-climb the mountain again
Liang Bing
Du Fu, a great realistic poet, has always paid attention to and cared about the society with a serious and compassionate mood. In the spirit of actively joining the WTO, we bravely and faithfully reflect real life. He was born in a feudal scholar-bureaucrat family and lived in an era of prosperity and decline in the Tang Dynasty. His poems are a mirror of the times, especially his poems in his later years, which show strong feelings about social politics and miserable life. Poetry often reflects the sadness in the inner world consciously or unconsciously, forming a special literary phenomenon in China's ancient poetry-sad poetry.
Du Fu himself once said, "Poets should beware of prosperity", which really reveals some regular things in China's literature: his official career is smooth, and he always seems to be unable to write excellent articles. Only as an abandoned child of fate can he finally become the darling of literature. Du Fu is a typical example of the latter-the gloomy style and deep Confucian feelings of his poems constitute the "sadness" of Du Fu's poems. Because of this, the ancients called it "Du Shiqiang's half-hearted". Du Fu's poems are good at expressing his anguish with tragic themes and his feelings with tragic colors. As a result, "sadness" became the spinal cord of Du Fu's poetry, and "sad poetry" became the mainstream of Du Fu's poetry creation, because his life was bound up by his active participation in the WTO and his concern for the country and the people. However, while pursuing ideas, Confucianism also pre-created China's tragic consciousness-a person's persistent pursuit of ideals often implies that he may be tragic. This is the contradiction between the persistent pursuit of an ideal and the impossibility of realizing this ideal under realistic conditions; The contradiction between the loss of an ideal and the eternal nostalgia and persistence of the lost person for the ideal constitutes the tragic feelings of the poet Du Fu.
Tragedy is a kind of drama and an aesthetic category. Tragedy is its core, and it is the most exciting, lasting and culturally meaningful force. There are two kinds of tragedies in the form of phenomena: one is a realistic tragedy, and the other is an artistic tragedy. Tragedy consciousness is a cultural grasp of realistic tragedies, which not only reflects reality, but also actively recognizes reality and structural reality. The tragic consciousness of China culture is reflected in various literary genres. Because China culture regards poetry as the highest value of literature and art, China's tragic art takes poetry as the core, not drama. It seems that it can also be said that the West is a tragedy and China is an elegy. Liu E said in the preface of Lao Can's Travels: Li Sao is the cry of Dr. Qu, Zhuangzi is the cry of Meng Cuo, historical records are the cry of Tai Shigong, thatched cottage poems are the cry, Li Houzhu uses words to cry, Wang Shifu cries in the West Chamber, and Cao Xueqin cries in a Dream of Red Mansions. ...
Du Fu, a realistic poet, systematically demonstrated the important feature of the harmony between man and nature in China culture with his poems-there is an inherent isomorphic relationship between man and nature, which shows that the change of nature can cause the change of people's mood: "In the Spring and Autumn Period, both yin and yang are sad, looking for movement and shaking their hearts." ("Wen Xin Diao Long Search") This kind of emotional consciousness of "emotional animals". In addition, the integrity of the sky in China culture directly affects the tragic consciousness of China people, which makes the existence of sadness reasonable. It affirms that sadness is one of the basic emotions of human beings. Not only people are sad, but also people can chant their sadness, and there are also sorrows in the sky-naturally, yin and yang are sad, and Qiu Cheng became the undertaker of heaven's sorrow. Sorrow and autumn are functionally interlinked and sensitive to each other. At the same time, China culture often makes the tragic feelings of life in the world get concentrated expression and meditation in the annual autumn scenery, so mourning for autumn has become a fixed pattern of China's tragic consciousness. In autumn, clouds are gathering, and autumn looks bleak; Autumn wind blows people's bones and muscles, and it looks chilly; Leaves fall and grass wither, mountains and rivers are lonely, and autumn is more depressed; Branches and leaves fall, autumn wind cries sadly ... This is a theoretical grasp of autumn. At the same time, because people's sentimental emotions will form some kind of complex in their hearts, natural scenery and its collision will produce emotional expression and diarrhea. It is easy to form a fixed receiver of emotional aggregation in reciprocating expression; In Du Fu's poems, the autumn of natural scenery corresponds to the sadness of life. Therefore, mourning for autumn has become a fixed pattern of tragic consciousness in his poems.
Du Fu's consciousness of mourning for autumn is manifested in the ever-changing natural image, which is linearly displayed in the cycle of cultural heaven, thus triggering a sense of self-time; With the bleak, cold and lonely natural image, I have had, am experiencing and will have sentimental experiences. In the time and feeling of "me", the highest ideal of life, the pursuit of beauty and the pursuit of "supreme monarch, Yao and Shun" are pushed to the sense of destiny, and the individuals in the cycle of heaven are abandoned. However, the sad autumn mode with the sorrow of time, the sorrow of pursuit and the sorrow of the times is still running on the general road of China's tragic consciousness. On the one hand, it shows the deepest sadness of the individual being abandoned in the cycle of heaven, on the other hand, it contains the deepest belief in heaven. Du Fu's poem "Ascending the Mountain" in his later years most typically embodies this point:
The wind is fast and high, the ape cries sadly, and the birds are circling in the white sand.
The endless trees are rustling leaves, and the Yangtze River is rolling unpredictably.
Long-distance visitors in the autumn of Wanli, with my hundred years of sadness, climbed this height alone.
After all the hardships and hatred, the white hair is full, and the wine glasses are damaged.
This is a seven-character poem. At this time, the poet was over half a year old, poor, old, sick and homeless. The poem describes autumn scenery, who was seen climbing the mountain, and tells the poet's complex feelings of wandering for many years, being sick and lonely, and worrying about the country and the people. It is generous, tragic and touching. Looking up into the distance, Du Fu's eyes are full of sad autumn colors. "Apes whimper in a fierce wind from the wide sky", that is, people feel the desolation of autumn from the sense of hearing (the wind is urgent and the ape is crying), from the sense of touch (the wind is blowing), and from the comparison between people and the sky. "Birds fly over the clear lake and white sand beach to go home" is visually the cold and cool feeling in autumn (cyan, white), and "Birds fly back" even implies the poet's homesickness in the wandering predicament. The first couplet begins with an abrupt sentence, and depicts six scenes of autumn scenery with meticulous brushwork, which makes the whole poem shrouded in a gloomy and tragic atmosphere, and at the same time reveals the poet's profound emotional pursuit. It not only gives people a feeling of endless sadness in late autumn, but also creates an atmosphere for poets to express their sadness in autumn. These two sentences go up and down, which shows that Du Fu observes and feels sad autumn with the cultural sight of looking up and down, which is a round sight consistent with the sky, thus showing that the poet feels sad autumn on the one hand and holds it on the other.
"Leaves fall like the spray of a waterfall, while I watch the long river roll forward." The vast scene of Xiao Sen in late autumn-the fall of trees, Du Fu also fell to the world. This scene made the fallen leaves very sad, and Du Fu was also very sad. How can you not be emotional? However, regardless of the sadness of the leaves and the elderly, time keeps urging the leaves to fall and the elderly to get old, just like the water of the Yangtze River keeps rolling, which also reveals the feeling that youth is fleeting and ambition is hard to pay. The imitation combination of sound and shape adds to the sad feeling of "Time waits for no one".
These two sentences can be described as the sorrow of late autumn. But these two sentences show that the previous sentence is from near to far, and the next sentence is from far to near. This is a circular line of sight consistent with Heaven, and this circular line of sight also makes the sad scene contain another meaning: on the one hand, the leaves fall, on the other hand, the waves behind the Yangtze River push the waves before, and it will also be reborn in reincarnation. The inner combination of this meaning and the previous sad meaning is also a typical example of the duality of China's tragic consciousness. As Wang Guowei said, "All scenery words are sentimental words", the author not only makes emotional and gradually heavy hammering in couplets, making sadness overflow in front of autumn scenery, but also makes greater efforts to show the smallness of individual life in endless cycles, but heaven is eternal. As long as the individual's life and value are integrated into the eternal heaven, the individual can obtain some sense of eternity. In other words, the basic feature of China's tragic consciousness is to expose people's plight, and at the same time to bridge it, so that people will not be completely desperate, but get a home in transcendence. But this kind of transcendence is not cheap, and it is often done in the process of "having fun in pain". Sadness, sadness and sadness are also perfectly unified at this time.
"Wan Li is a long-term visitor in autumn", the poet's wandering life witnessed the desolate and magnificent autumn scenery, which caused infinite sadness-facing the sad autumn scenery. Although there is only one word "sadness" in the face of the silent sky, there is no lack of sadness between the lines, which can be described as a well-intentioned and sad word; "Wan Li, far away-autumn, when sad; Be a guest and travel; A long visit, a long journey; A hundred years later, my teeth are dying; Sick and sick; Taiwan, Gao Jiong also; A person on the stage, no relatives and friends ... (Luo Dajing's Record of He Lin Yu). In a few words, I wrote many layers of sadness, which really reached the artistic realm of "getting to the point"! The poet made a space roaming in his mind, but also a bitter memory of his own experience. But he came back to the present immediately. Return to yourself-this is an endless cycle of the mind. " And with my sorrow for a hundred years, I climbed this high alone ",pointing out Du Fu's miserable symptoms in his later years, and his affection is beyond words. Bad luck has formed a bitter frost on my temples, and heartache and fatigue are a thick dust in my wine. "The leaves are yellow, the autumn is sad, people are old, and their hearts are old. Like the rustling leaves-the sorrowful melancholy and sadness of the poet, how can it not be touching here! It makes people cry, and the emotion, scenery and meaning in the poem are perfectly combined, and the shape, sound, color and state are fully expressed. It is like a freehand painting, more like an endless sad song of life. Here, the poet's tragic consciousness has gone beyond aesthetics-his "sadness for autumn", "illness", "bitterness and hatred" and "poverty and despair" have also become the steps across him. At this time, the poet "Xiang Jun Yao Shun. Although the desire to make the customs pure again is the moon in the water, in this deepest sadness of life. We can truly appreciate the tragic feelings and transcendental consciousness of a self-improving Confucian, as well as the Confucian's perfect pursuit of subtle and gentle aesthetic character. This kind of self-control is the characteristic of China's tragic autumn consciousness, and it is also the characteristic of China's tragic consciousness.
The whole poem begins with the sky and ends with people, and the sky and people are connected and integrated from beginning to end. However, Du Fu always cared about the realistic brushwork of the country and society, and always reflected the historical situation of his time with his heavy sense of hardship. Therefore, from climbing this mountain, we still feel the author's deeper sadness about autumn-from the sad autumn of nature to the sad autumn of life, from the sad autumn of life to the sad autumn of country. It is not only about the autumn of natural scenery, but also about the autumn of life and psychology, which makes this poem contain a stronger sense of sadness about nature, history and life. Show the beauty of depression and frustration. Here, as the dispelling factor of tragic consciousness, it lasts the longest and has the strongest power, and naturally becomes the sustenance object of the poet's sadness, and also becomes an important factor for the poet to dispel the sadness. Du Fu projected his tragic consciousness into nature and history, and then chewed and meditated on a wider scope, a higher perspective and a deeper degree with the sadness of nature and history. Among Du Fu's many poems with strong tragic colors, Ascending the Height makes us more aware of his persistence, stubbornness, longing and pain. He deposited endless longing and pain in his heart, just like a silkworm spinning silk, pulling out endless richness, grandeur, depression and desolation; His profound feelings, his deep and tenacious pursuit, his helpless wandering and endless hope.
-First published in the Journal of China Studies,