Literary appreciation
The first poem is the longest poem in this group. At the beginning, it says "Qiupu looks like autumn": Qiupu will always look like autumn. This is the humor caused by place names, and it is also to lead to the next sentence "depression makes people worry." Autumn-depression-sadness, very logical and harmonious, reading and reading suddenly gives birth to a cold loneliness. I wrote three or four sentences in succession: "The guest is in a hurry, go to the East Building." "Looking west at Chang 'an, I see the river flowing. "A word" hope "contains deep sadness and anger." Looking at Chang 'an "is a poetic eye. The last four sentences are for Jiang Shui. "Send away a tear for me and arrive in Yangzhou. "Yangzhou is the only place to go north to Chang' an. The poet wants to send tears of concern for the country to Yangzhou, which is actually to send Chang' an. Tears, although a slap, bear a huge weight.
The second song, like the previous one, also expressed the guests' worries and yearning for Chang 'an, and became more and more melancholy. "Qiupu ape night sorrow, huangshan bald. Qingxi does not drown, but turns into heartbroken flow. " Don't worry about the first four sentences, be more graceful; "Whether you want to go or not, you will swim for a long time. When I return to Japan, the rain and dew are lonely. " The last four sentences further return to thinking, express your thoughts directly, and do it in one go.
The third poem is an allegorical poem about objects. This poem positively praises the ostrich in Qiupu, with pheasants as the foil, but it does not derogate from the latter. Poetically, the poet seems to be more sympathetic to pheasants.
The fourth poem is a self-portrait of Li Bai. The poet described in the whole poem is a lonely old man full of melancholy, haggard and white hair. Li Bai, who is no longer in his prime, came to Qiupu in frustration. Although I have just passed the age of "knowing my destiny", it seems that my white hair is all white at once. At the beginning of this poem, he said that he was "two temples in the autumn pond, and with a whisper, they have long since fallen." It sounds as if I thought Li Bai's sideburns had always had hair, but when I arrived in Qiupu, I didn't expect to wake up one morning and find that his sideburns were already white! "Once" said that hair turned white quickly, which was unexpected. The implication is that Wu Zixu failed to pass Zhaoguan in those days, and turned his head white overnight. But Wu Zixu was in a hurry, but Li Bai was not in a hurry to get there. And like Wu Zixu, he couldn't get through Zhaoguan and didn't worry about his own life, but why did he turn white? Li Bai was surprised and found himself a specious reason: "Apes have white hair and are as long as silk." On hearing the ape sound, the ancient literati in China were immediately worried. I'm afraid Li Bai is the only exception, but it was on his way to Yelang in his later years that he was pardoned in the Three Gorges and returned to China by boat. He once wrote happily that "the apes on both sides of the strait can't stop crying, and the canoe has passed Chung Shan Man". But at the moment, his mood is not so good. As soon as the ape "urges", the hair on his head turns white, no matter whether it is long or short. This word "rush" can be described as thrilling. It turned out that his hair turned white overnight and there was no way to resist the impulse of the ape! Because this poem emphasizes that his hair is unusually white with "once" and "urging", it can't help but remind people of his famous sentence in "Into the Wine": "I can't see the lovely locks in Gao Tingming's mirror. Although it was silky black in the morning, it turned into snow at night!"
The superficial meaning of this poem is the poet's lament for entering his twilight years, while the deep meaning is to express a kind of ambivalence that he has nothing to report but can't stop.
The first two sentences of the fifth song, "There are many white apes in Qiupu, like flying snow", explain the location and description object, and shape the group image of white apes playing happily; The last two sentences, "drinking the moon water by pulling the bar", are close-ups of the white ape mother and son playing with the moon, which vividly describes the dynamics of the white ape.
The sixth poem begins with the word "sorrow", which shows the poet's depression and deep sadness and anger in the face of cruel reality and the coming war. "Worrying about autumn flowers and watching them", or even watching autumn scenery in a spirited way, is similar to Du Fu's feeling that "where the petals have fallen like tears, where the lonely bird has sang mourning", which shows that the mood is relatively low.
The seventh poem can be said to be the program of these seventeen poems, which sincerely and profoundly expresses the poet's mood when he visited Qiupu. In this poem, Shan Jian, Ning Qi and Su Qin express their aspirations, circumstances and dissatisfaction. From the two allusions of "White Stone Rotten" and "Mink Qiu", it is not difficult for readers to understand that the frustration with the supreme ruler in Chang 'an has always been a hidden pain in Li Bai's heart. "White Stone Rotten" is the lyrics that Ning Qi sang when he was frustrated and seized the opportunity to travel in Qi Huangong. " Nanshan can be seen, the white stone is rotten, ... life has not met Yao and Shun Zen, and the night is long! "This attracted Qi Huangong's attention and was finally reused;" "Mink Qiu" refers to the situation that Su Qin, the most successful counselor in the Warring States period, was down and out after he failed to lobby King Hui of Qin. Speaking of King Hui of Qin, books are not good enough, mink and fur are poor, and gold is exhausted. "("The Warring States Policy, Su Qin Begins to Speak Qin with Lian Heng ") Li Bai felt that his situation was just that Su Like Qin, who returned frustrated, would never be appreciated by the king like Ning Qi.
In the eighth and ninth poems, the poet described the peculiar landscape of Qiupu: Shuicheling and Jiangzushi. In terms of artistic treatment, the two songs are also very similar. The eighth song, except that the sentence "the sky is falling" is slightly exaggerated, the rest are truthfully described; Except for the phrase "sweeping the screen in the sky", the ninth song uses pure drawing techniques to win with artistic conception, not surprising words.
In the tenth poem, Li Bai described the natural scenery in mountainous rural areas with a brisk style: beautiful trees become forests, Shan Ye is lush, egrets fly everywhere, and white apes sing. But in the last two sentences, with a change of pen, I advised people not to watch the mountains and rivers here, because the piercing ape sound made people sad.
In the eleventh poem, the poet chose two unusual rocks, described their majestic gestures, drew a very spectacular picture, and devoted himself to the poet's love for Qiupu landscape.
The twelfth poem is about the night view of Pingtian Lake and the poet's feelings when he looks at the night view. The first two sentences describe the scenery, and the last two sentences are lyrical. Imagination is rich and charm is endless.
The thirteenth song, writing about the scenery of Jiangnan water town and the love of men and women picking ling, also writes about the scenery first, and then writes about feelings. Scenery and feelings are interrelated, infiltrated and blended with each other, full of local flavor and life flavor, and language is close to feelings, which keeps people away.
The Sonnets is a poem describing and praising the smelter positively, which is rare in China's voluminous classical poems, so it is of great value. As soon as the poem begins, it presents a smelting scene with bright colors and warm atmosphere: flaming fire, red star splashing, purple smoke transpiration, and the vast world is illuminated by red flames. The poet used two seemingly ordinary words, "Zhao" and "Luan", but once refined into poetry, it made Yejing stand out. Through this vivid scene, it is not difficult to feel the novelty, excitement and wonder of the poet. Then two sentences, "Lang night, Song moving cold Sichuan", turned to describe the image of smelting workers. With rough lines and a little outline, the poet's majestic and sturdy image of the smelter is vividly displayed on the paper. The word "Lang Lang" is novel and intriguing. From the word "Lang Lang", we can think of their strong physique and industrious, simple, enthusiastic, bold and optimistic personality. The end of the sentence "Song Dong Han Chuan" closed the characterization of the previous sentence. Smelters sing while working, and the loud singing makes the cold river ripple. What songs they sing, the poet did not specify, readers can make various supplements and associations. Song stirred up Hanchuan, of course not. This is just the poet's unique feeling, an exaggerated stroke, but extremely vivid. If the sentence "Lang Lang" only depicts the facial portraits of smelting workers under the bright moon and fire, then this sentence reveals their inner world. Their rich emotions and beautiful sentiments are full of the poet's praise and admiration between the lines.
This is a magnificent autumn night smelting map. Under the poet's ingenious pen, light, heat, sound and color are intertwined, and bright and dark, cold and hot, dynamic and static are in harmony, vividly showing the fiery labor scene and vividly shaping the image of ancient smelting workers. It is indeed an artistic treasure that radiates extraordinary splendour in the treasure house of ancient poetry.
The fifteenth poem is the most popular in this group of poems. "White hair and three thousands of feet, the fate seems long?" Split the air, such as spring tide rushing, such as volcanic eruption, shocking. Looking at the phrase "white hair is three thousands of feet" alone, it is really incomprehensible: how can white hair be "three thousands of feet"? When I read the next sentence "Sorrow is as long as sorrow", I suddenly understood that the "three thousands of feet" with white hair was born of sorrow and grew up because of sorrow. Worry makes white hair, people feel something, and grow three thousands of feet. How many deep worries should there be? The fateful weight of ten words falls on one word "sadness". It's incredible to write about sadness. Fantasy strange sentences can't help but make people marvel at the poet's boldness of vision and pen power. There are many sad examples in classical poetry. Luo Dajing, a poet in the Song Dynasty, wrote in "Jade Dew in the Crane Forest": "Some poets use mountains as a metaphor for their worries, and Du Shaoling said,' Worry comes like a mountain (according to newspapers and periodicals, it is regarded as' Qi finally goes south'), and it is impossible to shovel holes'; Some people use water as a metaphor for sadness. Li Qiyun said,' Please measure the water in the East China Sea and look at the shallow and deep sorrow'. " Li Bai found another way to describe the depth of sadness with the length of "white hair and three thousands of feet". People will not only take the poet's unreasonable troubles seriously, but will sincerely appreciate this unnatural and popular strange sentence and feel sympathy for the poet's sigh.
People see the white hair on their heads and its length because they look in the mirror. The first two sentences are hidden in the mirror, and three or four sentences clearly say: "I don't know where to get autumn frost in the mirror!" " Autumn frost is white, representing its white hair. Seemingly repetitive but not repetitive, there is a sad and haggard emotional color that transcends the word "white" of white hair. "I don't know" in the previous sentence is not really unknown, nor is it because I don't know that I asked "where". These two sentences are not questions, but angry words and bitter words. Poetic eyes are on the word "de" in the next sentence. Where did you get so worried? The word "de" goes straight to the exclusion and oppression suffered by the poet for half his life; I don't know why I'm worried about my white hair and autumn frost on my temples. I feel it personally! Li Bai has the ambition of "bravely competing for his talents and willing to help him" and the ideal of "making the atlas area big and the sea county clear" (see Dai Shoushan's answer to Meng Shaofu's book). Despite his repeated setbacks, his ambition is not fade away. When he wrote this poem, he was already in his fifties, and his ambition had not been realized. When he was old, he had to suffer doubly. Then, I caught a glimpse of myself in the mirror, and a solitary chant of "Three thousands of feet with White Hair" occurred, which made the world's future generations know their grief and indignation, and the legendary sentence is a must.
In the sixteenth poem, Li Bai reproduces the life mood of Qiupu people with a very appreciative eye: fishermen fish day and night, and their wives are unwilling to be idle. She catches birds deep in the bamboo forest. The whole family is busy with their lives, but their mentality is very peaceful. This poem, known as Wang Wei's "Wangchuan Poem", was obviously written with a relaxed mind. It is this healthy psychology of constantly self-renewal and constantly accepting new things that makes Li Bai an important subjective factor in writing a well-known cadenza no matter where he is.
The seventeenth poem, the last one, ends with a gloomy departure from Qiupu, conveying a sad mood.