Poetry of Crossing Huaqing Palace
Crossing Huaqing Palace
Author: Du Mu
Original text:
There are piles of embroidery in Chang 'an, and thousands of doors are opened at the top of the mountain.
When riding a princess in the world of mortals and laughing, no one knew it was litchi.
Notes:
1. Huaqing Palace: Records of Yuanhe Counties: Huaqing Palace is located on Mount Li, and the hot spring palace was set up in the early 11th year of Kaiyuan. Tianbao was changed to Huaqing Palace in six years. He also built the Hall of Eternal Life, which was named Jilingtai to worship the gods.
2. Embroidery piles: Mount Li has East Embroidery Ridge on the right and West Embroidery Ridge on the left. Emperor Xuanzong of the Tang Dynasty planted trees and flowers on the ridge, which was lush.
3. Thousand gates: describe the magnificent palace on the top of the mountain with many gates. Second place: in turn.
4. Riding (J was pronounced ji in ancient times, but now it is generally pronounced qi (two tones)): refers to a person riding a horse.
5. Red dust: refers to the dust flying when riding a horse at a gallop.
6. Concubine: refers to the imperial concubine Yang Yuhuan.
7. Red dust: This refers to flying dust. Concubine: refers to Yang Guifei. The history of music "The Biography of Yang Taizhen": On the last day, I said: Appreciate the famous flowers, but don't use old music words for the concubines! Biography of Li Guifei, a book of the New Tang Dynasty: My concubine loves litchi, and she wants to give birth to it, so she rides it and travels thousands of miles, but her taste has not changed and she has reached the capital. "Supplement to the History of Tang Dynasty": Yang Guifei was born in Shu, loves litchi, and was born in Nanhai, especially in Shu, so she flies forward every year. However, the party is familiar with the summer heat, and it will be defeated after staying, and future generations will not know it. Press: This poem may be a freehand brushwork, which is intended to satirize Xuanzong's pet concubine, and it is impossible to seek all the historical facts one by one. In the Tang Dynasty, litchi in Lingnan could not be transported to Chang 'an, so Su Shi said that litchi came from Fuzhou at this time, not Lingnan (Note to Ji Tang as a Mirror). In the ripe season of litchi, Xuanzong and Guifei will not be in Lishan. Xuanzong entered Huaqing Palace every winter and October, and returned to Chang 'an the following spring. Chen Yinque, a close friend, also made a textual research on the fallacy of Cheng's Archaeology Compilation.
8, knowing is: once you know.
Poetic:
Looking back at Mount Li from Chang 'an,
I can only see trees, flowers and buildings, just like a pile of splendid scenery.
On the top of the mountain, palace doors are open layer by layer.
The post horse was running so fast that it couldn't see clearly what it contained.
Yang Guifei was the only one who looked far from the mountain.
Knowing that the most beloved litchi had been delivered, she smiled happily.
Appreciation:
Huaqing Palace was built in 723 AD (the 11th year of Kaiyuan reign of Emperor Xuanzong of Tang Dynasty), where Emperor Xuanzong and Yang Guifei had fun. Many poets in later generations have written poems about Huaqing Palace, and Du Mu's quatrain is particularly exquisite and well-known. This poem lashed out at the extravagant life of Xuanzong and Yang Guifei through the typical event of sending litchi, which has a slightly artistic effect.
The first sentence describes the scenery of Mount Li where Huaqing Palace is located. Poets write from the perspective of looking back at Chang 'an, just like film photographers, who first show a broad and far-reaching panoramic view of Mount Li in front of the audience: lush trees, lush flowers and plants, palaces and castles standing among them, just like a beautiful group. Piles of embroidery not only refer to the East Embroidery Ridge and the West Embroidery Ridge on both sides of Mount Li, but also describe the beauty of Mount Li.
Then, the scene moves forward, revealing the magnificent palace on the top of the mountain. The normally closed palace door suddenly opened slowly one after another. Next, there are two close-ups: outside the palace, an emissary rode like lightning, raising clouds of red dust behind him; In the palace, the princess smiled. Several shots seem to be unrelated to each other, but they all contain the suspense carefully arranged by the poet: Why do thousands of doors open? Why did a ride come? Why did the concubine laugh again? The poet deliberately didn't speak out, until the tense and mysterious atmosphere made the reader want to know, and then revealed the mystery implicitly and euphemistically: no one knew it was litchi. The word litchi reveals the whole story. "Biography of Yang Guifei in the New Tang Dynasty": My concubine loves lychee, so she wants to give birth to it, so she rides it and travels thousands of miles. Her taste has not changed, and she has reached the capital. Knowing this, the suspense in front is suddenly released, and those shots are naturally integrated.
Wu Qiao's Poems Around the Furnace says: Poetry is full of connotations, especially for those who talk about stories without opinions. The artistic charm of Du Mu's poem lies in its implication and profundity. The poem doesn't understand the dissoluteness and lust of Xuanzong, and the imperial concubine is fond of and arrogant. However, vividly using a ride on the world of mortals to form a sharp contrast with the princess's smile has received much stronger artistic effect than expressing her opinions directly. The word "princess smiles" is quite meaningful. In the Spring and Autumn Period, Zhou Youwang smiled for Bo Feizi and lit a bonfire, which led to the death of the country. When reading this, readers can easily think of this well-known story. The word unknown is also thought-provoking. In fact, litchi is not unknown, at least the concubine knows it, and the emperor who is not named in the poem knows it. This writing is intended to show that this matter is important and urgent, and outsiders have no reason to know it. This not only exposes the absurdity of the emperor's doing everything to please his favorite concubine, but also echoes the unusual atmosphere rendered earlier. The whole poem does not need difficult words, allusions, and carvings. It is simple and natural, profound in meaning and powerful in implication. It is a masterpiece in the quatrains of the Tang Dynasty on history. Li He crosses Huaqing Palace
Crossing Huaqing Palace
Author: Li He
Original text:
Crows crow at night in spring, and the palace curtain is separated by imperial flowers.
the clouds are dark with dark veins, and the stones are broken with purple money.
a jade bowl holds residual dew, and a silver lamp lights old yarn.
the king of Shu has no near letter, and there are celery buds on the spring.
Appreciation:
This is a five-character poem. At the beginning of the poem, the crows crow in the spring night, and the palace curtain is separated by royal flowers. The first poem describes the atmosphere of the spring night. The poet renders it from two aspects: sound (hearing) and image (vision). It means that in the spring night, the moonlight is dim, and the crow sounds like crying in the lonely and desolate palace. In ancient China, people thought crows were ominous and often used them to describe desolation and terror. Such as Li Shangyin's description of the bleak Sui Dyke in Sui Palace: fire-flies are gone now, have left the weathered grasses, but still among the weeping-willows crows perch at twilight. Qin Guan's Man Tingfang: Outside the setting sun, there are ten thousand points in Western jackdaw, and flowing water flows around the lonely village. And so on, all show a bleak scope. Then the palace curtain is separated from the imperial flower, which is the garden flower of the imperial court. In poetry, it is often used as a metaphor for a rich and prosperous life. This sentence means that the Huaqing Palace is so depressed today that it can't see the prosperous scene of the past. A separate word not only visually describes the bleak and bleak scene of Huaqing Palace in front of us, but also shows that the prosperous scene of the past no longer exists, and it is gone forever.
Next, the couplets are dark with dark clouds, and the stones are broken with purple money. This couplet inherits the bleak atmosphere of the first couplet and magnifies the desolate scene outside the palace. In terms of artistic techniques, the poet used color description, and through the change of color, he highlighted the desolation, coldness and bleakness of Huaqing Palace. The meaning of this couplet is that the desolate haze hangs over the palace, making the scarlet lattice window look so dull, and the stone steps are broken and covered with purple moss. Among them, the dark words in the previous sentence not only describe the bleak color, but also imply a sad environment. The oblique words in the next sentence not only show the result of no one repairing the broken stone, but also hint at the scene of depression. Through a dark and oblique, the poet showed the scene of Huaqing Palace in depth and concretely from the glory and image, giving people endless image space.
Then, the jade bowl with the neckline was filled with residual dew, the silver lamp lit the old yarn, and the couplet was turned, from the barren situation outside the palace to the palace, and through two excellent details, the cold and depression scene inside the palace was further displayed. This couplet means that the table, the exquisite jade bowl, still contains the residual wine, and the gauze covered on the silver lamp is stained and worn out. Here, the poet used the contrast: the jade bowl and the residual dew, the silver lamp and the old gauze. This contrast linked the past with today, saw the cold scene in the palace today, and created an extremely profound aesthetic realm. In particular, the poet also paid attention to linking the most beautiful things with sadness to form a shocking picture. Here, the jade bowl is full of residual dew, and the old yarn lit by the silver lamp itself gives people an incongruous picture, even a picture that can't help laughing. However, it is this picture that can stimulate readers' endless imagination and deep thinking.
There is no near letter from the King of Shu, and there are celery buds on the spring. Fu Nan, a Qing Dynasty scholar, thinks this poem has a good sentence, which is quite correct. From the superficial point of view, this connection probably means that the leaves of wild celery grew in the hot springs before the emperor who fled to Sichuan had heard from him. From the point of no recent letter, it shows that the desolation of Huaqing Palace did not begin today, but has a long history. When the emperor fled to Shu, it began to be desolate. Judging from the presence of celery buds, it is the emperor who fled to Shu that implicitly caused Huaqing Palace to be so desolate and cold. As we know, Bai Juyi wrote in Song of Eternal Sorrow: it was early spring. They bathed her in the FlowerPure Pool, which warmed and smoothed the creamy-tinted crystal of her skin. So prosperous, so extravagant, that the emperors but nights of spring were short and the sun arose too soon and and the Emperor, from that time forth, forsook his early hearings, but now it is the scene that the hedge with celery buds on the spring falls and the sun blows (Bai Juyi's "Village Residence").
In a word, this poem depicts the desolate scene of Huaqing Palace in many ways. In writing, the poet writes from the atmosphere, inside and outside the palace, and makes the cold and bleak of Huaqing Palace sad and touching, creating an artistic conception with deep historical and cultural implications and poet's aesthetic feelings. At the same time, in terms of writing, it pays attention to implication, and achieves the aesthetic effect of endless meaning and implication. Huaqing Palace Snow in the Suburbs Dark Clouds
Wurong Huaqing Palace Snow in the Suburbs Dark Clouds
Snow in the Suburbs Dark Clouds, but this palace falls and spins dry.
The trees are shaded by green curtains, and no one knows it's cold outside.
Appreciation
Wu Rong's Poems of Huaqing Palace recorded in The Whole Tang Poetry are divided into two groups, one with two poems and the other with four poems. This is the first song in Two Poems of Huaqing Palace.
Huaqing Palace is closely related to the names of Emperor Xuanzong of Tang Dynasty and Yang Guifei. For example, Du Mu's "Crossing the Palace of Qing Dynasty": Chang 'an looks back and embroiders in piles, and the top of the mountain opens for thousands of times. Riding a princess in the world of mortals laughed, but no one knew it was litchi. It chose Yang Guifei's point of view that she was happy when she saw the tribute litchi coming to the foot of Lishan Mountain, exposing the sin of the ruling class for its own self-interest and not caring for people's livelihood. Wu Rong's "Huaqing Palace" has some similarities with Du Mu's poems in terms of theme and expression, showing the big with the small, and revealing the sufferings imposed on the people by the extravagant life of Tang Xuanzong and Yang Yuhuan through the details in Huaqing Palace, but the artistic conception created is unique.
In the first sentence, the snow is flying in the suburbs and the clouds are dark, focusing on the heavy snow outside Huaqing Palace. A flying character has a dynamic aesthetic feeling, which depicts the scenery of the north wind whistling and snowflakes flying in the suburbs of Gongjin City. A dark word, from the perspective of color, writes the power of the heavy snow emptying, and hooks the tactile feeling from the visual feeling, which makes it easy to appreciate the biting chill outside the palace from the poetry picture, giving people a cold feeling.
In the second sentence, the snow falls in the palace and turns dry, and the pen tip turns from outside the palace to inside the palace. A unique word limits the special scope of the snow falls, and a revolving word vividly describes the scene that the snow falls in the palace and disappears rapidly from the perspective of time, and implicitly writes the warmth in the palace, which is in contrast with the first sentence.
The third sentence is shaded by green trees and green curtains, which vividly depicts the harmony of spring in the palace. The underground hot springs of Huaqing Palace spew, and the palaces on the ground are resplendent and magnificent, and the forbidden walls are high, which can shelter the wind and keep out the cold, so the temperature in the palace is high and the trees are green all the year round. The green trees here represent the difference between the natural creators in the palace and those outside the palace, while the blue curtain reflects the extravagance of the master's life in the palace.
No one knows that it's cold outside, and he writes the fatuous image of the owner of Huaqing Palace, who cares about emotions, does not care about state affairs, and does not worry about people's sufferings. The poet implicitly points out: Since Emperor Xuanzong of Tang Dynasty doesn't even know about the changes of natural phenology and the arrival of winter, how can he know about the cold? The king of a country doesn't know the taste of cold, how can he be observant of state affairs and keep in mind the sufferings and joys of the people? Such fatuous people provide soil for An Lushan's ambition to germinate and grow consciously and unconsciously.
this poem is novel in artistic conception and implicit in irony, which is in sharp contrast with the difference in temperature inside and outside the palace, resulting in the scattered structure and ups and downs of poetry. The successful use of exaggeration has also become one of the artistic features of this poem.
Poetry of Passing through the Old People's Village
Poetry of Passing through the Old People's Village
Tang Meng Haoran
preparing me chicken and rice, old friend,
you entertain me at your farm.
we watch the green trees that circle your village,
and the pale blue of outlying mountains.
Banquet Noodle Garden,
to talk mulberry and hemp with our cups in our hands.
wait till the Mountain Holiday,
I am coming again in chrysanthemum time.
Note:
1. Pass: visit.
2. equipment: preparation.
3. Farm: the small courtyard of the farmer.
5. Just: Go. Here means appreciation.
My old friend prepared yellow rice and roast chicken, and
invited me to his simple family.
The village is surrounded by a circle of green trees.
The outskirts are covered with verdant hills.
Pushing open the window, we face the fields and nurseries.
Drinking wine and chatting about farming Sang Ma.
Wait until the Double Ninth Festival in September,
Come and taste chrysanthemum wine again!
Appreciation:
This is an idyllic poem, which describes the quiet and leisurely life scene of farmers and the friendship of old friends. Poetry is written all the way from invitation to hope, and naturally flows smoothly. The language is unpretentious and the artistic conception is fresh and meaningful.
This is a very simple pastoral landscape painting. Sincere and cordial friendship, typical farm life scene, melting natural beauty, life beauty and friendship beauty in one furnace, we can see the harmony of the poet's inner world.
Shen Deqian said that Meng Haoran's poems were light in language but not thin in taste (Tang Poems). In other words, when reading Meng Shi, we should experience the inner charm through its faint appearance. Although "Passing through an Old Friend's Village" is not the lightest in Meng's poems, it is described flatly in a clean language, with almost no exaggerated sentences and exciting words, and it can be regarded as too light to see the poem (Wen Yiduo's Meng Haoran). Where is its poetic flavor?
preparing me chicken and rice, old friend, you entertain me at your farm. This beginning seems like a note in a diary. The old friend invited me, and I came. There was no rendering in the text, and I came at the drop of a hat, simple and casual. This is just the possible form between friends who don't need to be polite. The invitation of chicken and millet not only shows the unique flavor of Tianjia, but also shows the simplicity of hospitality. It is this kind of hospitality that does not talk about ceremony and ostentation and extravagance that makes friends' hearts more open to each other. This beginning is calm and natural, but it is an excellent introduction to the content of life to be launched, showing the characteristics of the atmosphere, which needs to be further enriched and developed below.
we watch the green trees that circle your village, and the pale blue of outlying mountains. Walking into the village, it was such a fresh and pleasant feeling to look around. These two sentences are close to the border and surrounded by green trees, which seems to be self-contained and unique. The next sentence is light, and the green hills outside the country are accompanied by each other, which makes the village not lonely and shows a broad prospect. This village is located in Pingchou, but it is far away from Qingdao.