How to understand Du Fu's "Eight Poems of Autumn Joy (Part 1)"
Wen Jingxiang
Du Fu has this summary of his poems: "As I grow old, I gradually wake up. The rhythm of poetry is fine." In other words, Du Fu's later poetry creations were more meticulous in terms of rhythm, imagery, and emotion. As Mr. Ye Jiaying said in "Eight Poems of Du Fu Qiuxing":
This is a mature verse work after Du Fu left Shu and entered Kui. In terms of content and technique, Du Fu's seven verses have already matured. Enter a more refined artistic realm. Du Fu was already fifty years old at this time. He had experienced all the ups and downs in the world and experienced all the hardships in life. Moreover, all the changes in the world and human relationships he had experienced had been processed in his heart for a long time. In these poems, what Du Fu expresses is no longer the clumsy and sincere cry of "worrying about Li Yuan in his poor years, sighing about the heat in the field" in the past, nor is it no longer "the wine and meat smell of wine and meat in Zhumen, and the bones on the road are frozen to death" The unpretentious exposure is an artistic expression of affection after comprehensively brewing everything... From a technical point of view, we should pay attention to the breakthrough of syntax over tradition and the transcendence of imagery over reality.
Therefore, when we understand this poem "Eight Poems of Autumn (Part 1)", we must pay attention to Du Fu's "Autumn Thoughts", Du Fu's unique emotions at this time and place, and Du Fu's creation and revision of this poem.
We can see that in the Chinese poetry tradition, there are many famous works about autumn. Du Fu himself also wrote popular works such as "Ascend the High", and this song " What's the difference between "Autumn Festival"?
Du Fu and other poets have the same emotion in the tradition of "Sad Autumn", that is, "the heart of time", the time makes the wandering people The poet was moved in his heart. In autumn, everything decays, and the grass and trees turn to frost. The poet also thinks of the passing of his years and that his life has entered late autumn, and he can't help but feel sad. The difference between Du Fu is that his autumn sadness is no longer straight. The lamentation of dew is like "Autumn is full of sadness, and the emotion is sighing", nor is it the unique "interest of sadness" in the narrow consciousness, such as "the autumn clouds do not disperse and the frost flies late, leaving the withered lotus to listen to the sound of rain", nor is it The poet's nostalgia for his hometown and his sorrow for traveling are like "the moon in Chang'an, the sound of thousands of households pounding clothes" or "the sound of swaying wu leaves sending cold sounds, and the autumn wind on the river moving the feelings of guests". It is the poet who combines the personal time sequence. A comprehensive expression of love, the feeling of traveling, the feeling of missing the king, the feeling of caring about the country, and the feeling of heaven and earth.
The images of the first couplet are "jade dew", maple leaves and "autumn air". The author selected the most representative images of autumn, "dew" and "maple tree", and used the word "jade" as a decoration to express the pure white air condensed on the dark red maple leaves, giving it a cold and glamorous tone. Looking at the mountains in the distance to see the cold and dying maple leaves is really shocking and impressive. The Xiaosen autumn air fills the space between heaven and earth, rushing in the Wushan Wu Gorge with great force. The author's use of "Wushan Wu Gorge" not only conforms to the regional characteristics, but also reminds people of the unobstructed scenery in the mountains and canyons. The autumn air makes people feel a great momentum. This is what makes the poet Du Fu different from ordinary poets. He wrote about the awe-inspiring spirit in his mind and the majestic feelings between heaven and earth.
From the maple trees in the mountains to the majestic autumn air in the canyon, it is natural to focus on the waves in the river. The contrast between the couplets is neat, the sky is against the earth, the rain is against the wind, and the correspondence between the words touches the correspondence between emotion and vision. The first couplet writes about rolling waves, which is the reason why Du Fu stayed in Kuizhou. This power between heaven and earth also shocked the poet, so the poet used his intuitive feelings to write about the waves and his momentum of rushing over the heaven and earth. From "waves" "Soaring to the sky" contrasts with "storms and clouds pressing down on the earth", and also contains concern for the critical situation on the border and front lines. It really creates a tragic and stirring feeling.
As Mr. Ye Jiaying commented: "Du Fu is a poet with both sensibility and intelligence. On the one hand, he has great and strong sensibility and can penetrate deeply into anything he comes into contact with. And grasp the essence of the things he wants to capture; on the other hand, he has extremely clear and thoughtful rationality, which is enough to get rid of the blindness and limitations of all things and achieve a comprehensive view without deviation. " When we read Du Fu's poems, we must first "understand the human feelings from a distance, think about the situation, put ourselves in the situation, concentrate on the situation, think about it, and try to figure it out" (Qian Zhongshu's "Guan Zhui Pian") before we can get close to it. A kind of intuitively felt scenery and emotion. Secondly, we must jump out of the immediate situation and start from the overall situation, not only the changes in the world, but also the turmoil in the country, and more importantly, the poet's complex emotions of being hated.
The poet has been trapped in Kuizhou for two years due to floods. Because it is late autumn, he uses "chrysanthemums" as the image. "Chrysanthemums in bloom" directly expresses the depression of being stranded for two years, and "Tears of another day" punctuates the continuation of that sad emotion, from "future" to "today" when this poem was written, "today" lingers without knowing what the "tomorrow" will be like. This hatred really lasts forever. The emotion of sadness is not only spatial but also temporal. "Guzhou is connected with the heart of hometown" should pay attention to the three words "Guzhou", "tie" and "heart of hometown". "Guzhou" is a commonly used word. It is generally used to express the sadness of traveling, thereby exaggerating the emotion of loneliness and loneliness. "tie" as a verb means "to tie". The literal meaning is to tie the boat to the shore, but here it is collocated with The theme is "hometown heart", which also expresses the helplessness of "being detained physically and mentally trapped".
Ge Zhaoguang commented: "Tears of the Future" seem to be the tears of blooming chrysanthemums, and "Hometown Heart" seems to be tied up by the cables of the boat. In fact, this is Du Fu's experiment to make the poetic language novel and compact.
So does "hometown heart" mean that the author misses his hometown? If we organize and analyze the poems in "Eight Poems on the Rise of Autumn", we can guess that what the poet misses is not his personal hometown, but his longing for his hometown, Xijing. This is Du Fu's habit. He spent his whole life in the Confucian world, and Li Bai's idea of ??both Confucianism, chivalry and immortality is different.
(Part 1) The two blooming chrysanthemums will shed tears in the future, and the lonely boat will be connected to the heart of the hometown. Hanyi is urging the knife and ruler everywhere, and Baidi City is high and anxious at dusk.
(Part 2) The setting sun is setting in the isolated city of Kui Mansion, and every time I look up at the Big Dipper, I look towards Beijing. After listening to the ape's real tears three times, he was sent to follow the eighty-eight-year-old monk.
(3) Kuang Heng’s reputation for resisting Shu was not good, and Liu Xiang Chuan Sutra went against his will. There are many young classmates who are not cheap, but Wuling's clothes and horses are light and fat.
(Part 4) I heard that Chang'an is like playing chess, and the world is full of sorrow for a hundred years. The princes' houses all have new owners, and their civil and military uniforms are different from those of the past.
The golden drums of Guanshan Mountain in Zhibei are vibrating, and the horses and horses of the expedition to the west are galloping. The fish and dragon are lonely, the autumn river is cold, and the homeland is full of thoughts.
(Part 5) The clouds move, the pheasant tail opens the palace fan, and the sun circles the dragon scales to recognize the holy face. One night when I was lying in Cangjiang River, I was surprised at the late New Year's Eve. I went to work several times when I was young.
(Part 6) Yellow swans are surrounded by bead curtains and embroidered pillars, and white gulls hang from the brocade cable tooth wall. Looking back at the pitiful land of singing and dancing, Qinzhong has been an imperial state since ancient times.
(Part 7) The Kunming Pond is a masterpiece of Han Dynasty, and Emperor Wu’s flag is in his eyes. The weaving girl's silk threads are like the night moon, and the stone whale's scales are moving in the autumn wind.
(Part 8) Kunwu Yusu meanders from the sky, and the purple pavilion peak enters Meipei. The fragrant rice pecks at the remaining parrot grains, and the green parasol perches on the old phoenix branches.
We can see that each of Du Fu's "Eight Poems on the Rise of Autumn" carries memories of life in Chang'an and has a profound emotion for the motherland. Du Fu's writing at this time is no longer a direct expression. Instead, we must carefully consider, ponder, and taste, so when we read Du Fu's poems at this time, we must be patient and careful.
Although the poem has few words, it is full of tension. When we read this 56-character rhymed poem, we can follow the author's associations and imaginations to travel between heaven and earth, travel between ancient and modern times, and gallop between reality and illusion. In the poem, the poem goes from a realistic scene to a distant emotion, and then comes out of the distant emotion, further deepening the understanding of what it sees, hears and feels.
The last couplet allows us to imagine that we, like the poet, are in a foreign country, standing in a high city, wearing thin clothes. The cold winter is approaching, and homesickness has arisen spontaneously. At this time, the sound of knives and rulers is heard everywhere. As the autumn wind blows, it amplifies and spreads in my mind, creating a feeling of greater loneliness, depression and sadness.