Du Fu
Huang Si's maiden is full of flowers,
Thousands of flowers bent the branches.
Butterflies have been dancing,
Charming songbirds sing freely.
[Brief analysis]
The first sentence "Huang Siniang's home is full of flowers" points out the place to find flowers. A "path" is a path. "Flowers are all over the path" means that many flowers cover the path and connect it. The second sentence is "a thousand flowers are low." "A hundred flowers blossom" describes a large number. The words "pressure" and "low" in "Pressing branches low" are used very aptly and vividly, vividly depicting the dense, large and numerous flowers in spring, which bend the branches. This sentence is the embodiment of the word "full" in the previous sentence The third sentence, "There is a butterfly dance". "Linglian" describes butterflies flying around and reluctant to leave. Write the bright fragrance of spring flowers from the side. In fact, the poet was also attracted by colorful spring flowers and stayed. The fourth sentence is "Jiao Ying chirps". "Jiao" is a description of Ying Ge's softness and roundness. "Chen Wenjing Ti" means that when the poet came to enjoy the flowers, the oriole was singing. Just because the poet was happy, he took it for granted that oriole sang for himself. This is the same as the previous sentence, saying that butterflies are attached to spring flowers, which is empathy. Because the poet successfully used this technique to integrate things with me and create a scene, this little poem is more intimate and interesting to read.
Prosperity in autumn
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.
This is the first poem in Du Fu's group poem Autumn Xing. "Autumn glory" is the feeling of autumn; The bleak autumn wind and withered vegetation often evoke people's sadness. This group of Qiu Xing was written by Du Fu when he was trapped in Kuizhou at the entrance of the Three Gorges in his later years. At this time, his feelings of missing his hometown and motherland are heavy, and the autumn colors of the Three Gorges in his eyes are naturally gloomy-
Frost dew dyed the maple leaves red, and there was a gloomy atmosphere between Wushan and Wuxia. Looking up at the Yangtze River and rolling waves, looking at distant mountains and clouds, I can't help but feel like a stranger in a foreign land. The chrysanthemums in front of me have been opened twice, and the lonely boat in the distance seems to be maintaining a homesickness. The bleak autumn wind is chilling, and at dusk, there are bursts of rags coming from Baidicheng. ...
Having said that, we seem to have unfolded a colorful autumn color map of the Three Gorges. As we all know, autumn scenery brings people complicated feelings; Autumn is crisp. Autumn is depressing, and people are full of melancholy. The same scenery will have different aesthetic feelings because of different moods. Du Mu saw the red leaves in autumn and wrote a famous sentence "Frost leaves are redder than February flowers". The red leaves in his eyes are obviously bright. The red leaves in Du Fu's eyes are not like this-
"The high dew withers and hurts the maple." This maple leaf withers and hurts, and it is also damaged by the crystal frost. Here, it presents a heavy and somewhat dim color, and it exudes a melancholy and somewhat decadent aesthetic feeling. The opening of such a beautiful poem can be described as a voice, which created the atmosphere of the whole poem from the beginning. Then there are the clouds in the gorge, the waves on the river, the chrysanthemums in clumps, the lonely boat and the cold clothes ... The bleak images are constantly superimposed, and finally the conclusion of the whole poem is: "Baidicheng is in a hurry." In the dim twilight, there was a faint sound of torn clothes in Baidicheng. This is another well-honed poem, so the sad sound echoes the melancholy red leaves at the beginning.
Gordon
Du Fu
The wind is fast and high, the ape cries sadly, and the birds are circling in the white sand.
The endless trees are rustling leaves, and the Yangtze River is rolling unpredictably.
Li in the sad autumn scenery, a wanderer all the year round, lives alone on the high platform in today's illness.
After all the hardships and hatred, the white hair is full, and the wine glasses are damaged.
This poem is called "the first of the seven ancient and modern laws" by Hu Yinglin. This poem was written by Du Fu when he was in Kuizhou, Sichuan in the second year of Dali (767). Although "mourning" is mentioned in the poem, it is not a direct expression of a person's sadness, but "the ape whimpers in the sharp wind from the vast sky", a kind of ape cry, which leaves the reader with the freedom of imagination. It is not clear whether the ape cried sadly or felt sad inside. It is not enough to just point out "sadness". Here we point out "sadness" and "I came from three thousand miles away. Sad this autumn. " This time, we pointed out that the poet himself was sad for autumn. When it comes to autumn, the emphasis is on sadness. Is it not a stereotype? Otherwise.
This is because Du Fu's sadness has its particularity. Although his sorrow is a personal fate, it is quite profound and broad. This broadness is first manifested in spatial vision.
The title of the poem is "Climbing the Mountain", and the first two sentences fully show the realm of climbing high and looking far. Because it is tall and far away, there is a sense of emptiness. The sound of apes whistling, the wind is high and the waves are big, the space is vast, the land is clear and the sand is white, and there is already a sense of overlooking. Coupled with the "birds fly back", it is even more obvious that between people and birds, if not looking down, at least it is head-up. This is the effect of being aloof from the cold. When we arrive at "the leaves fall like the spray of a waterfall, and I watch the long river always roll forward", this sense of space is not only vast, but also has the depth of time. Compared with the first two sentences, these two sentences are wide open and have a feeling of being suddenly enlightened, which is obviously more imaginative and virtual. Falling wood has reached an infinite realm, full of eyes and all over the sky. This can't be realistic. Obviously, it can only be reasonable in imagination. The rolling of the Yangtze River began with the allusion in The Analects of Confucius that "Confucius said Sichuan, and the deceased was like a husband". In the traditional image of China's classical poetry, the continuous river is not only a profound spatial perspective, but also an infinite time. This state in the interweaving of time and space is certainly not comparable to the plane picture confined to space. In addition, the images are so dense that the first two sentences each have three images (wind, sky, ape roar, Zhu, sand and bird), while the last two sentences each have only one image, but their attributes are "boundless" and "rustling", "endless" and "rolling", which are tangible and colorful, vocal and vocal, antithetical and overlapping. From the vastness of space to the profundity of time, it is not only a broad vision, but also a poetic spirit. Sad autumn, but not light, with deep feelings.
It's okay to write so deeply, but it's inevitable that it will be monotonous if it continues to be so profound. This is especially true in this poem, because all eight sentences in this poem are antithetical sentences. However, in metrical poems, only two couplets in the middle are generally required. Why should we avoid getting the whole article right? Just afraid of monotony. Du Fu's eight sentences are all right, but the reader can't see a pair in the end. In addition to the efforts in language form, I am afraid this is also due to the ups and downs of emotions. This poem, in the first and second pairs, is ambitious, but in the third and fourth pairs, it is no longer ambitious, but has changed a little. The realm is not as open as the previous poem, and I suddenly returned to my personal destiny and wrote my personal "down and out" bluntly. The broad and profound realm has suddenly narrowed, and the style is not only deep and vigorous, but a little low, giving people a sense of frustration. The realm is from big to small, from open to closed, and the mood is from high to sad, with subtle ups and downs. Du Fu pursues the twists and turns of emotional rhythm, sometimes silent, sometimes with a sudden turning point. The ancient poems say that Du Fu's poems are "depressed and frustrated", which many people can do, but frustration is extremely difficult to do.
This is what Du Fu is good at. He is good at putting his pain in the grand space as much as possible in the climbing scene, so that his sadness will not be insignificant. However, he did not completely stay in the high notes, often from high to low, from history to individuals, from openness to narrowness, forming a kind of ups and downs. Luo Dajing, a poet in the Song Dynasty, commented on this poem in He Lin Yu Lu: "My poem says,' I came from three thousand miles away. With the sadness of autumn, with my sorrow of a hundred years, I climbed this height alone. Away from Wan Li; Sad autumn, sad time; Be a guest and travel; Frequent visitors, long-distance travel; For a hundred years, teeth are dying; Sick and sick; Taiwan, Gao Jiong also; Alone on the stage, no relatives or friends. Fourteen words and eight meanings, dual extremely accurate. "This evaluation is in place, and the meaning of fourteen characters and eight layers increases the sadness of autumn. Let's look at "Climbing Yueyang Tower" written by him almost at the same time:
I heard that Dongting Lake is magnificent before, but today's wish has finally reached Yueyang Tower.
The vast lake tore Wu Chu apart, as if the sun, moon and stars were floating in the water.
There is no news from my friends or relatives. I am old and sick, drifting in a boat.
The battle of the north gate began again, and I cried through the railing.
Obviously, it is personal pain, divorce from relatives and friends, and the deterioration of one's health. This may be a small pain, but Du Fu's boldness of vision is great when he puts it into the universe ("Gan Kun") and the movement of time ("floating day and night"). Of course, this is not entirely a question of skill, because poets always associate their own personal destiny, the separation of relatives and friends, the old illness in a foreign land, the distant war ("mountain pass") with the fate of the country. This realm is magnificent enough, but he immediately turned to his personal destiny and was overwhelmed by the news of relatives and friends and his old illness. This not only does not appear petty, but also adjusts his emotional rhythm with deep emotional ups and downs. It's no wonder that the authors of Shi Hua repeatedly praised his feelings as "depressed and frustrated". In "Climbing the stairs":
Flowers are close to tall buildings and far away from my hometown. I am very sad. There are disasters everywhere in this country, so I climbed up to see them.
The spring scenery of Jinjiang flooded in, and the clouds on the mountain, ancient, varied and changeable. The combination of his personal "injury" and "all difficulties" war has given his grief and indignation a social breadth. In order to strengthen this social grief, he enriched its depth with the grand space of "heaven and earth" and the distant time of "ancient and modern". Du Fu's charm and depth are composed of the trinity sense of social history, grand sense of space and distant sense of time. Even if he doesn't write about climbing the mountain, he can't help but expand his feelings with grand space, such as one of "Eight Poems in Autumn":
Yulu withered maple forest, Wushan Wuxia bleak.
Between the river and the sky, the waves are rough and the clouds are covered with fog.
With the help of the realm of "harmony with heaven" and "grounding gas", Du Fu showed his grand and profound artistic style. A different person may not be able to show great and profound spiritual strength even if he has the opportunity to climb the mountain. Of course, Du Fu's styles are diverse. Sometimes, his style is not rich and deep, but lively, delicate and moving.
The reason why we want to introduce this poem of Du Fu is to explain from the opposite side what is not profound. Only by knowing what is not profound can we really understand what is profound. Understanding poetry is the most taboo. In China's classical poems, there are often some delicate sensory judgments. For example, Du Fu's poems are "gloomy" and "profound", which should be said to be helpful for understanding Du Fu's poems, but such words also have a shortcoming, that is, they are vague and uncertain. Our task is not to stay at the level of the ancients, but to improve the level of the ancients, analyze these words and combine them with Du Fu's works. It is not easy to do in-depth and specific analysis. At the same time, it is necessary to prevent isolated closed analysis and open analysis. It is best to put the works in the system, and analyze them by comparing all aspects, so that it is possible to go deeper.
Delighting in Rain on a Spring Night
Du Fu
Good rain knows the season, when spring comes.
Sneak into the night with the wind, moisten things silently.
The wild path is dark, and the river is bright.
Look at the red and wet place, the flowers in Jinguancheng are heavy.
The first two sentences can be said to be mediocre. There is only the word "knowledge" in the first sentence, which expresses rain as a living body and an object of will, and it is easy to use without trace. But the poet did not try to expand his imagination at this point. If you really want to use life and will to explore and write rain, it is not a submerged dignified style of this poem, but a strong emotional style, which is incompatible with the silence, silence and the warmth of self-experience of the whole poem.
The title is "Delighting in Rain on a Spring Night". Spring rain is the object of performance; Night provides special conditions for feeling. Happiness is the main thread of all feelings. There is no word "hi" in the whole poem, but it focuses on the silent feeling of hi. Because of silence, it is deeper.
Happy, because of the spring rain, but it rained at night. The rain at night is different from the rain during the day. It is invisible. So the second couplet wrote this invisible sentence: "sneak into the night with the wind, moisten things silently." When the rain is windy, it usually has momentum, but here is a "sneaky" light rain, sneaking around, invisible and silent. Then there is "moistening things silently", which is not only invisible, but also inaudible. The senses can't directly perceive it, but the poet still feels it. Let's use our keen imagination. The key words here are "fine" and "moist". This makes readers feel the characteristics of this spring rain: fine, small and subtle, so subtle that neither sight nor hearing can directly perceive it, but the poet still feels it. How does it feel? Feelings that are too fine and "moist" do not need to be seen or heard. The external senses can't feel it, but they reveal your inner joy. Of course, it is plants-crops that "moisten". It is said that things are moist, but they show inner moisture. Silent subtlety is better than sound. Only those who are too narrow-minded can feel this feeling that could not have been felt before; Only poets with delicate inner feelings can experience silent satisfaction for the invisible potential growth of life; Only those who care about the national economy and people's livelihood can feel heartfelt relief for a silent drizzle.
To read such a poem, we must first grasp the characteristics of rain expressed by the poet, that is, rain at night can't be seen or heard. Second, we should grasp the feeling characteristics of rainy nights and feel what we can't feel. Although it is silent, it feels "moist and silent". In that agriculture-oriented era, in that war-torn day, it naturally had a sense of relief.
Why is poetry touching? Generally speaking, it is mainly emotional people. In Lu Ji's "Wen Fu", it is said that "poetry must love". This is good overall, but it is incomplete and needs to be supplemented. If you tell your feelings directly, you can't be touching. Poetry should convey your feelings through special feelings. In the whole poem, Du Fu doesn't have a word "hi", but he provides a series of subtle feelings of joy, which makes readers feel this delicate feeling that others can't. This is called infection.
The poem "Moisten Things and Be Silent" doesn't seem to have many amazing words, but in the process of reciting for thousands of years, it has derived symbolic meaning (such as describing the influence of a certain thought and personality on others). The summoning of poetry connotation and its great potential are one of the signs of poetry success.
The following two links, switch to the external senses. The third link: "The wild trails are all black, and the rivers and boats are bright." Rain is beautiful because it is beneficial to the national economy and people's livelihood. This kind of beauty is reflected by the contrast between light and color: clouds are all dark, suggesting regional characteristics-plains and rivers. Only on the plains, with a wide field of vision, clouds will be on the path of the fields; The large black background is thick rain, and the only lights on the ship are used as a contrast. Obviously, it is to highlight the darkness and warm light on rainy nights, which is vivid in mutual contrast.
This technique is often used in China's classical poems, such as Liu Zongyuan's Jiang Xue:
There are no birds flying over those mountains, and there are no traces of people in those paths.
A boat on the river, a fisherman in his webworm moth; Fishing alone is not afraid of snow and ice.
In the front, the words "independence" and "unique" were used to emphasize that the path of Qianshan Mountain was blank, and in the back, the only person was highlighted with "solitary" boats and "solitary" fishing, which broke the blank. Another example is Wang Anshi's poem "Ode to Pomegranate Flowers", in which he wrote: A little more green and red is not necessary for moving spring scenery. There is also: spring can't close the garden, and an apricot is out of the wall.
Just having such a big and thick ink painting may not be enough to fully show the cuteness and joy of the spring rain. So Du Fu finally made a comparison: "Look at the red and wet place, the flowers in Jinguan City are heavy." The poet used the brightness of the next morning to compare the effect of the spring rain last night: first, it was not invisible, but clear, bright and red. However, this is not enough. It is necessary to increase the weight of feeling-"wet", which points out that it is different from safflower in ordinary days. It is watery and is the "texture" emphasized in painting. Secondly, even more wonderfully, Du Fu emphasized another feature of safflower after rain, that is, the feeling of "heaviness". This is the "sense of quantity" emphasized in the art of painting. The luxuriant flowers and the damp flowers all become the sense of weight of flowers. It is Du Fu's specialty to express the luxury of flowers with heavy weight. He wrote in "Seven Poems of Looking for Flowers Alone by the River (VI)": Huang Si's family is full of flowers, but ten thousand flowers are low. But the word used this time is "pressure" instead of "weight". On the other hand, there is another sense of quantity. For example, Qin Guan's "Huanxisha" highlights the sense of quantity of flowers with "flying freely is as light as a dream". It is not enough to say that it is "flying", but also to connect it with ethereal dreams so that readers can understand its meaning.
The reason why this poem can make readers feel happy is that all happiness permeates the key feelings. In the wonderful language, readers can feel Du Fu's joy from the silent diving and the silent moistening, from the dark clouds and bright fires, and from the red, wet and drooping flowers. There are two kinds of his happiness: one is silent, inner and invisible; One is external and visual. Without these subtle feelings, these just-right words, Du Fu's happiness is to say it directly, and readers have no feelings.