Where does this ancient poem come from?

Du Fu wrote Wang Zhaojun's famous poem "Ode to Monument": "Wanzhongling Valley is near Jingmen, and Mrs. Guang was born in the village where she grew up. She came out of the purple palace and entered the desert. Now she has become a green grave in the yellow dusk. Her face! Can you imagine the spring wind? Huan Peikong is the soul of jathyapple. "The Song of Tatar on the Yuqin", the theory of time-sharing resentment. " The first two sentences are relative, and the last sentence is very dynamic. The direction of the valley is probably the direction of Feiming Village. It seems to Du Fu that all the valleys are towards Feiming Village. The next sentence is the view of "Feiming Village". The second couplet played this rhythm again, but the sound was louder, the intensity was higher and the contrast was more vivid. From the "village" to the palace, and then to the distant Xiongnu, the time and space span is particularly broad, and the dynamic trend of sentences is carried out in a broader and far-reaching background. The word "Lian" especially makes people feel that Zhaojun can't walk through the vast "Shuo Mo". However, it suddenly became a "grave" smaller than the "village", the vast space suddenly contracted into a lonely point, and the boundless time also stagnated in the "dusk" on the "grave", as if time had become a fossil and would never change. The first sentence in the triple is point and real point, and the second sentence is line and virtual. It uses the repeated rhythm of the first pair and the second pair, and also contains the contrast between "the picture is still true" and "the soul is just empty"-Du Fu probably saw Fei Ming's portrait in Fei Ming Village. From a poetic point of view, "her face! Can you imagine the spring wind? " Unlike the classics, which only use Mao Yanshou to describe Fermin. Look carefully at the second couplet, which is the antithesis, the journey of the previous sentence, and the stagnation of the next sentence; Another flowing sentence. The last sentence is followed by the next sentence, which is the result of the last sentence. Princess Ming went to Shuomo and left a tomb. The antithesis integrates the content and meter, and * * * has the function of opposing and complementing each other; The flowing sentences separate the content from the meter, and the sense of freedom flows in the contradiction with the rigidity of the meter. Moreover, the flowing flow of the whole two sentences-flowing sentences-and the pattern of opposition between the two sentences-is still strong, and poetry is flowing away, but before and after flowing away, it is actually opposite in nature. The two characteristics of flowing away and opposition are both relative and blending. The connotation of this couplet is particularly profound and complicated, far from what is said in the prose, "Zhaojun went to the north and was buried there after his death". Its tension makes art full of elasticity and strength, almost exhausting the constraints of couplets and its potential.