Author: Du Fu
Yulu withered maple forest, Wushan Wuxia bleak.
Between the river and the sky, the waves are rough and the clouds are covered with fog.
Cong Ju shed tears the other day. She was alone in the boat.
Cold clothes push knives and rulers everywhere, and Baidicheng is anxious.
1. This is the first of eight poems, which is about autumn scenery in Kuizhou, expressing the poet's wandering and yearning for his hometown. Yulu: Autumn frost dew is called Yulu because of its whiteness. Withering: Plants wither in the autumn wind.
2. Wushan Wuxia: refers to the Yangtze River and gorge in Kuizhou (now Fengjie). Xiao Sen: Bleak and gloomy.
The sky is surging: the waves are as high as the sky.
4. plug: refers to Wushan. Ground qi and yin: clouds cover the ground. "Grounding gas" is also called "everywhere".
5. Flowers bloom twice: Du Fu was in Yun 'an last autumn and in Kuizhou this autumn. It has been two autumn since he left Chengdu, so the clouds bloom twice. The word "open" is a pun, which means that the chrysanthemums are open and the tears are open. Another day: the past refers to the hard years of these years.
6. Hometown refers to Chang 'an here.
7. Pushing knife ruler: refers to cutting winter clothes. "everywhere" is something that everyone has.
8. Bai Di, now Fengjie City, is located on the mountain on the north bank of the upper mouth of Qutang Gorge, facing Kuimen across the river. Anvil: a stone used to smash clothes.
Eight Poems in Autumn is a set of seven-character poems written by Du Fu in the autumn of the first year of Dali (766) when he was in Kuizhou. This group of poems has always been recognized as the most artistic group of Du Fu's lyric poems. It has been seven years since Du Fu abandoned his official position in 759, the second year of Su Zong Ganyuan. War is frequent, the country has no peace, and the people have no fixed place to live. When this autumn wind blows on Xiao Sa, he is inevitably moved by the scene before him. Eight poems are a complete movement with the theme of "homesickness". The second song "Looking at China from Beidou" and the fourth song "Thinking of Hometown in Peace" are eight-part essays. The personal sadness written in the poem is also related to the national disaster.
The structure of Eight Poems in Autumn can be divided into two parts, with the fourth poem as the transition. The first three songs are detailed in Kuizhou, slightly in Chang 'an, and the last five songs are detailed in Chang 'an, slightly in Kuizhou; The first three songs are about Kuizhou Changan, and the last five songs are about Kuizhou Changan. The first three songs evoke memories from reality, and the last five songs return to reality from memories. As for the first song, which is also the beginning and end of the film, I can't move for a certain time. Eight songs are like one. Eight Poems of Autumn Prosperity is a dismal work of Du Fu. It is either emotional in the scene, or metaphorical in the present, or not obscure, or needs careful experience to appreciate the beauty of poetry.
Eight Poems of Autumn Prosperity have always been valued by critics in past dynasties. Ye Jiaying, a contemporary scholar, edited Eight Poems of Du Fu's Autumn Prosperity (Hebei Education Press, 1997 edition).
Autumn and the great river are the most common images in Du Fu's poems, which are also the main images in Eight Poems of Autumn Prosperity. The first song selected here is the leading work, and Reading Interpretation says: "The first chapter is also the program of eight poems. Write the autumn scenery clearly and have an empty meaning; " In fact, I have chosen real estate and secretly mentioned capital. The poet connected Weiyuan Qinchuan and Bashan Shushui with overwhelming autumn colors, pinning his thoughts on the motherland; It also connects the past and present of different generations with endless rivers, which embodies its own consciousness of remembering the past and present. The ubiquitous autumn colors in the poem cover the infinite space; And it comes as scheduled every year, silently indicating that the age of nature is declining, time in the universe is like a stream, and life in the world is eternal. The river of "wave and sky" is an eternal time link, linking the history and future of mankind, washing away the replacement of countless dynasties and the process of countless lives. To read Du Fu's poems, we must first understand his Autumn and Rivers.
Poems in Tang and Song Dynasties quoted Qian as saying: "The first couplet is tragic and the neckline is tight. This is a festival to celebrate autumn, and it's dusk when it's time. The knife ruler is bitter and cold, and the anvil is in a hurry. " The last sentence used symbols to publicize the meeting, slightly five times. The so-called rugged and bleak is really indescribable. Huang Sheng said: "Du Gong's Seven Laws should be based on Qiu Rong, which is the result of his life."
Eight Poems of Qiu Xing
Eight Poems in Autumn is a set of seven-character poems written by Du Fu when he lived in Kuizhou, Sichuan, with the theme of longing for Chang 'an. It is the representative work of Du Fu's Seven Laws.
The topic of "autumn glory" means being excited by autumn. This prosperity is the so-called "prosperity" of "Fu Bi" in the Book of Songs, which was said by Han Confucian scholars in the past. Pan Yue of the Jin Dynasty has Autumn Xing Fu,
It is also a work that feels autumn. However, the genre of Qiu Xing Fu belongs to Ci Fu. Du Fu's Eight Poems in Autumn is a rhythmic poem and a new poetic style in Tang Dynasty. As far as its creative achievements and influence on later generations are concerned, Du Fu's Eight Poems in Autumn is certainly not as good as Pan Yue's Eight Poems in Autumn.
These eight metrical poems are a group of poems. Starting with autumn scenery in Kuizhou, they express all kinds of feelings about Chang 'an. And take this poem as the program of the whole poem. Its first four sentences: "Jade dew carves the maple forest, and Wushan martial arts is extremely energetic. There are rough waves between the river and the sky, and clouds cover the fog. " This is exactly the same as Song Yu's "Nine Debates", which says that "autumn is also sad, angry, and the vegetation is bleak and declining." Then, I wrote about the melancholy situation of the poet who stayed in the canyon. And the phrase "Lonely boat is the heart of hometown" has vaguely expressed my yearning for Chang 'an.
The second and third songs are about the scenery of Kuizhou. The sentence "Every Beidou Wang Jinghua" has clearly pointed out Wangjing, which can be said to point out the theme for the whole group of poems. "Kuang Heng resistance hydrophobic fame thin, Liu Xiang told in my heart. Students and teenagers are not cheap, and Wuling is light and fat. " That is, the memory and exclamation of the poet's own life experience caused by Wangjing. The fourth poem goes directly to Chang 'an, which is a major turning point in this group of poems. The words "I heard that Chang 'an is like playing chess, and the world is too sad for a hundred years" show infinite feelings about the situation after the "An Shi Rebellion". The following capitals are the descriptions of Chang 'an annals.
If the poet wants to see Chang 'an, of course, he must first recall the event of great political significance in rescuing the room a few years ago. Because the blow suffered by the poet in this political struggle is an indelible scar in his life history, he compares himself with Liu Zongli in his poems, lamenting "poor fame and fortune" and "worrying about the country and the people". Kuang Heng and Liu Xiang's direct remonstrance was rejected by the ruling clique at that time, and it is of far-reaching significance to use this metaphor here.
When it comes to Chang 'an, the poet can't help but think of the palaces of the Tang Dynasty and places of interest such as Kunming Pool, Qujiang and Beilin. Qujiang, in particular, left a more profound and unforgettable impression on the poet. "The calyx passes through the city, and Furong Xiao Yuan enters the customs." Linking "children" with "worrying about going to the frontier" (3), we can imagine how long the poet feels about current events! The Tianbao disaster is not without reason. The predecessors once thought that Du Fu's Eight Poems of Autumn Prosperity could be regarded as Yu Xin's Poems of Mourning the South of the Yangtze River (Wang Menglou's language). In fact, this group of poems "Autumn Xing" can also be compared with Qu Yuan's "Regret for the Past". Their nostalgia for the motherland and their sorrow for the war do have the same pregnancy.
Needless to say, most poets living in feudal times have certain limitations in their thoughts. This is no exception to Du Fu. Although Eight Poems about Autumn Prosperity focused on Chang 'an, the political center at that time, showing the author's state of mind of worrying about the world and hurting chaos, his eyes were always outside the decadent court. The second song "Drawing an Incense Burner on a Pillow" and the fifth song "Qing Shang Suo Wu Dian Ban" both show that they have not forgotten their past experiences and the future of being an official. And "the clouds move to the palace mountain, and the sun circles around the dragon forest to know the holy face" ⑥, which is even more inevitable to be attached to the dignity image of the feudal ruler-the emperor, revealing his vulgar side.
This group of poems is written from Kuizhou to Chang 'an, and from Chang 'an to Kuizhou in an orderly way. Each poem is independent on the surface, but in fact it is an organic whole. It does have the characteristics of "the same strain" and "the beginning and the end correspond" (Chen Ziduan's words). The author is good at expressing that complex thought and emotion perfectly with this restrained metrical form. Compared with his contemporaries, this is extraordinary and outstanding. For example, Li Bai, a great poet with the same fame as Du Fu, is longer than lines and sentences. In his existing poetry collections, there are even fewer seven-character decrees. The poem "On the Phoenix Stage" which has been recited by people, its couplet "The path of Wu Gong is crooked, the clothes are ancient and dusty" is out of touch with the upper and lower couplets, which can only be regarded as an awkward style, not the standard of seven laws, nor can it be equated with Du Fu's profound and rigorous metrical poem "Autumn Xing". The other seven laws written by Wang Wei, Meng Haoran, Gao Shi and Cen Can are not as elaborate and original as Du Fu's Autumn.
In Eight Poems in Autumn, the diversity of the author's artistic techniques is also shown. The poem "Autumn Prosperity" was originally intended to express a sad mood. However, the author prefers to use a large number of magnificent sentences to set off the feelings of Chang 'an in his memory, and generate shows both gloomy and gorgeous artistic colors. For example, the fifth song "Looking at the Queen Mother in Yaochi in the west, facing the purple letter in the east", the sixth song "Embroidering the pillars and beads around the oriole, and lining the teeth with brocade cables with Bai Ou", and the eighth song "Sweet rice pecking at parrot grains, old phoenix perching on green trees" depict the Chang 'an scenery, which is exactly the same as that described in the previous poems. Du Fu's other poem "Qujiang Duiyu" also has the same description technique, and uses gorgeous sentences such as "The forest is wet with the swift and the water grows with the wind" to set off the desolate scene of Qujiang. All these show the artistic characteristics of the poet's original poems.
In addition, the artistic diversity of Eight Poems in Autumn is also manifested in the antithesis of sentences. Like the Five Laws, the Seven Laws are all new-style poems in the Tang Dynasty, which have a certain format. Two of them-parallel couplets and neck couplets-need to pay attention to confrontation. The first two sentences and the last two sentences can be informal. Apart from the antithesis of two couplets in Eight Poems of Autumn Prosperity, for example, the second poem "Look at the vine on the stone, it has reflected the flowers in front of the continent" and the seventh poem "There are fishermen everywhere in the rivers and lakes", even the last two sentences end in antithesis. In addition, this group of "Autumn Xing" poems has also changed greatly in the antithesis of the two couplets. For example, in the first necklace, the words "flowers bloom twice" and "boat alone" are sentences, and the next three words are "tears for another day" and "hometown heart", which makes the sentence have a turning point and adds a layer of meaning. For example, the antithetical couplet of "fragrant rice pecking leftovers" and "Wu Bi inhabiting the old" in the eighth song is an inverted sentence, which means that fragrant rice is the food pecked by parrots and Wu Bi is the branch of the phoenix inhabiting the old. Because the description is mainly in Xiangdao and Wu Bi, the reverse grammar is used. These are also the author's ingenuity, which opened the door for later legal sentence-making.
What needs to be pointed out here is that the so-called "from beginning to end" is essential for writing metrical poems. For example, the fifth and sixth couplets use the pen-turning; Eight Poems of Autumn Prosperity can also break through the pattern in this respect. Except for the first three poems in the fifth sentence and the sixth sentence, the rest of the capitalization is only written in the last two sentences. The most noteworthy is the eighth song, which describes the northern wind and light around the ring, until the last sentence: "singing with bare heads, bowing your head and suffering." This kind of writing is occasionally found in quatrains written by poets in Tang and Song Dynasties. For example, Li Bai's "The King of Yue Gou Jian broke Wu Gui, and the righteous returned home, and the ladies-in-waiting were like flowers full of golden halls, leaving only partridges flying today"; Lu You's "Pour foreign wine carefully, chew Zhou Nan's beans, and write new sentences with Wu Si. Unfortunately, this person is old. " It's all done with a pen at the end of the seven-character quatrain. But it is rare in metrical poems. From these places, we can also see the diversity of artistic techniques in Du Fu's Eight Poems of Autumn Prosperity. He was able to wander in the meter without being restricted by the meter, which showed great achievements in the creation of the seven meters.