1
These eight rhymed poems are a group of poems. They start from the autumn scenery of Kuizhou and express various feelings of longing for Chang'an. The first poem is the outline of the whole poem. Its first four sentences: "The jade dew has withered the maple forest, and the Wushan Gorge is desolate. The waves in the river are surging from the sky, and the wind and clouds are blocking the ground." This is exactly what Song Yu said in "Nine Bian", "It is sad that autumn is the energy." Also, the sigh is the same but more profound and vigorous than the bleak and desolate vegetation. Then he writes about the poet's desolate situation staying in the gorge. The sentence "The lonely boat is connected to the heart of my hometown" has already vaguely expressed my longing for Chang'an. Although the second and third songs are still about the scenery of Kuizhou. The sentence "Every time I rely on the Big Dipper to look at the beauty of Beijing" clearly points out Wangjing, which can be said to point out the theme of the entire group of poems. "Kuang Heng's reputation for resisting Shu was not good, and Liu Xiang Chuan's advice went against his will. His classmates were many young men, but Wu Ling Qiu Ma was underestimating himself." This is the memory and sadness of the poet's own life experience caused by Wang Jing. In the fourth poem, it switches directly to Chang'an, which is a big change in this group of poems. Sentences such as "Hearing about Chang'an is like playing chess, and the world is full of sorrow for a hundred years" expresses his infinite emotion about the situation after the "An-Shi Rebellion". The following few chapters focus on the description of Chang'an's wishes. When the poet wants to visit Chang'an, of course he must first recall the rescue of Fang Guan in previous years, which was of great political significance. Because the blow the poet suffered in this political struggle is an indelible scar in the history of his life, he compares himself with Kuang Heng and Liu Xiang in the poem, and sighs that "his reputation is not good" and "his heart is contrary to his will" . Both Kuang Heng and Liu Xiang were ostracized by the ruling group at that time for their direct remonstrances. The example used here has profound significance. When Chang'an is mentioned, the poet cannot help but think of the palaces of the Tang Dynasty and other scenic spots such as Kunming Pool, Qujiang and Meipei. Especially Qujiang, the impression it gave the poet is even more profound and unforgettable. "The calyx leads to the Qi across the city, and the hibiscus garden brings the sorrow to the border." By connecting "the calyx to control the Qi" and "the sorrow to the border" ③, you can imagine how deeply the poet felt about current events! The outbreak of the Tianbao Rebellion was not without reason. The predecessors once believed that Du Fu's "Eight Poems on the Rise of Autumn" could be regarded as Yu Xin's "Ai Jiangnan Ode" (Wang Menglou's language). In fact, the poem "Qiuxing" can be compared with Qu Yuan's "Sorrow". The nostalgia for the motherland and the sorrow for the war they express are indeed similar. It is undeniable that most of the poets who lived in the feudal era had certain limitations in their thoughts. This is no exception in Du Fu. Although "Eight Poems of Autumn" focuses on Chang'an, the political center at that time, and shows the author's sad and chaotic mood, his vision can never go beyond the decadent imperial court. For example, "Painting Province ④ The incense burner is against the pillow" mentioned in the second poem, and "Several Qingsuo ⑤ Go to class" mentioned in the fifth poem all express their understanding of their past experiences and their current future as an official. Can forget. And "The clouds move and the pheasant tail opens the palace fan, and the sun circles the dragon's scales to recognize the holy face"⑥, which cannot help but be attached to the dignified image of the feudal ruler, the emperor, and reveals the vulgar side of the thought. This group of poems was written from Kuizhou to Chang'an, and from Chang'an to Kuizhou, going back and forth in a well-organized way. On the surface, each poem is independent, but in fact it is an organic whole. It indeed has the characteristics of "continuity" and "correspondence from beginning to end" as described by predecessors (Chen Ziduan's words). The author is good at artistically expressing the intricate thoughts and emotions in this restrictive metrical form. Compared with the poets of his contemporaries, this is out of the ordinary and outstanding. For example, Li Bai, a great poet who is as famous as Du Fu, his poems are better at song lines than verses. In his existing collection of poems, he writes even less about seven-character rhythms. The seven-rhythm poem "Ascend the Phoenix Terrace" that has always been recited by people, its jawline couplet "Flowers and plants of the Wu palace are buried in the secluded path, and the Jin Dynasty clothes become ancient hills", and the upper and lower couplets are flat and oblique. It can only be regarded as an awkward style, not a seven-rhythm. The formal style of "Qiu Xing" cannot be compared with the profound and strict rhythmic poems such as Du Fu's "Qiu Xing". Other Qilu works written by Wang Wei, Meng Haoran, Gao Shi and Cen Shen are not as elaborate and original works as Du Fu's "Qiu Xing". "Eight Poems of Autumn" also shows the diversity of the author's artistic techniques. Using "Autumn Rising" as the title of the poem was originally intended to express a sad and desolate mood. However, the author prefers to use many brilliant and gorgeous sentences in his memories of Chang'an to heighten this emotion, bursting out a melancholy and gorgeous artistic color. For example, in the fifth song, "Looking to the west to see the Queen Mother descending from the Yaochi, and from the east the purple air fills the Pass", in the sixth song, "Bead curtains and embroidered pillars surround yellow swans, and brocade cables and teeth can carry white gulls", and in the eighth song, "The fragrant fragrance The scenery of Chang'an described in "The rice pecks at the remaining grains of parrots, and the green parasols perch on the branches of old phoenixes" are exactly the same as those described in the previous poems such as "the chrysanthemums will open and they will shed tears", and "listen to the ape to shed three tears". This desolate scene is in stark contrast. The same description technique is used in another poem by Du Fu, "Rain in Qujiang". It uses gorgeous sentences such as "The forest flowers are covered with swifts, and the water lily grows with the wind and green belts" to contrast the desolate scene in Qujiang. All of this shows the poet's original and diverse artistic features in verses. In addition, the diversification of artistic techniques in "Eight Poems of Qiuxing" is also reflected in the antithesis of sentences. Qilu and Wulu are both new style poems of the Tang Dynasty and have a certain format. Two of them, namely the chin couplet and the neck couplet, need to pay attention to their opposition. The first two sentences and the last two sentences can be arbitrary.
In the "Eight Poems of Autumn", in addition to two couplets focusing on antithesis, such as "Please look at the wisteria moon on the stone, the reed flowers in front of the island are already reflected in the second poem", and the seventh poem "Guan Fortress is the most beautiful place in the sky, but there are only bird paths, and the rivers and lakes are full of rivers and lakes." "There is a fisherman in the land", even the last two sentences are concluded with antitheses. In addition, the poem "Autumn Xing" also has great changes in the contrast between the two couplets. For example, the first couplet of "Close chrysanthemums bloom in two blooms" and "A series of solitary boats" are the last sentence, and the three words immediately following them are "tears of another day" and "hometown heart", which makes the sentence have The twist adds a layer of meaning. For example, the couplet "The fragrant rice pecks at the leftovers" and "The Biwu lives in the old" in the eighth poem is an inverted sentence, which means that the fragrant rice is the leftover grains pecked by the parrot, and the Biwu is the branch where the Phoenix lives on. Because the description is mainly about Xiangdao and Biwu, I used inverted syntax. These are also the author's ingenuity, which opened the way for later creation of verses. It should also be pointed out here that most rhythmic poems cannot break away from the so-called "starting, inheritance, turning and combining" pattern. For example, the fifth and sixth couplets use turning pen; "Eight Poems of Qiuxing" can also break through the pattern in this aspect. Except for the first three poems in this group of poems, which use pen-turning in the fifth and sixth sentences, the rest of the poems use pen-turning in the last two sentences. The most noteworthy thing is the eighth poem, which describes the scenery of Meipi and does not end until the last sentence: "The white head chants and looks down in pain". This writing method is occasionally found in quatrains written by poets of the Tang and Song Dynasties. For example, Li Bai's "King Gou Jian of Yue defeated Wu and returned, the righteous men returned home in full robes, and the maids filled the golden palace like flowers, but now only partridges can fly"; Lu You's "Poured the wine of the Western Kingdom carefully, chewed the cardamom flowers of Nanzhou, and even brushed black silk to write The new sentence, "It's a pity that this old man is so far away from home" is all concluded with the pen-turning technique at the last sentence of the seven-character quatrain. But it is rare in rhymed poetry. From these places, we can also see the diversity of artistic techniques in Du Fu's "Eight Poems of Autumn". His ability to move around in metrical forms without being restricted by them shows a high degree of achievement in seven-rhythm creation. Du Fu once said of himself: "In the late period, the rhythm of poetry gradually became more refined" ("Jian Qian Meng Xi Zheng Lu Nineteen Cao Chang"). The so-called "fine rhythm of poetry" does not specifically refer to the craftsmanship of carving chapters and sentences, but means that the rhythm of poetry has reached a state of proficiency in which one can "follow one's heart" and "not worry about cutting." "Eight Poems on the Rise of Autumn" is a good example of "detailed poetry". Notes: ① Fang Guan was the prime minister during the reign of Emperor Suzong of the Tang Dynasty. In the early years of Zhide, Fang Guan led his troops to attack Anlu Mountain, but was defeated and was demoted. Du Fu was serving as Zuo Shiyi at that time. Shangshu rescued him and offended Suzong. Prime Minister Zhang Hao defended himself and was pardoned. ② Kuang Heng and Liu Xiang were both from the Western Han Dynasty. ③ Emperor Ming of the Tang Dynasty and Concubine Yang often traveled from Jiacheng of Xingqing Palace to Qujiang to play, so it was said to "connect the air". At the end of Tianbao, Anlushan raised troops in the northeast to cause chaos, so it is said that "the border is full of sorrow". ④Hua Province refers to Shangshu Province. ⑤ "Qingsuo" refers to the palace gate. ⑥The holy face is called Suzong. ______________________________________________________________________________
II
"Eight Poems on the Rise of Autumn" is a set of seven-character rhymed poems written by Du Fu when he was in Kuizhou in the autumn of the first year of the Dali calendar (766). He was inspired by autumn and became a poet. Therefore, it is called "Qiu Xing". This group of poems has always been recognized as the most artistic poem among Du Fu's lyric poems. It has been seven years since Du Fu abandoned his official position in the second year of Qianyuan (759) of Emperor Suzong. There have been frequent wars, the country has no peace, and people have no fixed place. When the autumn wind blows, it is inevitable to be moved by the scenery. The eight poems are a complete movement, with the theme of "Thoughts of the Motherland". The second poem is "Looking at the Beijing Capital by the Beidou" in the second poem, and the "Thinking of the Motherland in Daily Life" in the fourth poem is the outline of the eight poems. The personal sorrow described in the poem is also related to the national crisis. The structure of "Eight Poems on the Rise of Autumn" can be divided into two parts from the perspective of the whole poem, with the fourth poem as the transition. The first three poems detail Kuizhou and briefly touch on Chang'an; the last five poems detail Chang'an but briefly touch on Kuizhou; the first three poems start from Kuizhou and think about Chang'an; the last five poems think about Chang'an and end up in Kuizhou; the first three poems are triggered by reality. Memories, the last five songs return from memories to reality. As for the songs, they are also connected from beginning to end, in a certain order, and cannot be moved. The eight songs are just like one. "Eight Poems on the Rise of Autumn" is Du Fu's bleak work. Some express feelings about the scene, some use the past to describe the present, some directly criticize the hidden things, and some even try to stop talking. You must understand them carefully to appreciate the beauty of the poems. "Eight Poems on the Rise of Autumn" has been valued by critics of all ages. Contemporary scholar Ye Jiaying compiled "Eight Collections of Du Fu's Qiuxing" (published by Hebei Education Press in 1997) for reference. Autumn and the river are the most common images in Du's poems, and the eight poems of "Autumn Rising" also use them as the main images. The first poem selected here is the first one. "Reading Du Xinjie" says: "The first chapter is the outline of the eight poems. It expresses the autumn scenery, but it contains an interesting meaning; it actually refers to Kui Mansion, but it alludes to Beijing." . The poet uses the overwhelming autumn colors to connect the Weiyuan Qinchuan and the Bashan Shu River to express his thoughts about his homeland; he also uses the endless river to connect the present and past different generations, expressing his own feeling of caring about the present and recalling the past. The ubiquitous autumn color in the poem covers the infinite space of the universe; and it arrives as scheduled once a year, silently indicating that the years of nature are falling, time in the universe is flowing, and life on earth is not eternal. . That "wavy and sky" river is an eternal link of time. It ties in the history and future of mankind, washes away the changes of countless dynasties and washes away the processes of countless lives. To read Du's poems, you must first understand his autumn and rivers. "Poems of the Tang and Song Dynasties" quoted Qian Qianyi as saying: "The first couplet on the chin is tragic, the couplet on the neck is sad and tight, the knots indicate autumn, the time indicates dusk, the knife and ruler are bitter and cold, and the anvil rushes to say goodbye."
The last sentence is marked with the title "Xinghui", which is slightly five-fold. The so-called "climactic and desolate" is really indescribable. Huang Sheng said: "Du Gong's seven rhymes should be based on "Qiu Xing", which is the work of the Duke's concentration in his life." " ______________________________________________________________________________
三
The eight poems of "Autumn Xing" were written when Du Fu lived in Kuizhou at the age of fifty-five in the first year of the Dali calendar (766). It is a series of eight poems with a continuous structure. A set of rigorous, deeply lyrical seven-character poems that reflect the poet's thoughts, feelings and artistic achievements in his later years. The Anshi Rebellion, which lasted for eight years, came to an end in the first year of Guangde (763). Tubo and Uighurs took advantage of the opportunity and invaded the vassal town. At this time, Yan Wu died, and Du Fu lost his support in life in Chengdu, so he went east along the Yangtze River and stayed in Kuizhou. In his later years, the poet was ill and had few close friends, and his ambition was difficult to fulfill. Very lonely and depressed. The poem "Autumn Rise" combines the depressing autumn scenery of Kuizhou, the desolate autumn sound, the suffering of illness in old age, the deep concern for the fate of the country, the solemn and desolate mood, and the profound artistic conception. There are many previous comments, among which Wang Si's "Du Sui" has the most accurate opinion. He said: "There are eight poems in Qiu Xing, starting with the first one, and then all the other seven poems are in mind; or they are inherited. Up, up or down, or emanating from each other, or corresponding from a distance, it is always a text..." It can be seen that the eight poems are carefully organized and have clear context. They should not be taken apart or reversed. Looking at the whole, from the perspective of the poet Kuizhou reminds me of Chang'an; wandering in the old age, wandering on the river, facing the depressing scenery, it arouses the lamentation of the rise and fall of the country and personal life experience; the recollection of the prosperous and successful events of Chang'an is attributed to the poet's realistic lonely situation and the contrast between the past and the present. Sadness. This kind of sadness cannot be seen as an accidental trigger of Du Fu at one time or another, but as a concentrated expression of his sorrow for the country since the chaos and the inability to make a difference. The poet cannot bear the twists and turns. This is the reason why he looked at Chang'an, wrote about Chang'an, and sighed repeatedly. In order to understand the structure of this group of poems, it is necessary to briefly explain its content. Through the vivid description of the autumn colors and sounds of autumn in the Wu Gorge of Wushan, it creates a gloomy and turbulent environmental atmosphere, which makes people feel the autumn colors and sounds of autumn. It expresses the poet's concern for the country and his feeling of loneliness and depression. This poem is straight to the point and lyrical. The description of the scene is magnificent and the emotion is strong. The poetic meaning is embodied in the two lines of "The chrysanthemums are blooming and weeping in the future, and the lonely boat is tied to the heart of the hometown". The second poem is about the poet being in an isolated city, watching the setting sun. Sitting in the evening until late at night, looking northward, having been sleepless all night, the last two sentences of the poem focus on the loneliness of being in his old age, fighting constantly, being sick in Qiujiang, and being in Jiannan, thinking about Weibei. "Looking at Beijing every day" shows the strong nostalgia for Chang'an. The third poem is about Kui Mansion in the morning light, which is an extension of the second poem. The poet sits alone in the river tower every day, the autumn air is clear, the river is quiet, and the scenery is quiet. This kind of tranquility brings uneasiness to the author. Faced with various contradictions, he deeply laments that his life has gone against his wishes. The fourth poem is the transition between the first three poems and only then is they revealed. The central content of the book touches upon the core of "Every time I rely on the Beidou to look towards Beijing": Chang'an is like "playing chess", competing for one another, back and forth. Changes in personnel, the collapse of discipline, and the successive attacks by Uighurs and Tubos all made the poet deeply feel that the country's destiny was greatly different from what it had been before. For Du Fu, Chang'an was not an abstract geographical concept. He lived in this political center of the Tang Dynasty for a full ten years. What was deeply imprinted in his heart was attachment, admiration, laughter, and "underlying sorrow" everywhere. depressed. When the country is broken, the autumn river is cold, and individuals are lonely, the familiar scenes of Chang'an emerge one by one. The following four poems are selected from the sentence "My motherland is something to think about in daily life". The fifth poem describes the majesty and magnificence of the Chang'an Palace, the solemnity of the early court scenes, and the joyful memory of having "recognized the Holy Face" to this day. At this time, Cangjiang was lying ill, and it was late in the autumn, which further touched his concern for the country. The sixth song recalls the prosperity of Qujiang, a place where emperors sang, danced and entertained in the past. The emperor's lost entertainment and banquets caused endless "side sorrow", and the singing and dancing ruined the "imperial state since ancient times". In the infinite regret, there is an implicit rebuke. The seventh poem recalls the Kunming Pool in Chang'an, showing the prosperous national power, magnificent scenery and rich products of the Tang Dynasty. The eighth poem expresses the poetic pride of the poet during his spring outings in Kunwu, Yusu, and Meipei. "Colored pens once did their job" is an even more profound and unforgettable impression. The eight poems are an indivisible whole, just like a large lyrical piece has eight movements. This lyric takes as its theme the patriotic thought of worrying about the rise and fall of the country, and takes the bleak autumn in Kui Mansion, the poet's illness in his old age, his wandering life, and especially his heavy concern for the safety of the motherland as its keynote. Interspersed with it are light and joyful lyricism, such as "Beautiful women pick up the green spring and ask each other, and the immortal couple moves in the same boat late at night"; there are magnificent and flying, heroic descriptions, such as the recollection of Chang'an Palace and Kunming's pond; there are expressions of generous sadness and indignation. There are some extremely melancholy and low-pitched chants, such as "There are many young classmates who are not cheap, and the five tombs and horses are light and fat"; there are extremely melancholy and low-pitched chants, such as "There is only a bird's way in the sky, and the rivers and lakes are full of fishermen", "White heads chanting and looking down in pain" "wait. In terms of expressing the poet's loneliness and uneasiness, the tones are also different.
"The waves in the river and the sky are surging, and the wind and clouds are blocked and the ground is cloudy", which describes sadness with heroism and grandeur; "The fishermen are still common in Xinsu, and the swallows fly in the clear autumn", which describes "the cutting is continuous, and the order is still chaotic" with elegance and tranquility. restless mood. In short, each of the eight poems uses its own unique expression technique to express the underlying thoughts and emotions from different angles. Each of them supports each other among the eight songs, forming a whole. This not only makes the entire lyric intricate and rich, but also has cadences, opening and closing, which prominently expresses the theme. Wang Chuanshan said about this: "If the eight poems are transformed into a seven-note melody and become a chapter, or if they are separated, the spirit will be lost." (Volume 4 of "Cuanshan's Posthumous Notes: Selection of Tang Poems") "Qiu Xing" In the eight poems, Du Fu not only uses strong contrasting techniques, but also repeatedly uses cyclical lyrical methods to lead readers into the realm of poetry. The outline of the poem is to look at Chang'an from Kui Mansion - "looking at Beijing every time according to the Beidou". The key point in the composition of the poem is "the head of the Qujiang River at the mouth of Qutang Gorge, thousands of miles of wind and smoke meet the plain autumn". From the mouth of the Qutang Gorge to the head of the Qujiang River, there is a long distance. The word "connection" is used in the poem to describe the guests visiting Shu and looking at the capital, recalling the present and recalling the past, and worrying about the safety of the country... All kinds of complex emotions are intertwined into a profound and magnificent artistic realm. The first song is related to the "hometown" from the blooming of chrysanthemums in front of me. The meditation of recalling the "hometown" was interrupted by the sound of anvils everywhere at dusk in Baidi City. There was a round trip from Kui Mansion to Chang'an, and from Chang'an back to Kui Mansion. In the second song, I look at Chang'an from the isolated city of Kuifu according to the direction of the Big Dipper, listen to the crow of the apes in the gorge, and think of "painting a provincial incense burner". This is two back and forths. Lian Lian's memories were awakened by the sorrow of the ancient city of Kui Fu. This is the third round trip. Although the third poem mainly expresses depression and injustice, there is a line in the poem such as "the clothes of the five mausoleums are light and fat", and there is still a journey from Kui Mansion to Chang'an. The fourth and fifth poems, one describes the turmoil in Chang'an for more than ten years, and the other describes the grand occasion of Chang'an Palace. They both start with memories of Chang'an and return to Kui Mansion in the last two sentences. The sixth song, from the mouth of Qutang Gorge to the head of Qujiang River, from the current wind and smoke, I think of the prosperity of singing and dancing in the past. The seventh song recalls the prosperity of martial arts in the Tang Dynasty in the pond of Kunming, and returns to the current neglect of "the only bird's way in the sky". The eighth song, from Chang'an's "Kunwu..." back to the reality of "Baitou Yinwang", is a back and forth. Cycles are the basic expression of "Qiu Xing" and also its characteristic. Whether writing from Kui Mansion to Chang'an, or from reminiscing about Chang'an to Kui Mansion, from different angles and deepening the story layer by layer, not only is there no sense of repetition, but it also plays a role in deepening feelings and enhancing artistic appeal. It can be said that It is "no regrets, only the waves are mature" ("Ten Rhymes for Zheng Jianyi"). The harmony and unity of the scene is an extremely important aspect of lyric poetry. The eight poems of "Qiu Xing" can be said to be an excellent example. For example, "The waves in the river are also surging from the sky, and the wind and clouds above it are connected with the yin on the ground." The waves are turbulent, as if the sky is also turning; the wind and clouds in Wushan reach down to the ground, seeming to be connected with the yin energy underground. The previous sentence goes from bottom to top, and the next sentence goes from top to bottom. The waves are surging, the wind and clouds are turbulent, and the desolate atmosphere of autumn fills Wushan and Wu Gorge. We feel that these two sentences have powerful images, rich content and broad artistic conception. The poet does not simply reproduce what he sees and hears, nor does he simply describe the physical features of the rapid river, blocked wind and clouds, or the deep autumn of the Three Gorges. The poet captures their inner spirit and gives the river and wind and cloud a certain character. This is the sky, the earth, the rivers and the passages. There are storms and waves everywhere, turmoil, depression and gloom, and no daylight. This vividly expresses the poet's extreme uneasiness, turbulent worries and dissatisfaction in his heart. It also symbolizes the volatility of the country's situation and its uneasy future. The two lines of poems include the late autumn in the canyon, the poet's personal life experience, and the country's chaos. This kind of not only grasps the characteristics of the scenery, but also integrates the deepest emotions in his life experience and expresses it in the most vivid and general language. In this way, the scenery has life, and the emotions the author attempts to express will also have life. Attached is Li. Emotions are revealed because of scenery, and scenery is deep because of emotions. The language is simple but the meaning is complex, the mood is depressed but the artistic conception is broad (meaning not cramped or narrow). Su Dongpo once said: "When writing a poem, you must have this poem, and you must know that you are not a poet" ("Two Poems on Broken Branches Painted by the Master of the Book of Yanling"), which is indeed an insightful and experienced statement. When Du Fu lived in Chengdu, he wrote in "Jiang Village" that "the swallows come and go in the hall". From the swallows that live in the thatched cottage, the swallows come and go, showing the tranquility of the long summer environment in the river village where the poet lived, and showing the poet's wandering. The feeling of ease and relaxation that comes with temporarily settling down your life for the first time. In the third poem of "Autumn Rising", it is also a swallow flying, but the poet said: "The swallows fly in the clear autumn." The poet sat alone in the river tower every day, bored and watched the swallows flying up and down, and the swallows said goodbye, as if on purpose The one who ridicules the poet cannot return, so it is said that it flies around deliberately. The word "gu" shows the poet's troubled mood. Another example is "The mouth of Qutang Gorge is at the head of the Qujiang River, and thousands of miles of wind and smoke meet the plain autumn." Qutang Gorge is in the east of Kui Mansion, close to the place where the poet lives, and Qujiang is in the southeast of Chang'an, which is a place of longing. Huang Sheng's "Du Shi Shuo": "The two sentences are clearly about thinking about this place and that place, but they only describe the scenery. Du's poems are at the point where they are transformed, and the scenery is the emotion." This is indeed a precise statement. For example, the meaning of "the calyx sandwiching the city is open to the air, and the hibiscus garden is filled with sorrow"; the autumn scene of "the fish and dragon are lonely in the cold autumn river" is also a self-metaphor; It is purely a description of scenery, and emotion is also included. Examples of this kind of blending of scenes can be found everywhere in the eight poems. The blending of scenes mentioned earlier refers to the artistic effect produced by the consistency of scenes, which effectively reveals the poet's rich and complex inner world. In addition, Du Fu is good at using magnificent and gorgeous characters and lyrics to express deep sadness.
In "Autumn Xing", the past prosperity of Chang'an is described in such a colorful and full of heroic spirit, and the poet's early joy is so comforting and exciting. Some descriptions of Chang'an are not only consistent with the mood in the memories, but also form an indivisible and mutually reinforcing whole with the poet's desolate feelings in reality. This will help readers understand the poet's great sadness and depression when the country was broken and he was wandering in his later years. The more the poet sings about the past with enthusiasm, the more people feel the poet's deep concern for the country despite his old age, and the more serious the pain of his "inability to right the world". The eight poems of "Autumn Rising" are intertwined with the desolation and desolation of late autumn, the loneliness and sadness of the mood, and the decline and ruin of the country. According to the usual way of writing, words such as clear, sad, residual, and bitter should always be used. However, in this group of poems, Du Fu used more gorgeous and gorgeous words and phrases to write about the sadness of autumn. At first glance, they seem to be completely different from the artistic conception of the poem, but under the poet's clever drive, they more effectively highlight the depression of the late autumn scenery and the desolation of the mood. Such as "Penglai Palace", "Yaochi", "Purple Air", "Clouds Moving Pheasant's Tail", "Sun Wrapping Dragon Scale", "Bead Curtain Embroidered Column", "Brand Cable Tooth Qiang", "Wudi Banner", "Weaver Girl" "Jisi", "Beautiful Lady Picking Green Trees", "Immortal Couple in the Same Boat"... can all arouse beautiful associations, and through the words, they shine with brilliant brilliance. However, in Du Fu's writings, these words are used to set off the desolation and loneliness. The courage of the words is out of common sense, and the depth of the artistic conception makes people feel that they are everywhere in common sense. This kind of uncoordinated coordination and inconsistent unity not only does not damage the integrity of the image and artistic conception in any way, but also often produces a stronger artistic effect than writing with coordinated words. Just as it is much more difficult to write about sadness with "laughter" than with "tears", but if you write it well, you can express your thoughts and feelings more profoundly and powerfully. When Liu Xie talked about antithesis in the "Li Ci" chapter of "Wen Xin Diao Long", he once pointed out that "opposition" is better than "direct opposition". Its superiority lies in the "combination of special interests and theories", which achieves the positive effects of complementing each other, deepening interest and enriching content. The use of luxurious words and scenes to express sadness and depression is also a "combination of different principles and interests", which can also be said to be the blending of scenes on a higher basis. The harmony between them is also the unity under deeper and more complex contradictory emotions. Some people think that after Du Fu entered Sichuan, his poetry no longer had the majestic, strong and blazing emotions of the early period. In fact, the poet was not depressed during this period, but his life situation was different and his thoughts and feelings became more complex and profound. In terms of artistic expression, after long-term life training and accumulation of creative experience, it has been further improved or enriched compared to the previous period, as evidenced by "Autumn Xing".