The steps are dotted with green grass in spring, and birds are chirping happily under the leaves.
"step by step" step by step Ancient temples had courtyards and halls. People want to enter the temple and climb the stairs. "Good voice", sweet voice, here refers to bird singing.
Like close-ups, these couplets depict the interior of the ancestral hall of the Prime Minister from far and near, from outside to inside. "Spring grass dyed the steps" is the ancestral hall of the Prime Minister who inherited the first sentence. The green grass reflects the steps, showing that the ancestral hall lacks management and repair, and tourists rarely come here. "There are birds chirping happily under the leaves" is the second sentence that Cooper Sensen continued. The oriole is separated by leaves, which shows that the trees are lush; The empty voice of the oriole shows that the mess that Wuhou painstakingly created has been forgotten by future generations. These two poems contrast the desolation of the ancestral temple, and contain the poet's feelings of thinking about things and people and remembering the sages. At the same time, it also contains the meaning that Bicao and oriole don't understand the change of personnel and dynasties. In particular, the clever use of the words "empty" and "self" in the poem enriches the meaning of this couplet. For these two sentences, some critics of Du Fu's poems think that they are writing about scenery, while others think that they are "really lyrical, not really writing about scenery". These two statements certainly have some truth; However, to be more precise, these two sentences should be regarded as "the scenery language contains feelings, and the emotional language contains scenery", which is like the example of "the scenery is harmonious without leaving" mentioned by Fan in the book "Talking about Bed at Night" in the Song Dynasty, which is common in Du Fu's poems. For example, when Du Fu was in Kuizhou, he wrote a poem "Wuhou Temple", which began with two sentences: "The temples were left with painters, and the mountains were covered with vegetation." Writing about the desolation of the scenery outside the temple and expressing the poet's sorrow for the desolation behind Zhuge Wuhou is a vivid example. In the Qing Dynasty, Wang Fuzhi said in "Jiang Zhai Shi Hua" that "the name of the scene is two, but it cannot be separated. God is infinite to poets. Skilled people have feelings in the middle of the scene. " Du Fu's lyric poems about scenery can really reach this situation.
The third call aggravated his state affairs, and he gave his sincerity to two generations.
The "three visits" here refer to Zhuge Liang's seclusion in Nanyang and Liu Bei's three visits. Zhuge Liang's "Model" said: "The first emperor was not mean to his ministers, he wronged himself and cared for his ministers in the grass." "repeatedly annoyed", repeatedly annoyed. On the other hand, see Wang Shihan's poetics compilation in Qing Dynasty. Wang Shihan thought that "constant annoyance" was a common saying in the Tang Dynasty, and its meaning was similar to "solemnity". "World Plan" refers to the strategy of unifying the world. Specifically, this refers to Zhuge Liang's strategy of taking Jingzhou and Yizhou as bases, rectifying internal affairs, linking Sun Quan in the east and Cao Cao in the north, and then unifying the world. "Two Dynasties" refers to two generations of former Shu ruler Liu Bei and later Shu ruler Liu Chan. "Open economy" and "opening to the outside world" refer to helping Liu Bei start a foundation; "Aid" refers to helping Liu Chan cope with difficulties and dangers. "Economy" means completion, which can also be interpreted as persistence and success. "The heart of an old minister" refers to Zhuge Liang's spirit of being loyal to Shu and doing his best to die.
These two sentences are particularly heavy and rich in meaning, which not only vividly expresses Zhuge Wuhou's great talent, the hardships of serving the country and his lifelong achievements, but also vividly shows his unswerving spirit and character. At the same time, he solemnly revealed the reasons why the poet admired Zhuge Wuhou. Because this couplet is the focus and core of the whole poem, the poet secretly carried the axe pound from the beginning, constantly creating momentum and circling all the way, which made the focus stand out and used powerful pen and ink. This is also in line with the writing principle of "one strong and one weak" in rhyme. This couplet is also an example of Du Fu's comments on poetry. Originally, lyricism is a prominent feature of poetry, which is generally not discussed. However, in this respect, Du Fu broke the routine and often put arguments into his poems, which not only made his poems unique, but also embodied a skill of Du Fu's poems. Shen Deqian once said in Qing Dynasty: "People call poetry the main character, not the main argument. It seems so, but not necessarily. ..... but the discussion must be emotional. " The discussion of Du Fu's poems is precisely because of its emotional charm, which not only does not dilute the atmosphere and complete images of the poems, but makes the lyrical atmosphere and images of the poems richer. Qiu said that these two poems are "solemn and solemn"; Pu Qilong thinks that this couplet is "syntactically like Kim Joo-sung, which is easy to open; It is like gold, too. "Very insightful.
But before he conquered, he died and the hero burst into tears.
The phrase "starting a career" refers to Zhuge Liang's six visits to Qishan in order to attack Wei. In the 12th year of Jianxing at the end of Han Dynasty (AD 234), he led the army out of Gu Jie and occupied Wuzhangyuan (now Shaanxi Province)? Southwest of Wei County), and Sima Yi were deadlocked for more than one hundred days across Wei River. In August, he died in the army. "Hero" here generally refers to people with lofty ideals who cherish the memory of Zhuge Liang, including the poet himself.
These two sentences are followed by five or six sentences, which shows the poet's lofty admiration for Zhuge Liang's dedication and his regret for his unfinished business. Are these two poems both narrative and lyrical? Are you kidding? Easy to slack? Human power; Coupled with the powerful foreshadowing of the previous six sentences, readers feel both spiritual and memorable. Wang Yuyang once said in Qing Dynasty: "It is always necessary to do something healthy for poetry." Shen Deqian also thinks that "walking out of the distance" is a good way to end a poem. All these beauties are fully reflected at the end of this poem.
In China's classical poems, there are many works mourning historic sites. Some people go to a historic site to write a poem as usual. Is there any emotion in it? A little, but not deep. We say Du Fu is an opponent of lyricism. In the poems mourning the historic sites, although they are about ancient times, they also express his inner feelings. The book is a typical example. The first half of this poem is about scenery, and the second half is lyrical. The front part and the back part are connected by a word "Zi" and a word "Empty". The poet saw that the temple of such a memorable great man had become so shabby and desolate, which caused all kinds of feelings. These poems seem to express mourning for the past, but in fact they are also the authors' expressions of their inner feelings.