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 poem is the third in "Five Poems about Historical Sites". Du Fu expressed his great ambition by praising Zhaojun Village and remembering Wang Zhaojun.
"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. . 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.
"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 were written by Zhaojun Village, and these two sentences were written by 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 a little about Zhaojun from the pictures, but in fact he didn't know Zhaojun at all, which caused 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.
We can even learn from Li Zide's "Only Talking about Ming Fei" in the Qing Dynasty. There has never been a word involved in the discussion, but the meaning is all-encompassing. Later, these families could no longer contact them. "This comment is the most important artistic feature to appreciate this poem. It's all about image from beginning to end, and it doesn't need half an abstract discussion. 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.