Jueju
Author: Du Fu
Original text:
"Two orioles sing green willows, and egrets cover the sky."
My window framed the snow-covered western hills. My door often says "goodbye" to ships sailing eastward.
Precautions:
1, Xiling: Xiling Snow Mountain.
2. Qian Qiu Snow: It refers to the snow that has not melted for thousands of years in Xiling Snow Mountain.
3. stop: stop.
4. Soochow: the territory of ancient Wu.
5. Wan Li Ship: A ship not far from Wan Li.
6. quatrains are names, which do not directly indicate the content of poems. This form is convenient for writing a scene and an object to express the author's immediate feelings. The poet's accidental observation aroused his inner passion. The writer writes down his feelings, does not plan the topic for the time being, and uses the metrical quatrains of poetry as the topic. Du Fu wrote a group of poems in this form, including four poems, with quatrains as the general topic. Two orioles singing green willows are one of them. Poetry has a fresh and relaxed atmosphere and natural beauty. The first two sentences, yellow lining green, white lining green, bright colors, revealing the breath of early spring vitality. In the first sentence, the oriole sang on the willow, and in the next sentence, the egret flew into the sky, broadening the space a lot, from bottom to top, from near to far. It has been pointed out that the window contains autumn snow in Xiling. It was early spring at that time, and the autumn snow in winter wanted to melt, giving readers a moist feeling. The last sentence further described Du Fu's complicated mood at that time, saying that the boat came from Wu Dong. This sentence means that the war was settled, the traffic resumed, and the poet saw something and missed his hometown.
Poetic:
Two orioles are singing on a willow branch.
A line of egrets is flying in the sky.
You can see the snow of Xiling for thousands of years from the window.
Ships from Wan Li, Wu Dong, are anchored at the gate.
Appreciate:
Two orioles sang in the green willows, and two orioles sang in the sky on a row of egrets, so there was a sound. When an egret goes to heaven, there is a behavior and an action. One horizontal and one vertical, two and one reverse; Horizontal and vertical, it opens a very beautiful natural landscape. In this poem, the Ming characters are the most vivid, and the oriole is personified and described more vividly. Then Du Fu went on to say that the window contains a thousand years of snow in Xiling. My window is filled with snow accumulated in Minshan for thousands of years. Minshan in the west is a Minshan with thousands of years of snow. Membo's Wu Dong Wan Li ship; Wan Li's boat stopped right in front of my house. This forms a welcome and free ride. Welcome this snowy mountain into your sight and send this boat down the river. Then the Wan Li ship can pass, which also shows that the Anshi Rebellion has come to an end and is close to pacification. Ships can also pass at this time, and business people can come and go on this river. Then such a poem is beautiful in itself, with four sentences in pairs. There have been quatrains since the Six Dynasties. After the Tang Dynasty, quatrains became a very mature art, and many of our famous poems used quatrains. A quatrain is four sentences, and the four sentences often don't match, or the first two sentences of the four sentences don't match the scenery and the last two sentences don't match the lyric, or the first two sentences don't match the last two sentences, so now all four of his poems are matched, which can be said to be a very neat and attentive poem. Du Fu once wrote a poem that made people curse, so he put it into practice.
Du Fu's plays are six quatrains.
The script is six quatrains.
Author: Du Fu
Original text:
( 1)
Yu Xin's articles were more mature in his later years, and his pen was superb and vigorous, like a tide, with ease.
People today laugh at him and blame his works. If Yu Xin is still alive, I'm afraid he will really regard you as an afterlife.
(2)
"Lu" and "Lu" are the highest achievements of their creation under the conditions of that time.
After the life of your generation has all turned to dust, nothing will hurt the torrent flowing to the endless river.
(3)
You old literati, in the long river of history, are insignificant, so you can only be extinct, but the four outstanding figures, such as rivers, will be immortal.
The ridges of Long Hu Wen are all controlled by the monarch. You can see Er Cao through the calendar.
(4)
Your talent should be hard to surpass these people. Who can surpass it now?
Or look at the emerald orchid, the whale in the blue ocean.
(5)
You should learn to love the ancients, but you can't despise people like Yu Xin and Si Jie, and ask them to be consistent in love and words.
If you want to catch up with Qu Yuan and Song Yu in your heart, you must have the spirit and ability to keep pace with them, otherwise, they will follow in the footsteps of the lost source and frivolous in the Qi and Liang Dynasties.
(6)
There is no doubt that those frivolous people should inherit the excellent tradition of predecessors and learn from each other and should not be separated.
Distinguish the poems in the book that are not well-formed, cut them out, learn the traditional elegance of the Book of Songs, and learn that the wise move forward, and the more teachers there are, this is your real teacher.
Precautions:
1, Yu Xin: a famous poet in the Southern and Northern Dynasties. Article: Pan-language literature. Older: You will be more mature when you are older.
2, Lingyun sword pen: superb brushwork. Vertical and horizontal meaning: literary thinking is like a tide, and writing is free.
3, sneer: sneer, blame.
4. Qian Xian: refers to Yu Xin. Fear of the afterlife: Confucius said that the afterlife is awesome. The afterlife refers to those who scoff at Yu Xin. But the irony here is that if Yu Xin is still alive, I'm afraid he will really feel terrible after his death.
5. Wang Luo:, Yang Jiong, Lu,. These four people are all famous writers in the early Tang Dynasty, and people call them the four outstanding writers in the early Tang Dynasty. The poetic style is fresh and vigorous, swept away, and Liang is decadent. Contemporary style: refers to the poetic genres and styles of the four outstanding poets at that time.
6, frivolous (b): frivolous words and deeds, there is a sense of playing. This refers to the aggressive attitude of the conservative literati towards the Four Masters at that time. Shěn: Laugh.
7. Ercao: You people.
8, do not waste: do not affect. Here, the names and works of outstanding writers, including the four outstanding writers, will be handed down from generation to generation like the Yangtze River and the Yellow River.
9. Calligraphy: pen and ink.
10, coquettish: style refers to the national style in the Book of Songs, and Sao refers to Li Sao in the Songs of the South, which is regarded as a general term for literature by later generations.
1 1, Long Hu Wen Ridge: a magnificent literary expression.
12, emerald: bird name. Tio: Orchids and flowers. Guo Pu's poems about immortals: jade plays the orchid, and the color is brighter.
13, switch (ch): pull, pull.
14, thin: look down, look down, despise.
15, must be neighbors: must be neighbors, that is, not exclusive.
16, stealing: chasing inside. Qu Song: Qu Yuan and Song Yu. Square driving: parallel cars. This is what the poet said to the frivolous scribes: If you want to be as famous as Qu Yuan and Song Yu, you must have the spirit and talent to keep pace with them. Qi and Liang Wenfeng are flashy, emphasizing form over content. This sentence, the poet said immediately after the previous sentence, if not, I'm afraid you are not even as good as the literati in Qi Liang!
17, don't doubt that you are inferior to your predecessor: this sentence means that there is no doubt that those frivolous people are inferior to their predecessors.
18, handed down by our ancestors: learn from each other and inherit the excellent traditions of our predecessors. Who comes first: in no particular order.
19, don't cut the false body: distinguish, cut and eliminate those poems with poor form and content. Pro-elegance: Learn the tradition of appealing to both refined and popular tastes in The Book of Songs.
20, turn to multi-division: find teachers in many ways. Shi Ru: Your teacher.
Translation:
( 1)
Yu Xin's articles will be more mature in his later years, with exquisite brushwork and vigorous writing. Today's people laugh at and accuse his articles. If Yu Xin is still alive, I'm afraid you young people will really feel terrible.
(2)
The works of Yang Jiong, Lu, Si Jie all reached the highest attainments at that time. Si Jie's article is considered frivolous and sarcastic by conservative scholars. You old-fashioned literati are insignificant in the long river of history and can only exist in name only, while the four outstanding figures are like rivers that will last forever.
(3)
Even though Wang Yang, Luo Lu and Sijie wrote poems, their works were not as good as those of the Han and Wei Dynasties and close to The Book of Songs and Songs of the South, they were still swift horses with dragons and tigers. They can drive for the king and ride freely, unlike you who will fall down after running for a distance.
(4)
It should be difficult for you to surpass the above talents. Who can surpass them now? The poems written by you people are rich and delicate, just like jade flying over orchids, lacking in magnanimity, and not heroic and heroic in whaling in the blue sea. They're just little things.
(5)
Love the ancients when learning poetry, but don't despise modern people, such as Yu Xin and Si Jie. You should guide their clear words and beautiful sentences to the same melody. If you want to catch up with Qu Yuan and Song Yu in your heart, you must have the spirit and talent to keep pace with them, otherwise you will follow the source of loss and fall into the frivolous and glamorous footsteps of the Qi-Liang rebellion.
(6)
There is no doubt that those frivolous people are not as good as their predecessors, and it should be unnecessary to inherit the excellent traditions of their predecessors and learn from each other. Identify, delete and eliminate those poems with poor form and content, learn from the elegant tradition of the Book of Songs, and learn from the sages with an open mind. The more teachers, the more teachers you are.
Appreciate:
In Yi Zhen Zhai Shi Hua, there is an evaluation of Du Fu's quatrains: The Seven Wonders are the movements of the Tang Dynasty, with the largest number of workers. After Li Bai and Wang Changling, Liu Mengde should be the most important. Fate is hazy, it comes for no reason and goes to infinity. Du Lao's four-line thought wants to part ways with other schools and doesn't want to find another way. Unique feelings, the most elegant poet. He said that Du Fu found a new way in the Seven Wonders of the Tang Dynasty, which can be felt by people familiar with Du Fu's quatrains. His seven quatrains are really out of the ordinary, except for several chapters, such as Gifts for Flowers and Meeting Li Guinian Downstream.
First of all, it expands the field of quatrains from the content aspect. Du Fu also wrote quatrains on various themes, discussing politics, discussing artistic papers and describing trivial matters around him, which can be expressed in other poetic styles. Secondly, related to it, this kind of quatrains are not ethereal works in art, but are known for their charm; There is also a lack of sighs applied to orchestral strings. Its unique victory lies in its interest in touching opportunities, its wonderful mood and its deep affection, just like talking with readers around the stove and cutting candles; Whether sighing, laughing or cursing, it can give people a kind, true and sincere feeling, so that readers can see this person and hear his voice. The unique style of simplicity and elegance is memorable.
The six quatrains (hereinafter referred to as six quatrains) is one of the specimens of Du Fu's quatrains. The most common way to discuss poetry with poetry is to discuss poetic quatrains. It, every song can talk about a problem; Connecting multiple poems into a group can also show a complete artistic view. In the theoretical heritage of China's poetry, there are many famous quatrains on poetry, among which Du Fu's Six quatrains is the earliest and most influential. The first three poems are comments on the author, and the last three poems reveal the purpose of the poem. Its spirit is interrelated and an inseparable whole.
On the first poem of Yu Xin's "Play is Six Jueju". Du Fu once said in Spring Memories of Li Bai that opening a house is fresh and beautiful. This poem points out that Yu Xin's later articles (also referring to poems and fu) are more mature in style: Yu Xin's articles are older and more mature, and Ling's brushwork is vertical and horizontal. Lingyun, a healthy pen, is not only good at freshness, but also open and close vertically. Today's people in the Tang Dynasty point fingers and ridicule Yu Xin, which is enough to show their ignorance. Therefore, it is ironic that the former sages are afraid of future generations.
The second and third poems are about four outstanding figures in the early Tang Dynasty. Poetry in the early Tang Dynasty did not completely get rid of the habit of advocating rhetoric and glitz in the Six Dynasties. The second song, frivolous for writing, was laughed at by people at that time. Shi Bing's Du Suozheng explains this poem: Yan's style was fashionable at that time, but people who scoffed at it have not stopped. I didn't know that Ercao's name was destroyed, but Sizi's writings were not abolished, like rivers flowing forever. In the third song, even in Du Fu's tune, Lu's calligraphy is not as coquettish as that of others. This is the four outstanding figures that people laughed at at at that time (in the poem, King Lu refers to the four outstanding figures). Du Fu quoted their words to refute, so the last two sentences had such a turning point. It means that even so, Sijie can master the majestic words like Dragon and Tiger Ridge with their own talents, and their works can stand the test of time.
The intention of these three poems is obvious: the first poem says that we must look at people in an all-round way and not just see one aspect and ignore the other. The second one says that the evaluation of writers cannot be divorced from the conditions of their times. The third song points out that although the writers' achievements are different, they have their own characteristics and do not hide from each other. We should evaluate it correctly and be good at learning from our predecessors from different angles. These views of Du Fu are correct. But the significance of these three poems goes far beyond this.
The fourth poem continues the poetry of the third poem, criticizes the irresponsible and wanton abuse of the sages of the predecessors, and accuses these people that their own works are nothing more than playing jade in the blue sea, not as great as whaling in the blue sea.
The ancients refer to writers such as Yu Xin and Si Jie. Du Fu's love for the past rather than the present is based on the idea that beautiful words and sentences in Qing Dynasty must be neighbors. As neighbors, it means homology. In Du Fu's view, poetry is the art of language, and beautiful words and sentences can't be abandoned. What's more, Yu Xin and Si Jie not only have clear words and beautiful sentence patterns, but also have the side of Ling Bi and Long Ji, so he advocates eclecticism: advocating the ancient to acquire new sounds and keeping the ancient and modern poems parallel. Today's people love the ancients, and the beautiful sentences in Ming language must be neighbors, which should be understood in this sense.
However, just learning from the Six Dynasties and blindly pursuing a kind of beautiful clear words and sentences with colors and jade can be pleasing to the eye, but the style is gentle and charming and shallow after all; If we want to surpass our predecessors, we must give full play to our talents with great tolerance, so as to show the ingenuity of flying charm in our rigorous physique; Don't be trapped by space, don't be limited by temperament, keep calm in statutes, and keep God outside the rules. In order to achieve this artistic realm, Du Fu thought that only creeping and buckling could be achieved. Because of its gorgeous beauty, "Songs of the South" will become a model admired by poets in past dynasties, which can be traced back to Qu Yuan and Song Yu from the Six Dynasties. As Liu Xie said, if you consider the strangeness without losing its truth, you can expect to play with China without falling into reality, but if you cough, your writing is poor ("Wen Xin Diao Long Bian Sao") and you won't fall into Qi Liang along the source. Du Fu's thought of inheriting and criticizing the literature of the Six Dynasties is mainly manifested in the thought of constantly falsifying the literature and turning to benefit the teachers.
The last poem of Six Juequatrains has different views from those of the predecessors. The former sages here refer to the successful writers of the previous generation (including Yu Xin and the four great writers). To carry on the family line means to follow suit. It is the fundamental reason why we are not as good as our predecessors. The reason why the fake body is fake lies in replacing creation with simulation. If the true and false are mixed together, the false can be confused with the true, so it is necessary to distinguish between cutting. Creation and conformity are the dividing lines between Du Fu's truth and falsehood. Only when poets give full play to their creativity can they express themselves, write their own temperament and write real literary works. Lingyun written by Yu Xin, the eternal river of the four great masters, is here. On the other hand, picking people's teeth and getting close to people will inevitably have no vitality. It is of course false to pile up rhetoric and follow in the footsteps of Qi Liang. And blindly imitating the works of the Han and Wei ancients is also a false body. In Du Fu's mind, there is only the difference between true and false, and there is no difference between ancient and modern.
Cutting off the false body and turning to more teachers are two sides of the same problem. Don't cut the illusory body, emphasize creation; To benefit from multiple divisions, it is important to inherit. The relationship between them is dialectical. Transfer to a multi-teacher is your teacher, that is, you learn everything, and there is no fixed learning object. This statement has several meanings: only omniscient can learn from others; There is no fixed learning object, not limited to one family. Although there is some inheritance and reference, it does not hinder the poet's own creativity. This is the first meaning. Only on the premise of distinguishing authenticity can we determine who to teach and what to teach, and we can really learn from many teachers. This is the second meaning. If you want to know everything and have no fixed learning object, you must be good at learning other people's achievements from different angles. At the same time, there are also places to carry forward and abandon, which is the third meaning. On the basis of attaching equal importance to criticism and inheritance, we should create, integrate the past and the present, and create the poet's own quatrains, which is the spirit of Du Fu's turning to learn from others and cut off the false style.
Although Liu Jueju mainly talks about artistic issues, it is inseparable from Du Fu's overall creative spirit. The guiding ideology of his creation and the purpose of his poetry are: to climb and bend secretly and to approach elegance. These six short poems are essentially the summary of Du Fu's practical experience in poetry creation and the general outline of poetry theory. It involves a series of important theoretical issues related to the development of Tang poetry. It is unprecedented to make such a big comment in such a small poem. Through various examples, the poet summed up a series of key points, put the solemn brushwork in a relaxed and humorous brushwork, and explained it in a harmonious way. Li Zhonghua said that Du Fu's seven unique skills are different, which is why. Knowing this, it is not difficult for readers to understand why this group of poems will be labeled as "six quatrains in a play".
Poetry of summer quatrains _ the meaning of summer quatrains
Poetry of summer quatrains _ the meaning of summer quatrains
Summer quatrains
Author: Li Qingzhao
Original text:
Live like a hero and die like a ghost.
Today, people still miss Xiang Yu because he refused to live and returned to the East.
Precautions:
1, hero: a hero among people. Emperor Gaozu once praised the founding heroes Sean, Xiao He and Han Xin as outstanding figures.
2. Ghost hero: the hero in the ghost. Qu Yuan's Mourning for the Country: When the body dies, the soul is a ghost.
3. Xiang Yu: At the end of Qin Dynasty, he stood on his own as the overlord of Western Chu and competed with Liu Bang for the world. In the Battle of Gaixia, he was defeated and committed suicide.
4. Jiangdong: the place where Xiang Yu fought with his uncle Xiang Liang.
Poetic:
You were born to be a hero,
Be a hero after death.
Today people still miss Xiang Yu,
Because he refused to drag out an ignoble existence, he returned to Jiangdong.
Appreciate:
This poem is correct and dignified, penetrating people's hearts and pointing to people's backs.
Live and be a man among men; Die and become the soul in the soul. The first two sentences of the poem are in the air, like a close call, showing the heroic spirit of life and death to the readers, which makes people respect. These two poems are a kind of concise essence, a kind of verve bearing and a fearless attitude towards life. Because of its lofty realm and extraordinary momentum, it has become a famous sentence that has been passed down through the ages.
The last two sentences of the poem still miss Xiang Yu and refuse to cross Jiangdong, pointing out the reasons. Xiang Yu's most heroic act was because he was ashamed to meet his elders in Jiangdong and gave up the spirit of temporarily avoiding Jiangdong to restore his strength and committed suicide. In the view of the author Li Qingzhao, the extraordinary heroism shown by this failure was particularly valuable when Song Ting crossed the river. The poet praised the spirit of refusing to cross the Yangtze River, because he felt current affairs and expressed patriotic enthusiasm with historical facts. The word "up to now" skillfully links the ancient and the present, the history and the reality in time and space, and reveals the profound intention of satirizing the present through the ancient.
This poem clearly puts forward the value orientation of life: people should be heroes in life and contribute to the country; Even if you die, you have to die for your country and become a hero in ghosts. Patriotic passion, beyond words, was really inspiring. The rulers of the southern song dynasty ignored the lives of the people and only cared about their own escape; Abandon the rivers and mountains of the Central Plains and drag out an ignoble existence. Therefore, the poet remembered Xiang Yu and used Xiang Yu's feat to lash out at the shameless behavior of the rulers in the Southern Song Dynasty.
Du Fu's quatrain "Red Sun Will Shan Li"
"quatrains" a day late, jiang
Author: Du Fu
Original text:
Jiangshan bathed in spring, how beautiful, flowers send flowers.
Swallows are busy nesting in wet mud and sleeping in pairs on the warm beach.
Precautions:
1, Late Sunday: Spring is getting longer and longer, so it's late.
2. Mudification: This refers to the moist soil.
3. Yuanyang: a kind of waterfowl, both male and female birds often appear.
Translation:
Jiangshan bathes in spring,
How beautiful! The spring breeze brings the fragrance of flowers and plants.
Swallows are busy building nests with wet mud in their mouths.
Couples of mandarin ducks fell asleep on the warm beach.
Appreciate:
Wang Sishuang, a member of Amin Dynasty, retorted in Du Yi: Yu Yue: The first two sentences (referring to heaven and earth) are not doing business properly, and the last two sentences are not suitable for seeing everything. Isn't it enough to feel the joy inside? Wang's opinion is right. This poem captures the characteristics of scenery to write the scenery of spring. The picture is beautiful and the style is soft, which can arouse readers' love for spring.
Late Sunday, from the Book of Songs in July: Spring comes late. In spring, the sunshine time becomes longer and the weather gets warmer, which means that one day begins to get warmer and the other day begins to get longer (Ouyang Jiong's Good Spring). The poet takes the late opening as the opening of the whole article, highlighting the sunny and prosperous characteristics of spring, and organically combining the images and images described in the poem to form a bright and harmonious spring color map. You see: the sun shines, the water is clear and the mountains are green, the vegetation is reviving, and everything is reviving. The breeze brings the freshness of flowers and spring grass. On the beach, by the stream, the ice and snow melt, the soil is wet and soft, swallows fly around lightly, holding the soil to build their nests, but muttering to themselves. Warm water and warm sand, beautiful and affectionate mandarin ducks embrace each other and sleep, which is very charming and lovely. Swallow is a kind of migratory bird, and the poet described it as deliberately highlighting the characteristics of spring. The sunset, mountains and rivers, spring breeze and flowers in the first two sentences constitute a big scene outlined by thick lines, and the strong feelings of the poet are highlighted by beauty and fragrance at the end of the sentence; The last two sentences are detailed pictures, which are not only dynamic descriptions of swallows flying, but also static portrayal of Yuanyang sleeping. Swallow's busyness contains the vitality of spring, while Yuanyang's leisure reveals the tenderness of spring, and the dynamic and static set each other off. And all this is bathed in warm sunshine, harmonious and beautiful, which really gives people a feeling of spring.
Tao Yu, a Qing man, said that Du Fu's brushwork was exquisite and he could paint with poetry. This poem can prove it. But the beauty of this five-element poem is not limited to painting with poetry. The poet intends to convey the soft spring he feels. If late spring, beautiful scenery, breeze, flowers, swallows and mandarin ducks are all felt by the poet's vision, touch (wind) and smell, then the melting of soil and the warmth of gravel are not directly felt by the five senses. It is precisely because of the sunny spring, beautiful wind and fragrant flowers that the poet can imagine the looseness of the soil and the warmth of the gravel without touching it; The melting of mud and the warm experience of sand deepened the lightness and casual visual impression of Feiyan, and made the poet's whole body and mind immersed in the soft, harmonious and spring atmosphere.