sky. The purple platform is a little far away and the mountains are infinite. I hope the king is abroad. " But by careful comparison, we should admit that the ideological content summarized in these two poems of Du Fu is much richer and more profound than that of Jiang Yan. A Qing poet said in Du Shi Jie Yi: "The word' Lian' is used to write the scenery, and the word' Xiang' is used to write the heart of thinking about Han, and there is a god in the pen." This is very correct. However, there are more than these two words. If you only look at Zitai and Shuomo, you will naturally think of leaving the Han Palace to marry Zhaojun of Xiongnu and living a lifetime in a strange and unusual environment. The next sentence, Zhao Jun was buried in the Great Wall, "Zhong Qing" and "dusk" these two simplest ready-made words, particularly clever. In everyday language, the word "dusk" refers to time, but here it seems to mainly refer to space. Refers to the sky connected with boundless desert and covering fields at dusk. It is so big that it seems to swallow and digest everything. However, there is only one kind of evergreen grave grass, which can't be swallowed and digested. Thinking of this, this poem naturally gives people a kind of boundless and heavy feeling of heartless heaven and earth and hatred in Qinghai-Tibet.
"Her face! Can you imagine the spring wind? , Huan Peikong returns to the moonlit soul. " This is followed by the first two sentences, which further describes Zhao Jun's life experience and feelings of home and country. The sentence of "Painting" inherits the third sentence, and the sentence of "Pei Huan" inherits the fourth sentence. The phrase "drawing pictures" means that because of the fatuity of Emperor Han and Yuan, people in the empresses' palace only look at pictures and don't look at people, and their fate is completely at the mercy of painters. Saving knowledge is "a little knowledge". It is said that Yuan Di knew something about Zhaojun from the pictures, but in fact he knew nothing about Zhaojun, which led to the tragedy that Zhaojun was buried beyond the Great Wall. The sentence "Pei Huan" means that she misses her old country and will never change. Although her bones remain in the grave, her soul will return to the country where her parents grew up on a moonlit night. Jiang Kui, a poet in the Southern Song Dynasty, once again enriched and perfected the image of Du Fu's poem in his Yongmei masterpiece Thin Shadow: "Zhao Jun is not used to Hu Shayuan, and has a crush on Jiangnan Jiangbei. I want to come back on a moonlit night and become this flower. " What is written here is that Zhao Jun misses Jiangnan Jiangbei, not the Han Palace in Chang 'an, which is particularly touching. The ghost of Zhaojun, who returned on a moonlit night, has been refined and turned into a fragrant plum blossom, which is even better in imagination!
"The Tatar song on her jade guitar tells her eternal sadness." This is the end of this poem, which points out the theme of Zhao Jun's "resentment" through the pipa tune of Hu Yin for thousands of years. According to Han Liuxi's Ming Shi, "Pipa immediately drum up Hu Zhong. When you push your hand, you say pipa, and when you pull it, you say pipa. " Shi Chong's Preface to a Mingjun said, "Yesterday, the princess married Wu Sun, which made the pipa happy at once to comfort her thoughts on the road. It sent Mingjun to see Philly. " Pipa was originally introduced to China from the Hu people, and it was often played with Hu Yin and Hu Diao's Song of the Great Wall. Later, many people sympathized with Zhao Jun and wrote Pipa songs such as Zhao Jun's Complaints and Wang Mingjun, so Pipa and Zhao Jun were very close in poetry.
As has been explained repeatedly, although Zhao Jun's "resentment" also contains the "resentment" of "hating the emperor and not meeting each other", more importantly, a woman who is far away from her hometown will always miss her hometown. It is the deepest affection for her hometown and motherland that she has accumulated and consolidated from generation to generation for thousands of years.
This word can be traced back to the first two sentences of this poem. Ming Hu Zhenheng said that the poem "Wanchongling Valley is near Jingmen" can only be used in places where heroes grow up, but it is not suitable for small villages where princesses grow up. It is precisely because he only understood Zhaojun from the narrow feelings such as lamenting the misfortune of beautiful women, and did not realize the weight of Zhaojun's resentment. Wu booth in Qing Dynasty realized that Du Fu wanted to make Zhaojun "earth-shattering", and Qing Yanglun also realized Du Fu's "solemn" attitude in words, but he did not fully explain why Zhaojun was "earth-shattering" and why it was worthy of "solemn". Although Zhaojun is a woman, she walked thousands of miles away and left her heart to the motherland. Her name will remain immortal with poetry and music. Why isn't such a magnificent poem as "Wanchongling Valley is near Jingmen" worth writing solemnly?
The title of this poem by Du Fu is Ode to Monuments. Obviously, when he wrote Zhao Jun's resentment, he pinned his feelings for life, family and country. He "wandered in the southwest between heaven and earth", far from his hometown, and his situation was similar to that of Zhaojun. Although he is in Kuizhou, the Yanshi area of his hometown Luoyang, which is not as far away from Wan Li as Zhaojun's departure, Luoyang is still an elusive place for him. He lives in Zhaojun's hometown, and he just uses the image of Zhaojun missing his hometown and jathyapple's soul to express his feelings of missing his hometown.
Li Zide, a Qing, said: "Only Princess Ming was told that there was never a word in the discussion, but the meaning was all-encompassing. Later, these families could no longer contact them. " (Quoted from Yang Qinglun's Du Shi Jing Quan) This sentence tells the most important artistic feature of this poem. It's all about image from beginning to end, and it doesn't need half an abstract discussion. However, the tragic images of Zhao Jun's "She has become a green grave in the dusk" and Kong's "Rebirth under the Moon" have left an indelible impression on readers.