Du Fult;lt;Eight Poems of Qiuxing (Part Eight)gt;gt;Appreciation?

No. 8 of Du Fu's "Eight Poems of Autumn Xing"

"Kunwu Yusu meanders from the wind, and the purple pavilion peak enters the Pei". Kunwu Yusu, both place names, are located in Shanglin Garden. Shanglin Garden was a hunting place opened by Emperor Wu of the Han Dynasty. It is located near Zhongnan Mountain and to the west, 300 miles away, and spans present-day Zhouzhi, Huxian, Chang'an, Lantian and other counties. "Yusu" was named after Emperor Wu once stayed here. "Purple Pavilion Peak" is west of Zhongnanshan Temple and 30 miles southeast of the county (now Zuohu County). Purple Pavilion looks like a towering pavilion. When the sun rises, the mountain turns purple, so it is called "Purple Pavilion". "?Pi" (bēi), the name of the pool, is located 5 miles west of the county (today's Hu County). The water comes out of the valleys of Zhongnan Mountain and joins Hu Gongquan to form the pond. It has a circumference of 14 miles. The water is clear and delicious, so it is called "Pi". , was a tourist attraction at that time. Pi, pool.

"The fragrant rice pecks at the remaining parrot grains, and the green parasol perches on the old phoenix branches." The fragrant rice is the remaining grains pecked by the parrot, and the biwuwu is the branch where the phoenix lives. Because the description focuses on the "fragrance" of "rice" and the "blue" of "wu", so that people can imagine the abundance of products and the beauty of the scenery. . So the inverted syntax is used. These are also the author's ingenuity, which opened the way for later creation of verses.

"Beautiful women pick up the green spring and ask each other, and immortal lovers are in the same boat late at night." "Beauty" refers to the singing girl on the ship. Du Fu's poem "Boating on the West Side of the City" goes: "The green moth's white teeth are on the boat, and the horizontal flute and short flute are sad for the distant sky." It also refers to singing girls. "Pick up green", the Chinese version of Cao Zhi's "Ode to the Goddess of Luo": "Maybe explore for pearls, or pick up green feathers." Ask about legacies and gifts. The poet went with his brothers Cen Shen on that trip to Pi. The wind started to blow strongly and the moon rose over the water at dusk, so he continued the trip. "Immortal couple" refers to people traveling in the same boat. Shift, line, here refers to rafting.

"The colored pen used to be dry, and the old man looked down in pain." "Colored pen" refers to superb literary talent. According to legend, Jiang Yan, a Liang writer in the Southern Dynasties, once dreamed that Guo Pu, a Jin writer, asked him to return his colored pens, and he could no longer write good articles. "Qianwei" means majestic momentum. Fan Zhongyan's "Yueyang Tower": "The sun shines in the morning, the evening clouds, and the weather is endless."

This poem is the poet's recollection of traveling with friends in Chang'an. The first couplet records the journey, starting from Chang'an, passing through Kunwu and Yusu, and then along the mountain road to the north of Zige Peak to reach Pei. The couplet uses "parrot grains" to describe the abundance of Pei's products, and "phoenix branches" to describe the beauty of Pei's scenery. Neck couplet? A grand event during the boating trip. At the end, the brilliance of the past contrasts with the lack of talent and thinking today, summarizing the whole poem, and there are endless emotions behind the words.

Among the many anthologies of Du's poems, the ones with detailed and original insights into the structure, usage, poetic technique, exegesis of words and phrases, ambiguity judgments, and the evidence provided by each author of this group of poems are exemplified by Mr. Xiao Difei's " "Selected Annotations of Du Fu's Poems" is the best. That is, the first three poems move from reality (thinking of Chang'an) to memories (thinking of Chang'an), detailing Kuizhou and briefly discussing Chang'an; the last five poems move from memories (thinking of Chang'an) back to reality (Kuizhou), detailing Chang'an but briefly mentioning Kuizhou. Mr. Xiao also believes that starting from the fifth poem, the first six sentences talk about Chang'an and the past, and the last two sentences return to Kuizhou, and the return to the present should be in the sixth sentence.

The unique psychological space-time structure of "Kuizhou-Chang'an" in this poem has been seen by predecessors. Pu Qilong said that "the outline of the eight poems in the first chapter" actually refers to "Kui Mansion" and implicitly refers to "Jinghua". He paid special attention to the words "future" and "hometown" in this chapter, and believed that the last seven poems and so on... were all included in these four words. The typical one is the second one. The first couplet is marked "Kui Mansion - Jinghua", and the following sentences are transferred back and forth between the two places: listening to the ape - Kuizhou, serving the envoy - Yi Jing; painting the province - Yi Jing, Shanlou - Kuizhou. The last two sentences return to the wandering home in reality, and the spiritual home of Beijing, under the Beidou, is where the poet takes refuge in his life. The author's flow of psychological time and space focus between the two places is very flexible and free. For example, the first sentence of Chapter 6, "Qujiangtou at the mouth of Qutang Gorge", actually transcends "thousands of miles of wind and smoke" and connects Kuizhou and Chang'an. Transforming thousands of miles into neighbors, this flow is like a modern stream of consciousness.

This psychological space-time structure of circulation between two places can be traced back to the "Book of Songs? Dongshan".

Starting from the second chapter of the poem, each chapter structurally begins with a real scene as the background (first four), and is filled with imagination and fantasy in the middle (from the imagined desolation of the hometown after the war in the second chapter, to the concrete image of his wife (the third chapter), and then To the wedding scene in Chapter 4), the ending returns to reality and ends lyrically. The past, present and future are shown in time; the hometown and journey are combined in space. All of this is the product of Zhengren’s psychological activities. The so-called stream of consciousness has existed since ancient times and is not something imported. However, "Eight Poems of Autumn Xing" uses it most skillfully and with the most originality.

The structure is concrete, but the understanding of the Chinese atmosphere revealed in the poem is like an antelope hanging its horns, leaving no trace. When he was in Lingyi, he wrote about prosperity with great penmanship, writing about a dream of prosperity in the prosperous Tang Dynasty that has been lost but has not completely cooled down and is not far away. Royal scenes such as "the clouds move on the pheasant's tail" and "the sun wraps around the dragon's scales"; the magnificent scenes of "bead curtains and embroidered pillars" and "brocade cables and quills"; the peaceful scenes of "beautiful women picking up greenery" and "immortal couples in the same boat", It is both vivid and a dream. But the reality in front of us is that the royal family has moved, the Hou family has changed its owners, and the clothes and clothes have changed. In the sudden rise and fall, he vaguely felt that the foundation of the Tang Dynasty was shaken, and felt the absurdity of history and the inversion of the value of life. The "imperial state since ancient times" cannot maintain its eternal prosperity. Although I once said that "the colorful brushes used to do the work", now I am so lonely that "the rivers and lakes are full of fishermen". In addition to the bitter love of "looking at Beijing every day" and the reflection of "sitting in the green tower of the river every day", we can only savor the scenery of the past. In the huge background and psychological contrast of the rise and fall of the past and present, we can only "grow old and grow old". It’s just hope and suffering.” In this fantasy, Lao Du not only aroused philosophical thinking about the rise and fall of the Tang Dynasty, but also felt that life was fickle, values ??were reversed, and prosperity could not be relied on. The three words "bitterness and low hanging" at the end of the whole poem are worth pondering. The realization here should be that the poet's life experience of the universe and life is all without words. Generally speaking, rhythmic poems cannot escape the so-called "starting, inheritance, turning, and combining" pattern, but this one describes the scenery of Pi, and does not end with the turn of the pen until the last sentence: "The white head chants and looks down in pain." This writing method is occasionally found in quatrains written by poets of the Tang and Song Dynasties. But it is rare in rhymed poetry. Du Fu was able to move around in rhythm without being bound by it.