key word
Moon, Du Fu, Moon-chanting poems, language style, emotional implication, archetypal criticism.
abstract
Firstly, it introduces the motivation of the research and the previous research results, and then the full text is divided into two parts. The first is to analyze the language style of Du Fu's poems about the moon, including phonetic style, lexical style and syntactic style; The second is to analyze the emotional significance of Du Fu's poems about the moon with prototype criticism. This paper first introduces the concept of prototype, then discusses the prototype myth of the moon and its symbolic significance, and then further discusses the emotional significance of Du Fu's poems about the moon, mainly focusing on sentimental poems, which are divided into five points: worrying about the country and the people, homesickness, parting from sorrow, failing to meet talents, and lamenting the loss of life. As for the praise that only accounts for the tip of the iceberg, it is discussed.
I. Introduction
First, study motivation.
Because Du Fu's poems are quite rich, there are quite a few poems about objects, so I want to study Du Fu's poems. As for why I chose to chant poems about the moon, after reading the book The Relationship between Works and Existence from Du Shujuan's Bird Poem Theme written by Professor Cao Shujuan, I became interested in chanting poems about things, and I thought, can it also chant flowers, the moon and grass? So I chose the poems about the moon as the research object, in fact, mainly because the author has deep feelings for the moon, as Ou Li-chuan said:
The moon is the farthest from human reality in nature, but it is very close to human mind. It is an image theme that often appears in China literature. [ 1]
Therefore, I hope to understand the poet's inner world, let the world know more about Du Fu and appreciate the feelings expressed by the poet in his poems. In particular, Du Fu's poems are known as the history of poetry, which shows that Du Fu's poems occupy a very important position and are really worth studying. In addition, in this article, there are actually two kinds of poems about the moon, one is the whole poem about the moon, and the other is the poem about the moon in some sentences. Therefore, the definition of the poem about the moon mentioned in this paper does not mean the definition of the whole poem about the moon, but expresses the inner feelings through the image of the moon, so the moon may only represent a scene or a scene.
Second, the previous research results
Ou Li-chuan's On the Images of Du Fu's Poems and Yu Fang's On Du Fu's Kuizhou Poems mentioned Du Fu's poems about the moon. Among them, Ou Li-chuan divided Du Fu's poems about the moon into three stages, roughly taking Du Fu as the dividing point when he abandoned his official position to join the army in two years, and began to wander southwest in the second half of his life, leaving Sichuan and entering the imperial court. Ou Li-chuan put forward: "Du Fu's early Mid-Moon image appeared less, and most of it was grasped by the poet" Guang Qing "; The mid-term moon has a very perfect and warm appearance, while the late moon is more sensational and extreme. [2] This paper mainly discusses Du Fu's life development with the changes of the moon image in these three stages. Yu Fang studied Du Fu's poems about the moon in Kuizhou period, but did not study the poems about the moon in other periods. In addition, in Hetian Fangzi's book, Xuanyuan translated "The lonely moon is full &; s 23 1； Du Fu's Xiting Moon is also mentioned in periodical papers, but it is similar to Yu Fang's, mainly about Du Fu's works in Kuizhou period, and the most important thing is to analyze the poem "Looking at the Moon", which can only be said that what the author mentioned is only the tip of the iceberg, and it is not complete. Therefore, the author wants to talk about the poems chanting the moon with the theme of language stylistics and archetypal criticism theory. First of all, in the part of language style, the author refers to Mr. Zhu Jianing's research method and divides language style into three parts: phonetic style, lexical style and syntactic style. Mr. Zhu Jianing introduced in Language Style and Literary Rhythm:
The phonological style can be discussed from many aspects: the acoustic effect of rhyme, the interlacing of flat tones, the use of alliteration, the insertion of disyllabic rhyme, the analysis of syllables and so on. The research methods of vocabulary style include onomatopoeia, overlapping words, dialect slang, elegant words or archaic words, loanwords, vocabulary structure, the use of idioms, and relaxing the restrictions on * * * *. Syntactic styles include: sentence pattern, sentence expansion, Europeanized syntax, sentence ellipsis, classical Chinese or vernacular sentence pattern, syntactic duality, rhyme, dialogue insertion, poetic repetition, deformed sentences, antithesis and so on. [4]
Therefore, the author also refers to some style research methods mentioned by Mr. Zhu Jianing to treat Du Fu's poems about the moon, and then starts with the prototype criticism theory. The main theoretical basis is based on Mr. Fu Daobin's book "Bell in Late Tang Dynasty-Spiritual Prototype of China Culture" to explore the emotional implication of Du Fu's poems about the moon, so that readers can have a further understanding and understanding.
Second, the language style of Du Fu's poems about the moon
As we mentioned earlier, Mr. Zhu Jianing divided language styles into phonology, vocabulary and syntax, and the research on these three language styles is actually quite extensive. Because there are too many parts involved, I can't explain them clearly in a few words, so I can't do too detailed research here, just say some of them. In the part of phonological style, we mainly look at Du Fu's rhyme. As for other difficult problems, syllables and other issues, I won't go into details here. The vocabulary part is to see his use of overlapping words; The syntactic part is discussed through the rhythm and pause of the poem.
First, the phonological style
Searching the full-text retrieval system of Tang poetry, it is found that there are 252 pieces of data in Du Fu's poems with * * *. After the author's screening and sorting, the poems related to time and poems that are not specifically about the moon and have nothing to do with the image of the moon are deducted, and there are 125 poems about the moon and 22 poems about the moon. [6] Among them, there are six poems that only appear in the title without the word "moon", the second of three poems about the moon, two poems by jathyapple on August 15th, two poems by Izayoi playing with the moon and one of two poems by the river.
Since we want to talk about rhyme in Du Fu's poems, first of all, the author will introduce the theme of poems about the moon. Among Du Fu's poems about the moon, there are 58 five-character poems, followed by five-character ancient poems. Now make a table analysis as follows: [7]
ancient poem with five characters to each line
Seven-character ancient poems
Four lines and five words of ancient poetry
Seven-syllable/seven-syllable quatrain
Five-character arrangement
Eight-sentence five-character verse
Seven-syllable/seven-syllable metrical poem
3 1
nine
2
2
14
58
nine
From the above table, it is not difficult to find that Du Fu's poems about the moon include classical poems, metrical poems and quatrains, among which metrical poems account for a considerable proportion, especially five words. Due to the choice of phonology and the emotional atmosphere that needs to be matched with the content, it can be seen that the harmony between sound and emotion must be paid attention to in phonology. Here, the author mainly analyzes the rhyme of modern poetry in Du Fu's poems about the moon. The reason why ancient poetry is excluded is that it rhymes freely, can be pledged or not, and it also involves the problem of rhyme. Here, we take modern poetry as the research scope, and the results are listed as follows [8]:
(1) Row 5
Shangpingsheng
Xia pingsheng
Four
8 1、 1 1 1
Yixian
90
Qiyu
109
Qiyang
1 13
Eight Banners'
1 12
Zheng Shi
three
Eleven stitches
28、29、50、59
Twelve invasions
Forty two.
Thirteen yuan
39、 103
(2) Five laws
Shangpingsheng
Xia pingsheng
Yidong
20、52、92
Yixian
23、57、84、 104、 1 15、 1 16、 1 17
Sanjiang
100
No.4
93
Four
40
Five songs
10、 14、56
Wuwei
73、 105
Liu Ma
37、99
Liu Yu
74
Qiyang
2、47、89
Qiyu
48、 1 19
Bageng
1 1、22、25、43、44、45、83、94、98、 12 1
Eleven stitches
77、82、96
Jiuqing
122
Twelve articles
6、 125
Zheng Shi
1 14
Thirteen yuan
70、7 1、97
Shiyiyou
55、75、79、95、 10 1
Shisiling
9、26
Twelve invasions
27
Fifteen deletions
2 1、38、76、 120
(3) Seven Laws
Shangpingsheng
Xia pingsheng
Yidong
67
Yixian
36
Eight Banners'
1 18
Liu Ma
66
Eleven stitches
33
Bageng
72、78
Thirteen yuan
Sixty-eight
Shisiling
5 1
(4) quatrains
Four lines and five words of ancient poetry
Seven-syllable/seven-syllable quatrain
Shangpingsheng
Xia pingsheng
Xia pingsheng
Wuwei
9 1
Liu Ma
53
Bageng
58、 1 10
If classified, we can find that the most commonly used rhyme of Du Fu is Geng rhyme, with 16, followed by nine rhymes, eight true rhymes, six other yuan rhymes, four eastern rhymes, four deleted rhymes, three branches, four obscure rhymes, three songs and two poems, namely Qi, Wen and Zheng. On the relationship between rhyme and emotion, in Mr. Huang's Poetics of China &; s 23 1； Appreciation "mentioned:
..... This posture of oral airflow imitates people's feelings. When people express their feelings, every organ of expression is cooperating with their movements, and the voice is no exception ... Wang Yi said in a more detailed analysis: "Rhyme is closely related to literary talent, smooth and fluent, lingering in rhyme and urgent in rhyme." Dong Kuanhong and Jiang Yan are bright, the paper is meticulous, the fish is whispering, the crab is well developed, it is dignified, fresh and floating, the song is dignified, the horse is indulgent, the stalk is vigorous, especially hovering, invading the bed quietly, feeling bleak, the house is awkward, the medicine is lively, the quality is urgent, and don't jump on the moon. [9]
It can be roughly understood that the choice and application of rhyme is closely related to the emotion that the author wants to express. In addition, there is a remarkable place. In Du Fu's poems, there exist the phenomena of charm and branch rhyme, paper rhyme and true rhyme, and literary rhyme. [10] But this is not an illegal phenomenon, but it did happen in the Tang Dynasty. Mr. Tang Zuofan said in the article "On-off of Stop Crabs in Tang and Song Dynasties":
This phenomenon is probably due to the convergence of the internal rhymes of the two shots, and the evolution of the main vowels is relatively close. It is conceivable that crab photography in this period is divided into two parts, the first and second-class rhymes, gray and Thai are all good, and they are combined into one part, which is roughly pronounced [a&; & lt 1 10; ，u a & amp& lt 1 10; ], third-and fourth-order rhymes and sacrifices are abolished as one, which is pronounced as [&; & lt 1 10; & amp& lt 108; & amp& lt 1 10; ，& amp& lt 1 10; u & amp& lt 108; & amp& lt 1 10; ]; Instead of combining the branches with the micro-confluence of fat, read [&; & lt 1 10; ，& amp& lt 1 10; & amp& lt 1 10; ，& amp& lt 1 10; u & amp& lt 1 10; ]。 Therefore, the poem can rhyme, especially when the Qi (sacrificial) part rhymes with the gray (Thai and Thai are both good) part, the same branch (slightly fat) part rhymes more often because its pronunciation is closer. [ 1 1]
In ancient times, because of the similar pronunciation, the phenomenon of two rhymes appeared in poems. From the above, we can know that Tong Tong phenomenon appears in poetry because of rhyme, so we can make a reasonable explanation for this phenomenon.
Second, vocabulary style.
First of all, as far as the month described by Du Fu is concerned, * * * has 4 1 month, among which, the sinking moon, the autumn moon and the new moon appear the most, with 4 times; The bright moon, the flat moon, the star moon and the river moon are the modifiers that often appear in Du Fu's poems about the moon. In addition, there are 34 different kinds of moons [12], which shows that the moons in Du Fu's poems are not only numerous, but also varied in shape. In addition, the rhetoric of reduplication used by Du Fu is also the part I want to discuss here.
Repeat:
Chen Shubin mentioned in Rereading Du Fu: Rhetoric Art and Aesthetic Inscription;
An important function of overlap is description. Du Fu used many overlapping words to describe his life experience and express his thoughts and feelings, which provided clues and basis for us to study Du Fu's life, mood and mentality. Combining these phenomena, we can understand a certain aspect of Du Fu's life to some extent.
And the mentality of a certain period. [ 13]
Therefore, in the study of the rhetoric of Du Fu's poems about the moon, overlapping can be said to be an indispensable rhetorical study, which appears most frequently in Du Fu's poems about the moon, for example:
The clothes are hung with dragonflies, and the moon is white. (General He and Nine of Ten Poems of You Shanlin &; s 23 1； Appendix 6)
The eaves are slightly shaded, and the Tianjin flow is oblique. (2) two thoughtful poems &; s 23 1； Appendix 37)
How to avoid ravine drifting when there are not enough soldiers and horses in the world? (Yan's Xi Ge&; s 23 1； Appendix 49)
Many times, although we met, we felt very ashamed. ("Give the king twenty-four servants and forty rhymes"&; s 23 1； Appendix 50)
I was born floating, but what am I doing now? ("Su Qingxi posted the mood of fifteen brothers outside Bird"&; s 23 1； Appendix 54)
Flying around, what am I like? But sandpipers in the vast world! . (One night abroad &; s 23 1； Appendix 55)
Stay in the sand, and serve you. ("Guo Suyu of Kuizhou is wet and can't go ashore. Judge Wang Twelve "&; s 23 1； Appendix 57)
When the moon is sinking and the fog is sinking, the shining stars are near the building. (Sleepless &; s 23 1； Appendix 75)
The moon is long and the edge is broken, and it is gloomy and fleeting. (Rain &; s 23 1； Appendix 87)
Autumn wind blows clothes, and the east flows weak in the west. (Two Qiu Ge II&; s 23 1； Appendix 88)
War and chaos, Jianghan is a trickle. (Autumn, one hundred poems of "Zheng Jian sends Li" by Kui Fuyin &; s 23 1； Appendix 90)
Is it easy for the moon to be flawless? Purple gas is gloomy and still surging. (Alas &; s 23 1； Appendix 107)
The city is crying and crying, and the wild heron Su Juanjuan. (Moon Boat Near the Temple &; s 23 1； Appendix 1 16)
The wind is bleak when the guests enter the moon. (Twilight returns &; s 23 1； Appendix 1 17)
With the infinite moon, it is close to the south. (Su Bai Sha Yi&; s 23 1； Appendix 122)
As can be seen from the above examples, when Du Fu uses reduplicated words, he will use them flexibly according to different occasions, enriching the connotation and poetic images of reduplicated words. Ms. Chen Shubin discussed this problem from two aspects: one is the different description of the same thing, and the other is the application of the same overlap in different things. She said:
Different descriptions of the same thing can reflect the poet's emotional changes. ..... The same reduplication describes different objects, on the one hand, it is determined by the polysemy of words, but many of them are also the result of flexible use. Flexible use reminds people of it, so as to understand it with the feelings of its scene and atmosphere, enriching the image and artistic conception. [ 14]
It can be seen that the biggest feature of Du Fu's reduplication is "liveliness", which makes readers feel refreshed. Moreover, the use of reduplicated words makes Du Fu's lyrical expression of things more wonderful, and the spirit and emotion come together. He used many reduplicated words to give full play to the advantages of his poetic rhetoric skills.
Thirdly, syntactic style.
Here we can see the syntactic style of Du Fu's poems about the moon from the rhythm and pause. According to Mr. Zhu Jianing, we analyze the rhythm unit of poetry, which is different from grammatical analysis [15], but the rhythm of five-character poems we generally know is mostly up two and down three, while seven-character poems are up four and down three. If it's going up, down and down, it's a abnormal sentence, called "inflected sentence" For example, Wei Juan said, "Seven-character poems have three or four squares, which is called folding." ..... Hu Qin's poem said: "Going out to the clouds will be my own business, and getting close to Shui Mei will gain my heart first." This is also the case. [16] As far as Du Fu's poems about the moon are concerned, there is no such variation, and the rhythm still conforms to the well-known format, but the grammar may change. [ 17]
The Emotional Implication of Moon Poems —— Based on the Perspective of Prototype Criticism
First of all, what is a prototype?
Prototype is also known as priomordialimages. Jung said: "The content of personal unconsciousness is mainly composed of emotions, which constitute the personal and private side of psychological life. The content of the collective unconscious is the prototype. " "We unconsciously discovered the characteristics that were not acquired by individuals but inherited ... and found some innate intuitive forms, namely the prototype of perception and comprehension. They are essential congenital factors in all psychological processes. Just as a person's instinct forces him to enter a specific mode of existence, the prototype also forces perception and understanding to enter certain human paradigms. " [18] Through Jung's exposition, Mr. Fu Daobin made a conclusion on this. He said:
Prototype is a transcendental form with universal consistency of all psychological reactions and a basic model of psychological structure. This basic pattern is a relic of ancient human life, and it is the accumulation and concentration of typical experiences that have been repeated hundreds of millions of times. Therefore, from the form of prototype system, we can get rich and colorful and vivid ancient historical and artistic materials. The prototype system is not a scattered and meaningless form, but a meaningful symbol. [ 19]
Second, the prototype myth of the moon
"The moon has always been a symbol of the female world. Tracing back to the source, it mainly began in the period of human reproductive worship. The early reproductive worship was mainly female worship. For a long time, human beings did not understand the significance of father in life creation, and life creation was understood as a unilateral act of women. The concepts of "virgin mother" and "deformed man without father" in China mythology are the best proof of this phenomenon. [20] In China's ancient mythology, Nu Wa was the first goddess created by China, and also the goddess of the moon, which can be proved by the brick paintings of tombs unearthed in the Han Dynasty. In the painting, Nvwa 、 Fuxi people are snake heads, Fuxi holds the sun and Nu Wa holds the moon, suggesting that Nu Wa is actually the moon god. As for the legendary story of the Goddess Chang'e flying to the moon, which we are familiar with, it records the long and bleak past of the loss of women's world, and also reflects the sad, lonely and tragic feelings of women driven by male authority. In mythology, the goddess the Goddess Chang'e flying to the moon is a metaphor of elixir, immortality, metamorphosis and rebirth, but Chang 'e, which appears in poets' works, has become a lonely symbol of humanism, mainly because later poets always express their sadness and hesitation through Chang 'e's stories.
Mr. Fu Daobin's "Bell in the Late Tang Dynasty-Spiritual Prototype of China Culture" also mentioned:
Women are the soul of the moon, and the moon is a poetic symbol of women. Therefore, when China culture shows a strong desire to return to its mother from complexity to singleness, from creation to repetition, from conflict to harmony, and from instant to eternity, it is necessary to seek the artistic expression of the moon. [2 1]
Therefore, in order to grasp the original meaning of an American in China culture, we must analyze the complex of women and mothers contained in the moon, and start with the prototype of the mother and women's world, so as to grasp the basic symbolic significance and derived cultural significance of the moon in the cultural development of China.
So, what is the basic symbolic and derivative cultural significance of the moon? Mr. Fu Daobin believes that the moon has two basic symbolic meanings:
(1) The moon is the embodiment of mother and women, which reflects the life significance of female worship, the tranquility and harmony of matriarchal society, and the frustration and sadness of the female world.
(2) The moon is sometimes dim and sometimes bright, and sometimes it is round and round. It is not only the representative of movement, but also the symbol of eternity, so it always leads people to praise the endless philosophical spirit of life, and also inspires people to think about the eternity of the universe, and inspires people to ask questions and lament the grand consciousness of life.
From these two basic symbolic meanings, three derived symbolic meanings have emerged: 1, the symbol of beauty, 2, the symbol of loneliness and frustration, and 3, the symbol of harmonious and quiet China wisdom and extraordinary elegant scholar-bureaucrat demeanor. [22] The second symbolic meaning is that because the moon reflects women's sadness and melancholy, it becomes a symbol of the frustrated, so when I feel depressed and helpless, I always take the moon as my confidant to comfort myself, just like Fu.
In addition, the author would like to explain here that in the book "The Religion of the Moon God of Laozi", Laozi constantly explained that the "Tao" mentioned by Taoism is actually the moon, and also mentioned that the moon has three shapes: gradually growing, gradually disappearing and full moon, and there are also three myths about the shape of the moon. These myths are not only found in Laozi, but also in Shan Hai Jing, which shows that this primitive legend is popular in China culture. [23]
Third, emotional meaning.
Throughout Du Fu's poems about the moon, the author divides their emotional connotations into the following categories: worrying about the country and the people, homesickness, sadness of parting, lack of talent, sigh of life experience and praise. It can be found that sentimental poems account for a considerable proportion, accounting for almost 90% of all moon-chanting poems. Therefore, I will not describe the poems that praise beauty symmetrically here, but focus on the sentimental poems.
(1) Worrying about the country and the people.
The works at this time were mainly due to the Anshi Rebellion, which made Du Fu full of worries about the country and society and sad about the difficulties of people's lives. Before the Anshi Rebellion, although there were some works concerned with current affairs, their feelings were not so strong. His representative works include Moon, Seven of Twenty Qinzhou Miscellaneous Poems, Liuhuamen, Tired Night, and Song of the Sujiang River.
Autumn is near in the sky, and the moon is clear on the ground. When you enter the river, the toad will live forever.
Only beneficial to Dan Xin, can add white invention. If you know the land like the back of your hand, don't follow the western camp of the country.
(Month &; s 23 1； Appendix 1 1)
"Reading" [24] said: "The current events that hurt the bright moon are also. Two years later, in August, there was an order to take over Beijing, but Fashion didn't do it, so it hurt. It is strange to think clearly about the moon, because the throne is too long. Du Fu expressed his concern for the country here.
Vast, between the ancient city valleys. There was no storm in the traffic jam, and jathyapple was not at the customs.
When will the country return? Loulan hasn't returned it yet Smoke and dust have been seen for a long time, and decay is destroying the face.
(The Seventh of Twenty Qinzhou Miscellaneous Poems &; s 23 1； Appendix 2 1)
Tianjiaozi in the north is fleshy and courageous. High autumn horses are fat and healthy, and arrows shoot at the moon.
Since ancient times, I have been thought to be bitter, and poets are disgusted with it. Xiu De let it come, and endless chains.
Hu Weiwei switched to a country? In and out of the secret vault. The Central Plains has banished it, so we will use it with forbearance.
The princess sings oriole, and the king points to the sky. Lianyuntan Zuo Fu, seeing snow in a hundred miles.
It's more sad for the ostrich to be grounded than to die. The Tian family is most afraid, and the wheat will fall and the mulberry branches will be broken.
The sand garden is green and the spring grass is rich and clean. You don't need a boat to cross the river.
Chen Hu surpassed Taihang, and the bastard arrived in Beijing. The flower gate must stay, and the night turns bleak.
(Liuhuamen &; s 23 1； Appendix 15)
The first song is mainly about worrying about the chaos of Tubo, and the flower gate of the latter song is actually synonymous with Uighur, and it is an exhortation to Su Zong to retain Uighur soldiers. Du Fu wrote this poem to remonstrate with Tang Suzong, because he was worried that Uighur soldiers would endanger national security. These poems strongly express Du Fu's concern and anxiety about the country.
Bamboo is cool and invades the bed, and the wild moon is full of courtyard. Re-exposure became a trickle, and there were few stars at first.
Fireflies glow in the dark and birds in the water call each other. When everything is in war, it is empty and sad.
(Tired all night &; s 23 1； Appendix 48)
As can be seen from the last two sentences, Du Fu is concerned about the country and the people. At this time, the Anshi rebellion had just subsided, and there was another Tubo rebellion. In October of the first year of Guangde, he went straight to Chang 'an, forcing Daizong to take refuge in Shaanxi. Although Du Fu lived in Huanhuaxi Caotang at this time, he always had deep feelings for the people of the whole country. How can he not be worried when the country is in such an eventful autumn? It can be seen that even in his spare time, Du Fu still cares about the life of the people all over the country.
Color Rock Trail, Gaozhai Watergate. Between the thin clouds and the rocks, the solitary moon turns over.
Storks chase silence, jackals eat noisily. Insomnia and anxiety, unable to work hard.
(Su Ge&; s 23 1； Appendix 70)
In this poem, Du Fu expressed his thoughts and feelings of caring about current affairs, the country and the people through what he saw and heard when he forgot to eat and sleep. The lonely moon churning in the waves echoes the last two sentences of my anxiety and powerlessness when I am awake. Therefore, the solitary moon is not only a simple water moon scene, but also a symbol of the author's mood.
(2) Homesickness and homesickness
Du Fu often wanders around and leaves his hometown. In fact, he misses his hometown and relatives, especially when he is alone in a foreign land, and he misses the people, things and things in his hometown more. Because it is generally believed that the moon is a symbol of the warmth and harmony of the mother's society, when people wander around the world and even feel lonely, the moon becomes the object of our spiritual sustenance and places our feelings on the moon. In this way, the moon tied the heart of acacia and shortened the distance between time and space, thus triggering the theme of acacia in ancient January.
Moonlight in the river In Mizunokami, tall buildings think of killing people. A long trip to the horizon always leaves a towel.
The jade dew is clear, and the galaxy is not semi-circular. Who is Yu Jin? Candles set off green eyebrows.
(Jiang Yue&; s 23 1； Appendix 77)
Thousands of mountains and valleys are close to Jingmen, and girls grow up in Sri Lanka. She came out of the purple palace and entered the desert. Now she has become a green grave in the yellow dusk. Her face! Can you imagine the spring wind? Back to the soul in the moonlight. The Tatar song on her jade guitar tells her eternal sadness.
(The third of five poems about historical sites &; s 23 1； Appendix 68)
Homeless cold food, tears like gold waves. There should be clearer light in the middle of the moon.
Let go of the red core and imagine the green moth. Cowgirl is full of worries, and autumn crosses the river.
(One hundred and fifty nights to the moon &; s 23 1； Appendix 10)
Autumn wind blows clothes, and the east flows weak in the west. Tianqing Town is full of traffic, and there are few pedestrians on Gushi Road. I wonder who the moon is good for. Alone in the morning and evening, he will come back in the evening. Will the white hair lean on the court tree, so the garden pool is right and wrong today?
(Two Qiu Ge II&; s 23 1； Appendix 88)
The above capitals show Du Fu's homesickness, and the second one expresses his homesickness through the image of Zhao Jun who misses his hometown and goes home on a moonlit night. Du Fu was wandering between the southwest and heaven, far from his hometown. This situation is similar to Zhaojun who lives in Zhaojun's hometown. Therefore, he used the image of Zhaojun missing his hometown and returning home on a moonlit night to express his feelings of missing his hometown. In fact, you miss not only your hometown but also your family. As long as you think of being separated from your family, or even leaving your hometown and wandering around, there will be quite a few homesick and homesick works in your poems. As Mr. Fu Daobin said: "The image of the moon reflects the ancient literati's psychology of searching for their mother's world and spiritual home and restoring the harmony and unity of the world. The theme of looking at the moon embodied in classical poems relives the homesickness of old dreams. The moon is a kind of homesickness that stands out in the sky, and the poet's feelings of missing his hometown and parents are often pinned on the transmission of the bright moon. [25] Moonlit Night is a quite typical masterpiece.
In Fuzhou, far away, she is looking at the moonlight, looking at it alone from the window of her room. For our boys and girls, poor little baby, too young to know where the capital is.
Her cloudy hair is sweet with mist, and her jade-white shoulders are cold in the moonlight. When can we lie on the screen again and look at the bright light and stop crying? ?
(Appendix 9)
In May of the fifteenth year of Tianbao, Du Fu moved from Fengxian to Baishui, north of Tongguan. In June, Tongguan fell, Xuanzong entered Shu, and Du Fu went north as soon as possible and stayed in Zhangzhou. In July, Su Zong ascended the throne of Lingwu, and Du Fu went to defect alone, but was captured by Anshi rebels on the way to Chang 'an. This poem was written in Chang 'an in August. Mainly said that Du Fu was in the occupied Chang 'an. Facing the bright moonlight, he couldn't help thinking of his wife and children who were far away in Zhangzhou, so he wrote this masterpiece that will be told for generations. In fact, the poem not only expresses the separation of husband and wife, but also reveals the sadness of world separation, which will lead to the separation of families.
As for Guest Night, it also tells the story of Du Fu's separation from his wife. At that time, Du Fu went from Mianzhou to Zizhou, and his wife and children were in Chengdu. One day, he received a letter from his wife, so he had mixed feelings and couldn't sleep at night. He can only feel sad about the moon because he can't go back to his family.
Why didn't Qiu know when the guest was sleeping? Walking into the curtain, the shadow of the waning moon and the high pillow are far away from the sound of the river.
All thumbs and no food and clothing are friends. An old lady's book is a test paper, and she should know that she didn't answer it.
(Guest Night &; s 23 1； Appendix 44)
(3) Injured to leave
Send you away from here, green hills and empty air, double parting. I wonder when we will raise our cups again. Like we walked on the moon last night? .
Everyone in every county praises you and can't bear to leave you. How glorious you are in the Three Dynasties. After seeing you off, I went back to Jiangcun village and spent the rest of my life alone.
(Farewell General Yan at the station &; s 23 1； Appendix 43)
Yanwu has a literary talent and strategy, and his personality is congenial to Du Fu. During his stay in Shu, he personally visited Du Fu in the thatched cottage and gave him financial assistance. They often exchange poems, respect each other and form a deep friendship. So Du Fu felt even more reluctant to part with him after seeing him off. After all, bosom friends are hard to find, and officials like Yanwu who know him like the palm of their hand will hardly meet again in the future, which adds a layer of sadness to their parting.
Stay in the sand, and serve you. The wind blows spring chaos, the river rings and the rain hangs.
The morning bell is wet on the cloud bank, and the resort shitang cooks smoke. Soft and light seagulls, with a kind of delicate sadness.
("Guo Suyu of Kuizhou is wet and can't go ashore. Judge Wang Twelve "&; s 23 1； Appendix 57)
As can be seen from the title of the poem, this is a poem about the situation of parting. In Du Shi Jing Quan, he wrote: "When writing farewell, you only need to feel like a fairy, which is infinitely implicit." In this poem, Du Fu's style is more subtle. Although only the parting feelings are explained by the words "absolutely like a fairy", the rest are mostly about scenery, but the meaning is still meaningful. You can also feel Du Fu's admiration besides feeling each other's affection at this time. ..............