From "River Village" by Du Fu, a poet of the Tang Dynasty
The Qingjiang River embraces the village, and the Changxia River Village is quiet.
The swallows on the beams come and go, and the gulls in the water are close to each other.
The old wife draws paper to make a chess game, while the child knocks needles to make fishing hooks.
But if there are old friends offering Lumi, what else can a tiny body ask for?
Appreciation
This poem was written in the first year of Shangyuan (760) by Suzong of Tang Dynasty. A few months ago, after four years of exile, the poet traveled from Tongzhou via Mianzhou to the banks of Huanhua Creek on the outskirts of Chengdu, a prosperous hometown in the southwest that had not been harassed by war and had remained quiet for the time being. The thatched cottage that he worked hard to run with the help of relatives and friends has begun to take shape; the poet, who has experienced the pain of leaving his hometown and the hardships of displacement, finally found a temporary place to live. It's early summer, and by the Huanhua River, the river is winding, the water and trees are clear, and it's a quiet and elegant pastoral scene. The poet picked up the title of the poem "Jiangcun" and wrote about it. It is conceivable that he felt happy.
The three words "everything is quiet" in the second sentence of the first couplet of this poem are the key words of the whole poem and bring out a purpose. The four sentences in the middle closely follow "Everything is quiet" and are narrated all the way. The swallows in the beams come and go freely and at ease; the white gulls on the river, far and near, accompany each other. From the poet's point of view, both swallows and gulls have a sense of forgetfulness and adaptability to the crowd. Things are so quiet, and the interesting human affairs especially make the poet happy: the infatuated and naive attitude of the old wife drawing paper for a chess game is lovable; the innocence of the child knocking needles to make fishing hooks is endearing. The chess game is the best place to spend the summer, and the Qingjiang River is just right for fishing, so the villagers have fun and everything goes well. After a long period of separation, why wouldn't the poet feel happy and satisfied when he regained the joy of a family and children? The concluding sentence, "If you have an old friend to offer you Lumi, what more can you ask for than a small body?" Although it is a happy word on the surface, it contains a lot of sadness in the heart. Saying "but there is" does not guarantee that there will be something; saying "what more should we ask for" just means that we have already asked for something. Du Fu has indeed not forgotten that the leisurely and leisurely life in front of him is built on the basis of "offering Lumi to old friends". This is a very sensitive tender point. Once there is a problem with the distribution of money and rice, everything will be out of the question. Therefore, we might as well say that the last two sentences of this conclusion are not so much words of luck as words of bitterness. A generation of poets who struggled with poverty and relied on others to survive temporarily found a place to live, and Du Fu was able to live in peace. At the same time, he uttered such sad words, which is really a strong accusation against the feudal ruling class for destroying talents.
The four sentences in the central couplet fully describe the quiet things in Jiangcun in terms of physical and human relations. Then, in the concluding sentence, the sentence "what else can you ask for" is used to connect "everything is quiet" and conclude. It completes the theme of an article, is the simplest and most stable.
The poem "Jiangcun" also has unique features in its artistic treatment:
First, the repetition of characters is not repeated. In the two sentences of the first couplet of this poem, the characters "jiang" and "village" appear twice. According to the general rules for writing rhymed poems, compound characters should be avoided in the same couplet of the chin and neck. Although the requirements for the first and last couplets of loose sentences are not so strict, compound characters should be avoided as much as possible. Nowadays, using a pair of compound characters gives a light and elegant feeling, and does not feel like it is a repetition. This situation is very similar to the obfuscation in rhyme sentences. Obvious sentences must be corrected with oblique sentences, and complex characters must be used to make up for complex characters. What's more, the second sentence contains two other repeated words "things". In this way, when the first two sentences of the poem are read, there is no sense of support at all.
Secondly, the whole poem is meshed forward and backward, and the echoes are compact. "Liang Shangyan" belongs to "village", and "Oll in the Water" belongs to "river": "Chess Game" directly represents "Changxia", and "fishing hook" also implies "Qingjiang". The chin couplet "Since going and coming, the swallows on the beams, the gulls in the water are close to each other." The two characters "zi" and the two characters "xiang" are in the same sentence: "go", "come", "ki" and "near" are in the same sentence. Corresponding to itself and to each other, it reads briskly and wanderingly. The characters for "painting" and "knocking" on the neck couplet are all ready-made. Both sentences use a simple tone, which best expresses the artistic conception of a husband and wife joining the old age, respecting each other deeply, and being childish and stubborn, and there is no separation between the wise and the foolish.
The third is the conclusion, which suddenly turns sad and has the characteristics of Du Fu's poems about love. Du Fu has two lines of poems in which he describes the joys and sorrows of writing poetry, saying that "the extreme sorrow is brought about by poetry, but when poetry becomes chanting, it becomes desolate" ("Towards the End"). This poem was originally about a leisurely state of mind, but as he wrote it, at the end of the poem, he could not help but reveal his loneliness and unhappiness, making people feel melancholy. Many of Du Fu's impromptu poems are almost all like this. The predecessors called Du's poems "depressive", and the opportunity may lie here. Composition materials: excellent poems describing summer: Green trees gather beside the village, green mountains slant outside the country
From "Passing the Old Friend's Village" by Meng Haoran, a poet in the prosperous Tang Dynasty
The old friend has chickens and millet, and invites I'm at Tian's house.
Green trees border the village, and Qingshanguo slopes outside.
Open a dining room and chat over wine.
On the Double Ninth Festival, I will still come to see chrysanthemums.
Appreciation
The whole poem depicts the beautiful mountain village scenery and peaceful pastoral life. The language is ordinary and the narrative is natural and smooth. There is no trace of exaggeration or polishing. However, the feelings are sincere. It has a mellow poetic flavor and the aesthetic appeal of "hibiscus emerges from clear water, leaving natural carvings behind", making it a masterpiece among pastoral poems since the Tang Dynasty.
The first and second sentences start from the invitation. "Old friend" means that this is not the first time to be a guest. The third and fourth sentences are famous sentences describing the scenery of the mountain village, surrounded by green trees and sloping green mountains, like a light ink painting. Five or six sentences describe the taste of life in the mountain village. Facing the vegetable garden in the courtyard, drinking wine and talking about crops is cordial and natural, full of life. The last two sentences describe the depth of friendship with the theme of gathering together during the Double Ninth Festival. The words are exhaustive but the meaning is endless.
"An old friend invited me to Tian's house." This beginning is like a note in a diary. The old friend "invites" and the author "arrives". There is no exaggeration in the text, it comes immediately, simple and casual. This is exactly what happens between close friends without any formality. Inviting guests with "chicken millet" not only shows the Tian family's unique flavor, but also shows the simplicity of hospitality. It is this kind of hospitality without any formality or ostentation that makes friends' hearts more open to each other. This beginning is not very focused, calm and natural, but it is an excellent introduction to the life content that is about to unfold. It shows the characteristics of the atmosphere and needs to be further enriched and developed later.
"The green trees border the village, and the green mountains slant outside." When walking into the village, the author felt such a refreshing and pleasant feeling. The first sentence of these two sentences diffuses the surrounding area, surrounded by green trees, and appears to be a unified world of its own. The second sentence is lightly written, and the green mountains outside Guo are closely accompanying it, which makes the village not appear lonely and shows a broad vista. This village is located in Pingchou and is far away from the green mountains. It makes people feel quiet and quiet but not arrogant and lonely. It is precisely because "Old Friend Village" appears in such a natural and social environment that the guests and hosts raise their glasses to the window.
"Have a meal in the garden, drink wine and talk about mulberry and hemp", which makes it even more enjoyable. The word "Kaixuan" here also seems to be written into the poem very inadvertently, but the above two lines describe the exterior scenery of the village. Here the narrator is drinking and talking in the house. When the Xuan window is opened, the exterior scenery comes in. Indoors, it gives people a more relaxed and happy feeling. Regarding these two sentences, people pay more attention to "talking about sangma", thinking that "there are no miscellaneous words when meeting each other" (Tao Yuanming's "Returning to the Countryside"). But with a threshing floor and vegetable garden in front of the Xuan window, surrounded by green shade, it gives people a spacious and stretched feeling. The words Sangma make the readers feel more pastoral. As a result, readers can not only appreciate a stronger rural flavor and the atmosphere of labor production, but they can even smell the earthy smell on the fields, see the growth and harvest of crops, and even the characteristics of the region and season. With the combination of these two sentences and the first two sentences, green trees, green hills, cottages, fields, mulberry and hemp blend harmoniously together, forming a beautiful and tranquil pastoral landscape painting, and the laughter of the guest and host and the words about mulberry and hemp are all It seems to linger in the reader's ears. It is different from the pure fantasy of the Peach Blossom Land, but more realistic in the society of the prosperous Tang Dynasty. It is in such a world that this poet who once lamented that "whoever is on the road is cheating, and good friends are rare in the world", not only forgets the setbacks encountered in political pursuits, the gains and losses of fame and fortune, but also the loneliness in seclusion. The depressed mood was also put away. It can be seen from his longing for the green mountains and green trees, and talking with his friends over wine that his thoughts have relaxed, and even his actions have become flexible and comfortable. The environment and atmosphere of the farm showed its conquering power here, making Meng Haoran somewhat converted.
"On the Double Ninth Festival, I will come back to see the chrysanthemums." Meng Haoran was deeply attracted by the farm life, so before leaving, he frankly expressed to the owner that he would come back to see the chrysanthemums on the Double Ninth Festival in the clear autumn air. In just two lines of poetry, the warmth of old friends treating each other, the joy of being a guest, and the cordiality and harmony between host and guest are all vividly reflected on the page. Du Fu's "Suffering Tian's Father to Drink Mud and Beautiful Yan Zhongcheng" said: "The moon rises and covers my stay, but I am still angry and asking about Sheng Dou." In Du Fu's poem, Tian's father left someone behind, his feelings were urgent and his words were urgent; in Meng Haoran's poem, he made an appointment with an old friend again, and felt comfortable. The words are slow. Readers can get a glimpse of the difference between Du Fu's depression and Meng Haoran's tranquility.
An ordinary farm and an ordinary treat of chicken and rice are presented in such a poetic way. The description is of the immediate scene, using spoken language, and the level of description is completely natural. The writing seems very relaxed, and even the form of verse has become free and flexible. The reader feels that this light and approachable style in the poem is in harmony with the object of the author's description - the simple farmland. It shows that the form is highly adaptable to the content, and is tranquil and friendly but not boring. It contains profound sentiment in its plainness. On the one hand, every sentence shows almost no signs of effort, but on the other hand, every sentence never seems weak. For example, the first two sentences of the poem only contain invitations to friends, but they can show a simple farmhouse atmosphere; the third or fourth sentences only contain green trees and mountains, but they can reveal a whole world; the fifth or sixth sentences only contain gossip over wine, but they can express the mood and environment. A comfortable fit; the seven or eight sentences only talk about the return of the Double Ninth Festival, but they naturally reveal their attachment to this village and old friends. These sentences are balanced and even, and together form a complete artistic conception, integrating the quiet and beautiful rural scenery with the simple and sincere friendship. This is the so-called "wonderful composition, but no syntax" (Shen Deqian's "Tang Poems"), "no hooks and strange decisions... If Gongshu's family is clever but not clever" (Pi Rixiu's "Yingzhou Mengting Ji") . He deeply integrated the artistic beauty into the flesh and blood of the entire poem, making it appear natural. This kind of work is not ostentatious, does not show off skills, and does not rely solely on one or two carefully crafted sentences to support the appearance. It is a manifestation of high artistic level. For example, if a beauty is beautiful, her beauty is all over her body, not just because of any one part that is particularly attractive.
She does not rely on pretense, but amazes people because of her natural color and charm. It is precisely because of the true color internal reflection that the words are free and clear, so that the whole poem shows its charm from the "light touch" and no longer needs "heavy decoration". Composition materials: excellent poems describing summer: The south wind blows at night, and the wheat is covered with yellow.
From "Guan Mowed Wheat" by Bai Juyi, a poet of the Tang Dynasty
Tian Jia Shao Xian month, May People are twice as busy.
The south wind blows at night, and the wheat is covered with yellow.
The women carry baskets of food, and the children carry pots of pulp.
I went with him to the salary field, and Ding Zhuang was in Nangang.
The feet are full of heat and rustic, and the back is scorching with the light of the sky.
I am too exhausted to know the heat, but it is a pity that the summer is long.
There is a poor woman with her baby next to her.
The right hand holds the earrings, and the left arm hangs a basket.
Hearing his words of care makes those who hear them feel sad.
The taxes on the family fields have been exhausted, and this is left to satisfy the hunger.
What merit do I have now? I have never been involved in farming.
The salary of an official is three hundred stones, and there is more than enough food every year.
I feel ashamed when I think of this, and I will never forget it.
Appreciation
"Viewing the Cutting of Wheat" is a poem written by Bai Juyi when he was the county captain of Zhouzhi County, and he was inspired by the hard work and poverty of the local people. He criticized the source of heavy taxes. He feels deeply guilty that he has no merit, no virtue, and no work but is able to have enough food and clothing, which shows the humanitarian spirit of a conscientious feudal official. This poem was written in the second year of Yuanhe (807), the second year of Emperor Xianzong of Tang Dynasty, when the poet was thirty-six years old. Zhouzhi County is located in the west of Xi'an City, Shaanxi Province today. The county lieutenant is in charge of catching thieves and collecting taxes in the county. Precisely because Bai Juyi is in charge of this matter, he also knows best about the disasters suffered by the working people in this area: harvest.
The whole poem is divided into four levels. The first level has four sentences, which describe the time and its surrounding atmosphere. "Farmers have less time in the month, but people are twice as busy in May." The things I will talk about below happened in May, when "people are twice as busy". These two sentences lead the whole article, and the author's sympathy for the working people is revealed at the beginning; "The south wind blows at night, and the wheat is covered with yellow." It is a scene of a good harvest, and the big picture is pleasing to people. But who could have thought of the sorrow of farmers under this harvest scene?
The second layer of eight sentences uses a specific household to show this "people are twice as busy" wheat harvesting scene. The mother-in-law and daughter-in-law carried the rice basket, and the grandson carried the kettle. They were going to deliver food to the men working in the fields. Men go to the fields before dawn; women get up and do housework first, then cook; grandsons follow grandma and mother to the fields when they deliver meals. They were supposed to work with the men after dinner. Do you think this family is busy? "My feet are full of rustic heat, and my back is scorching with the scorching sky. I'm exhausted and don't know the heat, but I'm grateful that the summer is long." These four sentences describe the work of harvesting wheat in a positive way. Their faces were facing the earth and their backs were facing the blue sky. The bottom was like steaming, and the top was like fire. However, they used all their strength to wield their sickles and cut forward, seeming to have completely forgotten the heat, because this was "taking food from the tiger's mouth." , you must hurry up! Can't bear to waste. The weather is so hot and the days are so long, but people are working hard for fear of wasting a little time. This shows how much people cherish the wheat they are about to get. The word "cherish" is used very well here. It is written in a way that goes against human nature to highlight the intensity of people's emotions here and now. In Bai Juyi's "The Charcoal Seller", there is a line about "I am poor and I am wearing only a single coat, I am worried about the cheap charcoal and I wish it would be cold". The usage of the word "wish" is exactly the same as the usage of the word "cherish" here.
In the third and eighth sentences, the camera turns to a poor woman who was bankrupted by taxes and can only make a living by gleaning wheat. This is worse than the aforementioned person whose whole family is busy harvesting wheat. A lower level person. Look at her image: she is holding a child in her left hand, with a broken bamboo basket hanging in her arm, and her right hand is picking up fallen wheat ears. How tiring this is, and how little is gained! But what can be done? Now is the wheat harvest time, and there are still wheat ears to pick. At other times, the only choice is to go begging along the streets. Last year and the year before that, their family also had land to plant crops and harvest wheat, but later they were cornered by taxes and property, and the land was destroyed, leading to this situation today. The fourth level of six sentences describes the poet's guilt and guilt when faced with such a tragic scene during the harvest.
The title of the work is "Viewing the Wheat Cutters", but what actually appears on the screen is that in addition to the wheat cutter, there is also a wheat gleaner, and the author's concern is precisely the latter. on the person. The two of them currently have different levels of happiness and joy, but their destinies are closely linked. Today's miserable and pitiful wheat gleaners are yesterday's hard-working and busy wheat-pickers; how do you know that today's hard-working and busy wheat-pickers will not become miserable and pitiful wheat-gleaners tomorrow? As long as there are heavy taxes, working people will never escape the fate of bankruptcy. The author here made sharp criticism of the tax system that harmed the people at that time, and expressed his deep sympathy for the suffering suffered by the working people. And it's not just general sympathy, it's more about putting yourself into it, feeling that the difference between yourself and the working people is too big, and you have a guilty conscience. At this time, Bai Juyi's poems indeed reflected the thoughts and emotions of the working people and exhaled the voices of the working people.
The basic feature of this poem is to describe real life scenes truthfully without any exaggeration. He chose two shots of a busy family and a desolate gleaning scene to form a strong contrast. Although the former is bitter and tiring, they still have hope for the time being. As for the latter, they are completely dead duckweeds and their future is precarious. The scene, atmosphere, image and psychology shown in the two shots are all very good.
The end of the poem is a discussion, which is the most common approach in many of Bai Juyi's allegorical poems. The discussion in this poem does not directly point to the root cause of social ills, but is expressed in the form of self-guilt and guilt. This is also a vague criticism of the entire bureaucratic aristocratic society. Bai Juyi is just a small county captain with a salary of three hundred shi. Shouldn't those big bureaucrats and nobles feel even more guilty? Taxation was under the control of the emperor, and Bai Juyi could not openly oppose it. He could only use this ending to achieve the purpose of satire. Composition materials: Excellent poems describing summer: During the yellow plum season, it rains every home, and there are frogs everywhere in the grassy pond
From "Yo Ke" by Zhao Shixiu, a poet of the Southern Song Dynasty
During the yellow plum season, it rains every home, and the grassy pond is full of frogs.
Frogs everywhere.
I didn’t come over at midnight because I had an appointment, so I knocked on the chess pieces and let the lanterns fall.
Appreciation
The first sentence, "It rains in every house during the yellow plum season" explains the environment at that time. The Huangmei season is when the plum blossoms turn from green to yellow a few days after the beginning of summer. It rains a lot in the south of the Yangtze River, so it is commonly known as Huangmei Tian. At that time, the drizzle was continuous, as the saying goes, "The flying flowers are as light as dreams, and the boundless rain is as thin as sorrow." For vision, it is a low comfort. As for the rain hitting the tiles with thousands of petals, from far to near, gently, heavily, gently, there are streams of water flowing down along the tile grooves and eaves, and various percussion sounds and glides are densely woven together. "Net", as if "whose fingers are massaging the helix", the mood is extremely peaceful and peaceful.
In the sentence "frogs are everywhere in the grassy pond", the poet's attention naturally turns from the rain to the distant place. Far and near, frogs chirped one after another. It was these frogs chirping everywhere that highlighted the tranquility of the surroundings at that time. Just imagine, if your mind is not calm and your mind is wandering, but you are anxious and agitated, how can you know the faint "insect sound" tonight? "New green window screen"?
Let's look at the third sentence "I have an appointment and I won't come until midnight." I guess that the reason why the book draws the "anxious" conclusion is probably based on this sentence. My friend passed by If it were you and me, we would certainly be anxious. But this is Zhao Shixiu, one of the "Four Spirits of Yongjia" and known as the "Ghost Talent". Jinshi, who once served as Lord Bo of Shangyuan County and promoted officials in Junzhou. Although he was an official, he was frustrated and often traveled with monks and Taoists in the mountains and rivers. He yearned for a quiet and indifferent life, and even wanted to "return to the world" like Tao Yuanming. "Hometown" ("Nine guests and one feather robe went boating, and the rhymes were distinguished, so they sent Zhu Jizhong as a gift"). After his death, the Jianghu sect leader Dai Fuxu wrote "Weeping for Zhao Zizhi", saying that he was "a figure of the Eastern Jin Dynasty". At that time Don't you feel anxious if you don't come until midnight when you have an appointment?
I don't know how the ancients understood the word "idle" in the last sentence. , the "idle" in "xiankiao" should be as if we were sitting on a small table, bored, and saw the ink on the desk, so we took it casually, carelessly, and scribbled the letters, just like Lu You's "idlely writing on a short piece of paper" The meaning of "grass".
Zhao Shixiu also sat in front of the lamp like this, waiting for the guests to come, completely bored. Then he saw the chess pieces in the game, so he picked them up, casually, nonchalantly, and knocked them away. Why did he feel anxious?