[Translation] The Millennium-old pipa is playing with a border tone, and the music of the pipa is clearly telling people full of resentment.
[published] The third part of Du Fu's "Ode to the Monument"
Notes:
1. The third part of "Ode to the Monument" Du Fu
Qian Shan traveled to Jingmen and and the village in which the Lady of Light was born and bred.
she went out from the purple palace into the desertland, she has now become a green grave in the yellow dusk.
her face! Can you picture a wind of the spring?, Huan Peikong belongs to the soul of jathyapple.
song of the Tartars on her jade guitar, telling her eternal sorrow.
2. Note:
Mingfei refers to Wang Zhaojun.
go: leave.
the northern desert.
hoop: an ornament worn by women.
This is an epic poem written by Du Fu when he passed Zhaojun Village. It is hard to describe the resentment of Zhao Jun who was born in a famous country, died beyond the Great Wall and went to the country. Therefore, the theme falls on the word "resentment", the word "going away" is the beginning of resentment, and the word "staying alone" is the end of resentment. The author sympathizes with Zhao Jun and regrets himself. Shen Deqian said: "It is a swan song to chant Zhaojun's poem." This is the third song of "Five Poems about Historical Monuments", and the poet expresses his arms by chanting Zhaojun Village and remembering Wang Zhaojun.
"ten thousand ranges and valleys approach the Jing Gate, and the village in which the Lady of Light was born and bred". The poem begins with two sentences, first pointing out the place where Zhaojun Village is located. According to "Unified Records", "Zhaojun Village is forty miles northeast of Jingzhou Prefecture." Its address is Xiangxi in Zigui County, Hubei Province. When Du Fu wrote this poem, he was living in Baidicheng, Kuizhou. This is the west end of the Three Gorges, with high terrain. He stood at the height of Baidicheng, looking east at Jingmen Mountain outside the east entrance of the Three Gorges and Zhaojun Village nearby. Hundreds of miles away, it was out of sight, but he used his imagination to conceive a magnificent picture of mountains and valleys going to Jingmen Mountain with the dangerous river. He took this picture as the first sentence of this poem, which was very unusual. Du Fu wrote that there is an epigram in the Three Gorges River that "many waters will prosper, and Qutang will fight for one gate" ("Two Poems of the Yangtze River"), and he used the word "fight" to highlight the thrills of the Three Gorges water potential. Here, the word "going" highlights the grandeur and vividness of the Three Gorges Mountain. This is an interesting contrast. However, the next sentence of the poem falls on a small Zhaojun village, which is quite surprising, because it causes some different comments from critics. Du Shitong, a commentary by Hu Zhenheng, a Ming dynasty, said: "ten thousand ranges and valleys approach the Jing Gate, it is not cooperation to start a sentence like a hero." It means that such a majestic sentence is only suitable for the place where heroes grow, but it is not suitable and harmonious for Zhaojun Village. Wu Zhantai's "Du Shi Ti Yao" is another view. He said: "The abrupt beginning is the first sentence in the Seven Laws, which means that a beautiful landscape and a beautiful Zhong Ling only produce a princess. It' s very beautiful and earth-shattering. " It means that Du Fu is trying to raise Zhao Jun's "gentle and graceful beauty" and write her "earth-shattering", so he uses the majestic atmosphere of mountains and rivers to contrast her. Yang Lun's Du Shi Jing Quan said: "It is more or less solemn to speak from the spirit of the earth." It is also close to this meaning. Who is right and who is wrong, and how to understand the poet's conception, need to be combined with the theme and center of the whole poem to make it clear, so leave it for later.
"she went out from the purple palace into the desertland, she has now become a green grave in the yellow dusk." The first two sentences were written in Zhaojun Village, and these two sentences were written in Zhaojun himself. The poet wrote the tragedy of Zhao Jun's life with only two short and powerful poems. Judging from the conception and words of these two poems, Du Fu probably borrowed the words from Jiang Yan's "Hate Fu" in the Southern Dynasties: "When the Ming Princess went, she looked up to the sky and breathed too much. The purple platform is a little far away, and the mountain is infinite. I hope that the king will be in a foreign country. " However, after careful comparison, the ideological content summarized in these two poems of Du Fu is much richer and deeper than that of Jiang Yan. Zhu Han, a Qing Dynasty poet, said in Du Shi Jie Yi: "The word' Lian' writes the scenery of the fortress, and the word' Xiang' writes the heart of thinking about Han, and there is a god in the pen." That's quite right. However, there are more than these two words. If you only look at Zitai and Shuomo, you will naturally think of the life that Zhaojun, who left the Han Palace and married the Xiongnu, lived all his life in a strange and unusual environment. In the next sentence, Zhao Jun was buried dead beyond the Great Wall, and the two simplest and ready-made words, Qingcheng and Dusk, were used, which was especially ingenious in art. In everyday language, the word dusk refers to time, but here, it seems to mainly refer to space. It refers to the dusk canopy that is connected with the boundless desert and covers the fields. It is so big that it seems to be able to swallow everything and digest everything. However, there is a unique tomb with evergreen grass, which can't be swallowed or digested. Thought of here, this poem naturally gives people a kind of boundless and heavy feeling of heartlessness in heaven and earth and hatred in Qingzang.
"her face! Can you picture a wind of the spring?, Huan Peikong belongs to the soul of jathyapple." This is followed by the first two sentences, further writing Zhao Jun's life experience, family and country feelings. The drawing sentence inherits the third sentence, and the ring sentence inherits the fourth sentence. The painting sentence means that due to the fatuity of Emperor Han and Yuan, people in empresses' palaces only look at pictures and don't look at people, leaving their fate entirely at the mercy of painters. Saving knowledge means a little knowledge. To say that Yuan Di knew Zhaojun a little from the pictures was actually ignorant of Zhaojun at all, which led to the tragedy that Zhaojun was buried beyond the Great Wall. Huan Pei's sentence is to write that she misses her old country and will never change. Although the bones remain in the tomb, 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 further enriched and improved the image of Du Fu's poem in his Yongmei masterpiece "Thin Shadow":
Zhao Jun was not used to Hu Shayuan,
but he secretly remembered the south of the Yangtze River and the north of the Yangtze River.
I want to come back on a moonlit night, and
I want to be a lonely flower.
It is written here 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, and the imagination is even more beautiful!
"song of the Tartars on her jade guitar, telling her eternal sorrow." This is the end of this poem, which points out the theme of Zhao Jun's "resentment" in the whole poem by borrowing the pipa tune of Hu Yin for thousands of years. According to Han Liuxi's "Interpretation of Names", "Pipa was immediately drummed out of Hu Zhong. When you push your hand, you say the pipa, but when you pull your hand, you say the pipa. " Shi Chong's Preface to Mingjun said: "Once upon a time, the princess married Wusun, and made Pipa have fun at once to comfort her thoughts on the road. It sent Mingjun to phyll. " Pipa was originally a musical instrument introduced to China from the Hu people, and it was often played with Hu Yin and Hu Diao's songs beyond the Great Wall. Later, many people sympathized with Zhao Jun and wrote pipa music 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 contains the "resentment thinking" of "hating the emperor and never meeting him", it is more important that a woman who is far away from home will always miss her hometown, which is the deepest * * * feeling for her hometown and motherland accumulated and consolidated from generation to generation in thousands of years.
The words go back to the first two sentences of this poem. Hu Zhenheng said that the poem "ten thousand ranges and valleys approach the Jing Gate" can only be used in the place where "heroes grow", but it is not appropriate to use it in the small village where "princesses grow". It is precisely because he only understands Zhaojun from the narrow feelings such as lamenting the misfortune of a beautiful woman, and does not appreciate 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, but he didn't explain why Zhaojun was "earth-shattering" and why it was worthy of "solemn". Although Zhaojun is a woman, she walked in Wan Li, leaving her heart with the motherland, and her name will live on with poetry and music. It is worth writing solemnly with such a magnificent poem as "ten thousand ranges and valleys approach the Jing Gate".
The title of Du Fu's poem is "Ode to Historic Sites", which shows that when he wrote about Zhao Jun's resentment, he pinned his feelings about his life, home and country. He 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, the area around Yanshi in Luoyang, his hometown, is not as far away from Wan Li as Zhaojun's departure from the fortress, but "the letters are wide in the original, and the fighting is deep in the Beidou", Luoyang is still an unreachable place for him. He lives in Zhaojun's hometown, and just borrows Zhaojun's image of missing his hometown and jathyapple's soul, and expresses his feelings of missing his hometown.
Li Zide, a Qing dynasty man, said, "I only told the Ming princess, but I never talked about anything, but I meant everything. Later, the families could never reach them. " This comment does tell the most important artistic feature of this poem. From beginning to end, it starts from the image, without any abstract comments. However, the tragic image of Zhao Jun, who is "she has now become a green grave in the yellow dusk" and "Wandering in the moonlight", has left an indelible impression on readers' hearts.