In the empty and desolate old palace, there is only the lonely brilliant red of Hua Gong.
Several white-haired footmen were sitting around talking about the emperor of the Tang Dynasty.
The palace is the palace where the emperor travels. Bai Juyi said in the "Self-report of the White-haired Man of Shang Yang in Xinle House": "In the five years of Tianbao, Yang Guifei was particularly favored, and the harem people were unlucky." Those who have beauty in the sixth house need to be placed in other places, and Shang Yang is one of them. Zhenyuan has work to do. "'Shang Yang' refers to Shang Yang Palace, which is located in Luoyang, the eastern capital. The palace written by Yuan Zhen in this poem seems to refer to the Shang Yang Palace, which still exists in Zhenyuan. By writing about palaces, the poet expressed his deep feelings about the ups and downs of ancient and modern times, and also showed his deep sympathy for the tragic fate of maids.
The title of the poem is Palace, and the first sentence is written from the front of the palace. The poet used an open panoramic lens to show the whole picture of the palace, but he didn't describe it in detail. He only used a freehand brushwork of "ancient" to decorate it, which naturally reminded people of the long history and outdated appearance of the palace. With the word "sparse" refreshing, Gaotang Huawu gives people a broken and cold feeling instead of a magnificent impression. The poet's cold feeling is so strong that he puts the predicate "Leluo" before the subject "Guxinggong" and turns a complete sentence with subject-predicate structure into a phrase form of modifier and head word.
The second sentence is enlarged and shows a detail of the palace panorama with close-ups: several red flowers are blooming alone. "Lonely red" is by no means "colorful" from the perspective of the palace flower itself. It should be colorful spring, but it only shows a kind of red color, indicating that the spring scenery in the palace is monotonous and shallow; On the one hand, "Falling Red" appreciates the spring scenery, indicating that no one appreciates it, and writes the heavy sadness that "I don't know how many people are out of the trees in the courtyard, and the old bloom will come in spring" (Cen Can's "Spring in the Mountain"). Structurally, this sentence has the function of reflecting the previous sentence, just like a bird singing to a secluded mountain. Lonely and open bunches of safflower decorate the ancient palace more "sparsely".
Three or four sentences turn to people, and the camera moves and changes. From the close-up of palace flowers to the close-up of maids, several "white-headed maids" who are chatting are reflected. How the characters in the palace are, this is also an important aspect of the rise and fall of the palace. Many people who kept the huge machines running in the palace disappeared, only seeing the "white-headed ladies". The description of ladies-in-waiting lies not in appearance, nor in clothing, but in "baldness". As far as beauty is concerned, maids should be classified as "beauties", and their identity is always associated with beauty and youth. But now all I see in the palace are "white-headed maids", which means that they were not allowed to be released to the people when they were still married, and there were no young maids to take their place, so that youth grew old with them. The poet's description of the white-headed maid-in-waiting permeated with his deep sympathy for the maid-in-waiting who lost her life, without telling her grief, and at the same time broadened the description horizon of the ancient maid-in-waiting Palace flowers are the same, and so are maids, so the loneliness and decline of ancient palaces are self-evident. The last sentence, "the grand occasion of debating Xuanzong", further depicts the mentality of maids. Although the specific content of Xuanzong is not clear, it is nothing more than two basic aspects: nostalgia for the prosperous Tang Dynasty and regret for the situation from prosperity to decline. Shen Deqian commented on this poem in Tang Poems: "It's wonderful to say Xuanzong, not Xuanzong's strength. Only four words have reached the Song of Eternal Sorrow. " It also points out the rich historical content contained in this poem, especially the word "Xuanzong".
This poem focuses on the palace, and "palace flowers" and "ladies in waiting" are part of the unified picture of "palace". The poet seems to deliberately highlight the main body of the description of "palace", so he deliberately made mistakes in the use of words, and used the word "palace" three times in the five-character quatrains that should avoid the heavy and ignore the light. Flowers are "palace flowers" and people are "maids", emphasizing the subordinate nature of flowers and people. When establishing the title, I also clearly marked the word "palace". If we look at this poem with a normal heart-the palace written in the first two sentences is regarded as a description of the environment, the background of the characters' activities in an understated way, and the "white-headed maid-in-waiting" is regarded as the main body of the description, it will become an unremarkable poem complaining about the palace, which is far from the poet's good intention of sighing the decline of the Tang Dynasty empire through the scarcity of small palaces.
The first three sentences of this poem are mainly spread out in space, focusing on hurting the present; The last sentence mainly calls for time, from reality to history, focusing on nostalgia. From the injury to the present, it leads to nostalgia and strengthens the lament for reality. The beauty of the last sentence is that the characters in the poem come forward and act as maids, which not only enriches the characters and creates a perfect poetic scene, but also makes the poetic expression euphemistic and subtle, with endless aftertaste. The lyrical way of this poem, besides the emotion in the scene, can also notice that there are images besides images. In the poet's concrete description, there is a kind of contrast hidden in almost every place. Whether it is a palace, a palace flower or a maid-in-waiting, they all present today's characteristics on the basis of overlapping their past images. The predecessors praised this poem as "less meaning and endless taste" (Hong Mai's "Rong Zhai Essays", Volume II), which is closely related to the unique performance of this poem full of emotion and epiphany beyond images.
Lotte's Song of Eternal Sorrow has 120 sentences, which readers can never get tired of listening to; Wei Yuan's "Palace" poem has only four sentences, but readers don't think it is short and the article is wonderful. (Qu You's "Returning to the Field")
The old story of Xuanzong came from the mouth of the white-haired imperial secretary. Sitting in the palace flower, the palace was really unbearable. (Xu Zeng's Talk about Tang Poetry, Volume 9)
The erotic palace has no owner and the flowers are lonely. "The ladies-in-waiting have long white hair" and you are not here. There are only 20 crosses, which overlap with the word "palace" and always have different intentions, so there is no repetition; What's more, it's easier to do than to feel. (Zhang Xie's Three Hundred Notes on Tang Poetry)