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This poem is also about painting a horse and is given directly to the painter Cao Ba. It focuses on the painter's life and experience, similar to a small narrative poem. The whole poem is centered on the painter's order to paint the statue of the ministers of the Lingnan Pavilion and the jade buckskin horse in the emperor's favor, and it shows the fame of Cao Ba's painting at that time, and thus the bleakness of the late scene. At this time, the poet also experienced vicissitudes of life and lived in poverty, so he was able to understand Cao Ba emotionally. The whole poem is written in an intricate and varied way, and the narrative and lyricism of the poem is very successful artistically.
Cao Ba was a famous master of horse painting in the Tang Dynasty, and after the Anshi Rebellion, he was in dire straits. In the second year of Tang Dynasty Emperor Guangde's reign (764), Du Fu met him in Chengdu and sympathized with him so much that he wrote this poem, "Introduction to Danqing".
The poem starts off with a refreshingly bleak tone. First, it says that Cao Ba was a descendant of Cao Cao, the Emperor of Wei, but now he has been reduced to a commoner. The poem then begins with an ode to Cao Ba's ancestor, Cao Cao, whose achievements in dominating the Central Plains have become a thing of the past; however, his poetry is of high artistic attainment and wonderful diction, with a lingering charm that still exists today. The first four lines, rising and falling, tumbling and colorful, the atmosphere of the package, the whole chapter. The Qing poet Wang Shizhen greatly appreciated, called "work in the beginning" ("Fisherman's Poetry" volume).
Next, he wrote about Cao Ba's origin in calligraphy and painting, his enterprising spirit, hard-working attitude and noble sentiments. Cao Ba initially learned calligraphy from Mrs. Wei of the Eastern Jin Dynasty, and wrote a good handwriting, only hating that he could not surpass Wang Xizhi. He was immersed in the art of painting and did not know that he was getting old. He had noble sentiments, did not care about honor and wealth, and regarded fame and wealth as thin as the floating clouds in the sky. The poet's flexible pen, "learning to write" two lines just accompany the pen, deliberately put; "Danqing" two lines of the title, is where the intention is, written in a clear primary and secondary, staccato, staggered.
The following eight lines of "Kaiyuan" turn to the theme, highly praising Cao Ba's brilliant achievements in figure painting. During the Kaiyuan period, Cao Ba went to see Emperor Xuanzong of the Tang Dynasty by imperial decree, and had the honor of repeatedly ascending to the Nanfen Hall. Cao Ba was ordered to repaint the portraits of the ministers on the Lingyan Pavilion, which had lost their color over the years. He painted them with his skillful brushwork. The civil officials wore crowns on their heads, and the military generals had big poles and long arrows on their waists. Duan Zhixuan, the Duke of Berg State, and Yuchi Jingde, the Duke of E State, with their hair flying and their vigor, seem to be on the verge of going to the battlefield. Cao Ba's portraits, which are both in form and in spirit, are vivid and express a high level of skill.
The poet writes layer by layer, where the painting of people is still a foil, and the painting of horses is the focus. "In the following eight lines, the poet describes the process of painting the buckskin in detail.
Tang Xuanzong's imperial horse, the buckskin, has been described by many painters, but each one is different, and none of them resembles the real one. One day, the buckskin was brought to the red-colored steps of the Palace of Heavenly Kings, where it stood with its head raised in a dignified manner. Emperor Xuanzong ordered Cao Ba to unfold the white silk and sketch it on the spot. Before painting, Cao Ba first skillfully thought, and then the fullest stroke of the pen, in a moment, all in one fell swoop. The painting of the horse is magical and majestic, like a flying dragon leaping out from the palace gate, and all the horses in front of this horse are dwarfed. The poet first used "growing wind" to describe the real horse's majestic spirit, as a powerful accompaniment to the painting of the horse, and then use all the painters of the mortal horse to accentuate the painter's "real dragon", to describe the Cao Ba painting the horse's magic, this paragraph of the text is filled with warm praise, the ink and writing is sound, wonderful! This paragraph is full of warm praise, well-written and wonderful. In the following eight lines of "Jade Flower", the poet goes on to describe the artistic charm of horse painting.
Painted horse Jade Buckskin on the couch, at first glance, like and the real horse in front of the temple two two opposite, standing head high. The poet puts the painting and the real horse to write, is really skillful, not a "Xiao" word, but extremely vividly written out the painting of the horse's realism, people can not distinguish between the real and the fake. Xuanzong saw the painting of the horse look excited, very happy, with a smile, urging the attendant, quickly give gold reward. The officials in charge of the court's carriage and horses and the horse breeders were all overwhelmed with emotion and frustration. Du Fu uses the different reactions of Emperor Xuanzong, the Imperial Servant and the groom to illustrate Cao Ba's skill in painting. He then contrasts this with his disciple, Han Gan, who was also famous for his horse paintings.
The poet uses the technique of contrasting the past and the present to describe Cao Ba's flourishing painting in the palace; in the last eight lines, he describes Cao Ba's present situation in the private world in a bleak tone. The sentence "General is good at painting and has a god" summarizes the above, pointing out that Cao Ba's painting skills are superb. He did not paint portraits for people easily. However, in the turbulent years of war, a generation of horse painting master, wandering, had to sell paintings to make a living, and even repeatedly painted portraits for ordinary passers-by. Cao Ba was desperate and despised by the common people, and his life was so poor that there was no one in the world who was poorer than him. The painter's sad situation is similar to Du Fu's rough and tumble! The poet can not help but cause **** song, feeling a lot of emotion: since ancient times, the prestigious, outstanding achievements of the artist, often bad luck, troubled, depressed and uninspired! The poem's concluding lines, push away a layer of speech, as a way to relieve Cao Ba, but also to comfort themselves, full of indignation against the feudal society, the world's cool.
The poem is intricate and brilliant in chapter and verse, with a clear distinction and strong contrast between object and subject in the poem. For example, learning to write and learning to paint, painting people and painting horses, real horses and painting horses, ordinary horses and "real dragons", painters and Cao Ba, Han Gan and Cao Ba, the prosperity of the past and the decline of today, etc. The former is the guest, the green leaf, the green leaf, the green leaf, the green leaf, the green leaf, the green leaf, the green leaf, the green leaf. The former is the guest, is the green leaf, the latter is the main, is the red flower. The green leaves help the red flowers, baking and contrasting, the red flowers see more prominent and distinct. In the development of the poem, the ups and downs, waves and layers. The first four lines are about Cao Ba's life, which contains two layers of ups and downs, swaying and swaying. The line "The Supreme Being smiles and urges the giving of gold" pushes the poem to a climax, followed by a fall, which contrasts sharply with the last line "The way is poor, but the eyes of the common people are white". The structure of the poem unfolds in a wave-like manner, and ends with a somber tone of suppression, which appears to be intricate and varied and unified. Structurally, the poem echoes back and forth, with the beginning and the end connected. The beginning of the poem, "Now for the common people for the clear door", and the end, "The world is not as poor as the public", are linked together, forming a sad tone and a bleak atmosphere. In the middle three paragraphs, Cao Ba writes about the flourishing situation of painting people and horses, and the first paragraph of the sentence "the literary style is still alive today" corresponds to the first paragraph.
Du Fu's passionate biography of the painter under the title of "The Introduction to Danqing" is a rich poetic combination of poetry and painting, which combines the profound realism of painting theory and poetic biography into a unique aesthetic significance, and also has a certain cognitive value in the history of art and painting criticism in the Tang Dynasty of China. This is not a new contribution in the development of Tang poetry.
This poem was written when the poet was living in Qinzhou (Tianshui, Gansu). At that time, Li Bai was sitting in the Yongwang Lin affair long flow of night, on the way to Hunan in the amnesty, Du Fu because of the poem in memory of him.
The first line of the poem starts with the autumn wind, which covers the whole poem with a piece of sadness. The first line of the poem starts with the autumn wind, which shrouds the whole poem with a blanket of sorrow. The second sentence does not say their own state of mind, but rhetorically asked the distant person: "What do you think?" Seemingly careless pleasantries, but in many words do not know where to start, with this careless language, but to show the most concerned mood. This is a high degree of return to simplicity and truth, shallow words and deep feelings, far-reaching imagery. In Du Fu's view, his own fall is not enough to worry about, and his talent is as far away as the people who suffer from this danger, so he must know that his will is far more difficult than his own, containing the meaning of "sharing the same destiny with you, but you are even more bitter". The words of this boundless speculation, the more the poet misses the earnest. The poet's thoughts are also deep. A dear friend in the amnesty, eagerly awaiting news, so ask "when will the geese arrive"; Xiaoxiang Cave Garden, the storms and obstacles, because of the concern that "the autumn water of the river and lake more". Li Ciming said: "Chutian really hate the countryside, the autumn water is a thing of remembrance." Long distance apart, looking for news and can not get; Vast rivers and lakes, only to send a message to pray for precious. However, the geese are not, the river and lake are dangerous, feel a sense of melancholy, assaulted the soul.
The deep nostalgia for the friend, and then developed into sympathy for his life. "The article hates life", meaning that people with outstanding literary talent are always ill-fated, the language is extremely sad and angry, and there is a "despair and a thousand autumns and a sprinkling of tears" of pain; "spirits and ghosts are happy to pass", a metaphor for Li Bai's long flow of the Yelang, was The two lines of the poem are characterized by emotion. These two lines have a deep meaning and are extremely touching, and are famous lines that have been recited through the ages. Gao Buying quoted Shao Changheng's comment: "One hatred, one joy, makes the literati have no place to stay." These two lines of the poem out the **** same fate of talented and wise people since ancient times, is a high summary of countless historical facts.
At this time, Li Bai was living in Jiangxiang, and Du Fu naturally thought of Qu Yuan, the patriotic poet who had been exiled by slander and sunk himself in Miluo. Li Bai's encounters and this thousand-year-old soul of injustice, in the life of the encounter has some similarities, so the poet sped imagination, remote imagination, Li Bai will be to Qu Yuan's soul of injustice to pour out the indignation of the heart: "want to * * * * the soul of injustice to speak, throw poetry to Miluo".
This link is a word of imagination, but because of the poet's admiration for Qu Yuan, he felt that he sunk to martyrdom, although the death is still alive; Li Bai is anxious to pacify the Anshi rebellion, a clear Central Plains, the results of the crime of banishment, although the pardon and return, full of grievances, naturally, will be to the former sages due to the winds of the fall and send. In this way, "want to **** wronged soul language" sentence, it is very vivid and real performance of Li Bai's inner activities. The last sentence "throw poetry gift Miluo", with a "gift" word, is to imagine that the Qu Yuan eternal, he and Li Bai thousands of years of the same grievance, the fight poetry of Li Bai, must be a poem to give each other in order to send feelings. The word "gift" is wonderful, just as Huang Sheng said: "It is not said to hang but to gift, which makes the wronged soul come alive." ("Reading Du Poetry")
This lyric poem of nostalgia for friends because of the autumn wind, the feelings are very strong, but it is not a rushing and voluminous, expressed in a thousand miles, but the tide of feelings is turning, haunting the heart. Reciting the whole poem is like reading a friend's letter, full of earnest thoughts, subtle concerns and feelings from the depths of the heart, repeatedly chanting, low and gentle, deep and profound, which is really a masterpiece of ancient lyricism. (Sun Yiqiu Wang Qixing)
Press: Zhao ZiLi said: white in to the German two years sitting YongWang Lin thing and banished to the night, the public in QinZhou wistful and made. Is also. Shao Bao said white has died, the public in kui state, cover misrecognition of the wrong soul for white soul ear.
The cool wind rose at the end of the sky ①, how do you want. The geese will be here in a few days ②, the river and lake autumn water ③. The article hates the life ④, the spirits like people to pass ⑤. The words of the spirits should be spoken ⑥, and the poems should be presented to the tears ⑦.
(The wind rises at the end of the day, and the feeling of autumn is a reminder. The geese and the geese are thinking about their messages. The river and lake, worrying about the storm. The next line is about his exile, and the next line is about his exile. The next is because of its banishment, and heavy for the words of pity, cover the article is not met, the spirits and demons see invasion, the night a scurry, a few with Miluo with the injustice. When it comes to displacement, life and death, thousands of miles of love, it is really embarrassing to shed tears, which is the most tragic of the wistful people. Literati are often in trouble, like hate life up to. The ghosts of the mountains choose people to eat, so they like people to pass, the ghosts of injustice, referring to Qu Yuan. The ghosts of the mountains choose people to eat, so they like people to pass by.)
1) Miscellaneous Records of the Western Capital: Zhao Feiyan's "Returning to the Wind to Send the Far Exercise": "The cool wind rises and the sky is frosty, and it is difficult to look for a gentleman." The Book of the Zhou - Time Training: On the day of Autumn, the cool wind arrives. The end of the sky is the end of the sky. Lu Ji's poem: "The traveler is at the end of the sky, and the return date is not to be found." ② Shi Chong's "Quotes on Thinking of Returning Home": "The winds of autumn are harsh, and the geese are on the march." Xu Xiaosi's poem: "Traveling clouds send sound, returning goose sends book." Cao Zhi's poem: "My son is in ten thousand miles, and the rivers and lakes are very deep." (4) Huang notes that he hates the life of the poor, but he also says that poetry can be used by the poor. The "Soul Recruitment" is the meaning of "sweet people". ⑤ Zuo Zhuan: "Demons and monsters, can not meet chan." The place where the Qian paper flows to Yelang is a place of demons and devils. In the Invocation of Souls, it is said that "their bones are minced meat" and "they swallow people to benefit their hearts", which is exactly the same thing. (6) Later Han Dynasty book: "The souls of the wrongdoers are in pain in the netherworld." Wu note Pan Yue "Ma Zhuanzhu eulogy": "Death has a spirit, so that the souls of the wrongdoers can be comforted." (7) "Chu Rhetoric": "The two eights receive the martial arts, casting poems and assignments only." The Water Classic: Xiangshui and north, tear water injection. Tear water east out of the Yuzhang Ai County Hengshan West, through the Luo County North, called Luo water. Miluo water and west for the Qu pool, that is, Luo Yuan also, Qu Yuan Huai Sha, sunk in this. A unified record": Miluo, in Changsha Xiangyin County, north. Ye Mengde said: Du prayer "send Gao Zhanzheng" cloud: "the sky more wild geese, pool foot carp." Hong, geese, two things. Carp, a kind of fish, doubt can not be on the wild geese. However, "Wyatt Li Bai" said, "When will the geese arrive? To the geese on the river and lake, for the right to carry on. In "News from My Brother", it is said, "The magpies are happy, and the pied wagtail poem is a great burden to me." The crow, magpie, two things, doubt can not be to the wagtail, but the "occasional title" cloud: "sound book hate magpies, the number of angry blame bear warriors." To the magpie to the bear warriors, for the right to carry on. Send Li Bai" cloud: "a few years by the owl, alone weeping to the unicorn." The owl is the name of the bird owl, doubt can not be on the unicorn. However, "Weeping for Wei Zhi Jin" said, "The owl is a secret in Changsha, and the rhinoceros is a pity in Shu County." The owl to the rhinoceros, for the right to carry on. Send Jia Yan two pavilion old man" cloud: "Pixi tiger skillful gold armor, the unicorn by jade whip." Pixi tiger to the unicorn, for the right to carry on. Zi Mei do not know the genus of the bias of the evil, cover its vertical and horizontal in and out, no coincidence ear.
Like the other two of the Three Farewells, the "narrator" of the poem is not the author, but the main character of the poem. The main character is a lone man who has been conscripted into the army once again, with no one to see him off and no one to say goodbye to. However, on the occasion of embarking on his journey, he still can't help but talk to himself, as if telling God that he has no home to go back to.
From the beginning to the "one or two old widowed wives" **** fourteen sentences, the total write after the chaos back to the hometown to see, and to the "cheap son of the battlefield defeat, return to find the old grove" two sentences inserted in the middle of the paragraph will be separated into two small paragraph. The first paragraph, to recount the beginning, write the self-proclaimed "cheap son" of the soldier returned home, saw his hometown is completely different, a desolate, so the memory of the past, generalized the hometown of the past and present changes. "Lonely after Tianbao, garden hut but artemisia", these two sentences written in front of the present, but behind has hidden the past. "Tianbao after" so, then Tianbao before how? So naturally lead to the next two sentences. At that time, "I more than a hundred families", should be the garden hut looking at each other, dogs and chickens, of course, is not lonely; "Tianbao after" was met with chaos, residents of their own things, garden hut abandoned, artemisia (weeds) overgrown, naturally lonely. At the beginning, the word "lonely" is used to render the scene of depression, showing the sadness of the main character's sadness, and setting the tone for the whole poem. "The word "chaos" echoes with the words "after Tianbao", which shows the reason for the change between the present and the past, and also points out the root of the problem that there is no home to "leave". It also points out the root cause of "no home" to "leave". The two lines of "the survivors of no news, the dead for the dust and mud", immediately following the "world chaos, each and every thing", such as hearing "I" sigh sound, a strong expression of the sadness of the protagonist.
The first paragraph summarizes the whole picture, the second paragraph describes the details, and the "cheap son because of the defeat in battle, come back to look for the old grove" to carry on the former and the latter, as a transition. The word "seek" is a subtle portrayal, and the word "old" has a deep and broad meaning. The "old grove" of my hometown has been traveled a thousand times, and I won't lose my way with my eyes closed, but now I have to "search" for it, and I can see that it is not the same as the old time, and it has been drowned by artemesia. The word "old" in pursuit of the past, should be "more than a hundred of my family"; "looking for" the word to appease the present, should be "garden hut but artemisia quinoa". "Long walk to see the empty alleys, day thin gas miserable. But to the fox and beaver, vertical hair angry I cry. What are the four neighbors, one or two old widow", write "cheap son" from approaching the village to enter the village alley, visit the four neighbors. The phrase "long walk" follows the phrase "searching for the old grove" and conveys the spirit of the word "search". The distance is not far, but it takes a long time to walk, and it is extremely difficult to recognize the old grove, so I have made a lot of detours in my search. "Empty alleys" means that no one is there, it should be "the world is in chaos, each and every thing". The sentence "the day is thin and miserable" uses anthropomorphism to blend the scene into the mood, highlighting the main character's miserable state of mind when he "sees the empty alley". The word "but" in the phrase "but for foxes and beavers" corresponds to the word "empty" in front of it. Back then, "more than a hundred families" lived together in the village, and people came and went in the lanes and alleys, laughing and talking noisily; but now they are only opposite to foxes and beavers. And those "foxes and beavers" even turned the other way, once they saw "me" on the spine hairs straight up, rushing at me angrily screaming, as if to blame "me" should not have intruded into their homes. I visited my neighbors and found that only "one or two old widows" were still alive! Seeing them, naturally, there are many words to ask to say, but Du Fu has omitted these provinces, leaving the reader space for imagination. And when read to the back of the "eternal pain long sick mother, five years entrusted ditch stream", it is not difficult to imagine and "old widow" question and answer content and each other's expression of excitement.
"The birds love their own branches, and they are not afraid to live in poverty. In the spring, I only load my hoe, and at sunset, I still irrigate the beds."
"
This is structured as a paragraph of its own, writing about the main character's life after returning to his hometown. In the first two lines, the metaphor of a bird is used to show the feeling of being in love with the hometown. In the last two lines, the main character begins to labor again with sadness, hoping to live in his hometown, no matter how poor and lonely he is!
The last paragraph, written without a home and parting. "
The last paragraph is about being homeless and being away from home. "The county officials knew that I had arrived and summoned me to study the drums and scabbards. The following six sentences, layers of twists and turns. "Although I have served in this state, I have nothing to take with me", this is the first twist; the first sentence is self-fortunate, and the next sentence is self-injurious. Although I served in this state this time, I have nothing to take care of, no one to see me off and nothing to carry, how can it not make me sad! This is the second level of the twist: "I have been traveling all over the world, but when I am far away, I will be lost". "It is already sad that I am all alone, but since I am a soldier, I will have to go to the front in the future, and I really don't know where I will be buried! This is the third twist: "My hometown has been swept away, and I am in the same place near and far". Thinking back, the hometown has been swept away, "near travel", "far away", and what difference! The six stanzas are staccato and in-depth, describing in detail the hero's psychological changes after hearing the summons. As Liu Chenweng said, "When you write this, you can cry to the ghosts and gods!" (See Yang Lun "Du Poetry Mirror Ambrose" cited) Shen Deqian in talking about Du Fu "unique face" of the performance method, pointed out: "...... and through a layer of law. For example, in the chapter "Farewell without a Home", it is said: 'The county official knew I had arrived and called for the drums and scabbards.' It is extremely unpleasant to send a guest without a home on an expedition; however, if it is explicitly said to be unpleasant, the flavor will be shallow. This cloud 'hometown has been swept away, far and near the reason is also the same', turned into a broad-minded, all see the sorrow is carried forward."
"I've been suffering from a long illness, and I've been in the gutter for five years. I'm not sure I can do it, but I'm not sure I can do it," he said. In spite of the forced optimism, self-forgiveness and self-compassion, but the saddest thing finally surged to the heart: before the previous conscription has been sick for a long time mother in the "I" five years in the army during the death! After her death, she could not be buried by me, so her bones were buried in a ditch! This made me sad for the rest of my life. In these lines, the pain of the mother's death and the tragedy of the broken family are written. The title of the poem is then followed by a rhetorical statement: "If there is no home in my life, how can I live for the sake of steam!"
The title of the poem is "No Home", and the first stanza is about what he sees when he returns to his hometown after the chaos, with the main character approaching the village and entering the village alleys to divide the levels, from far to near, in an orderly manner. The distant scene only summarizes the whole picture, while the near scene describes the details. The third paragraph is about the main character's psychological activities, and it is divided into several layers of twists and turns, which are deeper and deeper, and portrayed in a subtle way. The hierarchy is clear and the structure is strict. The poet also makes good use of concise, figurative language, writing characteristic things. The poem "garden hut but artemisia quinoa", "but to the fox and the beaver", generalization is stronger. "Artemisia" and "foxes" are characteristic things here. Who can tolerate artemisia growing in his own house, yard and garden? In a densely populated village, how can a fox dare to run amok? "Garden and hut but artemisia quinoa", "but to foxes and beavers", just ten words, the extinction of human habitation, abandoned fields and huts of the tragic picture of the living out. Others, such as "What are the four neighbors? One or two old widows", is also rich in character. Precisely because it is "old widows", so it can still survive there. Those who can be of some use, if they do not run away beforehand, will certainly be captured by the government. Wasn't the protagonist of the poem captured again as soon as he returned to his village? The poem is written in the first person, allowing the main character to come forward and tell the reader what he has seen, encountered and felt, thus not only showing the psychological state of the character through the subjective lyricism of the character, but also reflecting the character's thoughts and feelings through the description of the environment. A few years ago was arrested by the government to serve as a soldier "I" escaped from death, easy to return to their hometown, full of thought and flesh and blood neighbors get together; however, things do not go as planned, see a "artemisia", into an "empty alley ", encountered is the vertical hair of the fox, ...... really full of bleak, mixed feelings! So even the sun looks thin. "Day" does not matter fat or thin, due to their own mood of sadness, and thus see the daylight dim, the scene is miserable. It is because of the combination of scenario, characterization and environmental description, so in a short space to create a flesh and blood character, reflecting the people of the war zone at the time of the people's **** with the encounter, the ruler's brutality, corruption, a powerful scorn.
Zheng Dongfu, in his "Notes on Du Poetry," said that the poem "Farewell to No Family" was "a stab at the poor people for not caring for them. Pu Qilong said in "Reading Du Xinjie": "'What is the reason for vaporizing the people?' It can be summarized in six articles (referring to "Three Officials" and "Three Farewells"). If one were to counter the words and confront them, one could say, 'What is the reason why the people are on top?'" Meaning: How can you be the master of the people when you have pushed them to the point where they cannot be the people? It seems that these two researchers of Du Poetry in the feudal era are worth referring to for their understanding of the ideological significance of Farewell Without a Family.
In the second year of Dali (767), the second year Du Fu drifted to Kui Fu in Sichuan, he lived in a grassy hall in the west of Dewei. There were a few jujube trees in front of the hall, and a widow from the west neighbor often came to hunt jujubes, but Du Fu never interfered. Later, Du Fu let the grass hall to a relative surnamed Wu (i.e., Wu Lang in the poem), and moved to Dongtun, which is more than ten miles away from the grass hall. He moved to Dongtun, a dozen miles away from the Cao Tang, and was surprised when this Wu put a fence around the Cao Tang and forbade date-picking. The widow complained to Du Fu, and Du Fu wrote this poem to advise Wu Lang. Du Fu had previously written a poem titled "Jian Wu Lang Judicial", so this poem is titled "Another Presentation to Wu Lang". As Wu Lang's age was younger than Du Fu's, Du Fu intentionally used the honorific "呈" instead of "又简 吴郎", which seemed to be inappropriate for the other person's status, to make it easier for Wu Lang to accept the poem.
The first line of the poem begins with how he used to treat his neighbor's wife for pouncing on dates. "The first line of the poem begins with how he treated his neighbor's wife in the past. The reason for not using the strong upper-voice character "打" but the short, calm, entering-voice character "扑" is to achieve consistency in tone and mood. "Ren" means to let go. Why do we need to be indulgent? The second sentence says, "A woman with no food and no children." It turns out that this western neighbor is an old widow with no food and no children. It is as if the poet is saying to Wu Lang: for such a poor woman with no support, can we not let her beat some dates?
The third and fourth lines immediately follow the first two: "Not for the poor rather than this? It is only because of fear that I have to be close to you." "Poverty" follows the second sentence; "this" refers to the matter of pouncing on jujubes. If it were not for the fact that she was so poor that she had no other choice, how would she have gone to beat the dates of other people's houses? It is because she is always in a fearful mood when she pounces on jujube, so we should not only not interfere, but also show some kindness, so that she can pounce on jujube at ease. This shows that Du Fu sympathizes and understands the situation of the poor. A Shaanxi folk song says, "The poet saint of the Tang Dynasty, Du Fu, knows the suffering of the people." This is true. The above four lines, one after the other, are Du Fu's self-reporting of previous events, with the purpose of inspiring Wu Lang.
It is only in the fifth and sixth lines that it comes down to Wu Lang. "Even though I prevented a distant guest from doing many things, I inserted a sparse hedge, but it was very true." These two lines are interrelated, interdependent, and complementary, and should be read in conjunction with each other. The word "prevent" means to be on guard, to be wary, and its subject is the widow. The subject is the widow. The word "distant guest" refers to Wu Lang. "Much ado about nothing" is to be overly concerned, or to worry too much. In the next line, the subject of the word "insertion" is Wu Lang. These two lines are saying that the widow was afraid that you would not let her take jujubes as soon as she saw you putting up the fence, although she was not too careful and oversensitive; however, you were busy putting up the fence as soon as you moved into the Cao Tang, but it seems that you really wanted to forbid her to take jujubes! The implication is: this can't be blamed on her being over-attentive, but rather you yourself are a bit too inconsiderate. She is already in fear, you do not particularly show goodwill, it is enough, why do you have to put a fence! The wording of these two lines is very euphemistic and subtle. This is because of the fear that if the words are spoken too bluntly and harshly, and the meaning of the lesson is too heavy, it will cause the other party to be offended, and on the contrary, it will not be easy to accept the advice.
The last two lines of the poem, "I've been told that I'm poor to the bone, and I'm thinking about the tears of the military horse", are the end of the poem, and the culmination of the poem. On the surface is a pair of sentences, in fact, is not a flat line of sentences, because the upper and lower sentences from near and far, from small to large is a process of development. In the first line, Du Fu borrows the widow's complaint to point out the social root cause of the widow's, and at the same time the general people's poverty at that time. It is the exploitation by the officials, also known as "solicitation" in the poem, which makes her poor to the extreme. This further explains the widow's behavior of pouncing on dates. The next line goes farther, bigger, and more profound, pointing out another social root cause that has plunged the people into dire straits. This is the war which lasted for more than ten years since the Anshi Rebellion, the so-called "Rongma". By a poor widow, by a small matter of pouncing on a date, Du Fu even associated with the whole national situation, so much so that he wept. On the one hand, this is the natural outpouring of his love for the motherland and the people; on the other hand, it is also the article that should awaken and enlighten Wu Lang. Let him know: in this situation of war and chaos, there are still a lot of people suffering, not only widows; the war situation does not change, even our own life is not necessarily guaranteed, we are not because of the war and chaos in a faraway place as a guest, and you are not still living in my Cao Tang? The last line of the poem, which seems to go too far, as if it has nothing to do with the theme of dissuading Wu Lang from plugging in the fence, is in fact very relevant and useful. I hope that he can thus stand a little taller, look a little farther, think a little more openly, and he will naturally not be catty about a few dates. It is from this kind of place that we need to see the poet's "bitter intention" and his attitude towards the people.
The people's nature of this poem is strong and distinctive, and it is especially worthy of attention in the seven-line poems that are usually used to sing praises of virtues and virtues and are characterized by "high splendor and elegance". The artistic expression of the poem is also very characteristic. Firstly, the poem uses his own practical actions to inspire the other party, uses the unbreakable truth to awaken the other party, and finally uses his own tears to move the other party, avoiding as much as possible the abstract sermon, and using euphemistic wording to make sense of the situation. Secondly, the use of prose commonly used in the word for the transfer. Like "not for", "only because", "has told", "is thinking", and "i.e.", "will", "although", "but" and so on, and thus can be dull for lively, both the formal beauty of poetry, musical beauty, but also the The poem has the beauty of form and music, but also the flexibility of prose, which is intriguing and intriguing.
Du Fu's "Out of the Seaside "*** is a series of five poems, and this is the second one of the group. This is the second poem of the group. The poem describes the life of a soldier who has just enlisted in the army, in the tone of a new recruit.
"I entered the East Gate Camp in the morning and went up to the Heyang Bridge in the evening." The first sentence explains the time and place of enlistment, and the second sentence indicates the direction of the expedition. East Gate Camp refers to the military camp near the east gate of Luoyang City. Heyang Bridge, a pontoon bridge across the Yellow River in Meng County, Henan Province, was a major transportation route from Luoyang to Hebei at that time. I reported to the barracks in the morning, and in the evening, I left for the border with my team. One "morning" and one "evening" show the tense and changeable atmosphere that characterizes military life.
"The setting sun shines on the flag, and the horses sound the wind", has obviously been written to the borderland evening marching scene. The word "sunset" comes after the word "twilight" in the second line, which shows the compactness of time; however, these two lines are clearly written about the scenery of the border area, and the "Poetry Scripture - Xiao Ya - Che Attack" has the sentence "Xiao Xiao Ma Ming, leisurely pennant flags. The poem "Xiao Ya" has the phrase "the sound of horses and pennants" in it. From the Heyang Bridge to here, of course, can not be instantaneous, but the poet intentionally make such a commitment, more and more show the rapidity of the troops marching. The setting sun shines in the west, the general's flag hunts, the war horse chirps, and the north wind is rustling. The setting sun and the flag reflect each other, the sound of the wind and hissing horses intertwined, this is not a sound and colorful twilight field marching picture? Show a solemn marching scene. Among them, the "wind" of the sentence "wind" is particularly good, a word of plus, "feel the whole situation are moving, valiantly about the gas of the plug".
The day has been twilight, the sun sinking in the west, naturally, it is time to camp, "flat sand columns of ten thousand curtains, the Department of each see the recruitment of" two sentences depicted the picture of the sand camp: in the flat sand, neatly arranged thousands of tents, those who are in the army in the leader, are recruiting their own subordinate pawns. Here, not only was the grandeur of a thousand troops on display, but it was also evident that this force was well prepared.
After nightfall, the barracks on the sand presented another scene and atmosphere. "The bright moon hangs in the middle sky, making the strict night silent. A number of mournful reed sounds move, the strong soldiers are miserable and not proud", depicts a graphic picture of the moonlit night camp: a round of bright moon hangs high in the middle sky, because of the strict military order, all the curtains are silent, and the desert borderland looks so silent. Suddenly, the sound of several reed pipes broke through the night sky, which made the warriors on the expedition feel miserable.
Then, this new soldier couldn't help but ask: "Who is the general?" -- the commander of the army.
The recruit could not help but ask, "Who is the general?" - Who is the general in command of the army? But because of the quiet camp after the time, he was also afraid of the military order of the strict, do not dare to ask to others, just his own heart speculation: "I am afraid it is Huo john yao"--probably like the Western Han Dynasty john yao lieutenant Huo zaiwei as the military management, tactics and strategies of the generals, right!
From the point of view of artistic technique, the author takes the passage of time as the order, and after making the necessary explanation in the first two sentences, he draws three pictures of military life, namely, sunset, evening darkness, and moonlight night. All three paintings are drawn in a sketchy style, with thick brush strokes outlining the majestic and majestic military aura. Moreover, all the three pictures take the borderland wilderness as the background, through selecting the typical features of the scenery, respectively depicting the three scenes of the army: the twilight marching picture embodies the army's awe-inspiring and solemnity; the sand camping picture embodies the army's grandeur and solemnity; the moonlit night camping picture embodies the army's discipline and the atmosphere of the sadness and grandeur. Finally, the poem ends with the soldier's sigh and imagination. The whole poem is well-layered, step by step; the writing of the scenery and the narration of the meaning are colorful. Therefore, the Song people Liu Chenweng praise cloud: "its time, its situation, its feelings, really cross long lance between the intention, and again want a word like this, a thousand years can not be obtained" ("Du poetry mirror Ambrose" volume three citation).
Bao Qin stop said: Tianbao fourteen years in March of polyoxyethylene nonyl phenyl ether, An Lushan and Xi Qidan war in the décor of the water, defeated. Therefore, there is "after the plug five", for the troops to go to Yuyang also. Today, according to the end of the chapter, is to say that Lushan raised troops to violate the Shun after the event, when the winter of Tianbao fourteen years.
Men are born in the world ①, and strong when the vassal ②. The war has been successful ③, how can we keep the old mound ④. I am summoned to go to the Thistle Gate ⑤. The army can't stay ⑥. Thousands of gold for the horsewhip ⑦, hundreds of gold for the sword ⑧. The village sends me on my way ⑨, and my relatives embrace the road ⑩. The white spots are on the top of the list (11), and the wine is sound and the people are ashamed (12). The young man has a gift (13), with a smile to see the Wu Hook (14).