Thousands of mountains and valleys are close to Jingmen, and girls grow up here.
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? Back to the soul in the moonlight.
The Tatar song on her jade guitar tells her eternal sadness.
This is the third of five poems about historical sites. The poet expressed his embrace by chanting Zhaojun Village and remembering Wang Zhaojun. Written in the first year of Dali in Tang Dynasty.
"Thousands of mountains and valleys are near Jingmen, only girls are in the village". The poem begins with two sentences, pointing out the place where Zhaojun Village is located. According to Tongzhi, "Zhaojun Village is forty miles northeast of Jingzhou Prefecture." Its address is Xiangxi, Zigui County, Hubei Province. When Du Fu wrote this poem, he lived in Baidicheng, Kuizhou. This is the western end of the Three Gorges, with high terrain. He stood at the height of Baidicheng, looking east at Jingmen Mountain outside the East Gate of the Three Gorges and Zhaojun Village nearby. Hundreds of miles away, out of sight, he used his imagination to conceive a magnificent picture of mountains and valleys going to Jingmen Mountain with dangerous rivers. He took this picture as the first sentence of this poem, which is very unusual. There is an epigram in the Three Gorges River written by Du Fu, that is, "More water will prosper the country, and Qutang will fight for a gate" ("Two Poems of the Yangtze River"). He used the word "fight" to highlight the thrills of the Three Gorges water potential. Here, the word "go" highlights the majesty and vividness of the Three Gorges Mountain. This is an interesting contrast. However, the next sentence of the poem falls in a small Zhaojun village, which is quite surprising, because it has caused some different comments from critics. Amin Hu Zhenheng's Du Shitong said: "Wan He is close to Jingmen, and the first sentence is like a hero. It is not cooperation." This means that such a dignified sentence is only suitable for the place where heroes grow up, not for Zhaojun Village, which is not harmonious. Wu Zhantai's "Du Shi Tiyao" is another view. He said, "The abrupt beginning is the first sentence in the Seven Laws, which means that beautiful scenery and beautiful Zhong Ling only produce one princess. This is very beautiful and earth-shattering. " It means that Du Fu wanted to raise Zhao Jun's "gentle and graceful beauty" and write about her "earth-shattering", so he used the majestic atmosphere of mountains and rivers to contrast her. Yang Lun's Du Shi Jing Quan said: "From the perspective of the earth spirit, it is more or less solemn. "It is also close to this meaning. Who is right and who is wrong, and how to understand the poet's conception need to be combined with the theme and center of the whole poem to make it clear, so we will talk about it later.
"She came out of the purple palace and walked into the desert. Now she is a green grave in the yellow dusk." The first two sentences are about Zhaojun Village, and these two sentences are about Zhaojun himself. The poet wrote the tragedy of Zhao Jun's life in just two powerful poems. Judging from the conception and wording of these two poems, Du Fu probably borrowed the words from Jiang Yan's "Hate Fu" in the Southern Dynasties: "When Princess Ming went, she looked up at the sky and breathed too much. The purple platform is a little far away and the mountains are infinite. I hope the king is abroad. " But by careful comparison, we should admit that the ideological content summarized in these two poems of Du Fu is much richer and more profound than that of Jiang Yan. A Qing poet said in Du Shi Jie Yi: "The word' Lian' is used to write the scenery, and the word' Xiang' is used to write the heart of thinking about Han, and there is a god in the pen." This is very correct. However, there are more than these two words. If you only look at Zitai and Shuomo, you will naturally think of leaving the Han Palace to marry Zhaojun of Xiongnu and living a lifetime in a strange and unusual environment. The next sentence, Zhao Jun was buried in the Great Wall, using the two simplest ready-made words, Qingcheng Mountain and Dusk, which are particularly ingenious in art. In daily language, the word dusk refers to time, but here, it seems to mainly refer to space. Refers to the evening canopy connected with the boundless desert and covering the fields. It is so big that it seems to swallow everything and digest everything. But there is a unique grave, with long grass, which cannot be swallowed or digested. Thinking of this, this poem naturally gives people a kind of boundless and heavy feeling of heartless heaven and earth and hatred in Qinghai-Tibet.
"Her face! Can you imagine the spring wind? , Huan Peikong returns to the moonlit soul. " This is followed by the first two sentences, which further describes Zhao Jun's life experience and feelings of home and country. Draw sentences to inherit the third sentence, and ring sentences to inherit the fourth sentence. Because of the fatuity of Emperor Han and Yuan, people in the empresses' palace only look at pictures, and their fate is completely at the mercy of the painter. Saving knowledge means a little knowledge. It is said that Yuan Di knew something about Zhaojun from the pictures, but in fact he knew nothing about Zhaojun, which led to the tragedy that Zhaojun was buried beyond the Great Wall. Pei Huan's sentence is that she misses her old country and will never change. Although the bones remain in the grave, the soul will return to the country where her parents grew up on a moonlit night. Jiang Kui, a poet in the Southern Song Dynasty, further enriched and perfected Du Fu's poetic imagery in Yongmei's masterpiece Thin Shadow;
Zhao Jun is not used to Hu Shayuan.
But I remember Jiangnan Jiangbei.
Want to come back on a moonlit night,
Become this flower.
What is written here is that Zhao Jun misses Jiangnan Jiangbei, not the Han Palace in Chang 'an, which is particularly touching. The ghost of Zhaojun, who returned on a moonlit night, has been refined and turned into a fragrant plum blossom, which is even better in imagination!
"The Tatar song on her jade guitar tells her eternal sadness." This is the end of this poem, which points out the theme of Zhao Jun's "resentment" through the pipa tune of Hu Yin for thousands of years. According to Han Liuxi's Ming Shi, "Pipa immediately drum up Hu Zhong. When you push your hand, you say pipa, and when you pull it, you say pipa. " Shi Chong's Preface to a Mingjun said, "Yesterday, the princess married Wu Sun, which made the pipa happy at once to comfort her thoughts on the road. It sent Mingjun to see Philly. " Pipa was originally introduced to China from the Hu people, and it was often played with Hu Yin and Hu Diao's Song of the Great Wall. Later, many people sympathized with Zhao Jun and wrote Pipa songs such as Zhao Jun's Complaints and Wang Mingjun, so Pipa and Zhao Jun were very close in poetry.
As has been explained repeatedly, although Zhao Jun's "resentment" also contains the "resentment" of "hating the emperor and not meeting each other", more importantly, a woman who is far away from her hometown will always miss her hometown. It is the deepest affection for her hometown and motherland that she has accumulated and consolidated from generation to generation for thousands of years.
This word can be traced back to the first two sentences of this poem. Hu Zhenheng said that the poem "Thousands of mountains and valleys are near Jingmen" can only be used in places where heroes grow up, but in small villages where princesses grow up, which is inappropriate. It is precisely because he only understands Zhaojun from narrow feelings such as lamenting the misfortune of beautiful women, and does not realize the weight of Zhaojun's resentment. Wu Zhantai realized that Du Fu wanted to make Zhaojun "earth-shattering" and Yang Lun realized Du Fu's solemn attitude, but he did not explain why Zhaojun was "earth-shattering" and why it was worthy of "solemnity". Although Zhaojun is a woman, she walked thousands of miles away and left her heart to the motherland. Her name will remain immortal with poetry and music. Why isn't such a magnificent poem as "Wanchongling Valley is near Jingmen" worth writing solemnly?
The title of this poem by Du Fu is Ode to Monuments. Obviously, when he wrote Zhao Jun's resentment, he pinned his feelings for life, family and country. He "wandered in the southwest between heaven and earth", far from his hometown, and his situation was similar to that of Zhaojun. Although he is in Kuizhou, his hometown is in Yanshi, Luoyang, although he is not as far away from Wan Li as Zhaojun, but "the letter is wider than the original and the bucket is deeper than Beidou", Luoyang is still an unreachable place for him. He lived in Zhaojun's hometown, but borrowed Zhaojun's image of missing his hometown and jathyapple's soul to express his feelings of missing his hometown.
Li Zide, a Qing, said: "Only Princess Ming was told that there was never a word in the discussion, but the meaning was all-encompassing. Later, these families could no longer contact them. " This comment really shows the most important artistic feature of this poem. From beginning to end, I started from the image, without any abstract comments. However, Zhao Jun's tragic images of "She has now become a green grave in the dusk" and "Wandering in the moonlight" have left an indelible impression on readers.
Poetic Thinking on Ancient Sites (I)
Abandoned in the dust in the northeast, wandering between heaven and earth in the southwest.
Wandering in the towers and terraces of the Three Gorges, Wuxi Clothes Yunshan.
The barbarian who finally serves the ruler is unreliable, and the wandering poet laments that the times have no chance to come back.
Yu Xin's life is the most miserable, and his poems in his later years caused a sensation in the north and south of the country.
The second of five poems about historic sites.
Decline: I am well aware of Song Yu's misery, romance and elegance. He is also my teacher.
Sad to see a thousand autumn, a tear, melancholy in different times, not at the same time.
His old home between mountains and rivers-empty works, empty sex platform-is certainly not imagined in the dream? !
The palaces of Chu were all destroyed, and the fishermen who showed them today are not sure.
The fourth of five poems about objects
Shu Daochang caught a glimpse of Wu Xiang's Three Gorges. It was also in the year of his death that he was in Yong 'an Palace.
Cui Hua imagined an empty mountain, and the Jade Temple was a void in the empty temple.
On the pine trees in the ancient temple, water cranes nest. In summer and winter festivals, the people who come are the elders of the village.
The directors of Wuhou Temple live next to each other, and the monarch and ministers share the sacrifices.
The fifth of five poems about historical sites
Zhuge Liang's name will remain in the world forever, and his portrait is lofty and respectable.
In order to plan the strategy of the world, generations seem to be Luan Feng's Luan Feng.
Yi Yin and Lv Shang are neck and neck, and their command of military operations is calm, which makes Xiao He Cao Can far behind.
The succession of the Han dynasty was due to luck. Although Zhuge Liang was difficult to revive, he was determined and devoted himself to the busy military.
Five Poems on Historic Sites (3)
Thousands of mountains and valleys are close to Jingmen, and girls grow up here.
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? Back to the soul in the moonlight.
The Tatar song on her jade guitar tells her eternal sadness.
Notes on the title or background of a book.
Five Poems of Chanting to the Monument is a set of seven-character poems written by Du Fu on his way to Jiangling in Kuizhou and Zizhou, which was written in the first year of Dali (766). This is the third song, written by Du Fu when he left Kuizhou East and passed Zhaojun Village, forty miles northeast of Jingzhou Prefecture (now Zigui, Hubei Province).
Some people think that "eternal love" and "monument" are two topics, and later generations mistakenly combine them into one. If you read them together, you will fail. Some people think that chanting homesickness through historical sites means chanting homesickness, and a topic has two meanings. From the content and theme of the poem, both views are reasonable, but from the semantic point of view, it is somewhat awkward to interpret "ode to monuments" as "ode to monuments". There are two objects under the word "ode", one is "ode to historic sites". However, it is accurate to interpret "chanting monuments" directly as "chanting monuments" to explain the content and theme of the poem, but it is far-fetched to explain the meaning of the topic. In fact, the word "homesickness" means "nostalgia". The word "homesickness" is both a verb and means to praise homesickness. The title means to praise and miss historic sites.
Sentence solution
Thousands of mountains and valleys are close to Jingmen, and girls grow up here.
The Three Gorges, connected by mountains and valleys, rushed to Jingmen together. In that area, there is still a mountain village where Fei Ming grew up. The first link points out the location and environment of Zhaojun Village. "Jingmen" refers to Jingmen Mountain, which is located in the northwest of Yidu City, Hubei Province, on the south bank of the Yangtze River and in the mountainous area west of Jingmen. Today there is Zhaojun Village in Zigui, Hubei. In Jingmen Mountain, which is connected with martial arts, it is said that Zhaojun was born. "Fei Ming", namely Wang Zhaojun, a native of Zigui, Hubei Province, was the maid-in-waiting of Emperor Han Yuan. In the first year of Jingning (33 BC), Zhaojun was sent to marry Uhaanyehe, a Hun, and died in Xiongnu. Jin changed his name to Mingjun, also known as Mingjun, to avoid the taboo. Talking about the place was originally a very ordinary beginning, and it was written with great momentum. The word "Qu" highlights the majestic and vivid trend and momentum of the Three Gorges and Jingmen, so the poems of Tang and Song Dynasties were rated as "unexpected, such as unconstrained style and bright pearls." The reader's eyes were suddenly attracted to Jingmen, and then fixed in Zhaojun Village. Zhao Jun, though a woman, is in Wan Li, and her heart is with her old country, so her name is immortal. People and things have a tragic color, as if the weather is as extraordinary as the place where she grew up. Therefore, in the poet's pen, the background color of this painting is not feminine beauty, but masculine greatness.
She came out of the purple palace and entered the desert. Now she has become a green grave in the yellow dusk.
At that time, Wang Zhaojun left the Han Palace alone, married to the desert land in the north, and never came back. Finally, he died in a foreign country, leaving only a blue grave, shrouded in yellow sand. Couplets create a bleak atmosphere, which is in sharp contrast with the first two sentences and summarizes Zhao Jun's life experience. According to "Biography of Southern Xiongnu in the Later Han Dynasty", when he died, Zhaojun wrote to ask him to return to China, which made the emperor obey Hu's custom, but it was not allowed. Zhao Jun finally died in Xiongnu. "Going away" is the beginning of sadness, and "staying alone" is the end of sadness. "One" here means one person. "Lian" refers to marriage, that is, "marriage". "Zitai", the Purple Palace, is the place where the emperor lived. "Zhong Qing" refers to the tomb of Wang Zhaojun, which is located twenty miles south of Hohhot, Inner Mongolia Autonomous Region. Legend has it that the local area is rich in white grass, and only Wang Zhaojun's cemetery is rich in grass, so it is called "green tomb". "Xiang" means "being" here. "Dusk", as "yellow sand", here refers to the yellow sand. One is against the previous sentence "Shuo Mo", and the other is rhyming, so it is an inverted sentence, just like the famous sentence in Lin Bu's "Xiaomei in the Mountain Garden" in the Song Dynasty: "The shadow is shallow and the fragrance floats at dusk".
Her face! Can you imagine the spring wind? Back to the soul in the moonlight.
How can you tell a youthful and beautiful face only by sketching? Xiongnu can't return after Zhaojun's death. I'm afraid only her ghost can come back with Pei Huan on a moonlit night. "Miscellanies of Xijing" contains: The Emperor of the Han and Yuan Dynasties was good because there were too many maids, so he asked the painter to draw portraits of maids in order to have fun with them. The ladies-in-waiting rushed to bribe the painters, but Zhao Jun was so beautiful that he refused to bribe them, so the painters deliberately painted her ugly. After Yuan Di carried out the pro-marriage policy, Xiongnu went to Korea to seek beauty. Yuan Di sent Zhao Jun to Xiongnu with her portrait. I found her young, beautiful, elegant and generous when I left. Yuan Di regretted it and ordered the painter to be put to death.
These two sentences start with the turning point of Zhaojun's fate, write out the reasons why she didn't meet before her death, and compare her youthful beauty before her death with the ghosts under the moon after her death. The words are ingenious and contain endless feelings: she missed the opportunity to meet her before her death, and it is futile to return to her soul after her death! At the same time, the poet expressed his deep sympathy for Zhao Jun's being buried in the palace, the Great Wall and loneliness all his life, so as to express his talent feelings. "provincial knowledge" is still a little knowledge, that is, it is not carefully identified. "Pei Huan" is an ornament of ancient women, which means Zhaojun here.
The Tatar song on her jade guitar tells her eternal sadness.
For thousands of years, pipa has played the sound of Hu Di; Although Zhaojun is dead, his resentment is hard to calm down. What she pours out in pipa music is clearly her full resentment. "Pipa" is a musical instrument of the Hu people in the Western Regions. Han Liuxi wrote in Ming Jie: "Pipa was originally played by Hu Zhong immediately. When you push your hand, you say pipa, and when you pull it, you say pipa. " Therefore, the poet called his music "nonsense". Legend has it that Emperor Wu of the Han Dynasty married a princess (actually the daughter of Jiangdu) to King Wusun of the Western Regions. The princess was sad, and the conference semifinals immediately played pipa for entertainment. Later generations mixed these with Zhao Jun's story and wrote piano music such as "Zhao Jun's Complain", so there was the saying that Wang Zhaojun once played the pipa.
Zhao Jun's resentment is written on the front of the couplet. Zhaojun's resentment is mainly the resentment and worry that a woman who has been married for a long time will always miss her homeland. Du Fu is in a different place, far away from home, just like Zhaojun. From the poem "Ode to Historic Sites", we can see that when the poet wrote his grievances, he pinned his feelings for his life, home and country.
Comments and explanations
The evaluation of this poem in Tang and Song poetry is, "Those who praise the Ming princess, this is the first." Tang Ruxun, a Qing Dynasty poet, said in Ten Tang Poems, "This work is the best in Du Ji". Shen Deqian's Collection of Tang Poems in the Qing Dynasty also said: "Singing Zhaojun's poems is a swan song." "Wang Shi Yuan Tang's Poems" said: "Pentium, tragic and muddy, Ann does not push the swan song?" That's true.
This poem begins with writing about Zhaojun Village, then writes about Zhaojun's life experience, and finally highlights Zhaojun's resentment. On the surface, it seems that it is praising Zhao Jun instead of cherishing it, but in fact, it is still praising historical sites to feel sorry for itself. When expressing Zhao Jun's grievances, he expressed his life experience. Du Fu's ambition to help the world all his life was very high, but it didn't show up in the end. Although Su Zongchao worked in the capital, he was only a left-handed man. In this regard, he saved the house because he was worried about his country and loved his talents, angered Su Zong and was almost sentenced. Although he was rescued, he was finally alienated and finally resigned and drifted southwest. Zhaojun also married in a foreign land because the Emperor of the Han and Yuan Dynasties was fatuous and could not distinguish beauty from ugliness. He was displaced and couldn't go back, but he died and had an unforgettable hatred. Their experiences, experiences and circumstances are not without similarities. The second part of Du Fu's five poems about historical sites is called "Sorrow for the future, a curtain of tears, melancholy in different times, different times", and the so-called "this is a metaphor for his thousand-year loneliness" in Tang and Song poems is exactly what this poem wants to convey. Zhao Jun didn't know about the king, and expressed deep sympathy for her in the poem, but he also held a grudge against him. Of course, what is more important is that a woman who is far away from her hometown will always miss the grievances of her hometown. This is a more common and profound emotion accumulated over thousands of years.