Appreciation of Deng Yueyang Tower

In the spring of 1 127, the Jin soldiers broke through Kaifeng and the Northern Song Dynasty perished. At that time, Chen was demoted to (now southeast of Kaifeng, Henan Province) as a small official in charge of wine tax, and naturally joined the ranks of refugees, and went south to Hunan, wandering around Hunan and being displaced. He was exiled to Dongting Lake and went to Yueyang Tower several times. He grieved with his friends about state affairs, drank wine to drown his sorrows, and wrote several poems to commemorate his events, including these two "Going to Yueyang Tower". The second poem of "Climbing Yueyang Tower" is a seven-character poem. The first is the poet's opening work of Yueyang Tower, so it is carefully crafted and serious. The first part describes the geographical location of Yueyang Tower, which is grandly launched from a macro perspective with Dongting Lake and the Yangtze River as the background. In a seven-character poem, the poet skillfully uses the two directional words "East" and "West" and connects them with lakes and rivers, which shows the location of Yueyang Tower. Then write what you see when you look up, "The curtain is still and the sunset is late." This sentence is a colorful stroke of the whole poem, which seems ordinary, but in fact it is delicate. "Curtain Scene" is a close shot, "Sunset" is a long shot, and the close shot and the long shot are combined into one. As you can imagine, the poet's line of sight scanned from near to far, gradually released and merged into the boundless twilight. The static curtain shows that the lake is calm; The sunset reminds us of the tranquility of the night. Such poetic imagery can not help but arouse the poet's rich reverie. The couplets in the poem are produced from the static and soothing description of the scenery and transformed into strong lyricism. Like variations of music, these two poems seem to repeat the above themes, but their styles are quite different. "Landing with Wu Chu and sharing the land equally" is also about the geographical location of landing, but it adds a heavy sense of history; "By the lake and the mountain, I want to see the scenery at dusk", but I feel a little disappointed. This gradual change is a contrast, a transition, and a description of the integration of things and me. Here, the subject image of the poet appears in the poem inadvertently and naturally. He is thinking, wandering, blending into the scene and expressing his feelings through the scene. After gaining momentum ahead, the poem's neck couplet finally issued the loudest and strongest cry in a way close to direct call: "Wan Li is still looking forward to a long journey, and it is more difficult to rely on risks for more than three years." These two poems express the resentment in the heart of the minister. The antithesis of "Wan Li" and "Three Years" tells their stories from the span of space and time respectively, and has received the artistic effect of double superposition, which makes people feel deeply. The poet's "visit from Wan Li" is just an elegant expression of Wan Li's escape, but he is helpless. The anguish in my heart had to be dissolved in the "vision". "More than three years is difficult", which is already unbearable, but climbing mountains here is really unbearable. At this point, poetry has been full of twists and turns, pushing feelings to the extreme. In the last couplet of the poem, Gu Ying felt sorry for himself and ended the whole article with infinite sadness. At this time, the poet has reached the age of forty and has reached the age of no doubt, so he said "hoary head"; Not to mention hurting today, but "hanging over the past" is implicit and meaningful; "Wind and frost" refers to natural things, which is a metaphor for social reality. And "Old Muzangbo" is a coat that wraps the poet's image. Full of sadness and hatred, it can be said that "one scene is difficult to write." For example, at present, it contains endless meanings, which can be seen outside the words "(Ouyang Xiu's poem of June 1 day, quoted from Mei). [1] Overall understanding: In the spring of the first year of Jingkang, Song Qinzong (1 126), the nomads from the Jin Dynasty broke into Kaifeng and the Northern Song Dynasty perished. Like most poets (such as Li Qingzhao) at the turn of the Northern Song Dynasty and the Southern Song Dynasty, Chen's life experience and literary creation are divided into two periods according to the difficulty of Jing Kang. Before that, he took the usual path of becoming famous in official career. At the age of 24, he was awarded the title of Song Huizong Zhenghe Scholar for three years (113). He is good at painting and calligraphy and is famous for his poems. He was deeply appreciated by the emperor, and his official position changed repeatedly, but he was unconsciously involved in the whirlpool of political struggle. When the Jingkang disaster occurred, Chen was demoted to be a small official of Chen Liu (now southeast of Kaifeng, Henan Province) to be a wine tax supervisor, and naturally joined the ranks of refugees, and went south to Hunan, drifting from Hunan to Hunan and being displaced. He went into exile in Dongting Lake, boarded Yueyang Tower several times, grieved for national affairs with his friends, drank wine to drown his sorrows, and wrote several poems to commemorate his events. This lesson is one of them. This is a seven-character poem, the first of two poems about Yueyang Tower, and the opening work of the poet's writing about Yueyang Tower, so it is carefully crafted and serious. The first part describes the geographical location of Yueyang Tower, which is grandly launched from a macro perspective with Dongting Lake and the Yangtze River as the background. In a seven-character poem, the poet skillfully uses the two directional words "East" and "West" and connects them with lakes and rivers, which shows the location of Yueyang Tower. Then write what you see when you look up, "The curtain is still and the sunset is late." This sentence is a colorful stroke of the whole poem, which seems ordinary, but in fact it is delicate. "Curtain Scene" is a close shot, "Sunset" is a long shot, and the close shot and the long shot are combined into one. As you can imagine, the poet's line of sight scanned from near to far, gradually released and merged into the boundless twilight. The static curtain shows that the lake is calm; The sunset reminds us of the tranquility of the night. How can such poetic imagery not arouse the poet's rich reverie? The couplets in the poem are produced from the static and soothing description of the scenery and transformed into strong lyricism. Like variations of music, these two poems seem to repeat the above themes, but their styles are quite different. "Landing with Wu Chu and sharing the land equally" is also about the geographical location of landing, but it adds a heavy sense of history; "By the lake and the mountain, I want to see the scenery at dusk", but I feel a little disappointed. This gradual change is a contrast, a transition, and a description of the integration of things and me. Here, the subject image of the poet appears in the poem inadvertently and naturally. He is thinking, wandering, blending into the scene and expressing his feelings through the scene. After gaining momentum ahead, the poem's neck couplet finally issued the loudest and strongest cry in a way close to direct call: "Wan Li is still looking forward to a long journey, and it is more difficult to rely on risks for more than three years." These two poems express the resentment in the heart of the minister. The antithesis of "Wan Li" and "Three Years" tells their stories from the span of space and time respectively, and has received the artistic effect of double superposition, which makes people feel deeply. The poet's "visit from Wan Li" is just an elegant expression of Wan Li's escape, but what can it do? The anguish in my heart had to be dissolved in the "vision". "More than three years is difficult" has been overwhelming, but the mountains here still have to climb. How can people stand it? At this point, poetry has been full of twists and turns, pushing feelings to the extreme. In the last couplet of the poem, Gu Ying felt sorry for himself and ended the whole article with infinite sadness. At this time, the poet has reached the age of forty and has reached the age of no doubt, so he said "hoary head"; Not to mention hurting today, but "hanging over the past" is implicit and meaningful; "Wind and frost" refers to natural things, which is a metaphor for social reality. And "Old Muzangbo" is a coat that wraps the poet's image. Full of sadness and hatred, it can be said that "one scene is difficult to write." For example, at present, it contains endless meanings, which can be seen outside the words "(Ouyang Xiu's poem of June 1 day, quoted from Mei). Looking at Chen's rhythmic style from this poem: Chen's poems are written by Du Fu, especially his metrical poems, which clearly show the characteristics of Lao Du and can be described as both form and spirit. The reason for this is that there are similar experiences in life besides deliberate imitation and pursuit. Du Fu fled to Chengdu and never returned to his native land in the north. He is heartbroken and has almost no horses. Chen experienced the pain of Jing Kang, and also felt the pain of national destruction and death. Although the severity of his suffering is not as serious as that of Du Fu, and his "prognosis" is good-he later dabbled in politics and was in the position of Zaifu, but his perception and experience of troubled times are similar to Du Fu's, which inevitably has Du Fu's shadow. When talking about this poem, predecessors thought that it was similar to Du Fu's Ascending the Mountain and was the best. That is, compared with the three poems of Du Fu that we have just learned, we can also see the Du Fu style of Chen's poems. Du Like Fu, he is good at refining words, but also good at description and discussion. The rest, such as magnificent scenery, heroic lyric, loud rhyme and skillful workmanship, have many similarities. However, pure imitation cannot achieve Chen's status as a great poet in the Song Dynasty. While imitating, he is also full of changes, focusing on personal feelings and specific situations, innovating and forming his own style. That is to say, as far as this poem is concerned, the same "ge" can't be found in Du Fu's poems, because it has delicate control, light operation and delicate feelings. It can't be said that Du Fu disdains this. After all, there is a poet in an era. "Jiangshan has talented people and has been leading the way for hundreds of years."