There is a small stone bridge outside the south gate of Chengdu, which is said to be the place where Zhuge Liang sent Fei Yi, named "Wan Li Bridge". Crossing the bridge to the east, you will arrive at "Baihuatan" (Huanhuaxi), which is located in a beautiful water town. Du Fu built a thatched cottage here that year. After the chaos, he had a place to stay, and his mood was relaxed, even relaxed. The first couplet is "Canglang", which is dark. The word "namely" means contentment. "If you eat fish, you will be afraid of the river." With this clear pool, why "surge"? Wan Li Bridge, Baihuatan, Caotang and Surge set each other off slightly, which is specious and natural in form. However, there are four proper names in couplets, which make readers look at the scenery one after another because of their great inferiority, and the situation is slightly vivid (that is, "surging waves"), which makes people feel traces. Literal words such as "Wan Li" and "Hundred Flowers" make the beginning of this poem not appear cold and frugal, paving the way for writing "Crazy" below.
This is a windy and drizzling weather, so don't spare the fun: the bamboo is swaying gently, and the branches and leaves with water are bright and pleasing to the eye; Lotus flowers are particularly delicate when it rains in Mao Mao, but when the breeze blows, the fragrance can be heard. The couplets are written with great care, and the breeze and drizzle are all from the realm. The verbs "contain" and "hold" are extremely delicate and vivid. "Contain" is more emotional than the word "blow" that usually writes breeze, indicating concern and love, so the wind is self-evident. There is wind in the rain, which can be understood from the word "fragrance" (no breeze, no fragrance). This is also the beauty that intertextuality usually makes poetry more concise and alert. There are three adjectives in each sentence: Cui, (beauty) and Jing; Red, Ran Ran (feminine), fragrant, but properly placed, no sense of piling up; The overlapping words of "Ran Ran" and "Juanjuan" add to the beauty of phonology. More importantly, this couplet is rich in meaning and exquisite in form, which fully embodies the author's idea that the evening festival is getting finer and finer.
The first four sentences describe the beautiful scenery of Caotang and Huanhuaxi. However, what is not so harmonious with this is the poet's real life situation. When he first arrived in Chengdu, he relied on his old friend Yanwu to help and give Mi Lu, but once his old friend's book was cut off, his family would inevitably go hungry. "The book of an old friend of Houlu was laid off" means writing it, which leads to "a child who is often hungry is desolate" and "hungry every day". This is a way to draw inferences from others and lift the weight easily. The syntax of tie is "going up two times and going down five times", and "generosity" and "hunger for food" have a prominent position at the beginning of the sentence. From the perspective of phonological requirements, emphasize the poverty of "hunger for food", so that the exaggerated statement of "trying to make up for the lack" will not be inaccurate.
"Filling the ravine" means that no one is buried by the roadside, which means starving to death. What a cruel reality of life this is. If you want to be an ordinary person, you will be destroyed mentally. However, Du Fu is not like this. He has suffered a lot and has never been overwhelmed by the hardships of life. He always treats life with a stubborn attitude. This is the so-called "put down". Linking the intoxication in front of him with the real situation, the poet can't help laughing at himself: you old man are really getting cross-country! ("A madman who laughs at himself is always crazier")
In Du Fu's poems, there are many excellent works praising the beautiful natural scenery, and there are also many famous articles expressing the sadness of being down and out. What is worth pondering is that it successfully combines two seemingly irreconcilable scenes to form a complete artistic conception. On the one hand, "the wind is green" and "the rain is red". Without the description of poor livelihood in the second half, the "madman" will lose his mind and become a "madman". Two components are really indispensable. Therefore, this kind of treatment is very successful in art, and it is subject to the needs of content.