The song of everlasting regret is the song of everlasting regret, which is the theme of the poem, the focus of the story and a touching seed buried in the poem. As for what you hate, why do you hate it for a long time? The poet does not tell and express directly, but shows it to readers layer by layer through his poetic stories, so that people can guess, remember and feel for themselves.
The first sentence at the beginning of the poem: "The emperor of China longed for the beauty that might shake an empire" seems very common, as if the story should be written from here without the author's attention. In fact, these seven words are extremely rich, which is the whole program, which not only reveals the tragic factors of the story, but also evokes and directs the whole poem. Then, in extremely frugal language, the poet described how Xuanzong of the Tang Dynasty emphasized color and sought color before the Anshi Rebellion, and finally got Yang Guifei, who said, "As long as she turns her head and smiles, there will be a hundred spells, and the makeup of the sixth palace will go up in smoke." Described the beauty and charm of Yang Guifei, who was spoiled by color after entering the palace. She is not only a "new benefactor", but also a "whose sisters and brothers have been awarded titles". Repeatedly rendering how Tang Xuanzong indulged in debauchery, how to have fun, and how to indulge in singing, dancing and drinking in the palace all day. All this led to the Anshi Rebellion: "Until the drums of war exploded from Yuyang, shaking the earth and breaking the tune of rainbow skirts and feather clothes". This part describes the internal cause of "long hatred", which is the basis of the tragic story. Through the realistic description of this court life, the poet ironically introduced the hero and heroine of the story: an emperor who valued the country and despised the people, and a charming and pampered concubine. This also vividly implies that the misunderstanding of Tang Xuanzong is the root of this tragedy.
Below, the poet specifically described the scene that the emperor's military forces fled to the southwest after the Anshi Rebellion, especially the destruction of the love between Tang Xuanzong and Yang Guifei in this turmoil. "The people in the army stopped, and none of them would be tempted to die rather than surrender. The gorgeous hairpin fell to the ground, and no one picked it up, a green and white Hosta and a golden hairy bird. The emperor couldn't save her, so he had to cover his face. Later, when he turned to look, the land of blood and tears wrote their scene "Where are you going, Maweipo". The "Sixth Army refused to send" and demanded the execution of Yang Guifei, which was an anger against Tang Xuanzong's infatuation with women and brought disaster to the country and people. The death of Yang Guifei is a key plot in the whole story. After that, their love turned into a tragedy. Then, from "being hidden in the yellow dust blown by a cold wind" to "the soul didn't sleep", the poet grasped the "hate" in the spiritual world of the characters, and described and described the loneliness and sadness of Yang Guifei in Shu after her death in a sour and touching style. He also remembered the past events on the road, what he saw, heard and thought after returning to the palace, and what happened all year round were all kinds of feelings that people had to rest. The lingering lovesickness is heartbreaking. It is precisely because the poet exaggerates the feelings of the characters to such an extent that the arrival of Taoist priests and the appearance of fairyland behind them give people a sense of reality and will not think that they are purely castles in the air.
From "There lived a Taoist priest in Lingqiong who was a guest in the sky" to the end of the poem, Taoist writers helped Xuanzong find Yang Guifei. The poet used a romantic technique. Suddenly he went to heaven and then to the ground. "Above, he looked for the green void, below, the yellow spring, but he didn't find the person he was looking for in either place." Later, Yang Guifei was found on the ethereal fairy mountain at sea, and was allowed to reappear in the fairyland with the image of "tears falling down her sad white face, like spring rain on a pear flower", warmly welcoming the envoys of the Korean family, expressing their feelings, sending a symbolic message, reaffirming the previous vows, taking care of Tang Xuanzong's thoughts about her, and further deepening and rendering the theme of "long hatred". At the end of the poem, use "the earth lasts forever, and the sky lasts forever;" One day both will end, and this endless sadness will last forever "to end the pen, point out the theme, respond to the beginning, realize" silence ",and give readers room for association and aftertaste.
The Song of Eternal Sorrow first gives us the enjoyment of artistic beauty, a moving story in the poem and a delicate and unique artistic conception. The center of the whole article is "Song of Eternal Sorrow", but the poet tries his best to write and render it with "thick ink and heavy color" as the starting point. "Work at sunrise and rest at sunset", "Don't go early", "Stay up late", "I can't get enough of it" and so on. , appear extremely happy, like a comedy. However, that kind of extreme joy is only in contrast to the endless hatred behind it. The dissoluteness of Emperor Xuanzong of Tang Dynasty led to a political tragedy, which in turn led to a love tragedy between him and Yang Guifei. The maker of the tragedy finally becomes the hero of the tragedy, which is a particularly tortuous part of the story and the reason why the hero and heroine in the poem have to "hate" for a long time. Many people used to say that Song of Eternal Sorrow has a moral, and this poem is the moral. So, how does the poet express "long hatred"? After the death of Yang Guifei in Majipo, the poet described it very delicately, showing the inner contradictions and painful feelings of Tang Xuanzong who could not bear to give up love and wanted to save it. Because of this "blood and tears" death, there will be endless hatred. Later, the poet used a lot of pen and ink to repeatedly render Tang Xuanzong's yearning for Yang Guifei from all aspects, but the story of the poem did not stay at an emotional point, but with the gradual progress of the inner world of the characters, he perceived the constant changes of their scenery, pushed forward the time and story, and used the thoughts and feelings of the characters to develop and promote the development of the plot. After his death, Emperor Xuanzong of Tang Dynasty went to Shu and felt very sad. Still on the road, revisiting the old place has evoked sad memories; After returning to the palace, I experienced physical injury during the day and insomnia at night. I miss it day and night, so I hope to have a dream, but it is "the distance between life and death year after year, but no beloved soul has visited his dream". At this point in the poem, the "hate" of "long hate" has been written very touching, and it seems that the ending of the story is OK. But the poet's pen is curved. With the help of the colorful wings of imagination, he conceived a charming fairyland, which pushed the plot of the tragic story to a climax and made the story more tortuous, ups and downs. This turning point is both unexpected and reasonable. Because of the constant contradiction and collision between subjective desire and objective reality, poetry vividly shows the psychology of the characters and makes the story more moving. Song of Eternal Sorrow is a narrative poem with strong lyrical elements. The poet adopted the expression technique of China's traditional poetry, which is good at telling stories and portraying characters, and harmoniously combined narrative, scenery description and lyricism, forming the lyric characteristics of poetry. Poets sometimes inject the thoughts and feelings of the characters into the scenery, and use the refraction of the scenery to contrast the mood of the characters; Sometimes we grasp the distinctive scenery and things around the characters, express their inner feelings through their feelings, and render them layer by layer, appropriately expressing the unspeakable feelings hidden in the hearts of the characters. On his way to the southwest, Emperor Xuanzong of the Tang Dynasty was surrounded by yellow dust, plank roads and high mountains. The sun is dim, the standard is dull, and autumn scenery is desolate. This is a sad autumn scenery to set off the sad thoughts of the characters. In Shu, facing the green mountains and green waters, we still can't forget ourselves. The mountains and water in Shu are beautiful, but in the lonely and sad eyes, the "green" of the mountains and the "green" of the water are also sad. The beauty of nature should be appreciated with a quiet mind, but he didn't, so he increased his inner pain. This is to write sad feelings through beautiful scenery, so that feelings are deeper. The moonlight in the palace and the bell on a rainy night are already very exciting. The poet grasped these unusual but distinctive things and brought people into the realm of sadness and heartbreak. In addition, what he saw and heard are intertwined, which also shows the sadness and sadness of the characters from the language and tone. This is another floor. On the way back to Beijing, "things are different" was originally a happy thing, but I couldn't help crying when I revisited the old place. In the narrative, a layer of painful memories is added. After returning to Chang 'an, "ponds, gardens, palaces, everything is the same as before, Taiye Lake hibiscus, Weiyang Palace willow. But petals are like her face, and willow leaves are like her eyebrows. Whenever he looks at them, what can he do but cry? " . During the day, caused by the environment and scenery, people are associated with the scenery, and the scenery remains the same, but people are gone. I can't help bursting into tears. From the hibiscus flowers in Taiye Pool and the weeping willows in Weiyang Palace, I seem to see the appearance of Yang Guifei, showing the extremely complicated and subtle inner activities of the characters. "Fireflies were flying on the throne, while he was meditating in the twilight. He will extend the wick to its end and still never fall asleep ... bells and drums will slowly ring the long night, and before dawn, the Milky Way in the sky will become clear. " From dusk to dawn, the focus is on the scene where you can't sleep for a long time because of emotional troubles at night. This bitter yearning is like "peaches and plums bloom and the spring breeze blows" and "after the autumn rain, the fallen leaves return to their roots". It is sad to see that the "disciples of Liyuan" and "A Jian Qing E" in those days were all white-haired and their faces were withered, which reminded us of the happy thoughts of the past. From the rambling of Huang Chen to the lush of Shushan, from rainy night in the palace to triumphant return, from day to night, from spring to autumn, we are moved by things everywhere, always thinking of people, and repeatedly rendering the protagonist's hard pursuit and search from all aspects. If you can't find it in real life, you will find it in your dreams. If you can't find it in your dream, go to fairyland. Such ups and downs, repeated lyricism at different levels, and reciprocating, make the characters' thoughts and feelings more profound and rich, and also make poetry "delicate in texture" and more artistic in appeal.
As an immortal narrative poem, Song of Eternal Sorrow has a high artistic achievement. Throughout the ages, many people have affirmed the special artistic charm of this poem. What infected and seduced readers with the art of Song of Eternal Sorrow? Touching, I am afraid, is its greatest artistic personality, and it is also the power that it can attract readers, make them infected and tempted for thousands of years. Appreciation of ..................................................................................................................................................................... Li Bai-Yu Shucheng's The Difficult Road (/view/644364.htm? Fr=ala0_ 1_ 1) Difficult to Walk One: This is the first song in Li Bai's Three Difficult to Walk. Judging from the content, this group of poems should be written by Li Bai when he left Chang 'an in Tianbao Sanzai (744). The first four sentences of this poem are about friends who, out of deep friendship for Li Bai and regret that such a genius was abandoned, spared no expense in hosting a farewell banquet. Li Bai, who is naive in drinking, will certainly "drink 300 cups at a time" because of this fine wine, delicious food and the hospitality of his friends. However, this time he picked up the cup and pushed it away. Pick up chopsticks, but leave them behind. He left his seat, drew his sword, looked around and lost his mind. The four continuous movements of stopping, throwing, pulling and caring vividly show the inner depression and emotional agitation. Then the two sentences are followed by "hollow" and "difficult to walk" is written in front. The poet used "Sichuan ice jam" and "full of snow" to symbolize the difficulties and obstacles on the road of life, which meant competition. A man with great political ambitions was called to Beijing and was lucky enough to get close to the emperor, but the emperor could not appoint him. Was "given gold to the mountain" and expelled from Chang' an in disguise. Isn't it like meeting the Yellow River with ice jam and the Taihang Mountain with snow? However, Li Bai is not that kind of cowardly character. From the beginning of "drawing a sword and looking in all directions", it shows that he is not willing to be depressed and will continue to pursue it. "I will sit on a fishing rod and lazily lean against the stream, but I suddenly dream of driving a boat and sailing towards the sun." In a daze, the poet suddenly thought of two figures who did not go well politically at first, but made great achievements in the end: one was Lu Shang, who was fishing in a stream at the age of 90 and met King Wen; One is Yi Yin. Before he was hired by Tang, he dreamed that he was sailing around the sun and the moon. Thinking about the experiences of these two historical figures increased the poet's confidence. "It's hard to walk, it's hard to walk, a lot of roads, is it safe now?" The meeting between Lu Shang and Yi Yin certainly increased his confidence in the future, but when his thoughts returned to the present reality, he once again felt that the road to life was difficult. Looking forward to the future from the banquet, I only feel that the road ahead is rugged and there are many mistakes. Where is the road? This is another feeling in sharp and complicated contradictions. But Li Bai, who is stubborn and confident, never wants to show his discouragement at the farewell party. His strong demand for active use of the world finally freed him from the depression of drifting again and sang a strong voice full of confidence and prospects: "Ride the wind and waves, go straight to my Yun Fan and bridge the deep and deep sea!" He believes that although there are many obstacles ahead, one day, as Zong Yi said in Liu Song, he will ride the wind and waves, hang up the Yun Fan, cross the sea and reach the ideal shore. This 14-sentence poem with 82 words can only be regarded as a short poem among the seven-character poems, but it has a long momentum pattern. One of the important reasons is that it reveals the ups and downs and complex changes of the poet's feelings in a hundred steps. At the beginning of the poem, "golden wine" and "jade plate delicacies" make people feel as if it were a happy banquet, but the following two details, "abstinence from alcohol" and "looking around with swords", show a strong impact of emotional waves. In the middle four sentences, I just sighed "the ice jam in Sichuan" and "the snow is flying all over the mountain", and suddenly it took a thousand years, as if I saw Lu Shang and Yi Yin suddenly being reused by the monarch from their humble positions. The poet's psychological disappointment alternates rapidly with hope, depression and pursuit. "It's hard to walk, it's hard to walk, a lot of roads, is it safe now?" Four sentences with short rhythm and strong jumping are completely inner monologues in an anxious state, vividly conveying the complex psychology of wandering back and forth, continuing to explore and pursue. At the end, after repeated twists and turns in front of me, the realm was suddenly enlightened, and I sang a high-pitched and optimistic tone, believing that my ideal ambition would be realized one day. Through such ups and downs of feelings, it not only fully shows the suppression of the poet's grand ideals and ambitions by the dark and dirty political reality, but also reflects the poet's strong inner repression, anger and injustice caused by it, and at the same time highlights the poet's stubbornness, self-confidence and persistent pursuit of ideals, showing the poet's powerful spiritual strength in trying to get rid of repression. This poem is influenced by Bao Zhao's quasi-theme and expression, but shine on you is better than blue. Their poems all reflect the suppression of talents by feudal rulers to a certain extent, but due to the reasons of the times and the poet's spiritual temperament, Li's poems are more profound and intense, and at the same time, they also show positive pursuit, optimistic self-confidence and tenacious adherence to ideals. Therefore, compared with Bao Zheng, Shi Li's ideological realm is higher. The road is difficult to walk II: "The road is wide, like the blue sky, but there is no way out in front of me." This opening is different from the first song. The first song was written in the form of fu, starting with the dining tables at the banquet, which sounded dull. This song rose steeply from the beginning, and let the feelings that had been pent up for a long time erupt at once. It also gives contrast, which makes readers feel that its ideological and emotional content is deep and wide. Later, Meng Jiao wrote a poem "If going out is an obstacle, who is the width of heaven and earth?" May be inspired by this poem, but the gas bureau is much worse than Li Bai. Can be compared with it, or Li Bai's own poem: "Shu Dao is difficult to pass, it is difficult to go to the sky", which can only be written by Li Bai's mind. However, it is difficult to walk in Shu to describe the dangers of Shu Road, which directly reminds people of the mountains and rivers in that area, but does not think there are too many ambushes in the article. And this one, using the sky to describe the width of the avenue, is supposed to be easy to walk, but behind it is "but there is no way to go before my eyes", which makes people feel that there are many subtext. In this way, the beginning of this epigram attracted people's attention to the following. The following six sentences are in pairs. The sentence "ashamed to chase" is to write your own unwillingness. The upper class in the Tang Dynasty liked to play games or gamble with cockfighting. Emperor Xuanzong of the Tang Dynasty once built a henhouse in the palace, and the children of cockfighting were loved. At that time, there was a folk song called "children don't need to read, fighting cocks and running dogs is not as good as reading." If you want to learn cockfighting, you can make a dude and open a small back door in your career. But Li Bai scoffed at this. So I declared that I was ashamed to follow the children of Li society in Chang 'an. These two sentences have the same meaning as what he said in Answering the King on Twelve Cold Nights: "You can't learn cockfighting at golden distance, sit down and dry your breath." It is said that he disdains interacting with "the second child of Chang 'an society". So, what about interacting with those dignitaries? "Zhou didn't expect to bow to the nobles to be satisfied, and Feng would go home without fish to eat. "'dragging the king's door' means pulling up the front of the clothes and entering and leaving the powerful door." Playing the piano with a sword "quoted Feng Xuan's allusions. Feng Xuan is a guest of Meng Changjun's family. He feels that Meng Changjun is not polite to him. At the beginning, he often played sword and sang, saying that he would go back. Li Bai hopes to "make friends with princes", but now in Chang 'an, dignitaries don't take him seriously, which makes him feel unbearable like Feng Xuan. These two sentences are about his indiscretion. "General Han was laughed at in the street, and Jia, a gifted scholar, was degraded." When Han Xin was frustrated, he was laughed at and insulted by some street hooligans in Huaiyin. Jia Yi is young and promising, and Emperor Wen of Han intends to reuse it. However, due to the jealousy and opposition of ministers Guan Ying and Feng Jing, they were later exiled. Li Bai borrowed allusions from Han Xin and Jia Yi to write that when he was in Chang 'an, people in general society laughed at and despised him, while those in power were jealous and attacked him. These two sentences are about his frustration. The following six sentences eulogize the mutual respect and trust between the monarch and the minister of Yan deeply, reveal his desire to make contributions and show his pursuit of the ideal relationship between the monarch and the minister. During the Warring States Period, Yan Zhaowang built a platform on the edge of Yishui for the sake of national prosperity, respecting Guo Kun as a teacher, and put gold on it to attract wise men. So, Zou Yan and Xin Qiji came back one after another, which was used by Yan. Yan Zhaowang is not only obedient to them, but also condescending to the corporal. When Zou Yan arrived in Yan 'an, he "embraced the pioneer" and personally swept the road to meet him. Afraid of the dust, he blocked the broom with his sleeve as a sign of respect. Li Bai has always hoped for a closer relationship between the monarch and the minister. He often compares himself with Yi Yin, Jiang Shang, Sean and Zhuge Liang. One of the reasons is that their relationship with the monarch is more in line with his ideal. But this relationship does not exist in reality. At this time, Tang Xuanzong was corrupt and fatuous, and had no real heart of seeking virtue and valuing virtue. He called Li Bai into Beijing by imperial edict, but he just pretended to love talent and asked him to write some praise and praise. The king's bones have been buried. Who will sweep the floor of the golden platform again? ? Lamenting that Zhao Haoqi was dead, and no one was going to crack down on the pornographic platform, was actually his disappointment with Emperor Xuanzong of the Tang Dynasty. The poet's feelings are profound and painful. The above twelve sentences are all based on "the road is like the blue sky, there is no way to go" and describe in detail "the road is difficult to go". Since the court ignored him and rejected him instead, it had to leave. "It's hard to go, come back! "At that time, he had only this way to go. These two sentences are both a heavy sigh and an angry protest. This poem shows Li Bai's desire for great achievements and his enthusiasm for doing something despite difficulties. He longs for opportunities like those of Yan Zhaowang and Le Yi, and hopes to have the opportunity of "serving him wholeheartedly, which is full of intrigue". At the end of the article, "It's hard to go, come back" is just an angry word, more specifically referring to leaving Chang 'an, but it doesn't mean passively avoiding the world, and it doesn't rule out that at the same time he still has the illusion of "opening my Yun Fan to the deep sea under the bridge" for his comeback.