Translation and annotation of five poems about historical sites: Wan Ling in the front mountain seems to go to Jingmen, and the village where Wang Zhaojun grew up still exists today. From Zitai to the desert beyond the Great Wall, the green grave left alone in the wilderness faces dusk. Only by drawing pictures to identify Zhaojun's face, the ring at the foot of the mountain is worn and jingled, which is the return of Zhaojun's soul. For thousands of years, the pipa has been playing the tone of Alakazam, and the music expressed obvious dissatisfaction with Zhaojun.
Note 1 Jingmen: The mountain name is in the northwest of Yidu, Hubei. Fei Ming: refers to Wang Zhaojun. 3 Go: Leave. Zitai: Han Palace, Zi Palace and Xing Palace. 5 Shuomo: the desert in the north. Zhong Qing: refers to the tomb of Wang Zhaojun. 7 provincial knowledge: brief knowledge. 8 Spring Breeze Face: Describe the beauty of Wang Zhaojun.
Appreciation of Five Poems on Historical Sites (III) This is the third poem in a group of poems "Five Poems on Historical Sites". The poet expresses his embrace by praising Zhaojun Village and remembering Wang Zhaojun. The poet felt what happened to Wang Zhaojun. While expressing deep sympathy, he showed Zhao Jun's yearning and resentment for his old country, praised Zhao Jun's spirit of returning home despite his death, and entrusted the poet with his own life experience and patriotic feelings. The whole poem is clear in narrative, prominent in image and profound in meaning.
Thousands of mountains and valleys are close to Jingmen, and girls grow up in Sri Lanka. The poem begins with two sentences, pointing out the place where Zhaojun Village is located. According to the Records of the Great Unity, "Zhaojun Village is located four miles northeast of Jingzhou Prefecture. Its address is Xiangxi, Zigui County, Hubei Province today. When Du Fu wrote this poem, he lived in Baidicheng, Kuizhou. This is the western end of the Three Gorges, with high terrain. He stood at the height of Baidicheng, looking east at Jingmen Mountain outside the East Gate of the Three Gorges and Zhaojun Village nearby. Hundreds of miles away, out of sight, he used his imagination to conceive a magnificent picture of mountains and valleys along the dangerous river to Jingmen Mountain. He took this picture as the first sentence of this poem, which is very unusual. Du Fu wrote an epigram about the Three Gorges River, "More water prospers the country, and Qutang strives for a gate" (two Yangtze River poems). He highlighted the thrills of the Three Gorges water potential with the word "struggle". Here, the word "go" highlights the majesty and vividness of the Three Gorges Mountain. This is an interesting contrast. However, the next sentence of the poem falls in a small Zhaojun village, which is quite surprising, thus causing some different comments from the critics. Amin Hu Zhenheng's "Du Shitong" said: "Wanling Valley is close to Jingmen, and the first sentence is like a hero, not cooperation. It means that such a majestic sentence is only suitable for the place where heroes grow up, but not suitable and uncoordinated for Zhaojun Village. Wu Zhantai's "Du Shi Tiyao" is another view. He said, "The abrupt beginning is the first sentence in the Seven Laws, saying that beautiful scenery and beautiful Zhong Ling only produce one princess. It is a graceful beauty, earth-shattering beauty. It means that Du Fu used the majestic atmosphere of mountains and rivers to set off Zhao Jun, a "gentle and graceful beauty", and wrote her "earth-shattering". Yang Lun's Du Shi Jing Quan said: "From the perspective of the earth, it is somewhat solemn." It is close to this meaning.
"She came out of the purple palace and walked into the desert. Now she is a green grave in the yellow dusk." The first two sentences were written by Zhaojun Village, and these two sentences were written by Zhaojun himself. The poet wrote the tragedy of Zhao Jun's life in just two powerful poems. Judging from the conception and wording of these two poems, Du Fu probably borrowed the words from Jiang Yan's "Hate Fu" in the Southern Dynasties: "Princess Ming has gone, and she is so tired. The purple platform is a little far away and the mountains are infinite. When you look at the king, you will be in a foreign country. However, by careful comparison, the ideological content summarized in these two poems of Du Fu is much richer and more profound than that of Jiang Yan. The poet of the Tang Dynasty said in Du Shi Jie Yi: "The word' Lotus' describes the scene of traffic jams, and the word' Xiang' describes the heart of thinking about Korea, and there is a god at the end of the pen. "That's right. However, there are more than these two words. Readers only look at Zitai and Shuomo in the sentence, and naturally think of Zhaojun who left the Han Palace to marry the Xiongnu and lived a lifetime in an unusual environment in a foreign country. The next sentence, Zhao Jun died and was buried beyond the Great Wall. The poet used two simplest and ready-made words, Qingcheng Mountain and Dusk, which were particularly ingenious. In everyday language, the word dusk refers to time, but here it seems to mainly refer to space. Refers to the evening canopy connected with the boundless desert and covering the fields. It is so big that it seems to swallow everything and digest everything. But there is a unique grave, with long grass, which cannot be swallowed or digested. This poem gives people a feeling that the world is cold and there is hatred in Qingling.
"Her face! Can you imagine the spring wind? , the soul of the moonlit night. " This is followed by the first two sentences, further writing Zhao Jun's life experience and home country. Draw sentences to inherit the third sentence, and ring sentences to inherit the fourth sentence. Because of the fatuity of Emperor Han and Yuan, people in the empresses' palace only look at pictures, and their fate is completely at the mercy of the painter. Saving knowledge means a little knowledge. It is said that Yuan Di knew a little about Zhaojun from the pictures, but in fact he didn't know Zhaojun at all, which caused the tragedy that Zhaojun was buried beyond the Great Wall. Pei Huan's sentence is that she misses her old country and will never change. Although the bones remain in the grave, the soul will return to the country where her parents grew up on a moonlit night. Jiang Kui, a poet in the Southern Song Dynasty, once again enriched and perfected the image of Du Fu's poem in his Yongmei masterpiece Thin Shadow: "Zhao Jun is not used to Hu Shayuan, and has a crush on Jiangnan Jiangbei. I want to come back on a moonlit night and become this flower. What is written here is that Zhao Jun misses Jiangnan Jiangbei, not the Han Palace in Chang 'an, which is particularly touching. The ghost of Zhaojun, who returned on a moonlit night, has been refined and turned into a fragrant plum blossom, which is even better in imagination.
"The Tatar song on her jade guitar tells her eternal sadness. This is the end of this poem, which points out the theme of Zhao Jun's "resentment" through the pipa tune of Hu Yin for thousands of years. According to Liu Xi's Ming Jie in Han Dynasty, "Pipa was originally played by Hu Zhongli. Say "Pi" when you push your hand, and say "Pa" when you pull it. Shi Chong in the Jin Dynasty said in "Preface to Aming Jun": "Yesterday, the princess married Wu Sun, so that she could enjoy the pipa to comfort her thoughts on the road. It was sent to Ming Jun Fei Liye. Pipa was originally introduced to China from the Hu people, and it was often played together with Hu Yin and Hu Diao's Song beyond the Great Wall. Later, many people sympathized with Zhao Jun and wrote Pipa songs such as Zhao Jun's Complaints and Wang Mingjun, so Pipa and Zhao Jun were closely separated in poetry.
It has been repeatedly explained that although Zhao Jun's "resentment" also includes "hating the emperor and not meeting him", more importantly, a woman who is far away from her hometown always misses her hometown. It is the deepest affection for homeland and motherland accumulated and consolidated by generations for thousands of years. As mentioned earlier, in the first two sentences of this poem, Hu Zhenheng said that the poem "Wanchongling Valley is near Jingmen" can only be used in places where heroes grow up, and it is not appropriate to use it in small villages where princesses grow up. It is precisely because he only understood Zhaojun from the narrow feelings such as lamenting the misfortune of beautiful women, and did not realize the weight of Zhaojun's resentment. Wu Zhantai realized that Du Fu wanted to make Zhaojun "earth-shattering", while Yang Lun realized Du Fu's "solemn" attitude in words, but he did not fully explain why Zhaojun was "earth-shattering" and why it was worthy of "solemn". Zhao Jun is a woman, living in Wan Li, and her heart is with her motherland. Her name will remain immortal with her poems and music. The poet wants to write her solemnly with such a magnificent poem as "Thousands of valleys are near Jingmen".
The title of this poem by Du Fu is Ode to Monuments. When he wrote Zhao Jun's resentment, he pinned his feelings for life, family and country. Du Fu was "wandering in the southwest between heaven and earth", far from his hometown, and his situation was similar to that of Zhaojun. Although he is in Kuizhou, his hometown is in Yanshi, Luoyang, which is not as far away from Wan Li as Zhaojun's departure, Luoyang is still an unreachable place for him. He lived in Zhaojun's hometown, but borrowed Zhaojun's homesickness image and jathyapple's soul, and entrusted his homesickness.
Li Zide, a A Qing dynasty man, said, "I only told Princess Ming, but I never said a word, but all the meanings were included." Later, these families were unable to contact them. "This comment tells the most important artistic feature of this poem. From the beginning to the end, it is based on the image, and there is no abstract discussion. However, Zhao Jun's tragic images of "She has now become a green grave in the dusk" and "Wandering in the moonlight" have left an indelible deep impression on readers.
Five Nostalgia Poems: The Third Creation Background This group of poems is a work about nostalgia for ancient monuments and then nostalgia for oneself. In 766, the first year of the Tang Dynasty, the author visited Song Yuzhai, Yuxin Ancient House, Zhaojun Village, Yong 'an Palace, Zhu Xian Temple, Wuhou Temple and other places of interest from Kuizhou to Jiangling. He deeply respected the ancient talents, national colors, heroes and famous faces, and wrote "Five Poems on Monuments" to express his feelings. Poetry: Five poems about nostalgia. Third, Du Fu's poems in the Tang Dynasty: 300 Tang poems, homesickness.