1, once you climb to the top of the mountain, you will see that all the other mountains are short in the sky. From the Tang Dynasty poet Du Fu's "Looking at Yue".
2. "Wang Yue"
What a magnificent scenery Mount Tai is! Endless green spans Qilu and Qilu. The creator has endowed all the mysterious nature here with elegance, and? The day immediately enters dawn and dusk. ..
Caiyun lave? My mind is free and easy, and birds fly back and forth in front of my nervous eyes. Once you climb to the top of the mountain, you will see that all the other mountains look short under the sky. ..
3. Interpretation of poetry
Du Fu's poem Wang Yue consists of three poems, which are about Dongyue (Mount Tai), Nanyue (Hengshan) and Xiyue (Huashan). This poem is about seeing Mount Tai in Dongyue. In the 24th year of Kaiyuan (736), the 24-year-old poet began a roaming life of "chasing horses". This poem was written in Zhaobei, Qi (now Henan).
There is not a word "Wang" in the whole poem, and every sentence is written in the direction of Yue. The distance is from far to near, and the time is from morning till night. Wang Yue thinks about the future and climbs to Yue.
The first sentence is "the grandeur of Mount Tai! ? "When I first saw Mount Tai, I was so happy that I didn't know how to describe my admiration and admiration. It was very vivid. Dai is another name of Mount Tai. Because he is the first of the five mountains, he is honored as Dai Zong. "How is your husband?" What is this? In ancient Chinese, the word "fu" was usually used as a function word at the beginning of a sentence. This is a new creation and unique when it is integrated into this poem here. Although the word "fu" has no practical significance, it is indispensable. The so-called "vivid portrayal is being blocked."
"Endless green stretches across Qilu and Qilu" is a magical sentence. It's not that Mount Tai is high in the abstract, nor is it described in such general language as "Cui Bi stung the sky" as in Xie Lingyun's poem "Climbing Mount Tai", but he wrote his own experience in an ingenious way-besides the two great countries of ancient Qilu, Mount Tai can still be seen from a distance, setting it off from a distance. Therefore, this sentence describes the geographical features, and can't be misappropriated when writing about other mountains. In the Ming Dynasty, Mo Ruzhong's poem "Wang Yue Lou in Dengdong County" said: "Qilu is not green so far, who will succeed Ling Du in the poem?" It is reasonable for him to put forward this poem in particular and think that no one can succeed.
The phrase "the creator has given all mysterious natural grace here, and? The day immediately enters dawn and dusk. " It describes the magical beauty and majestic image of Mount Tai seen from a close look, which is the footnote of the last sentence "green is not over". The word "zhong" describes nature and is full of affection. The side facing the sun in front of the mountain is "Yang" and the side facing the sun behind the mountain is "Yin". Because the mountain is high, judging the dusk of the sky is isolated from the shade and dawn of the mountain.
"Clouds Wangfu? My mind is free and easy, and birds fly back and forth in front of my nervous eyes. " In two words, just write a detailed look. Seeing the endless clouds in the mountains, my heart is also rippling; Staring at it for a long time, my eyes seem to be broken. "Returning birds" refer to birds that have returned to their nests in the forest. It is already dusk, and the poet is still in sight. It goes without saying that it contains the poet's love for the motherland.
"Once you climb to the top of the mountain, you will see that all the other mountains look short under the sky." These last two sentences are about the desire for Vietnam and the expectation of Vietnam. "Hui" is a spoken language in the Tang Dynasty, which means "must". For example, Wang Bo's poem about spring: "The dust will be exhausted in a corner, and the green cover and Zhu Xuan will come in spring." Sometimes the word "general" is used singly, such as Sun Guangxian's "North Dream": "That is to say, Du Fu's poems are often used singly, such as" This life is old in Shu, and when you die, you will return to Qin! "If' will' is interpreted as' should', it is not accurate or melodramatic.
From these two inspiring and symbolic poems, we can see the ambition and spirit of the poet Du Fu who is not afraid of difficulties, dares to reach the top and overlooks everything. This is the key for Du Fu to become a great poet, and it is also indispensable for all those who make a difference. This is why these two poems have been told by people for thousands of years, and they can still arouse strong singing. In Qing Dynasty, Pu Qilong thought that Du Fu's poems were "the first". He also said, "Du Zi's heart is full of verve and impressive. Use this as a scroll to make the town stand tall. " (Reading Jie) also emphasized the symbolic significance of these two poems. This is exactly the same as Du Fu's "comparing millet with deed" in politics and "defeating Lei Jia with anger and shortsightedness" in creation. This poem was praised by later generations.
Second, Du Fu
1, Du Fu (7 12- 770 AD), Han nationality, born in Gongxian County, Henan Province (now Gongyi, Henan Province), Du Fu's great-grandfather moved to Gongxian County from Xiangyang, Hubei Province. Grandfather Du, father, Du Fu and Du Jia lived in Gongxian for 85 years. Du family in Xiangyang, one of the branches of Du family in Jingzhao, moved to Gongxian County, Henan Province. A great realistic poet in the Tang Dynasty, who claimed to be a young man at night, was called "Du Li" together with Li Bai. In order to distinguish Li Shangyin, Du Mu and Xiao Du Li, Du Fu and Li Bai are also called Da Du Li, and Du Fu is often called Lao Du.
Du Fu's influence on China's classical poetry is far-reaching, and he is called "the sage of poetry" by later generations, and his poems are called "the history of poetry". Later generations called him Du Shiyi and Du Gongbu, and also called him Du Shaoling and Du Caotang.
Du Fu wrote such famous works as Spring Hope, Northern Expedition, Three Officials and Three Farewells. In 759, Du Fu abandoned his official position and went to Sichuan. Although he fled the war and lived a relatively stable life, he still cared about his life and managed state affairs. Although Du Fu is a realistic poet, he also has a wild and unruly side. It is not difficult to see Du Fu's heroism and dry clouds from his masterpiece Song of Drinking Eight Immortals.
The core of Du Fu's thought is the Confucian thought of benevolent government, and he has the great wish of "making the monarch Yao and Shun superior, and then making the customs pure". Although Du Fu was not famous during his lifetime, his fame spread far and wide, which had a far-reaching impact on China literature and Japanese literature. About 65,438+0,500 poems of Du Fu have been preserved, most of which are collected by Du Gongbu.
2. Personal achievements
poetic sentiment
Du Fu's poem "There are Sixty Volumes" has long been lost. In the second year of Baoyuan in the Northern Song Dynasty (1039), Wang Zhu collected 1405 volumes and compiled them into 18 volumes, which was named "Du Gongbu Collection". Qian edited The Collection of Du Gongbu. Yang Lun said: "Since the Six Dynasties, Yuefu imitated plagiarism, and Chen Xiangyin was the most disgusting. When Zi Mei came out, she felt what she felt at that time. When she went to Benjamin, she was in trouble. The people there were very poor. She asked questions at random, trying to get rid of the stereotypes of her predecessors.
Du Fu's middle-aged poems are called "the history of poetry" because of his gloomy poetic style and feelings of worrying about the country and the people. His poems are good at antique and rhythmic poems, and have various styles. He accurately summed up his work style with the words "depressed and frustrated", mainly focusing on depression. Du Fu lived in the historical period from prosperity to decline in the Tang Dynasty. Most of his poems involve social unrest, political darkness and people's sufferings. His poems reflected the social contradictions and people's sufferings at that time. His poems recorded the historical changes of the Tang Dynasty from prosperity to decline, and expressed the lofty Confucian spirit of benevolence and strong sense of hardship, so they were called "the history of poetry". Du Fu is concerned about the country and the people, with noble personality and exquisite poetic skills. Du Fu wrote more than 1500 poems in his life, many of which are famous works that have been celebrated through the ages, such as Three Officials and Three Farewells. Among them, the "three officials" are Shi Haoguan, Xin 'an official and Tongguan official, and the "three farewell" are newly married, homeless and resigned. Du Fu's poems handed down from generation to generation are the most extensive in the Tang Dynasty, and he is one of the most outstanding poets in the Tang Dynasty, which has a far-reaching influence on later generations. Du Fu's works are known as the scars of the world and the sages in poetry. The people are in poverty, and the bottom of the pen is turbulent. It is a masterpiece of realistic poetry.
Rhyme plays an extremely important role in Du Fu's poems. The achievement of Du Fu's metrical poems lies in expanding the scope of expression of metrical poems. He not only writes about entertainment, nostalgia, travel, feasts and landscapes with Chang Song poems, but also writes about current events with Chang Song poems. It is difficult to write current affairs with metrical poems, but Du Fu can use them freely. Du Fu writes metrical poems freely, changes as much as he can, conforms to the law without seeing the shackles of metrical poems, and is in neat opposition without seeing the traces of antithesis. For example, there is such a poem in Yang Lun's Ascending the Mountain, which is called "The Seven-character Law of Du Ji": "There is a flurry in the sky, apes crow and birds crow, blue lakes and white sands, and birds crow at home. The endless trees are rustling leaves, and the Yangtze River is rolling unpredictably. Li in the sad autumn scenery, a wanderer all the year round, lives alone on the high platform in today's illness. Bad luck has a bitter frost on my temples, and heartache and fatigue are a thick layer of dust in my wine. " The whole poem is also very precise and elegant in tonal sentence patterns. Eight sentences are all right, so is the first sentence. Strict antithesis is concealed by the fluency of the image, and strictness becomes sparse.
The highest achievement of Du Fu's metrical poems can be said to be that this style is fluent and makes people forget that it is a metrical poem as soon as they are written. Such as "Delighting in Rain on a Spring Night": "Good rain knows the season, when spring comes. Sneak into the night with the wind, moisten things silently. Wild trails and clouds are all black, and rivers and boats are bright. Look at the red and wet place, Jinguancheng flowers are heavy. " The last four sentences use flowing water to write down the charm of spring rain in one breath, unexpectedly and silently, and at the end, write down a surprise that suddenly looks back, which is rigorous and seamless.
Du Fu is good at using many systems of classical poetry and creatively developing them. Du Fu's thought of paying attention to people's livelihood and his achievements in rhythmic poetry directly influenced the creation of new Yuefu by Yuan Zhen, Bai Juyi and others in the middle Tang Dynasty. He is the pioneer of the new Yuefu poetry style. His Yuefu poems contributed to the development of the new Yuefu movement in the middle Tang Dynasty. His "May 7th" archaic novel, which is also a history of poetry, began to narrate and focus on the whole story, marking the high achievement of China's poetic art. The Song Dynasty, full of social contradictions, was the most prosperous time to learn from Du Fu, and the Jiangxi Poetry School with Du Fu as the Sect appeared. Gu and others in the late Ming and early Qing dynasties also had an obvious tendency to learn from Du Fu and Fu. They reflected the anti-Qing struggle at that time with metrical poems and were impassioned.
Du Fu's poems received extensive attention after the Song Dynasty. Yu Wang, Wang Anshi, Su Shi, Huang Tingjian and Lu You spoke highly of Du Fu. Textual research data for nearly a thousand years, the wind of governing Du Fu has been endless. There are many books about the chronology, classification and annotation of Du Fu's poems in Song Dynasty, such as Du Gongbu Collection, Jiu Zi Du's Poems Collection, Poems Annotation of Du Gongbu Caotang by Lu Bian, Poems Collection by Cai Mengbi and Poems Collection by Du Gongbu by Xu. Among them, the two banks of the Yellow River were recovered by the imperial army, Wang Chun and Jue Jue Jue are representative works. There are more than 100 kinds of comments on Du Ji by later generations, among which Du Gongbu's Notes on Du Ji, Qiu's Detailed Notes on Du Shi, Yang Lun's Jing Quan of Du Shi and Pu Qilong's Interpretation are widely circulated. There are biographies of Du Fu in both old and new Tang books. After the Song Dynasty, there were a lot of words to comment and explain Du Fu's poems. Tang and Song Dynasties were edited by Zhonghua Book Company, 1964. At the end of the Ming Dynasty, Wang Siyou had Du Yi, who kept Du Shi Shuo. In addition, Zhonghua Book Company also compiled the more important papers since the May 4th Movement into "Essays on Du Fu Studies". Biographies and new research monographs include Feng Zhi's Biography of Du Fu, Xiao Difei's Study of Du Fu, Fu Gengsheng's On Du Fu's Poetry and Zhu Dongrun's On Du Fu's Narrative. More detailed chronicles include Wen Yiduo's Notes on Mr. Shaoling's Chronology and Du Fu's Chronology of Sichuan Institute of Literature and History Research.
calligraphy
Du Fu's view of calligraphy creation is very mature and profound. According to the records, his calligraphy style is cursive and cursive, with overall intention, respect for the ancient and magnificent, and emphasis on speed, rhythm, brushwork, ink method and so on. He was also a very profound calligrapher in the Tang Dynasty. At the same time, his praise of the official calligraphers in the Tang Dynasty and his evaluation of Cao Ba and Zhang Xu were enough to make him famous in the history of calligraphy. His theory of "calligraphy is expensive but thin and hard" laid an important position for Du Fu in the history of calligraphy theory.