The famous sentence "The boundless falling trees are rustling, and the endless Yangtze River is rolling in." From "Climbing the High" by Du Fu, a poet of the Tang Dynasty
Climbing the High
The wind is strong and the sky is high. Howling mournfully, the white bird flies back from the clear sand of Nagisa.
The endless falling trees rustle, and the endless Yangtze River rolls in.
Wanli is always a guest in the sad autumn, and he who has been sick for a hundred years appears alone on the stage.
Hard and bitter, I hate the frost on my temples, and my wine glass becomes muddy when I am depressed.
Appreciation of the work:
This is a seven-character poem that best represents the desolate and vast scenery and the vast momentum in Du's poems. The first two couplets describe the scenery seen and heard while climbing high, and the last two couplets express the feelings of climbing high. The scene is selected based on emotion, and the emotion is integrated into the scene. It fully expresses the poet's complex feelings of wandering for many years, worrying about the country, the times, old age, illness, and loneliness. However, the style is majestic, impassioned and high-spirited, unparalleled in ancient and modern times.
This rhymed poem is very special. Its four couplets rhyme, and they are all in pairs. The first couplet has two sentences, and there are self-pairings in the sentences. It can be said that "in a piece, every sentence is rhythmic, and every sentence is in rhythm." "In every word, every word is law." As for the description of scenery, there is a meticulous description (first couplet), which describes the shape, sound, color and state of six kinds of scenery: wind, sky, ape, Zhu, sand and bird. Each scenery is described with only one word, but Vivid, concise and expressive; there are large freehand brushstrokes (jaw couplets) to convey the charm of autumn. Lyrically, there are vertical strokes of time, writing about memories of "frequent guests"; there are also horizontal strokes of space, writing about "going on stage alone" after a "thousands of miles" journey. From wandering all his life to the drifting of his soul and bones, he finally attributed the hardships of the times to the root cause of his downfall. The use of such intricate techniques makes the poet's desolation of old age, illness and loneliness appear gloomy and tragic when he was worried about the country and the people. No wonder Hu Yinglin in the Ming Dynasty said in "Shi Sou" that the whole poem "has fifty-six characters, like coral on the seabed, thin and strong, indescribable, deep and unfathomable, yet brilliant and powerful. The whole composition, syntax, and calligraphy are unprecedented. Those in the past who did not learn from it and who have little comment on it are Du poems, not Tang poems. However, this poem should be regarded as the first in the seven-character rhythm in ancient and modern times, and it does not need to be the first in the seven-character rhythm in the Tang Dynasty."