In the entire collection of Du Fu's collection, "Remonstrance to Han" is not the representative work of Du Fu's highest achievement and main style. However, this poem has a unique beauty, and it does not seem to be like Du Fu's other poems. The light can cover it up.
Although this poem is in seven-character ancient style, in terms of the selection of poetic images, the creation of artistic conception and even the expression of emotions, it can be said that the style of Chu Sao is captured as soon as it is written. Ye Jiaoran's "Long Xingtang Poetry Talk" said that this work is "literary and illusory, and goes straight to the halls of Qu and Song". The four words "literary and illusory" are deeply aware of the erotic meaning.
The first two sentences are "I am not happy today" and "the body wants to fly." Yang Lun's "Du Shi Jingquan" said that "when I open my mouth, I feel like I am wandering around Yu Yu". Then the sentences "Beauty" and "Autumn Water" follow the metaphor of "Li Sao" and the artistic conception of "Jianjia" and "Autumn Water" to express the memory of Han Jun. "Hongfei Mingming" uses the words of "Fayan" to compare Han's retreat from the world. "Ye Chi" and "Yu Shuang" are transformed into Bao and Xie poems to describe the scene of deep autumn. The verses used in this poem all have similar artistic conceptions, so they blend well with water and milk. The entire poetic environment is created as if it is vast and traceless and permeates the wilderness. The poet's mood seems to come from the sky and arise from the water. The frequent appearance of place names such as "Yueyang", "Dongting" and "Xiaoxiang" highlights the place where Han Jun lived, and also brings the strong regional characteristics of Chu culture to the poem.
This poem is another work that looks at the real society in a romantic way. The following six sentences of "Emperors in Yujing" describe the affairs of the Heavenly Palace, which are like wild horses and wild horses, and are extremely extravagant. They are quite similar to the description of dreamy wonderland in Taibai's "Sleepwalking Tianmu Yin Liu Farewell". Qu Yuan-like symbols and metaphors are used in the poem to bring the illusory, unpredictable and confusing description of the world of gods to the real world. The poet uses the technique of metaphor to write from the thoughts of "beauty" in the autumn water of Dongting to the realm of immortal officials in the heaven, showing the strong contrast between "official" and "hidden", and conveying the sorrow and glory of the past and present. "The feathered people are few and far between" is a portrayal of Han Jun's political destiny; "The shadow moves and the scenery shakes Xiaoxiang" also reflects the location of the "beauty".
"I heard that the red pine tree from yesterday was probably Han Zhangliang of the Han Dynasty." It is said that this person who studied immortality and escaped from the world was originally a talent of the king's assistant, and he also made contributions to the imperial family. Han Zhangliang described Han Jianyi as "making strategic plans and winning decisively thousands of miles away" ("Book of Han·Gaozu Ji"), which was highly praised. Qiu Zhaoao's "Detailed Notes on Du's Poems" quotes Huang Shengyu as saying that Du Fu's poem is based on Han Jun's experience of "self-restraint". He was in the political whirlpool and his personal destiny was really difficult to control. Du Fu felt this firsthand, so he could understand it deeply. Han Jian commented on the meaning of "the curtain has not changed and the spirit has been severely injured". Du Fu borrowed Han Jun to live in his home. The poet's own shadow can be seen everywhere in Han Jianyi's image, and he can't help but sigh. As for "How dare I succeed or fail the country? It's hard to look at the smell of rotten food and smell the fragrance of liquid maple." I don't know whether it is a piece of advice or the poet's inner state of mind.
This poem was written before Du Fu came out of the gorge after living in Kui. The poet had been wandering for most of his life, experiencing hardships in life and experiencing the harshness of the world. By now, he was already suffering from old age and illness, and had entered the twilight of his life. The rise of "I am not happy today" points out the poet's state of mind at that time, and also contains political implications. This is well reflected in the final part. The last four sentences of Du Fu express his consistent thoughts on the common people and the country. "Zhou Nan stayed" because Ma Tanbi of Taishi Company was admonished by Han, and he deeply regretted that it would no longer be used in the world. The sentence "The Old Man in Antarctica" shows that the poet's focus is not limited to personal hidden use, but takes the national destiny and people's livelihood as the ultimate concern of his poetry. Du Fu expected "beauties" to pay tribute to the "Yutang", but he deeply regretted his admonishment that Han Zhang and Sima were talented people. They should have served the imperial court and helped the country, but they could not be tolerated in the current world. As a result, they stayed in the rivers of autumn and died in the rivers and lakes. In fact, they were the country's The misfortune.
Du Fu was in the predicament of "the old and the sick being treated differently" ("Zhuang You"), and Yousigong paid tribute to the "beauty" in Yutang. This thought should be said to have transcended the individual successes and failures, as well as the likes and dislikes of intellectuals in the feudal era. Zhang Zifang's retirement after success and Han Jianyi's rapid retreat are actually quite consistent with Du Fu's original intention of "sex is difficult to rot"; Du Fu, who did not go as far as Zhang and Han in his official career, even expressed concern about Han Jun's retirement. There was also a vague yearning, because Han Jun's once glorious political sense of achievement was exactly what Du Fu lacked. But no matter what, Du Fu had a stronger political enthusiasm like "Kui Huo Qing Yang" ("Five Hundred Words from Beijing to Fengxian County"), and he never gave up in his life. The choice between "official" and "hidden", and the contradiction between "going out" and "entering" ran through Du Fu's entire life and thought process. The despair of reality made him "feel like flying away alone every time" ("A Hundred Rhymes of Ode to Kui Mansion in Autumn") and the persistence of ideals made him "will never bear it until we say goodbye" ("Five Hundred Words of Ode to Fengxian County from Beijing"), Disillusionment and hope intertwine into a confusing political complex.
In terms of poetic imagery and creative style, this poem has a combination of God and Quzi, and a wonderful scene and fairyland, but its mature poetic style and tortuous feelings are still Du Fu's style in the final analysis. The wording of the poem is extremely concise and concise; the composition is especially clever in setting up foreshadowing and echoing everywhere. Although it is galloping vertically and horizontally, it is integrated, showing Du Fu's consistent rigorous poetic thinking and rigorous structure; the expression of emotions has twists and turns, and the song is full of meaning. , obscure and profound.
A poem dedicated to a hermit expresses the late poet's serious thinking about ideals and reality and his persistent political feelings. The feelings of past and present, mourning and glory evoked by it are actually different in appearance but similar in spirit to Lao Du's "Zhu Jiang", "Eight Sorrows", "Autumn Rising" and "Yong Huai" written in the same period.