Keywords:: artistic expression of Du Fu's seven-character metrical poem "Ascending the Mountain"
introduce
Artistic expression can be understood as the appeal in works of art, and poetry, as a literary genre that reflects life and expresses emotions through rhythmic and rhythmic language, has its own requirements in artistic expression. Among the numerous poetic styles in the Tang Dynasty, the metrical requirements of metrical poems are the most stringent, and there are strict rules in terms of the number of sentences, the number of words, the rhyme, the parallelism and the antithesis. In addition, metrical poetry is more formal than metrical poetry, which determines its unique artistic expression.
The artistic expression of the seven laws is realized through two aspects: first, the formal requirements of the seven laws and eight sentences are "long sentences" compared with the five laws, which are easy to express unrestrained emotions and easily combine with poetic content to form a solemn, heroic and impassioned artistic style. At the same time, under the strict rhythm and limited institutional constraints, poets often pay attention to tempering and refining words. Second, the poet's profound artistic foundation, poetic style is only a form, can not be expressed alone. Only through certain artistic techniques can the author skillfully use various artistic expressions within the framework of poetic style, express multiple connotations beyond words in a limited formal space, and achieve artistic effects, so that the form and content of poetry can be integrated into his own artistic expression.
Du Fu is the most skillful and successful poet in using the Seven Laws. His greatest contribution to the poetic style lies in the stereotypes of seven-character poems. At the same time, Du Fu's seven-character poems have also made brilliant achievements in artistic expression. His seven-character poems surpass predecessors and contemporary poets in writing, sentence-making, word selection, word refinement and skillful use of various techniques. Huang Ziyun's Ye Hongshi once criticized Du Fu's Seven Laws: "DUZH's Seven Laws are unparalleled for thousands of years. The essence of its meaning, the change of law, the weight of sentences, the full practice of words, the sweating of qi, and the swaying of god are beyond the reach of pen and ink. " [1] Huang's evaluation of Du Fu's Seven Laws from six aspects: meaning, method, sentence, word, qi and spirit is really insightful. Hu Zhenheng said in "Tang Yin Gui Qian": "There are five differences between the Seven Laws of Shaoling and other schools: many articles, one is also; There are countless problems, and the second is also; Good for things, three also; Poetry is everywhere, four also; Be good at yourself, that is, poetry into poetry, five also. This is not available in any family. Changes in other practices are even more difficult to count. " [2] Hu used the method of comparison to highlight the characteristics and achievements of Du Fu's Seven Laws. From this point of view, Du Fu is a master of the Seven Laws, so the unique artistic expression of this poetic style is fully displayed in Du Fu's Seven Laws.
Ascending the Mountain (3) was written by Du Fu in Kuizhou when he was 56 years old. At that time, he was helpless and sick, and his mood was extremely sad. It was difficult to get rid of him. This autumn, he went to the podium alone and had mixed feelings, so he wrote this article. Poets have always highly praised the poem Ascending the Mountain. Yang Lun called it "Gao Hun, unique in ancient and modern times, the first of Du Ji's seven-character poems". [4] Hu Yinglin said: "This poem should be the first in ancient and modern times, not the first in the seven laws of the Tang Dynasty." ⑤ This paper focuses on the analysis of the poem Ascending the Height from two aspects: the metrical form of the seven laws and the artistic expression used by the poet, so as to explore the performance of the artistic expression of the seven laws in Du Fu's hands.
1. The beauty of tone form
Rhyme is a mature poetic style in the Tang Dynasty, and its metrical requirements are extremely strict: each seven-character metrical poem has eight sentences and seven characters; The two sentences must rhyme and rhyme to the end; Parallel couplets and necklaces must be paired; The words in every sentence are even. Du Fu pays great attention to the form of poetry when he writes poetry, and he is handy in mastering beautiful and elegant poetry forms. Especially in the later years, with the long-term life tempering and the accumulation of creative experience, the poetic method tends to be more refined, which can be said to have reached the point of perfection. The artistic form of the poem Up the Mountain is perfect.
1. 1 level.
"Ascending the Mountain" adopts the most formal one of the seven-law flat and even format-flat and even style, and the first sentence rhymes. According to the format of the standard seven-character rhyme, the rules of leveling are as follows:
Pingping Pingping Pingping Pingping Pingping Pingping Pingping Pingping Pingping Pingping Pingping Pingping Pingping Pingping.
Plain, plain, plain.
Flat and light, flat and light.
Plain, plain, plain.
Comparing the actual level of the original poem with the level of this typical standard format, we will find that the level of the original poem is inconsistent with this standard format in several places, mainly in the first couplet and the neck couplet. The inconsistent words in the first couplet are Phoenix, Ape, Zhu and Sha, and the inconsistent words in the neck couplet are white and many, while only one word in the tail couplet is different from the standard format, that is, Liao and couplet are completely consistent with the standard format. The specific plane format of this whole poem is as follows:
In the sharp wind from the vast sky, the ape sobbed, one after another, one after another.
Birds fly over the clear lake and white sand beach and fly home. Pingping Pingping Pingping Pingping Pingping Pingping.
Leaves fall like a waterfall, piece by piece.
When I watch the long river roll forward. Ordinary, ordinary, ordinary.
Wan Li's sad autumn often makes a guest appearance, which is plain.
With my hundred years of sorrow, I climbed this height alone. Pingping Pingping Pingping Pingping Pingping Pingping.
Bad luck has formed a bitter frost on my temple, which is flat and flat.
Heartache and fatigue are a thick layer of dust in my wine. Pingping Pingping Pingping Pingping Pingping.
The first word of the first couplet was replaced by a flat voice, and the first word of the next sentence was replaced by a flat voice. At the beginning, with the change of weight, two rhythms were added The word "sky high" is connected with the ape sound, showing a lofty and sharp emotional appeal. After rising continuously, the "ape scream" sinks, and the two ends of the poem form rapid ups and downs. The last word "sadness" rises and never returns. Necklace is at the turning point of scenery and emotion in the whole poem. The subtle adjustment of "hundred" and "many" levels makes this poem more miserable and helpless. However, the difference between the above-mentioned leveling and the standard format does not exceed the provisions of metrical poetry, which is allowed by the laws of metrical poetry. This shows that on the one hand, Du Fu wrote his poems in strict accordance with the requirements of regular poems, on the other hand, he made some appropriate adjustments within the scope permitted by law, and these appropriate adjustments happened to be closely related to the thoughts and feelings expressed in his poems.
1.2 The rhythm is harmonious and not monotonous
The first sentence of this poem rhymes, and the first, second, fourth, sixth and eighth sentences all rhyme: from the first sentence, the rhyming words of the first, second, fourth, sixth and eighth sentences are "mourning", "returning", "coming", "Taiwan" and "cup" in turn, all of which are "grey" and smooth. This work has harmonious rhythm, sonorous tone, appropriate words and accurate language, which strengthens the musical beauty of this poem and makes it more expressive. For example, the word "bitterness, bitterness and hatred" in the tail couplet is syntactically juxtaposed, but it has the characteristics of four tones, and it is read one word at a time; "Xiachu" and "Xinzhi" are two-tone overlapping rhymes, and there are also "Shang" and "Ping" sounds, so the syllables are particularly sonorous and loud, and they are pronounced in two words. The magical effect of "numerous frost temples" on "turbid wine glasses" is also called "falling prevention". In this deep and heavy rhyme, we can also appreciate the poet's wandering pain.
1.3 The antithesis is neat and not sluggish.
In the first couplet, "wind" is to Zhu, "sky" is to sand, and "ape cries" is to birds, among which "ape" and "bird" and animals are to birds; "Xiao" and "Fei", sound and movement; "Mourning" sounds sad, "returning", going and returning, "mourning" and "returning", and it is tactfully sad. In addition, the subtlety of this couplet lies in the self-correction in the sentence, the relationship between "wind" and "sky" and the scenery at high places; The images of "urgency" and "height" modify "wind" and "sky" are juxtaposed with "sand", while "green" is opposite to "white". As a result, the beach and the highland come down in one continuous line, and the refreshing and white complement each other and become a landscape naturally. Moreover, "the wind is rushing and the sky is high" is seen from above, while "Zhu Qingshabai" is seen from below, so it is relative.
The antithetical couplet "Wu" and "Wu" are opposite, and "Bian" and "Exhaustion" are opposite, indicating the boundary. Falling Wood is opposite to The Yangtze River, while Shui Mu is opposite. "Boundless fallen trees" and "endless Yangtze River", what you can see when climbing mountains is enormous. "Vujacic" is opposite to "rolling", similar to sound and appearance, and static is opposite to motion. "Under the Falling Flowers Tree" and "From the Yangtze River" are combined to form a two-dimensional space for climbing the horizon. Both "coming down" and "coming" have a feeling of low adversity.
Necklace "ten thousand" to "hundred", "inside" to "year", time to space. "Autumn" takes care of "illness", which means that the declining season of life and physical and mental hardships constitute the intersection of sadness and resentment. The frequency of "long" is long, the loneliness and helplessness of "independence" and the isolated face composed of lines show the sadness of life without relatives and friends. It is logical to take care of the "stage" of Chongyang because you are a guest in other places. I don't know what this runaway joint space "Wan Li" is; Time can't live for a hundred years, and I don't know how to hate. Space-time coordinates are centered on the poet, with mixed feelings and myriad thoughts.
The "hardship" and "down and out" in the tail couplet are permeated with the suffering of weak national luck and poor life experience. "Bitterness and hate" is the sorrow and helplessness of human suffering, and "new stop" is also the boredom and helplessness of not being able to drink. "Frost temples" and "wine glasses" are extremely sad things in the body, and today, they are full of endless decline and melancholy.
On closer inspection, the tonal sentence pattern of the whole poem is very precise and elegant. As analyzed above, the four rhymes are all about work, and the first two sentences are correct, but such neat antithesis does not seem to be stagnant. The wind is urgent, apes scream, birds fly and trees fall, and with the rolling river, the whole realm is involved in the rushing water, and then there is a sigh. Self-correctness in sentences and two opposite sentences increase the density and capacity of poems. Du Fu used so many verbs with strong coherence in his movements, which made the whole poem feel like a flowing whole and made people feel like a breath. Strict antithesis is concealed by the fluency of the image, and strictness becomes sparse. The whole poem expresses the momentum of sound and image through the careful arrangement of flat tones and clever antithesis words, which can be described as originality.
2. Clever expression skills
If we only write poems according to the rules of rhyming, leveling and antithesis in the Poetry Law, there are many poems in past dynasties, and there are not a few poems with seven rhythms. However, the excellent work Fu's Seven Laws is still a minority. In the rigorous poetic form, Du Fu's seven laws flexibly and skillfully use various expressive techniques to enhance the artistic expression of poetry, which is also an important reason why his seven laws have achieved such high achievements. Du Fu is good at absorbing the strengths of various schools and achieving mastery through a comprehensive study, so his expression techniques are varied.
2. 1 The image is ingenious and unique.
In the first two sentences of "going up the mountain", the word 14 leads to six images: strong wind, high sky, mourning ape, Zhu Qing, white sand and birds. These six images describe the unique scenery of Kuizhou area in late autumn from different angles of shape, sound, color and state, and they are all extremely sad about autumn. This sad Qiu Jingtu set the tone for the whole poem. "The beginning of the poem highlights a sense of movement: the wind is urgent, the sky is high, apes are crying, Zhu Qing, sand is white, birds are flying back and forth ... The dynamic echo of these images reveals the original autumn atmosphere." [6] These six images mobilize all the senses of sound, color, meaning and feeling, and flow in one breath, which is located at the beginning of the poem, making people overwhelmed, so the opening is abrupt, such as a strong wind falling from the sky.
2.2 hammer words refined and vivid
The word "Ai" in the first couplet "The Ape Whispering Ai" vividly describes the piercing voice of the ape in the Three Gorges of the Yangtze River, which makes the whole poem shrouded in a tragic atmosphere. Every scene is described in one word, but vivid, which shows that Du Fu's words are extremely refined and vivid.
In parallel prose, Du Fu uses overlapping words, which is one of the important means to enhance the musical effect of poetry and has strong expressive force. "Leaves fall like the spray of a waterfall, but I think the long river is always rolling forward", writing Liao Kuo looking forward to climbing the mountain to see the river and trees in autumn, "boundless", bleak in the distance, "rustling down", speeding up the fall of trees. "Endless" is originally a magnificent realm, and "rolling in" adds to the majestic momentum of "all rivers pour into the East". "Sasha Vujacic" and "Rolling" amplify the passing of falling wood and river water, and both convey form, sound and spirit, making poetry fly. Looking up and down, there is a lot of slack, which is worthy of being a famous sentence through the ages. In addition to this poem, his poems such as "wearing a butterfly is insightful, a dragonfly flies slowly" and "supporting a fisherman is just so-so, and a swallow flies in the clear autumn" are good examples of using reduplication. Ye Mengde's Shi Lin Shi Hua said: "It is extremely difficult to have two words under a poem. The best way to work is to make the spirit and interest between seven words and five words, except for five words, all in two words. ..... Lao Du's "Leaves fall like waterfall foam, but I think the long river always rolls at dusk" and "Lonely birds walk in the river, and the wind and rain always sing a song" are magnificent. ⑦ Using "transcendence" to evaluate the overlapping words in Du Fu's Seven Laws is enough to help us understand the depth of Du Fu's skill in the creation of the Seven Laws.
2.3 Concise and meaningful, sad autumn contains many meanings.
The crowning point of the whole poem lies in "Sad Autumn", which means lamenting the decline of life. In The Necklace Couplet, the poet writes from two aspects: space (Wan Li) and time (a hundred years), and integrates the feelings of a long-time guest who is most likely to come to power alone with sorrow and illness in autumn into a couplet of broad dialogue, which makes people deeply feel his heavy emotional pulse. One union and eight meanings. Luo Dajing, a scholar in the Song Dynasty, analyzed this couplet in He Lu: "Wan Li is far away. Sad autumn, when sad also. Be a guest, be a traveler. Frequent visitors travel far. A hundred years later, my teeth are dying. Sick and sick. Those who stand on the stage are also high. Alone on the stage, no relatives or friends. Between the fourteen characters, there are eight meanings, and the duality is accurate. " [8] "eight meanings", that is, eight sorrows: the sadness of foreign guests; Frequent visitors, two sorrows; Wan Li is a guest, three sorrows; When the bleak autumn, four people are sad; A few years have passed, nothing has been achieved, and five are sad; The death of relatives and friends is six sorrows; It's sad to go to Deng alone; It's sad to be sick. Wan Li, Sad Autumn made Hundred Years more sickly, and frequent guest appearance made On the Stage Alone. Poets use these vivid words to render and express their feelings in many ways and at many levels, so that the expression of feelings reaches its peak, the language is full of tension, highly concise, echoing the sad scene of the first couplet and harmonious artistic conception. The words are few but rich in meaning and concise, which shows the poet's extraordinary pen power.
2.4 Scenery blending, ingenious conception
Du Fu's lyric poems are often full of feelings and scenes, and Climbing the Heights is no exception. The whole poem is divided into two parts. The first two parts are about the scenery of mountain climbing, and the last two parts are about the feelings of mountain climbing. The purpose of writing scenery is to express feelings, and feelings are born of scenery. The scenery is emotional, the scene is blended, and the idea is ingenious. Although the angles are different, they all organize the whole content with "sorrowful autumn" as the center, which fully expresses the poet's complex feelings of wandering for many years, worrying about the country and hurting the time, and being sick and lonely. But slightly different from other lyric poems, Du Fu is ingenious and surprising in the layout and rhythm arrangement of the whole poem.
The poet begins with the scenery in front of him and is enveloped by his own feelings. The second half comes down to himself, expressing his temporary feelings and state of mind before boarding the ship. Du Like's other climbing poems are written in the natural order of events, such as the first poem in Five Poems in Nine Days, which begins with "solo" and "coming to power" and then expresses feelings; Another climbing work, "Climbing the stairs" and "Flowers, as high as my window, hurt a homeless man's heart, because from this height, there is sadness everywhere", all in a logical order. It's just that this song first introduces the scenery in front of the climber, which includes the realm of "flying" that Hu Yinglin said, and then there is another person in this realm, that is, a sad and sick self, which has aroused a touching poetry. Therefore, Hu Yinglin commented that this poem has a tendency of "building your house and sitting on the bench".
"Many people are fluent in Du Fu's seven poems, but the writing of this poem is extremely difficult: the dense syllable arrangement of the first poem corresponds to the rapid change of the scenery, which constitutes a turbulent and rotating image; The antithesis of couplets and songs adds smooth voice and emotion; Neck couplets and tail couplets adopt progressive syntax, and one meaning runs through them, so that the whole poem is fluent in one breath and the melody echoes in a fast rhythm. " [9] The first sentence, like a hurricane from outer space, runs through the whole poem, making the whole poem shrouded in a sad and violent atmosphere. The sentence of "Zhu Qing" is very gentle, like a pen. In fact, it gives the next sentence an opportunity to pour out his feelings. By writing what he saw in hope, he forced out the third and fourth sentences. Zhuan Xu's brush strokes pour down and rush out, bold and unrestrained, thick and broad. The word "boundless" gives people a mixed feeling. But the following sentence is "and I think the long river is always rolling forward", which not only shows the vast and magnificent realm, but also highlights the poet's heroic passion. Wan Li's sad autumn and illness for more than a hundred years have opened a magnificent real life background for a highly vivid picture, which is gloomy, profound and poetic. At the end of the couplet, a poem is attached, and instead, he laments the trivial things around him, laments euphemistically and sings three sighs, which forms a tragic contrast with the magnificent world at the beginning of Chu Ci. The whole poem consists of eight sentences, which are freely retractable, freely opened and closed, and moderately ill. The whole story is arbitrary, but it strictly follows the laws and regulations, and everything is in the hands of the poet's superb pen.
From this point of view, when Du Fu wrote the Seven Laws, he skillfully integrated the grammar, syntax and composition into a poem, so that he produced a superb artistic realm. This poem is like this. The internal relationship between the eight sentences and the quadruple is interrelated, narrative and lyric echo each other, meticulous brushwork and freehand brushwork are combined, and rhythm and urgency correspond to emotional changes. If we make a detailed analysis, there are almost inexhaustible ideas. Du Fu used perfect artistic forms and intricate artistic techniques to express the true feelings of tears in his later years, which were lonely and hard to pay, generous and violent, tragic and desolate.
"Fifty-six words in this chapter, such as corals at the bottom of the sea, are thin and hard to name, deep and unfathomable, but they are clean and powerful. There are no ancients in the past, and there is no learning in the future ... This poem should be the first of the seven laws in ancient and modern times, not necessarily the first of the seven laws in the Tang Dynasty. " 【 Attending 】 "In an article, every sentence is Dharma, and in a word, every word is Dharma, but the real meaning runs through it in one go. At first glance, if there is no right person at the beginning and end, if there is no intention in the chest and abdomen. In a word, it's not bad at all, but it's like a hundred rivers pouring into the water at the end of the river. Even if you use words to make sentences, you will never dare to say it, and you must never say it. It is really a pioneering work. " [? ] Hu Yinglin praised, Du Fu's "Climbing the Heights" deserved.