On the Qingjiang River in Wan Li, the setting sun is low for three years.
Afraid that people will become small buildings, they will live in seclusion.
The door is hazel's, and I don't want to take the horseshoe.
The poet Du Fu lived in exile all his life and suffered from the weather. Faced with the difficulties of the motherland and the sufferings of the people, he was so anxious that his feelings could not be suppressed, and he wrote many works that have been passed down from generation to generation and are deeply grieved. But how can we express this grief and indignation more strongly and deeply? Obviously, we can't use too simple and clear methods. As a poet, Du Fu struggled for this, painstakingly mobilized various artistic means and adopted various expression methods. Two of them are very representative: setting sadness with beautiful scenery and expressing loneliness with wide scenery, both of which are well expressed in the poem "Fear of People".
Poem of Fear of People was written in the first year of Baoying (762), that is, the third year of Du Fu's roaming in Sichuan. At this time, Du Fu, who was born in a fine family style of "serving Confucianism and guarding officials, but not staying in a vegetarian business" (entering the carving fu), was quite frustrated in all aspects of his life. On the one hand, he completely lost confidence in Tang Suzong, who was fatuous and headstrong, and left the officialdom completely, which was in great contrast with his great ambition of "treating Yao and Shun with a gentleman, and then making the vulgar pure" ("Giving Twenty-two Rhymes to Wei Zuocheng"), and for him, the road and achievements of his proud thirteenth ancestor Du Yu seemed to be wiped out; On the other hand, his self-confidence and literary talent of "reading thousands of books and writing like a god" (Twenty-two Rhymes of Wei Zuocheng) has also been unimaginably ignored. During his decades of life, several preferred poems have been published in the society, but Du Fu's poems have not even been selected into the capital. The prestige established by Du Shenyan, his grandfather, in the poetry circle seems out of reach for Du Fu at this time. Because of this, the sadness in his heart and the loneliness in his life are getting heavier and heavier. In this context, the poem "Fear of Man" makes readers feel this heavy feeling through two expressive artistic means.
one
The first couplet shows readers a beautiful spring scene: spring is here, flowers are blooming everywhere, and birds are singing happily everywhere. According to Liu Xie's "Spring and Autumn Period, Yin and Yang are sad, looking for movement, and the heart is also shaking" ("Wen Xin Diao Long? 6? 1 looking for a job), such a "sunny" scene should correspond to a feeling of "comfort", but what Du Fu actually expressed was extremely strong sadness. The two couplets after the poem hint at this melancholy. In this mood, Du Fu saw the beautiful scenery of spring and had a serious psychological imbalance. He blamed the scenery for being difficult to understand. He regretted that the scenery could not share his sadness, and he felt that he was inferior to flowers and plants. The beautiful scenery forms a great contrast with one's own situation, which further strengthens one's misfortune.
The writing skills of Li Sao originated from The Book of Songs written by Wang Fuzhi of A Qing. "'I used to be gone, and the willow is Yi Yi. Today I think of it, it's raining. "Write mourning with joy, mourn Syaraku, and double your sorrow and joy." (2) Du Fu skillfully used this writing skill, which was used in many poems expressing sadness. "La Ri Bajiang Qu, the mountain flowers open. Ying Ying is a snowy apricot, and Yan Yan treats Chun Mei "is a beautiful scene that sets off the sadness of a nation that doesn't know" Xijing 'an "("Early Flowers "); "Peach Blossom on the Spring Shore, Maple Grove in Yun Fan" is a sad beauty that sets off the personal fate of "a hundred years of suffering and no confidant" ("Southern Expedition"); "Flowers bloom spontaneously in the old country, and the spring birds still crow" is a sad beauty that sets off "I have been cut off for a long time, and there is little news from the East and the West" (the first part of Memories of Two Brothers); "If you don't get angry, the peach blossom is redder than brocade, and the catkin is whiter than cotton" is the sadness of parting with the beautiful scenery, "If you know what to do later, it will be a farewell banquet when you suddenly meet your husband" ("Farewell to Six Servants and Imperial Entry into the DPRK").
two
Zhuan Xu created a vast realm in the way of time and space. "Wan Li" is a spatial word with a wide range of meanings, which expresses the spatial state of the scenery and Du Fu's being far away from the capital Chang 'an at this time. "Three years" is a time word with a long meaning, which expresses the time state of the scenery and expresses that Du Fu left the capital Chang 'an for a long time. This remoteness and eternity represent his feelings about the status quo during his wandering years. Du Fu was full of ambition in the first half of his life. In the poem, such as "climb to the top of the mountain, and you will see that other mountains are short in the sky." (Seeking Yue), "Without a spacious direction, we can live and die" ("Cao Huma"), "You can still catch a giant ao by fishing on the horizon" ("Brother Linyi"), and what we see is the great Du Fu and the small world. As Du Fu suffered more and more blows in his official career, his understanding of society became deeper and deeper, and great changes took place in his mind. At this time, the double frustration of official name and literary name made Du Fu deeply feel his loneliness, and this kind of "loneliness of life experience is the mood characteristic of Du Fu in the latter half of his life". And this sense of loneliness is more prominent in the contrast of vast territory.
This kind of writing technique of expressing loneliness on a large scale can be seen everywhere in Du Fu's later poems. For example, in "Traveling to Heaven and Burying the Sun and Moon" ("Giving Ten Brothers in a Small Wave"), the time and space of "Heaven" and "Sun and Moon" are used to set off their wandering and lonely figure; "Birds in a cage in the sun and the moon, duckweed on the water" (Send Dewey) compares the time and space of "Sun and Moon" and "Gan Kun" to compare his heart that can't be stretched like a caged bird and his body that drifts like duckweed on the water; "I came from three thousand miles away. Sad for this autumn, climb this high alone with my sorrow for a hundred years (climbing), and compare his lonely figure of "frequent visitor" and "coming to power alone" with the time and space of "Wan Li" and "a hundred years"; "Fusang's west branch breaks the stone, and the weak water flows with the east shadow. For example, the tallest building in Baidicheng created a vast territory by comparing the easternmost tree "Fusang" with the westernmost water "Weak Water", thus making the author of Chenopodium album even more insignificant.
three
The first couplet and the parallel couplet write scenes, which are indirectly expressed by writing scenes. Neck couplet and tail couplet are direct expressions, and they are extremely deep sadness and understanding of their loneliness formed under the contrast of beautiful scenery and vast environment. It can also be said that it is a reflection on one's own personality and a feeling of self-injury. "Afraid of people", afraid of interacting with people, so "building a small house" on the edge of "Wan Li Qingjiang" (referring to Du Fu's Caotang); Disgusting and withdrawn, it is suitable for living in seclusion in a quiet place. Since it is "fear" and "arrogance", it is "unintentional". I have no hope for other people's visits and can only let hazel grow all over the door. This is a simple character. For Du Fu, this "simple nature has been like this all his life, which is also a reason why he is not suitable for officialdom". When he lived in Chang 'an in his early years, Du Yun said, "I don't know who is right. How big is the power? Stack and find grandchildren "("From Ji Sun "); He said at the first time: "I have nothing to do when I go out, and I am free to walk." Rattan, tangerine peel and collaterals are arbitrary and exempt from the value of the duke "("Looking for Cui Zha in the dark "). If Du Fu's understanding of his personality in his early years is still in a vague state, then after the complete failure of officialdom, this understanding has become very clear in Qin Zhou's poems such as "I'm lazier and more clumsy, and I don't give myself trouble", "I'm not natural" and "I'm afraid I'm too thick". In the poem "Fear of people", "Fear of people makes a small building, harmonious and secluded. The door is made of hazel and the horseshoe is unintentional, which is another reflection of this simplicity. Du Fu's simplicity in his later life has been clearly summarized many times. For example, when Ceng Yun lived in Kuizhou, he said, "I don't like entering the state capital, for fear that people will take it for granted" and "I should exercise restraint when I get old" ("I should plant autumn vegetables in a small garden and read books when I am sick").
In a word, although Du Fu also uses poetic and homely coloring techniques in his poems, there is something unusual in this "normality". Specifically, this "strangeness" is to color with beautiful scenery and express loneliness with wide scenery, and these two techniques also play an important role in the formation of Du Fu's "depressed and frustrated" style.