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(1) Xie Wu Beilou: at the top of Yangling Mountain in Xuancheng County, Anhui Province. Xie Wu was a poet of Southern Qi, and this building was built when he was the governor of Xuancheng. (2) Jiangcheng: refers to Xuancheng. (3) Two Waters: refers to Wanxi and Juxi. There are two bridges above and below Wanxi, namely Phoenix and Jichuan. (4) Mirror: refers to the round shape synthesized by the hole of the arch bridge and its reflection in the water, like a bright mirror. (4) Rainbow: refers to the shadow of the bridge in the water. (5) Human Smoke: smoke from cooking. (6) Xie Gong: Xie Wu.
The North Tower of Xie Wu was built by the Southern Qi poet Xie Wu when he was the governor of Xuancheng, also known as Xie Gong Lou, and was renamed Roach Lou in Tang Dynasty, which is a place of excursion in Xuancheng. Xuancheng is surrounded by mountains and water, and the three peaks of Lingshang Mountain are very beautiful; the streams of Juxi and Wanxi are hauntingly reflecting the entire suburb of the city, which is really "in the color of the mountains where birds go and birds come, and in the sound of the water where people sing and people cry" (Du Mu's "Title of the Water Pavilion of the Kaiyuan Temple in Xuancheng, and Your Excellency's Residence at the Wanxi Clip Stream"). This poem was written in the 13th year of Tianbao (754), after the Mid-Autumn Festival of this year, Li Bai came to Xuancheng again from Jinling.
On a clear autumn evening, the poet climbed Xie Gong Lou alone. The light of the mountains and the shadow of the mountains was so bright and clear! The poet's view was so clear that he could not help but see the "river city" as if it were in a picture. In the first two lines, the poet summarizes the scenery he saw when he climbed the building, and summarizes the whole poem, which immediately attracts the reader into the mood of the poem. Yan Yu "Canglang Poetry" cloud: "Taibai hair sentence, called the door to the mountain." It refers to this technique of expression.
The middle four lines are specific descriptions. The artistic images portrayed in these four lines are all derived from the word "look" above. In terms of structural relationship, the first two lines are about the "picturesque river city" and the next two lines are about the "clear sky at night in the mountains"; the four lines are a complete unity, but there are levels. The "two waters" refer to Sentence Stream and Wan Stream. Wanyanxi originates from Yishan Mountain and meets Juxi in the northeast of Xuancheng, merging around the city, so it is said to "clip". Because it was fall, the stream was more clear, it flowed calmly, and the wave surface was glittering with crystal light. The word "mirror" is the most appropriate way to describe it. The "twin bridges" refer to the upper and lower bridges across the stream. The upper bridge is called the Phoenix Bridge, outside the Taihe Gate in the southeast of the city; the lower bridge is called the Jichuan Bridge, outside the Yangde Gate in the east of the city, both dating from the reign of Emperor Kaihuang of the Sui Dynasty (581-600). These two long bridges on the stream, reflecting the water, from a high building far away, misty green stream, bright red sunset, in the light of the irradiation, the bridge shadow reflected an infinite number of strange brilliant colors. Where is this bridge? Simply two rainbows in the sky, and the shadow of this "rainbow" fell into the "mirror". Read these two lines, we will naturally associated with another work of the poet "look at Mount Lu waterfalls" in the "three thousand feet straight down, suspected that the Milky Way falls nine days. The two are also using the technique of simulation to shape the image, the same with a "fall" word to the underground and the sky; however, the same in the different, the same work: one is the Milky Way compared to the waterfalls of the flow, a rainbow to write the sunset in the light of the twin bridges in the reflection; one focuses on the portrayal of the momentum of the rushing straight down, a focus on the Show its magnificent changing colors, the two give people a sense of beauty is not the same, and the poet's imagination of the rich and wonderful, lively and ethereal writing, is the same make people marvel.
The evening of autumn, the wilderness is silent, the jungle along the mountain ridge out of the people of a wisp of cooking smoke, orange pomelo deep turquoise, the wutong yellow, presenting a chilly scenery, make people feel is the time of the autumn light is getting old.
It is not difficult to imagine that the poet's mood at that time was completely immersed in his vision, and his observation was profound and meticulous; and his description was unctuous. He stood high and looked far, seized a momentary feeling, and used extremely condensed figurative language to outline a deep autumn in casual dabs and dyes, y leaking out the atmosphere of the season and the environment. He not only writes about the autumn scenery, but also about the autumn feeling. If we take a closer look, we will find that he is highly generalized, and his writing is very meticulous.
The ending two sentences, from the surface seems very simple, but and the beginning of the two sentences a echo, pointing to visit the location is in the "North Building"; this North Building is Xie Wu built, from the climb to the ancient, seems to be the usual formula, so Li Bai will not be able to avoid saying a nostalgic words of the ancients in passing. Here it is worth noting the two words "who remembers". The "wai" of "wai xie gong" is Li Bai's self-reference, and the "who remembers" of "remembrance" refers to others. The meaning of the two lines is to lament that no one can understand his feelings of "wistfulness for Lord Xie in the wind". This is not just any old nostalgia.
Li Bai, after being ostracized by the powerful in Chang'an and abandoning his post, was politically disillusioned and led a wandering life in all directions. The passenger in the depression and sentimental, especially when shaking down the autumn wind of the season, his lonely mood, can be imagined. Xuancheng is his old place of travel, and now he is back here. Once in Xuancheng, he would miss Xie Wu, not only because Xie Wu left such famous monuments as the Roach Building in Xuancheng, but also because Xie Wu had the same emotion as himself. When Li Bai was alone on Xie Wu's building looking out into the wind, facing the mountains and rivers that Xie Wu admired, remembering the poet of the previous generation whom he had always admired, although the ancient and modern worlds were separated, their spirits were distantly connected. This kind of remote mood, reflecting his political bitterness and uncertainty of the feeling of loneliness; precisely because of political suppression, can not find a way out, so only to send love to the mountains and rivers, still friends of the ancients; his complex feelings at that time, and who can understand it?
Wuqi Qu is the old title of the musical "Qing Shang Qu Qu Qu - Xi Qu Song". Most of the existing ancient titles of Liang Jianwendi, Xu Ling and others in the Southern Dynasty are more colorful in content, while the forms are all in four lines of seven words, with two lines in rhyme. Li Bai's piece, not only the content of the old title from the song of love to satirize the court of obscene life, the form also made a bold innovation.
It is said that King Wu Fu-chai spent a lot of manpower and material resources, and spent three years to build the Gusu Terrace (the old site is on Gusu Mountain in the southwest of today's Suzhou City), which stretched across five miles, and then built the Spring Night Palace, where he and his favorite concubine, Xi Shi, drank for a long time in the palace. The first two lines of the poem do not depict the luxury of the Wu Palace and the obscenity of the palace life, but rather, with a refined and meaningful style of writing, outline the outline of the Wu Palace on the Gusu Terrace at the time of sunset and the hazy silhouette of the drunkenness of the beauty of the palace, Xi Shi. The phrase "at the time of Wuqi" is a reference to the title and the time of the day. The poet sets the Wu Palace in the background of the twilight crows in the dusky forest, which invariably brings some symbolic coloring to "the time of the crows", making people vaguely feel the dark atmosphere surrounding the Wu Palace, and associating it with the declining trend of the Wu Kingdom at sunset and twilight. This atmosphere is in sharp contrast to the scene of indulgence and enjoyment of "Drunken Xishi in the Palace of the King of Wu," which implies the meaning of sorrow at the end of happiness. The meaning of this layer outside the elephant, throughout the whole piece, but the performance is very subtle and implicit.
"The songs and dances of Wu and Chu are not yet over, and the green hills are halfway to the sun." The song and dance of the Wu Palace is only mentioned in a single sentence, focusing on the passage of time in the process of feasting and music. People who are intoxicated in the ecstasy often do not realize this. Songs and dances, flushed face, enjoyment is still in the climax, but suddenly and unexpectedly found that the western peaks have swallowed up half the red sun, twilight is coming. The word "not" word "want" word, closely echoed, subtle and evocative of the king of Wu that regret, regret the psychological. The scene of the setting sun and the mountains, and the second sentence in the same "when the crow roosts", vaguely reveals the face of the decline of the era, making the "happy not yet finished" and the time has been the description of the twilight, with the ominous hint of the difficult to long for the joy.
"The silver arrow and the golden pot leaked a lot of water, and I got up to watch the autumn moon fall into the river waves." A continuation of the desultory night in the Wu Palace. The author of the palace poem is often eager to exhibit the luxurious and decadent life, Li Bai skillfully from the side of the light pen. "Silver arrows and golden pots" refers to the dripping copper pots that keep time in the palace. The copper pot leaks more and more water, and the scale of the silver arrow also rises more and more, suggesting that the long autumn night fades away gradually, and this night the king of Wu, Xishi pleasure-seeking scene will all be hidden behind the curtain. A round of autumn moon, in the silent passage of time across the sky, has now gradually dimmed, fell into the river waves, the sky is nearly dawn. Here in the scene description in the "up to see" two words, not only to wake up the scene composed of the environment behind the activities of some people, suggesting that the quiet and bright autumn night hidden obscenity and ugliness, but also to reveal the psychology of the hedonists. They always feel that the time for enjoyment is too short, daytime is looking for long rope tied to the sun, the night is looking forward to the moon in the middle of the sky, so when he "up to see the autumn moon fall river waves", the heart can not help but float with unnamable frustration and inexorable sadness. This is exactly the decadent mentality of the last ruler. The sad and lonesome image of the "autumn moon falling on the river" corresponds to the scene of the sunset above, which makes the sad atmosphere permeating the whole poem become more and more intense in the repetition.
The poet's ironic brush does not stop here, he intends to break through the "Wuqi Qu" old title of the even sentence closing format, even for odd, to the poem put a meaningful ending: "the East is getting higher and higher NaiLeHe!" The word "high" is a borrowed word for "white". The east is already white, the day is about to dawn, can the pleasure-seeking continue? This lone sentence is like the sigh of the king of Wu who hates the shortness of the night that the joy is hard to continue and the good dream will not last long, and it is also like the poet's alarm to the king of Wu who is drowning and not waking up. In this cold question, the poem is steeply closed, especially striking and thought-provoking.
This poem has a remarkable feature in its conception, that is, to take the passage of time as a clue to write out the process of the obscene life in the Wu Palace from day to night, and from night to day. The poet of this process of various scenes, not for specific depiction of rendering, but closely linked to the passage of time, the change of scenery, to imply that the Wu Palace of obscenity day and night, to reveal the king of Wu drunkenness and dreaming of death, and through the cold forest perched crows, the setting sun, mountains, the autumn moon fell into the river and other symbolic color of the scene of the implied symbolism of obscenity of the indulgence of the tragic end of the person. The whole poem is purely objective, without a single derogatory remark, but the satirical brush is sharp and cold, penetrating y into the spirit and soul of the subject. The Tang and Song Poetry Review of this poem says: "The meaning of sorrow at the end of happiness is written in a subtle way, and the elk swims in Gusu in a few moments. The whole thing is not broken, can be said to send the deep and subtle. ...... the end of a single sentence, there is not the end of the wonderful." This is quite able to capture the characteristics of this piece of commentary.
Li Bai's seven-word poems and songs, generally written in a majestic and unrestrained, wanton and dripping, this "Wusi song" is on the convergence of implicit, deep and hidden, become his seven ancient in a different tune. Some people may think that it is a satirical reference to Tang Xuanzong's indulgence in sex and obsession with Concubine Yang through the desolation of the Wu Palace, which is possible. There is a similarity between Emperor Xuanzong's early efforts in governance and his later indulgence in sex, which led to his downfall, and Fuchai's first efforts to build up Wu and defeat Yue, and his later indulgence in sex, which led to his downfall. According to Tang Meng Kai's "Poetry of the Scholars", when Li Bai first arrived in Chang'an, He Zhizhang sighed in appreciation of his poem "Wusi Qu" and said, "This poem can be sobbing to the ghosts and gods. It seems that He Zhizhang's "weeping ghosts and gods" comment, not simply from the artistic point of view.
The friendship between Li Bai and Du Fu is a precious page in the history of Chinese literature. Among the surviving poems of Li Bai, only two are recognized as having been written directly for Du Fu, one of which is "Sending Du Erfu to the East Shimen of Lu County", and the other is this poem.
The city of Shachu, located on the banks of the Wenshui River in Shandong Province, was Li Bai's place of refuge in central Lu. This poem was probably written in the fall of the fourth year of Tianbao (745), when Li Bai returned to his apartment in Shachu before bidding farewell to Du Fu in Lu County and traveling south to Jiangdong. From the spring and summer of the third year of Tianbao to the fall of the fourth year of Tianbao, the two men spent a lot of time together, although they had a short separation. Now, the poet sends off Du Fu, from that kind of life full of friendship and joy, alone back to the sand dunes, naturally doubly lonely, doubly feel the preciousness of friendship. This poem expresses the feeling of "thinking of Jun" which cannot be dispelled under such circumstances. However, it is worth noting that the poet uses a lot of ink to write about "me"--"my" life, "my" surroundings, and "my" mood at the beginning. My life, my surroundings, and my mood. In the first six lines of the poem, there is not a single word for "thinking" or "gentleman". There is a feeling of being turned around and not knowing where to go, and it is only at the end of the poem that the word "Thinking of Jun" is revealed. When we understand the main idea, and then go back to savor the first six lines, we will feel that none of them is not written "thinking of Jun", and one is as strong as the other, so that the last can not help but express their feelings. It can be said that the smoke and clouds of the first six lines have become the backdrop of the last two lines. Such a conception, not only from all angles, with a variety of feelings, for the main theme of the poem to build momentum, but also to give those daily life events with a strong poetic flavor.
The poem begins with the question, "What is it that I have come to do?" This is the poet's self-question, which is quite a bit of unspeakable annoyance and self-reproach. This will naturally attract the reader's attention and create suspense. "Lying high in the city of sand dunes", lying high, in fact, refers to his own life of idleness and boredom. On the one hand, this sentence describes the life at hand, and on the other hand, it also responds to the reason for raising the above question. What would have happened if the poet had not come to the dunes? In light of the title of the poem ("Sending Dufu") and the days he spent with Dufu before coming to the dunes, the answer is self-evident. The beginning of the poem, which comes out of nowhere, is a sudden outburst of the poet's complex and bitter feelings after the disappearance of the life of friendship and joy.
The first two lines favor the expression of subjective emotions, while the third and fourth lines turn to the depiction of objective scenery. "There are ancient trees by the side of the city, day and night even the sound of autumn". The dune city for the poet, like nothing else to see, nothing else to hear, only the city side of the old trees, in the autumn wind day and night to send out the sound. "Deep in the night, the wind and bamboo beat the rhythm of autumn, and the sound of thousands of leaves is all hatred. The gloomy autumn wind and the desolate atmosphere make people miss their friends and remember the past, which makes them feel sad and hard to understand. What to do? "Farewell has the love for each other, Yao Se and the golden bottle". However, at this time and place, this situation is extraordinary, wine can't kill the sorrow, and songs can't forget the worries. Lu and Qi refer to Shandong, where the poet was located at that time. "I can't get drunk", that is, I don't have the interest to drink and get drunk. "Empty and repeat the love", because they have no intention to appreciate, the song can only be in vain. By writing a sentence like this, it greatly increases the weight of lyricism, and at the same time forces out the following.
Wen Shui, originating in Laiwu, Shandong Province, flows southwest. Du Fu said goodbye to Li Bai in Lu County to go to Chang'an, which is also located in the southwest of Lu land. So the poet said: I think of the feelings of the gentleman as a river of water, day and night as you go south. Poet sent in the water, according to the title of the poem, pointing out the main idea, that the water is not stop, the mood of endless thoughts, more caused by the words of the long rhyme. This kind of unending thoughts, and the kind of "the sky to see the green water, the sea to see the green mountains. The openness and freedom of mind of the poet, who is "separated by the sky and the sea", shows the richness and colorfulness of the poet's feelings and styles.
In the development of ancient Chinese poetry, the ancient style preceded the legal style. However, we can also see that when the rhythmic style was prevalent, it did not have any effect on the writing of ancient poems. For example, in Li Bai's poem "Five Ancient Poems", there are eight lines in the whole poem, and although the middle four lines are not neatly organized, we can see the traces of metrical poems in some of the words and the format of the poem as a whole. This kind of loose in the pair, ancient in the law of the chapter and sentence style, better express the poet's innocent and deep feelings, but also make the whole poem has a natural and heavy style.
This is an aria. The author praises the great achievements of Zhuge Liang, especially his military talents and achievements. The third and fourth lines, Liu Bei swallowed Wu lost division, buried Zhuge Liang Zhuge Liang Wu against Cao's unification of China's ambitious cause, expressed regret. The last sentence should mirror the beginning, three sentences should mirror the second sentence; in content, both nostalgic, but also lyrical, feelings in the feelings, words outside the intention; in the absolute sentence in a unique style.This is the author first arrived in kui state made a poem in memory of Zhu Geliang, written in the first year of dali (766). "Eight Formation Diagrams", which refers to the formation diagrams for military drills and operations composed of eight formations: heaven, earth, wind, clouds, dragons, tigers, birds, and snakes, is a creation of Zhuge Liang, reflecting his outstanding military talents.
"The work cover three countries, the name into eight array map", these two sentences praise Zhuge Liang's great achievements. The first sentence is written from the general aspect, said Zhu Geliang in the establishment of Wei Shu Wu three worlds, tripod situation in the process, the most outstanding achievements. The formation of the three coexisting situations, of course, there are many factors, and Zhuge Liang assisted Liu Bei from scratch to create the foundation of Shu, should be said to be one of the important reasons. Du Fu's highly generalized praise objectively reflects the historical reality of the Three Kingdoms era. The second sentence is written from a specific aspect, saying that Zhuge Liang's creation of the Eight Formations made him more famous. The ancients have repeatedly praised this point, such as Chengdu Wuhou Ancestral Temple in the inscription is written: "a unification of the Warren aspirations have not yet been rewarded, the layout has a map of the sincere and wonderful strategy." "The array on the river is still laid out, and the phase industry in Shu has a splendor." And Du Fu's poem is more concentrated, more condensed praise Zhuge Liang's military performance.
The first two lines of the poem are written in the style of a pair of lines, "three countries" to "eight array map", to the overall performance of the military contribution to the overall performance, seems to be subtle and neat, natural and appropriate. Structurally, the first line of the poem is a clear introduction to the subject of the poem; the second line of the poem further praises the achievements of the poem, and at the same time paves the way for the following relics to be visited.
"The river flows and the stone does not turn away, and I hate to lose the swallowed Wu." These two lines express the feelings of the ruins of the "Eight Formations". The ruins of "Eight Formations" are on the flat sand in front of Yongan Palace in the southwest of Kui Zhou. According to "Jingzhou Diagrams" and Liu Yuxi's "Jiayuan Records", the Eight Formation Diagrams here gathered fine stones into piles, five feet high, sixty circumference, arranged in sixty-four piles in a horizontal and vertical pattern, and always remained unchanged in its original form, even if it was submerged by the impact of heavy water in summer, and then in winter when the water fell down, everything lost its original state, but only the eight piles of stones of the Eight Formation Diagrams were still as they were in the old days, and they had remained firm and unchanged for six hundred years. The previous sentence is very concise to write out the relics of this magical features. The phrase "the stone does not turn" is an adaptation of the verse "My heart is like a stone, and it cannot turn" from "The Book of Songs - Name Wind - Cypress Boat". In the author's view, this magical color and Zhuge Liang's spirit is intrinsically linked: he is loyal to the Shu Han regime and the unification of the great cause, unswerving, like a rock of unshakeable. At the same time, the existence of this scattered and reunited, unchanged for many years of the eight array of stone piles, seems to be Zhuge Liang on his own death expressed regret, a symbol of regret, so Du Fu immediately wrote the last sentence is "hate lost swallowing Wu", that Liu Bei swallowed Wu lost, destroyed Zhuge Liang's fundamental strategy of the Cao's Wu, so that the unification of the great cause of the abortion, and a thousand years of hatred. The first thing I want to say is that I'm not going to be able to do that.
Of course, this poem is not so much about Zhuge Liang's "posthumous hatred" as it is about Dufu's regret for Zhuge Liang, which permeates Dufu's depressive mood of "hurting himself in his twilight years and failing to accomplish anything" (Huang Sheng's words).
The ancient poem is characterized by the integration of argument into the poem. But this discussion is not empty and abstract, but the language is vivid and graphic, lyrical color. The poet integrates the nostalgia for the past and the description of feelings into a single, undivided whole, giving people a kind of feeling that this hatred is lingering, and the residual meaning is not finished.
Crane notes that this was written at the beginning of the first year of the Dali Yuan when he arrived in Kui Zhou.
Crane noted that this was made at the beginning of the Dali Yuan to Kui State. Jingzhou map vice" cloud: Yongan Palace, a mile south of the harbor on the moraine, there are Kong Ming eight array map, poly fine stone for the. Each five feet high, wide ten around the calendar Ran chequered, vertical and horizontal quite, the middle of the nine feet apart, the center of the open north-south alley, Sydney wide five feet, where sixty-four poly. Or for people scattered, and for the summer water did not, winter water recession, but still the same.
Kungfu cover three countries ①, the name of the eight array map ②, river flow stone does not turn ③. The river flowed and the stone did not turn ③.
(The river flows and the stone does not turn away, this is the formation map of the fame for thousands of years. I hate the fact that I lost the plan to swallow Wu, so that I was thwarted in my efforts to achieve the three points. The next two sentences, with the sub should be. "Dongpo Zhilin": I dreamed Zi Mei said servant: "the world more misunderstanding of my" eight array "poem, that the late Lord Wuhou want to take revenge with Guan Gong, so hate can not destroy Wu, not. My intention is to say that Wu Shu lips and teeth of the country, should not be phase figure. Jin can take Shu, to Shu have swallowed Wu's will, so as to hate ear." Zhu note history: zhao li defeated zigui, Zhuge Liang said: "law filial piety straight if in, will be able to control the master eastbound. On the eastbound, will not pour danger." Observe this, the levy Wu is not Kong Ming intention. Zi Mei this poem, said Kong Ming can not stop the move to conquer Wu, Zigui frustration, for the life of hate. Dongpo's statement is not. Liu Jian said: Kong Ming to the world's most brilliant, the system for the river formation map, so far does not wear. So that the first master can use its formation, why even camp seven hundred miles, defeated in Guo Ting哉! Want to swallow Wu but do not know the formation method, is the then the last hate also. There are four ways of saying the following sentence: I hated the fact that I could not destroy Wu, which is also an old saying. The old saying is that we hated the fact that we could not destroy Wu, and the old saying is that we hated the fact that we could not conquer Wu. Can not control the Lord on the eastbound, and thought he hated, this "Du Guess", Zhu Note also said. (To be unable to use the formation, and cause to swallow Wu lost division, this Liu's saying also.)
1) The biography of Kuai Tong: "Those who cover the world with their achievements are not rewarded." Exodus Table: "Today under the three points, Yizhou strikes a drawback." ② Le Yi book: "Early knowledge of the scholar, the name into not destroyed." Old note: "Formation eight: heaven, earth, wind, clouds, flying dragons, soaring birds, tiger wings, snake coils." Zhan Fangsheng: "Looking forward to the river's flow." ③Poetry: "My heart is a stone and cannot be turned." ④ Houhan-Wang Chang: "There is no hatred left in death." Shu Zhi: Yu Zheng's "Interpretation of Mockery": "Swallowing and chewing the eight districts." Wu see Si theory: the last sentence for the "hate in swallowing Wu", the meaning of the text is clear, the old "lost swallowing Wu", seems to be difficult to understand. P.S. Examination: "Dongpo Zhilin": Zhuge made eight array map in the fish on the flat sand, base stone for eight lines, two feet apart. Huan Wen expedition QiaoZhong, see said: "this Changshan snake potential." Wen Wu all do not know. I often pass, from the hill looking down more than a hundred feet, where eight lines, for sixty-four coarse, coarse is round, do not see the concave and convex place, such as the sun in the cover of the shadow, and on the view, they are all pebbles diffuse indistinguishable, very strange also.
Liu Yuxi, "Ka Words Record": Kui State West City, overlooking the river sand, under the Zhuge Liang eight array map, polystone distribution, just like still exist. When the water in the gorge is big, when the three Shu snow disappears, it is infinite, and the big trees are ten rounds, and the withered hewers are a hundred feet, and they go down with the waves. And when the water is down and the river is flat, everything is out of shape, Zhuge pile of small stones, marking the gathering of rows and columns are still, such as the nearly six hundred years, until now, not moving.
"Chengdu Tujing": Wuhou eight array of three: sixty in Kui four, square array law. In the town of Mimou, twenty eight, when the head of the formation. In the chessboard city, two hundred and fifty six, the lower camp formation.
Yongjia Xue's cloud, Wuhou's country, the visible three, one in Shinyang of the old base of Gao Ping, one in Guangdu of the eight array of townships, one in the Fubu Yong'an Palace south of the river beach water. In GaoPing, since LiDaoYuan has said that pouring the strip is difficult to recognize. In Guangdu, Long soil for the base, the head to the river stone, four door two head, sixty-four kui, eight into the line, the two formations are standing, the formation of four hundred and seventy-two paces around, its kui hundred and twenty. In the fish compound, due to the river for the situation, the accumulation of stones with the flow, the front shelter wall door, the back according to the but the month, vertical and horizontal are eight, between the two zhang Kui, laying down the moon inside the face, nine or six scales difference. Guangdu old heard nothing, but in Li Ying "Yizhou record". It is said that all eight lines of the kui, the property to raise its half. Zhao applauded "Chengdu Records" said to see the old saying cloud: for Jiang Shi Bing number of kui, should be sixty-four hexagrams, then know the two formations of the two head of the intention to body Qiankun portal, the law of the image of the birth of the also. However, its array in the flat land, bound in the door wall, camp array of law with, and the Qi Zheng way embedded. Fish again array in the river, because the water forming, seven or eight for the warp. Nine or six for the latitude, the body square in the eight array, the shape of the round but the moon. The wall of the door can watch the camp formation of the situation, but the moon can recognize the change of the odd and positive. Therefore, although the Yangtze River East, summer flow turbulence. Booming thunder galloping horse, not enough to imitate its potential; back to the mountain roll stone, not enough to say its anger. Ee eight array, really excited about its punch, over the years thousands of years, have not tasted back to scratch. Therefore, Huan Wen thought the snake of Changshan, Du Fu Wei its river flow and not turn also.
Wang Yu said: array eight: two Ge two gold for the sky, three Ge three full for the ground, two Ge three gold for the wind, three Ge two gold for the cloud, four Ge three gold for the dragon, three Ge four gold for the tiger, four Ge hardware for the bird, five Ge four gold for the snake.
Li Guinian was a famous singer in the Kaiyuan period. When Du Fu first met Li Guinian, he was a teenager who sang about the phoenix at the time of the so-called "Golden Age of the Yuan Dynasty". At that time, princes and nobles were generally fond of literature and art, and Du Fu was received by Li Fan, the king of Qi, and Cui Dai, the secretary-general of the court, because of his outstanding talent, and he was able to enjoy Li Guinian's singing in their residences. An outstanding artist is not only a product of a specific era, but also a sign and symbol of that era. In Du Fu's mind, Li Guinian was closely associated with the flourishing Kaiyuan era and his own romantic adolescence. Decades later, they met again in Jiangnan. At this time, suffered eight years of turmoil of the Tang dynasty has fallen from the peak of prosperity, into the heavy contradiction; Du Fu drifted to Tanzhou, "sparse cloth wrapped around the withered bones, running around the bitter not warm," the late situation is extremely bleak; Li Guinian also living in Jiangnan, "every good time, for people to sing a few songs, the seat of the heard, no one covered up the tears. In the heard, all do not cover the weeping strike wine" ("Ming Huang Miscellaneous Records"). This kind of meeting naturally triggered the infinite vicissitudes in Du Fu's chest. "It is common to see in the residence of the Qi-wang, and it has been heard several times in front of Cui Jiutang." Although the poet is recalling his contact with Li Guinian in the past, what he is revealing is his deep nostalgia for the "Full Bloom Day of Kaiyuan". These two lines seem to be very light, the feelings contained in the deep and heavy. "Gi-wang house", "Cui Jiutang", as if spoken out of turn, but in the mind of the person concerned, these two literary and artistic celebrities often gathered, undoubtedly, is the rich and colorful abode of spiritual culture in the flourishing Kaiyuan period, and their names are enough to evoke the memory of the "heyday" of the "full bloom day". Their names are enough to evoke fond memories of the "heyday". When in and out of the room, contact Li Guinian such as art stars, is "unusual" and not difficult "a few times", and now look back, is simply unattainable dream. The sentiment of the separation between heaven and earth contained here should be combined with the next two lines in order to savor it. The two lines of the poem in the iterative singing and chanting, revealing the infinite fondness for the heyday of the Kaiyuan, as if to lengthen the time of reminiscence.
Dream-like memories, after all, can not change the immediate reality. "It is the good scenery of Jiangnan, the time of falling flowers and meet the gentleman." The beautiful scenery of Jiangnan, in the Chengping era, was the place where poets aspired to make a pleasure trip. Now that I am really in the middle of it, what I am facing is the fading "season of falling flowers" and the displaced artists who are offering their hair to the public. The "season of falling flowers" is like a book of the scene, but it is also like an allegory, which is sent between intentionality and unintentionality. Readers familiar with the era and Du Fu's life will associate these four words with the decline of the world's fortunes, social upheaval, and the poet's illness and wanderings, but do not feel that the poet is deliberately setting up metaphors, which makes this writing style seem particularly sophisticated. Plus two lines in the "exactly" and "and" the two imaginary words a turn and a fall, more in the words between the lines hidden infinite feelings. The beautiful scenery of Jiangnan has become a powerful counterpoint to the chaotic time and sinking life. An old singer and an old poet are reunited in the midst of drifting, and the scenery of falling flowers and flowing water, embellished with two emaciated old men, becomes a typical picture of the vicissitudes of the times. It mercilessly confirms that "the full bloom of the Kaiyuan era" has become a historical relic, and that a great upheaval has reduced Du Fu and Li Guinian, who had experienced the prosperous times, to an unfortunate state. Sentiment is undoubtedly very deep, but the poet wrote to the "falling flowers and meet the gentleman", but the grim and closed, in the wordlessness of the deep sighs of regret, the sadness of the painful to learn from the pain. In this way, "I have just begun, but I have ended", and I do not even want to say one more sentence, so it really seems to be very profound. Shen Deqian commented on this poem: "The meaning of the poem has not yet been declared, and there is a case that has not yet been resolved". It is not difficult for Li Guinian, who had a similar experience, to understand the meaning of this "unsubstantiated"; it is also not difficult for the readers who are good at knowing people and discussing the world in the later generations to grasp it. Like in "The Palace of Eternal Youth - Playing Lyrics", Li Guinian sang: "At that time, there was a clear song in the sky, but today there are drums along the street", and "I can't sing all the dreams of the rise and fall of the people, and I can't play all the sadness, and I can't see all the sadness, and I can't see all the sadness, and I am desolate and full of eyes towards the river and the mountains" and so on. The playwright has extracted from Du's poem.
Four lines of the poem, from the Qi-wang's house, Cui Jiu in front of the hall of the "heard" song, to the fall of flowers in the South of Jiangnan re-"meet", "heard", "meet" between the link between the "heard", "meet", "meet", "meet", "meet", "meet", "meet", "meet", "meet", "meet" and "meet". Between "Wen" and "Feng", the poem links the vicissitudes of the times and the great changes in life in the past forty years. Although the poem does not have a positive involved in the time and life, but through the poet's reminiscence, readers are not difficult to feel to the Tang Dynasty social material wealth and cultural prosperity brought about by the catastrophe of the great upheaval of the shadow of the obstruction, as well as the huge disaster and trauma that it caused to the people. Indeed, it can be said that "the rule and chaos of the world's fortunes, the bloom and decay of the Chinese years, and each other's bleakness are all present in it" (commented by Sun Su). Just as in the old theater stage, the audience could imagine a vast spatial background and the course of events through the singing and performance of the actors without the use of scenery, and just as in novels, the fate of a person often reflects a period of time. The success of this poem seems to tell us: in the great poets with high artistic generalization and rich life experience, how much capacity such a short genre as stanzas can have, and in the expression of such a rich content, what kind of a weighty, light, and smooth artistic realm.
This poem was written in Chengdu in the spring of the second year of Emperor Daizong's reign (764), and the poet's visit to Shu was already in its fifth year. In the first month of last year, the official army recaptured Henan and Hebei, and the An Shi Rebellion was pacified; in October, the Tubo sank into Chang'an, set up puppets, changed the year, and Emperor Daizong ran to Shaanxi; then Guo Ziyi resumed the capital, and the Emperor took the throne; at the end of the year, the Tubo broke into the states of Song, Wei, and Baosu (in the northern part of present-day Sichuan), then fell into the states of Jiannan and Xishan. In the poem, "the Western Mountain bandits" refers to the Tubo; "all the parties have many difficulties" also to the Tubo invasion for the most intense, at the same time, also refers to the eunuchs dictatorship, the clans and towns cut off, the court of the internal and external difficulties, the increasing decline of the scene of the plague.