Crossing the Han River is a poem written by Song Zhiwen, a poet in the Tang Dynasty. This is a lyric poem written by the poet on his way home from his hometown for a long time. It is intended to write about homesickness, showing the poet's deep love for his hometown and relatives and the complex psychology of excitement, anxiety and timidity when the wanderer returns to his hometown. The first two sentences mainly describe the situation of living outside the ridge for a long time, and the last two sentences express the contradictory mood when approaching home. The whole poem is extremely shallow and profound; Describe the psychology and stick it in detail; Without affectation, nature is beautiful. Name of the work: Creation Year of Crossing Hanjiang River: Origin of Works in Early Tang Dynasty: Complete Poems of Tang Dynasty Literary Genre: Five-character quatrains Author: Song Zhiwen (talking about Li Pin) works original text, annotation translation, words annotation, vernacular translation, creation background, works appreciation, overall appreciation, comments by famous experts, author introduction, works original text crossing Hanjiang River (1) off the ridge sound book (2), after winter and spring.
now, nearing my village, meeting people, I dare not ask a single question (3). Annotation translation sentence annotation (1) Hanjiang River: Hanshui River. The largest tributary of the Yangtze River originates from Shaanxi and flows into the Yangtze River through Hubei.
(2) Outside the Wuling Mountains: the vast area of Guangdong Province south of Wuling Mountains, usually called Lingnan. In the Tang Dynasty, it was often used as a penal colony. Book: letter.
(3) people: people from their hometown who met when crossing the Han River. Vernacular translation exiled Lingnan, broke off the news from relatives, survived the winter and experienced a new year.
The closer I get to my hometown, the more timid I am, and I dare not ask about people coming from home. Creation background This poem was written in the second year of Song Zhiwen Shenlong (76) when it passed through Hanshui River. Song Zhiwen obsequiously attached Toy Boy Zhang Yizhi of Wu Zetian. After Wu Shi died, Tang Zhongzong demoted him to Longzhou to join the army. Longzhou was located in Lingnan, which was an extremely remote area in the Tang Dynasty. Officials exiled there were often unable to survive because they did not adapt to the local natural geographical conditions and living customs. In the first year of Shenlong (75), Song Zhiwen crossed the ridge in October, and the following spring, he ventured back to Luoyang and wrote this poem when passing through the Han River (referring to a section of Han River near Xiangyang). On the other hand, this poem was written by Li Pin when he fled to Luoyang from Longzhou, where he was demoted, and passed through the Han River (referring to the Hanshui River near Xiangyang). Appreciate the whole work. Appreciate the first two sentences of this poem, recalling the situation of relegation to Lingnan. It's sad enough to denounce the wilderness, not to mention being cut off from family members and being uncertain about each other's survival. What's more, it's been a long time in this case. The poet didn't have three meanings: the separation of parallel space, the cut-off of audio books and the long time. Instead, he presented them step by step, which strengthened and deepened his lonely and depressed feelings during his exile, and his yearning for his hometown and relatives. The word "broken" and "complex" seem to have no effort, but they are very intentional. The poet's isolated situation when he was trapped in a relegation house, his life scene of losing any spiritual comfort, and his unbearable mental pain are vividly visible and tangible. These two sentences are plain and easy to undertake, and there is nothing amazing, which is often easy for readers to let go easily. In fact, its position and function in the whole article are very important. With this background, the next two excellent lyric words have roots. The third and fourth sentences describe the psychological changes of the poet on his way home. "Near the hometown" confessed that the poet fled the relegated land and approached his hometown because he didn't know the family information for a long time. The so-called "feelings are more timid", that is, the closer you get to your hometown, the closer you get to your family, and the more worried you become. It simply becomes a kind of fear, fearing "I dare not ask a single question". According to nature, it seems that these two sentences should be written as "I am more eager to ask people near my hometown", but what the poet wrote was completely out of nature: "now, nearing my village, meeting people, I dare not ask a single question." After careful consideration, I feel that only in this way can it conform to the "prescribed scenario" revealed in the previous two sentences. Because the poet has been exiled from the ridge and has not heard from his family for a long time, on the one hand, he misses his family day and night, on the other hand, he is always worried about his family's fate, fearing that his family will suffer misfortune because of the poet's tie. With the coming of anxiety, the yearning of "breaking the sound of books" and "returning to spring" forms a contradictory psychological state of eager to go home and afraid to go home. This ambivalence has further developed dramatically on the way home, especially after crossing the Han River and approaching home: the original worries, anxieties and vague foreboding seem to be confirmed by an acquaintance on the road at once and become a living cruel reality; The long-cherished desire to reunite with family members will be shattered immediately by the ruthless reality. Therefore, "more passionate" has become "more timid" and "anxious to ask" has become "afraid to ask". This is the inevitable development of psychological contradictions under the special situation of "the sound outside the ridge is broken" "Feeling more timid" and "dare not ask" can better reflect the poet's eager desire to restrain himself at this moment and the mental pain caused by it. The closer we get to reunion, the more worried the poet will be, and the more extreme he will be. This kind of anxiety will become a kind of fear and trembling, making him afraid to face the reality. It is in this way that the poet vividly reproduces the profound care for his family under special circumstances and sings the good rhythm of going in and out of the kind of mind, thus causing the eternal * * * sound. It is only this situation that makes the poet not to blame. At this point, later, Du Fu's "Anti-fear message comes, how can there be an inch of heart" ("Shu Huai") wrote that he was worried about his family during the war, but he did not dare to face the "message" of uncertain good or bad. It is more contemporary and more intriguing. This poem has ingenious lyric art. After the poet explained the background step by step, he immediately expressed his feelings and poured out his ambivalence and pain without reservation. This highly concise lyric technique makes poetry achieve far-reaching artistic effects with the most omitted language. Famous experts commented on the Return of Tang Poetry by Zhong Xing and Tan Yuanchun in the Ming Dynasty: "The real hardships are all ironically said, and the meaning is deeper." In the Qing Dynasty, Zhu Zhijing's "Adding Tang Poems and Picking up Banknotes": "The word' fear' is written with true feelings." In the Qing Dynasty, Li E's "A Brief Record of the Changes of Poetry": "'I dare not ask a single question', write a bitter situation with a reverse pen." Shen Deqian's Poems on Tang Poetry in the Qing Dynasty: "That is, Lao Du's intention of' being afraid of information, what is the heart?'" Song Gule's Selected Comments on Ten Thousand Poems of the Tang Dynasty in the Qing Dynasty: "It's absolutely realistic to write a derogatory guest's thoughts at home." Shi Buhua's Poem on the Servant in the Qing Dynasty: "The ability to express feelings in the five unique skills is as wonderful as the history of' meeting immediately without paper and pen'." Author's brief introduction: Song Zhiwen (about 656-712), a poet in Tang Dynasty, was born in Fenzhou (now Fenyang, Shanxi Province) and was born in Hongnong (now Lingbao, Henan Province). In the second year of Emperor Gaozong's reign (675), he was a scholar, and the official was a foreign minister. He once flattered Zhang Yizhi and Princess Taiping. Ruizong demoted Qinzhou and gave him death. Poetry is as famous as Shen Quanqi's, and it is full of praise and praise, and its language is luxuriant. On the way to exile, the poems expressed sentimental feelings. The integrity of the legal form has a great influence on the stereotypes of the legal poetry system. The original collection has been lost, and the Ming Dynasty compiled Song Zhiwen Collection. Li Pin, a poet in the Tang Dynasty, was born in Shou Chang, Muzhou (now Zhejiang). He was famous for his poems when he was young. In the eighth year of Dazhong (854), he was a scholar, transferred to the school, became the master book of Nanling, and moved to martial arts. Later, it was the secretariat of Jianzhou (now Jian 'ou, Fujian). Died in an official position. Most of his poems are five laws. The original name of the collection of poems is Jian Zhou thorn anthology, also known as Li Yue anthology, and The Whole Tang Poetry contains two volumes of his poems.