Original text
The six kings are finished, the four seas are one, Shushan Wu, A Fang comes out. It was covered for more than three hundred miles and isolated from the sky. Lishan is built in the north and turns west, going straight to Xianyang. The two rivers flowed into the palace wall. Five steps to the first floor, ten steps to the pavilion; the waist of the corridor is unobtrusive, and the eaves and teeth are high; everyone is holding on to the terrain and fighting each other. Panpan Yan, Huan Yan Yan, honeycomb water vortex, I don't know how many tens of millions of them have fallen. The long bridge is lying on the waves, what's the point? If you return to the Tao and walk in the sky, what will happen if you don’t fly? I am confused up and down, and I don’t know the west or the east. The singing stage is warm and the spring light is warm; the dance hall is cold and the wind and rain are miserable. Within a day, from one palace to another, the weather is not uniform.
The concubines, concubines, princes and grandsons left the lower hall and came to Qin in their chariots. Chaoge Yexian is from Qin Palace. The stars are shining brightly, and the makeup mirrors are opened; the green clouds are disturbing, and the servant girls are combing at dawn; the Wei River is swollen and greasy, and the fat and water are discarded; the smoke is slanting and the fog is horizontal, and peppers and orchids are burning. The thunder suddenly startled me, and I heard the palace carriage passing by; I heard the winding of the wind from afar, but I didn't know where it was. Every muscle and face, his expression is extremely radiant, and he is far-sighted and looks lucky. He has not been seen for thirty-six years. The collections of Yan and Zhao, the management of Han and Wei, and the elites of Qi and Chu have plundered their people for several generations and stacked them like mountains; Dings, clangs, jade, gold nuggets, beads and gravels are thrown away in the winding winds, but the people of Qin regard them with no pity.
Sigh! The heart of one person is the heart of thousands of people. Qin's love is extravagant, and people also miss his family. How can you take all the baht and use it like sand? There are more pillars supporting the building than there are farmers in Nanmu; there are more rafters erecting beams than there are workers on the machine; there are more phosphorus on nail heads than there are grains of millet in Yu; there are more jagged joints in tiles than there are silk threads all over the body; there are more straight rails and horizontal sills. , more than the city walls of the Nine Lands; the orchestral music is hoarse, more than the words of the people in the city. Make people in the world dare not speak out but dare to get angry. The heart of a single husband is becoming increasingly arrogant. The soldiers of the garrison shouted, and the soldiers lifted up the grain, and the people of Chu fired their torches, pitifully scorching the earth.
Woohoo! Those who destroy the six kingdoms are the six kingdoms, and they are not Qin; those who belong to Qin are Qin, and they are not the world. Sigh! If the six countries love their own people, it will be enough to reject Qin; if Qin loves the people of the six countries again, he will be king for three generations and will be king for ten thousand generations. Who can win and his family will be destroyed? The people of Qin had no time to mourn for themselves, so that future generations would mourn for them; if future generations mourned without taking note of it, they would also cause future generations to mourn for future generations again.
Translation
The six kingdoms were destroyed and the world was unified. The trees in the mountains and forests of Sichuan were cut down, and the Epang Palace was built. (It) covered more than three hundred miles, almost blocking the sky. It was built from the north of Lishan Mountain and extended to the west in a zigzag manner, all the way to Xianyang. The Wei River and Fanchuan River flowed into the palace wall mightily. There is a tall building every five steps, and a pavilion every ten steps; the long corridor is like a belt, winding and twisting, and the eaves are so high that they fly in the air like a bird's beak. These pavilions, terraces and pavilions are surrounded by different terrains, with corridors surrounding them like the center of hooks, and towering eaves like fighting horns. They twist and turn, twist and turn, as dense as honeycombs, as interconnected as water vortexes, towering and majestic, there are tens of millions of them. The long bridge lies on the water (like a dragon), (but) there are no clouds, how can there be a dragon flying? The compound road between the pavilions is in mid-air (like a rainbow), (but) it is not sunny after the rain, how can there be a rainbow? The high and low pavilions are so dark and blurred that people can't distinguish north, south, west, and east. The singing from the high platform makes people feel warm, as warm as spring; the dancing sleeves fluttering in the hall make people feel cold, as cold as the wind and rain. On the same day, in the same palace, the climate is completely different.
The maids and concubines (of the Six Kingdoms), the daughters and granddaughters of the princes and royal families, bid farewell to the palaces and attics of their homeland, and took chariots to the State of Qin. (They) sang in the morning and played the piano in the evening, and became the palace servants of Emperor Qin. (In the early morning) I saw stars twinkling, (it turned out to be them) opening the dressing mirror; I also saw dark clouds turbulent, (it turned out to be them) combing their hair early in the morning; there was a layer of greasy water in the Wei River, (it was them) who splashed it There is powder and water; the light smoke lingers and the fragrant mist fills the air. It is the fragrance of the peppers and orchids they burned. Suddenly a thunderous sound shook the sky, and it turned out to be a palace carriage passing by; the sound of rumble wheels gradually became distant, and it was unclear where it was going. (The palace maids) tried their best to show their charm and beauty. Every part of their skin and every posture were extremely moving. (They) stood for a long time, looking out, hoping that the emperor would favor him and visit; (poor) some people had never seen the emperor in thirty-six years. The rare treasures collected by Yan and Zhao, the gold and silver amassed by Wei in South Korea, and the treasures preserved by Chu in Qi were all plundered from the people over many years and generations and piled up like mountains. Once the country is destroyed and can no longer be occupied, they will all be transported to Afang Palace. From then on, the tripods were regarded as iron pots, the jade was regarded as stones, the gold was regarded as clods, and the pearls were regarded as gravel. They were all thrown around, and the people of Qin looked at them without feeling pity.
Alas! What one person thinks is also what millions of people think. Qin Shihuang liked prosperity and luxury, and the people also missed their homes. Why don't you miss even a penny when searching for treasure, but treat it like dirt when you squander it? There are even more pillars supporting the beams than there are farmers in the fields; there are more rafters on the roof beams than there are weavers on the looms; and there are more protruding nail heads than there are grains of millet in the barn. There are more uneven tile seams than the silk threads people wear on their bodies; there are more straight railings and horizontal thresholds than the city corridors of Kyushu; the monotonous and less varied music is more than the words of people in the market. More. (This) makes people all over the world dare not speak out, but their hearts are full of anger. Qin Shihuang, the tyrant, became increasingly arrogant and stubborn.
So Chen Sheng and Wu Guang rose up, Liu Bang broke through Hangu Pass; Xiang Yu set off a fire, but unfortunately the luxurious palace turned into a scorched earth!
Alas! The one who destroyed the Six Kingdoms was the Six Kingdoms themselves, not Qin. It was the King of Qin himself who destroyed Qin, not the people of the world. well! If the kings of the six kingdoms can each care for their own people, it will be enough to resist Qin; (after the unification of Qin) if they can also care for the people of the six kingdoms, they can be emperors for three generations or even for ten thousand generations, and who can perish? What about him? The rulers of Qin had no time to lament their own demise, but they made future generations lament it; if future generations lamented it and did not learn from it, then they would have to be lamented by future generations.
Self-reading tips
"A Fang Gong Fu" is selected from Du Mu's "Collected Works of Fan Chuan". Du Mu (803-852), also known as Muzhi. Born in Jingzhao Wannian (now Xi'an City, Shaanxi Province) in the Tang Dynasty, he is a famous poet. This article was written in the first year of Baoli (825) by Emperor Jingzong of the Tang Dynasty. The author said in "Shangzhiji Wenqi": "Baoli had a large palace and a wide range of sounds, so he wrote "Afanggong Fu"." Therefore, this poem is a satirical reference to the ancient times, that is, to satirize the emperor through the historical facts of Qin Shihuang's debauchery and extravagance that led to his own destruction.
The article has a rigorous structure and clear layers. The first half uses exaggerated techniques to describe Qin Shihuang's debauchery and luxury: the first paragraph describes the vast and magnificent construction of Epang Palace; the second paragraph describes the extravagance and decadence of palace life. These two paragraphs are written from the outside to the inside, from the pavilion construction to the activities of the characters, and are written in an orderly manner. In the second half, description turns to lyrical discussion. The third paragraph writes that Qin's excessive taxation and expropriation led to peasant uprisings. Overthrow its rule; the fourth paragraph is intended to summarize the historical lessons of Qin's fall, pointing out that "descendants" (referring to the rulers at that time) will definitely repeat the mistakes of history if they do not know how to learn from it. These two paragraphs of discussion have very clear levels from ancient times to the present.
This form of poetry emphasizes the neatness of words and the harmony of tone. It describes things with the utmost exaggeration and exaggeration, and often makes a little discussion at the end to express the allegorical meaning. It is a genre between poetry and prose. This article fully possesses these characteristics.
This article is full of passion, both description and discussion, and the language is exquisite and full of literary grace; sometimes it is both parallel and loose, with changes in neatness; sometimes metaphors are appropriate and vivid; sometimes parallelism is used, Make the article full of momentum.
Notes
[1] Unification.
[Shu Mountain Wu, Afang Chu] The mountains in Sichuan were bare, and Afang Palace appeared. Wu, the mountain is high and flat. It is described here that all the trees on the mountain have been cut down. To come out, to appear, means to be built.
[Overburdening more than three hundred miles] (from Weinan to Xianyang) covered more than three hundred miles. This describes the continuous succession of palaces and pavilions covering an extremely large area. Cover, cover.
[Isolation from the sky] covered the sky. This describes the grandeur of palaces and pavilions.
[Lishan...Xianyang] (Afang Palace) was built from the north of Lishan Mountain, turned westward, and led to Xianyang (in ancient Xianyang was northwest of Lishan Mountain). Go, trend.
〔Erchuan Rongrong〕Erchuan refers to Weishui River and Fanchuan River. Rong Rong, the way the river flows slowly.
[The waist of the corridor is unobtrusive] The corridor is wide and winding. Corridor waist, the corridor connecting tall buildings, is like a person's waist, so it is called so. Man, lingering. Back, twists and turns.
〔High eaves pecking〕The (protruding) eaves (like a bird's beak) pout upward. Eaves teeth, eaves protrude like teeth.
[Each one follows the terrain] Each one follows the terrain. This is a state in which the office buildings are built facing away from each other according to the height of the terrain.
[Hook and heart fight] The corners of the house are connected to each other like hooks; the corners of the house are facing each other, and they are like fighting with each other. Heart, heart of the house. Corner, eaves corner.
[Panpanyan,囷囷(qūn qūn)yan, honeycomb water vortex]circling, buckling, like a honeycomb, like a water vortex. Yan is equivalent to "ran" in "awe-inspiring" and "happy". The pavilion is built against the mountain, so it is said to be like a honeycomb or a vortex. Panpan, circling. Screaming, buckling.
〔I don’t know how many tens of millions there are standing there〕I don’t know how many millions of them there are. chu, describes the towering appearance of a building. The usage of "杳" in "杳不知道的就是也" below is the same. Luo is equivalent to "seat" or "place".
[A long bridge lies on the water, but there are no clouds, so why is the dragon?] A long bridge lies on the water, but there are no clouds. How come a dragon appears? "The Book of Changes" has the words "Yun follows the dragon", so people think that if there is a dragon, there should be clouds. This is a pretense of questioning, describing the long bridge as resembling a dragon.
[Full Road] A wooden passage between pavilions. Because there are passages up and down, it is called the compound road.
〔Mingmi〕Can't tell clearly.
〔The singing platform is warm and the spring is harmonious〕It means that when people sing on the platform, the sound of singing seems to be full of warmth. As harmonious as spring. Harmony, harmony.
[The dance hall has cold sleeves, the wind and rain are miserable] It means that people dance in the hall, and the dancing sleeves are fluttering, which seems to bring cold air, as cold as the wind and rain.
[Concubine (qiáng)] collectively refers to the concubines of the six princes. Each of them has a rank (the rank of concubines is higher than that of concubines and concubines). A concubine is a dowry person, and can also be a concubine or concubine. The "princes and grandsons" below refer to the daughters and granddaughters of the five princes of the Six Kingdoms.
[Quickly bid farewell to the palace downstairs and come to Qin in a chariot]
[The star shines brightly, and the dressing mirror is opened] (The light is like a star shining brightly, it is the (official) opening the dressing mirror. Yingying, bright look. The following four consecutive sentences have the same sentence structure.
〔Swelling and greasy〕Swelling of fat (face-washing "fat water" containing rouge and powder).
[Jiaolan] Two spice plants.
[Listen from afar] The sound of cars is getting farther and farther away. The sound of rolling wheels.
[Every skin, every face, looks extremely beautiful] Any part of the skin, any kind of appearance, is extremely charming. Attitude refers to the beauty of posture. Yan, beautiful.
[Manli] Stand for a long time.
[Lucky] In the feudal era, when the emperor went somewhere, he was called "lucky". Concubines and concubines who are favored by the emperor are called "de fortunate". "Lucky" here includes the above two meanings.
[Thirty-six years] Qin Shihuang reigned for ***36 years. According to Qin Shihuang's twenty-sixth year (221 BC), he unified China and died in the thirty-seventh year (209 BC). He served as emperor for twelve years. The thirty-six years mentioned here refer to the number of years he reigned to describe a long time. .
[Collection] refers to gold, jade, treasures and other items. The following terms “manager” and “elite” also mean the same thing.
[Piāo (piāo) plunder their people] robbed from the people. Plagiarize, rob, plunder. people. The Tang Dynasty avoided the taboo of Emperor Taizong Li Shimin and changed the people's behavior. The "people" in "People also miss their families", "Each of the Six Kingdoms loves its own people" and "Qin Fu loves the people of the Six Kingdoms
" are the same.
[Yitie] Accumulation.
[Ding Dang (chēng) jade, gold nuggets, beads] Treat the tripod (as) an iron pot, the beautiful jade (as) a head, the gold (as) a clod of earth, and the pearl (as) Seen as) stones. Pan, a shallow pan with a flat bottom.
〔Meandering (lǐ yǐ)〕continuously. Here it means "connected" and "everywhere".
[锱(zī) baht(zhū)] is an ancient weight name, one 锱 is equal to six baht, and one baht is approximately equal to one quarter of one liang later. "锱" and "铢" are used together, which is extremely subtle
[The pillar that bears the pillar] The pillar that bears the beams.
[Phosphorus] The appearance of standing stones in the water. This describes the protruding nail head.
〔庚(yǔ)〕Open-air barn.
[Nine Soils] Kyushu.
[Dufu] refers to Qin Shihuang.
[Solid] Stubborn.
〔Garrison Soldier Call〕 refers to Chen She and Wu Guang's uprising.
[Hangu Ju] Liu Bang led his army into Xianyang in 206 BC, overthrew the rule of the Qin Dynasty, and sent troops to guard Hangu Pass. Lift, pull out, capture.
〔Chu people Yihuo〕 refers to Xiang Yu (a descendant of Chu general Xiang Yan) who also entered Xianyang in 206 BC and burned the palace of Qin. The fire did not go out for three months.
[Clan] is used as a verb to exterminate the clan and kill the people of the same clan.
[Pass] Pass on, pass on in order.
Appreciation
(1) What is the author’s background and purpose in writing this article?
Analysis: To answer this question, see the self-reading tips. "Afang Palace Fu" was written in the first year of Baoli by Emperor Jingzong of the Tang Dynasty, that is, 825 AD. Du Mu said in "Shang Zhiji Wenqi": "Baoli had a large palace and a wide range of sounds, so he wrote "Afang Palace Fu"." Tang Dynasty Jingzong Li Zhan succeeded to the throne at the age of sixteen. He was greedy for sex, built a lot of construction projects, feasted excessively, ignored the government, and visited strangers in the hope of obtaining the elixir of immortality. Therefore, he was killed by the eunuch Liu Keming after three years in office. The author had a premonition of the dangerous situation in the Tang and Yu Dynasties, so he used this poem to write on the surface that Qin was spending extravagantly, greedily and extravagantly, wasting money and people, and eventually perished due to the construction of Afang Palace. In fact, he was using the story of Qin to satirize the current affairs of the Tang Dynasty and to advise the Tang Dynasty's rulers. Those who want to learn from the past must learn from the past and cannot be sad without learning from it. In the end, they will only end up with the ending of "the descendants will mourn the descendants again".
(2) What is the structural level of this article?
Analysis: The four paragraphs of the full text can be divided into two parts.
The first part (paragraphs 1 and 2) goes from the outside to the inside, from the pavilion construction to the activities of the characters, describing the grandeur and luxury of the Epang Palace, and describing the debauchery and extravagance of life in the palace.
Paragraph 1: Describe the grand and luxurious architecture of Epang Palace.
The two sentences on the first floor (the first 12 words of the paragraph) explain the huge cost behind the construction of the palace.
The second floor ("overcoming pressure"..."going straight to Xianyang") describes the grandeur of the palace.
The three floors ("Erchuan Rongrong"..."I don't know the west and the east") exaggerate the grandeur, luxury, beauty and splendor of the palace.
The activities of people in the palace on the fourth floor ("warm sound of the singing platform"..."uneven weather").
Paragraph 2: Describe the debauchery and extravagance of the ruler’s life.
The first layer (the first 6 sentences) writes the source of the palace people who provide entertainment.
The second floor ("Stars Yingying"..."There are people who have not been seen for thirty-six years") describes the debauchery and extravagance of life in the palace.
The third floor (the remaining sentences) writes about debauchery from the jewelry display and reveals the robbery.
The second part (paragraphs 3 and 4) analyzes the argument and points out that "Qin's love is extravagant" and does not care about the people's strength, which will naturally lead to the fate of destruction, and advises Tang Jingzong and Li Zhan not to make the same mistakes as the Qin Dynasty.
Paragraph 3: Point out the fate of Qin’s inevitable demise.
The first level (sigh..."use it like sand") denounced the Qin rulers for their crimes of only seeking personal gain without caring about the people's welfare, extortionate expropriation, and extravagant squandering.
The second floor ("making the pillars of the building"..."dare not speak but dare to be angry") denounced the First Emperor for indulgent sex and extravagance, causing everyone to betray his relatives and alienate him.
The third layer (the remaining sentences) concisely and summarily writes that the Qin Emperor was unethical, which led to the peasant uprising and the burning of the palace, and then embarked on the road of self-destruction.
Paragraph 4: Satire and admonition to Tang Wang Li Zhan not to make the same mistakes as Qin Huang.
The first level (beginning with "Whoever wins will lose his clan") quotes historical lessons and points out the reasons for the demise of the Six Kingdoms and Qin.
The second level (the remaining sentences) satirizes the Tang Dynasty not to let the tragedy happen again.
(3) Du Mu advocated: "Every writing should be based on meaning, supplemented by Qi, and guarded by colorful words and sentences." He emphasized the importance of ideological content and believed that form should be content. Serve. What is written in this text? What is the author's intention?
Analysis: Reading the full text carefully, it is not difficult to see that the author aims to summarize the historical lessons of the fall of the Qin Dynasty. The first paragraph lays out the grandeur of Epang Palace. The second paragraph describes the many beauties and treasures among officials. The third paragraph is a mixture of narrative and discussion, pointing out that it was precisely because the rulers of the Qin Dynasty were arrogant and extravagant and abused people's power that the peasants revolted and Qin was destroyed in one fell swoop. Paragraph 4 turns to discussion and further points out: The fundamental reason for the decline of the Six Kingdoms and the fall of the Qin Dynasty was the inability to love the people. The four sentences at the end of the chapter are concise and concise, implying the meaning of satire and admonishment, and implicitly warning future generations that if they do not learn from history, they will make the same mistakes again.
It can be seen from this that the main purpose of the full text is to summarize the historical lessons of the Qin Dynasty's demise and use it as a warning to "posterity". In connection with what Du Mu himself said in "Shang Zhiji Wen Qi", "Baoli (the reign number of Emperor Jingzong of the Tang Dynasty - 5) built a large palace, spread his voice, and pretended to write "Afanggong Fu"", we can see that this "poster "People" should refer to the supreme ruler at that time.
(4) From what aspects does the text describe Afang Palace? What effect does this description have on expressing the center?
Analysis; The text describes Epang Palace from three aspects: one is about the wonders of Epang Palace’s architecture, the other is about the many beauties in Epang Palace, and the third is about the treasure palace of Epang Palace. When writing about architecture, the text first unfolds the broad and tall panorama, and then details the wonders of the palace's towers, corridors, eaves, long bridges and complex roads, and the song stage and dance hall; when writing about beautiful women, it describes their origins, describes her grooming, and talks about her beauty. He tells his sorrows and grievances vividly and exaggerates them; he writes about treasures, which are plundered by the Six Kingdoms and stacked like mountains, and discarded by the people of Qin and treated like rubble. These descriptions are splashed with ink, dripping with excitement, and fully exaggerated, fully embodying the characteristics of Fu style. However, it is not the author's purpose to write a poem to show that Afangguan was large in scale, with many palaces, numerous beauties, and rich treasures. Through the picture of the towers, palaces, palaces, powder, gold and jade, the author aims to show that the luxury and corruption of the Qin rulers have reached an extreme level. The excessive taxation and expropriation to maintain this luxurious life was the fundamental reason for the downfall of the Qin Dynasty. The general comment at the end of "Gu Wen Guan Zhi" says: "The first picture describes the magnificence of Afang. It is not because I envy its luxury, but because when I see the arrogance and resentment, and the people are miserable, there is a hidden intention of people who do not love the six countries." It can be seen that the moving description at the beginning of the article provides a solid foundation for the grand theory of justice that follows, and for the historical lessons and allegorical reality of Qin's demise at the end of the article.
(5) The author only used more than a hundred words to describe the grandeur of the Epang Palace architecture, but it left a vivid impression on the readers. From what angles does the author describe the architecture of Afang Palace? Why is there such a huge artistic appeal?
Analysis: The author uses a combination of general writing and detailed writing in this part.
In the general writing part, the author splashes freehand ink and outlines with thick strokes. "It covers more than three hundred miles" refers to its vast area and "isolates the sky from the sun", which refers to the height of its pavilions; the two sentences "Lishan" describe its extraordinary momentum as it is close to mountains and rivers.
In the fine writing part, the author uses meticulous brushwork and meticulous painting. First, there are countless stacked pavilions and long corridors with high eaves; then, the long bridges are like dragons and the complex roads are like rainbows to reflect the grandeur of the palace and the tallness of the pavilions. The above description only describes the appearance of the building. Then, the author's brushwork goes deep into the interior of the building. "Gatai Wudian" is an intertextual way of writing. The stage can be danced, and the palace can also be sung, which means that there is singing and dancing everywhere in the palace. "Within one day, the weather varies from one palace to another", following the two sentences of "warm sound" and "cold brightness", it further describes the grand singing and dancing in the palace from people's subjective feelings. These few sentences not only set off the numerous palaces with the numerous songs and dances, but also pave the way for the beautiful women to fill the palaces below.
In this section, the author introduces the wonders of Epang Palace one by one from far to near, from outside to inside. There are often wonderful touches of parallelism in the narrative. For example, the "topography of each pavilion" in the pavilion is connected with the broad background of "Lishan Mountain is built in the north and turns west, heading straight to Xianyang". There are often appropriate and vivid metaphors in the narrative, such as "the long bridge is lying on the waves, and the road is empty". The writing is economical and the image is vivid. There are also dynamic descriptions in the narrative, such as "Er River", songs and dances, and the imitation of sounds and shapes, which is fascinating. Coupled with the use of a large number of parallel parallelism sentence patterns, the sentences have sonorous syllables and beautiful phonology. Therefore, in just a few hundred or dozens of words, the magnificence of Epang Palace is revealed to the readers.
(6) What rhetorical techniques are used in the four sentences such as "Stars Yingying" in paragraph 2? What are the advantages of writing this way?
Analysis: "Celebrity Ying Ying Ying" and "Opening the makeup mirror" are inverted metaphors. "Star Yingying" is the metaphor of the metaphor, and "Opening the makeup mirror" is the ontology. Using bright stars as a metaphor for opening makeup mirrors is both appropriate and vivid.
By placing the metaphor in front, it first gives people a clear picture, which is surprising. Then the ontology appears and explains the reason, which makes the reader's impression stronger. "The green clouds are disturbing, and the servant girls are combing the dawn", which is similar to the expression of the previous sentence. The third sentence says that discarding fat and water makes the Wei River swell and greasy. It is an exaggeration to express the number of beauties groomed. In the fourth sentence, it is an exaggeration to say that the peppers and orchids were burned until the smoke and mist spread across them, but the effect is the same as the third sentence. The four sentences have an equal number of words, and each sentence rhymes with fresh metaphors and clever exaggeration. Reading it makes people feel dazzled and overwhelmed. The author vividly describes the number of beauties in the palace and the vastness of the palace with the help of life details such as opening mirrors, combing and touching, discarding fat water, and burning pepper orchid. Writing about palaces is a continuation of the previous part; writing about beauties is an opening to the next part. Therefore, the author immediately wrote about the beauty's hope. This level is all about beauties, but the life experiences of beauties can also be seen as Qin Shihuang's debauchery. Many works of Fu in the Han Dynasty are arrogant and full of rhetoric. Du Mu gave full play to the strengths of Fu and deliberately elaborated and exaggerated, but all the narratives served as a basis for the discussion in the later chapters and served to express the theme. This can be seen from the description of beauty in this section.
(7) The author wrote "Afang Palace Fu" to summarize the historical lessons of the fall of the Qin Dynasty and to satirize the government. But why did he write about the burning of Epang Palace and say, "The people of Chu were burned and the earth was scorched?" What kind of thoughts and feelings did the author reveal here?
Analysis: "Pity" in modern literature means "worthy of pity", but in classical Chinese, in addition to "worthy of pity", it also means cute and pity. The word "poor" here means "pity". The author uses these two words to fill the lines with endless emotion. The Qin Dynasty, which was once powerful all over the world, collapsed under the impact of the peasant uprising and quickly perished; the Epang Palace, which covered more than 300 miles, was also reduced to ashes in a fierce fire. The historical facts of the rapid demise of the Qin Dynasty show that if one cannot love the people, it will be difficult to achieve long-term peace. However, the rulers of the Tang Dynasty at that time ignored the lessons of history, indulged in sex, built palaces, and thought they were safe despite their accumulated salary. The rise and fall of history stirs up my heart; witnessing the reality, I am filled with emotions. It is a pity that the magical and magnificent Epang Palace was burned to the ground. It is sad that the Qin Ren Dynasty was destroyed in one day. The past is never forgotten and the future is the guide. Unexpectedly, people today are following in the footsteps of the Qin people. The fate of the Tang Dynasty is also disappointing. Can people worry? "The people of Chu are torched, and the earth is scorched." The author's uneasiness, worry and anger are beyond words. Ci poems are different from essays. Many places are not stated directly. You need to think carefully when reading to understand the author's intentions.
(8) The language of the article is concise and rich in meaning. Give an example.
Analysis: This article is extraordinary from the beginning. (Gu Wen Guan Zhi) The editor's comment is: "In just four words and only twelve words, it is really surprising and gratifying to describe all the ambitions of the First Emperor after his unification." The first two sentences describe the destruction of the Six Kingdoms and the unification of the world by Qin. . It looks like a general narrative, but it actually provides context for what follows: Why did the "six kings" end? Why can "four seas" be "one"? What's the key to one fall and one rise? After reading the entire article, you will know that this is where the author begins to summarize historical lessons. The last two sentences say that the Epang Palace was built after all the trees in Shushan were cut down. It means that the scale of the construction project is huge and contains a deeper and broader social content. Li Bai has a poem that says: The road to Shu is as difficult as climbing to the sky. The author did not elaborate on how much manpower and material resources were consumed and how many difficulties and obstacles were required to cut down the trees in Shushan and transport them to Guanzhong, but readers can imagine. To build such a magnificent palace, felling and transporting wood was just one project. Such abuse of people's power will inevitably lead to serious consequences not long after the unification of the world. The author has already hinted at this. "Indulging one's ambition" and "arrogance, extravagance and lewdness" are exactly the causes of disaster. The first four sentences are not only grand in style, but also profound and thought-provoking. From a linguistic point of view, the two are paired, each rhymes (all rhymes with oblique rhyme), and the tone is urgent and powerful, which is indeed "unexpected and pleasant".
It is not uncommon for the text to be concise and profound. Another example is that the second paragraph describes the people of Qin who spent money like water, using the eight characters "dingdang jade, gold nuggets, beads and gravel" to form four metaphors. On the one hand, there is extravagant spending, on the other hand, there must be endless plundering. The narrative laid out here also lays the foundation for the discussion that follows. The author's precise words and sentences are all pointed out. These points should be deeply understood and studied carefully.
(9) Since Du Mu wrote this poem to summarize the historical lessons of the fall of the Qin Dynasty and to satirize the current shortcomings, why did he start with the fall of the Six Kingdoms?
Analysis: The author satirizes the current ills and uses the fall of the Qin Dynasty as a reference; writes about the fall of the Qin Dynasty, and uses the decline of the Six Kingdoms as a foreshadowing. Why were the Six Kingdoms destroyed? It is said in the Fu that "the one who destroyed the six kingdoms was the six kingdoms, not Qin... If the six kingdoms each loved his own people, it would be enough to reject Qin." It can be seen that the destruction of the Six Kingdoms was the result of failure to love the people. How can we tell that the Six Kingdoms do not love their people? "The collections of Yan and Zhao, the management of Han and Wei, and the elites of Qi and Chu have plundered their people for several generations, leaning against the mountains." "The treasures of Qin" (a proxy for wealth) come from the Six Kingdoms; the treasures of the Six Kingdoms come from the common people. In order to meet the needs of luxurious life, the rulers plundered the people wantonly, leaving no money behind. The "Six Kings" "finished" their rule because they did not love the people; if Qin learned its lesson and "regained love for the people of the Six Kingdoms," it would not have quickly perished. However, "Shu Mountain Wu, Afang came out", and the Qin Dynasty embarked on the old path of destruction of the Six Kingdoms. The first 12 words not only introduce the construction of Afang Palace in the broad historical background, but also play the role of covering the entire article and hinting at the theme.
(10) Briefly compare the similarities and differences between "Afanggong Fu", "On the Six Kingdoms", "On Guo Qin" and this article.
Analysis: Fu is a literary style between poetry and prose, so it has a stronger literary color and pays more attention to the use of literary techniques such as description, elaboration, and exaggeration. Therefore, The first three sections of "Afang Palace Fu" are not limited to specific "reality and truth", but use imagination and association to depict Qin's extravagance and debauchery. Strictly speaking, "On the Passage of Qin" and "On the Six Kingdoms" should be a historical treatise, which should be based on history. Therefore, more words should be devoted to stating and describing relevant historical facts, and then on the basis of historical facts. Put forward your own point of view.