However, it can be praised by poetry critics of past dynasties, and it is rated as the first in many people's hearts. It must be a rare masterpiece in poetry.
One is the strict measurement method.
Although Cui Hao's "Yellow Crane Tower" is regarded as the first of the seven rhythms in the Tang Dynasty, it is a semi-ancient and semi-rhythmic poem in terms of meter, while Du Fu's "Ascending the Height" is a very strict meter.
Needless to say, what critics admire most is the antithesis skill of this poem.
Some people have commented that all eight sentences in Du Fu's poem are correct and need specific analysis. We all know that only two antitheses are required in the middle of a metrical poem, and the first antithesis will make the metrical poem lack of change.
Climbing the first couplet is a antithesis in the sentence, while "the wind is urgent" is opposite to "the sky is high", "Zhu Qing" is opposite to "Sha Bai", and "Ape whistling" is opposite to "Bird flying", but they are not antagonistic as a whole, because "mourning" and "coming" are both flat and rhyme. This kind of sentence pattern is neat and changeable, which shows Du Fu's superb use of meter.
Parallel prose and neck couplets are both standard antitheses, and the part-of-speech antitheses of neck couplets are slightly wider, but this is completely allowed in metrical poems.
Couplets are not antithetical sentences, but "hardship" is relative to "down and out", which makes the sentences look neat, so someone will make eight correct sentences for this poem.
The precise requirements of metrical rules often limit the poetic expression, but you can't see any deliberate place in Du Fu's Ascending the Heights, which makes the meaning of the sentence confusing and poetic, and explores more complicated antithesis skills. When I first read Climbing the Heights, it seemed that eight sentences were correct, but when I read them carefully, none of them were right from beginning to end. The whole poem is "unintentional", but when I think about it carefully, it is "every sentence is regular, every sentence is regular" ("Poetry"). Therefore, in poetry, Du Fu explored the rhyme in poetry to the extreme, and he pushed the genre of metrical poetry to the peak of ancient poetry art.
Of course, there is no intention to belittle the Yellow Crane Tower here. The technology of the Yellow Crane Tower is unique, but in terms of meters, climbing is obviously more standard.
Speaking of meter, I should add that some people think this poem doesn't rhyme. This is, of course, a matter of sound change. The words "mourning", "returning", "coming", "Taiwan" and "cup" in the poem all rhyme in a flat tone, so the upward rhyme is also very standard.
The second is that the sky is high and the mood is low and sad.
A poem can't be a great work because of the meter, but the weather, emotion and artistic conception in the poem are the core of a poem.
At the beginning of climbing the mountain, I started writing.
The wind is fast and high, the ape cries sadly, and the birds are circling in the white sand. The autumn sky is vast and boundless. In the rushing autumn wind, there are apes singing for a long time, and the artistic conception is bleak. Then, the poet's line of sight turned from high altitude to river sandbars. On the background of clear water and white sand, birds fly low and hover in the autumn wind, which is polyphonic with the artistic conception of the previous sentence.
In the first couplet, Du Fu painted a very rich picture for Qiu Jingtu. This scene is colorful, with high and low in space, high and low in tone and low in tone. In addition, the neat sentence pattern and antithesis in the sentence mentioned above, if there is antithesis in the couplet, will be a wonderful and inexplicable realm.
Parallel prose inherits the trend of low return in the last sentence and develops in breadth.
The endless trees are rustling leaves, and the Yangtze River is rolling unpredictably. Mountains far and near are boundless Qiu Shu, and boundless leaves rustle and fall. The Yangtze River in front of us is rolling in from the endless horizon. "Endless" and "endless" give autumn scenery endless sense of time and space, and "rustling" and "rolling" make people feel like rustling leaves, like the surging Yangtze River. In this vast time and space, the individual is small, which virtually conveys the feeling that youth is fleeting and ambition is hard to pay.
These two poems have the majestic momentum of rivers flowing into the sea. Du Fu showed his superb brushwork through gloomy and sad dialogue, and was praised by his predecessors as "unique in ancient and modern times".
The first two couplets write about scenery, and the last two couplets write about love.
Li in the sad autumn scenery, a wanderer all the year round, lives alone on the high platform in today's illness. This couplet reverses the first two couplets and points out the poem. Depressed and sad feelings have made the artistic conception of the previous two years have a foothold.
Luo Dajing, a poet in the Song Dynasty, said in He Lin Yu Lu: "Ling Du's poem says,' I came three thousand miles away. With the sadness of autumn, with my sorrow of a hundred years, I climbed this height alone. Away from Wan Li; Sad autumn, when sad; Be a guest and travel; Frequent visitors, long-distance travel; For a hundred years, teeth are dying; Sick and sick; Taiwan, high also; Alone on the stage, no relatives or friends. There are eight meanings between fourteen characters, and the duality is extremely accurate. "Du Fu here layers of rendering his desolate scene, read infinitely deep and sad.
After all the hardships and hatred, the white hair is full, and the wine glasses are damaged. Infinite feelings, endless words, only sigh that life is difficult and white-haired, but I have given up drinking because of illness, and I can't even drown my sorrows.
The first triple fluttered and trembled, but it ended in a soft and cold way. Like a stirring piece of music, it didn't come to an abrupt end, the tone changed from strong to weak and gradually disappeared. This is also the knot of old Dutt.
This poem by Du Fu expresses his gloomy and sad feelings in a lofty and broad atmosphere, and the poetic atmosphere is flowing, forming a very sad artistic realm. Hu Yinglin, a famous poet in the Ming Dynasty, commented in his poem: "(This poem) is like a submarine coral, thin and difficult to understand, unfathomable, but powerful. Understand the first chapter grammar, syntax and word grammar. Never before, never after. The whisperer is Du Fu's poem, not Tang Shi's ear. However, this poem should be the first of the seven laws in ancient and modern times, not necessarily the first of the seven laws in the Tang Dynasty. " What you said is true.