There is nothing in this country. I bought it through Hangzhou Wuzhou and arranged long-distance consultation. It was sent straight home from India, very square. There is only a period of time from left to right. You can ask them any questions.
Telegraph and telephone number: (400-150-8089)
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(1) Xie Tiao North Building: Yangling Peak, Xuancheng County, Anhui Province. Xie Tiao was a poet of Southern Qi Dynasty, and this building was built when he was the magistrate of Xuancheng. (2) Jiangcheng refers to Xuancheng. (3) Ershui: Wanxi and Juxi. There are two bridges, Phoenix and Jichuan, above and below Wanxi. Spiegel: It refers to the circle formed by the arch bridge bridge opening and its reflection in the water, like a bright mirror. (4) Rainbow: refers to the bridge shadow in the water. (5) Human smoke: cooking smoke. (6) Xie Gong: Xie Tiao.
Xie Tiao North Building, also known as Xiegong Building, was built by Xie Tiao, a poet of Southern Qi Dynasty, when he was the magistrate of Xuancheng. In the Tang Dynasty, it was renamed Zhang Die Building, which is a scenic spot in Xuancheng. Xuancheng is surrounded by mountains and waters, Lingyang mountains are winding and the three peaks are beautiful; Zhuxi and Wanxi streams are reflected all over the suburbs. It's really like "Birds come to the mountains, birds come to the mountains, and people are crying in the water" (Du Mu titled "Your Excellency, Shui Ge in Kaiyuan Temple, Xuanzhou, Wanxijia Xijuren"). This poem was written in the 13th year of Tianbao (754). After the Mid-Autumn Festival this year, Li Bai came to Xuancheng from Jinling.
On a clear autumn evening, the poet boarded the Xiegong Building alone. The blue mountain shadow is so bright and clean! Seen from a height, this "Jiangcheng" is like painting a picture. In the first two sentences, the poet wrote a summary of the scenery he saw during the tour, always with the whole article, which immediately attracted the readers deeply and entered the artistic conception of the poem together. Yan Yu's "Cang Shi Lang Dialect" says: "Taibai sends a sentence and goes straight to the theme." This is the expression.
The middle four sentences are specific descriptions. The artistic images created by these four poems are all born of the word "Wang" above. From the structural relationship, the first two sentences are written as "picturesque river" and the last two sentences are written as "clear night sky"; The four sentences are a complete unity, and they are hierarchical. "Ershui" refers to Juxi and Wanxi. Wanxi source leaves Yishan, joins Zhu Xi in the northeast of Xuancheng, and joins around the city, so it is called "clip". Because it is autumn, the stream is clearer and flows calmly, and the wave surface is glittering and translucent. "Mirror" is the most appropriate description. "Double Bridge" refers to the upper and lower bridges across the stream. The upper bridge is called Phoenix Bridge, which is outside Taihe Gate in the southeast of the city. The bridge below is called Jichuan Bridge, which is located outside Yangde East Gate in the east of the city. It was built in the reign of Emperor Wendi of Sui Dynasty (58 1-600). These two long bridges stand on the stream and are reflected in the water. Seen from the tall building, the light green stream and the bright red sunset, under the flickering lights, the shadows of the bridges reflect infinitely strange gorgeous colors. Where is this bridge? It's like two rainbows in the sky, and the shadow of this rainbow falls in the mirror. After reading these two sentences, we will naturally think of the poem "Looking at Lushan Waterfall", another masterpiece of the poet, "Flying down three thousands of feet, suspecting that the Milky Way has set for nine days". Both of them also use analogy to shape their images, and also use a word "falling" to connect the underground and the sky; But there are differences in similarities and differences, and all roads lead to the same goal: one is to compare the waterfall to the milky way, and the other is to write the reflection of Shuangqiao in the waves of the sunset with a rainbow; One focuses on depicting its surging momentum, and the other focuses on showing its magnificent and changeable colors, giving people different aesthetic feelings, while the poet's rich and wonderful imagination and lively and ethereal brushwork are equally amazing.
In the autumn evening, there was silence in Yuan Ye. In the jungle surrounded by mountains, the smoke from kitchen chimneys, the deep blue of orange pomelo and the light yellow of phoenix tree present a bleak and bleak scenery, which makes people feel that Qiu Guang should be old.
It is not difficult to imagine that the poet's mood at that time was completely immersed in his field of vision, and his observation was profound and meticulous; And his description is not sticky at all. Standing high and looking far, he grasped the feeling for a while, outlined the outline of a late autumn with extremely concise image language for a while, and deeply revealed the atmosphere of seasons and environment for a while. He wrote not only about autumn scenery, but also about autumn. If you understand it carefully, you will find that he is highly generalized and meticulous with his pen.
The last two sentences, seemingly simple, are actually the same as the first two sentences, pointing out that the place to visit is on the "North Building"; This North Building was built by Xie Tiao, which seems to be the usual formula from boarding to nostalgia, so Li Bai can't help but miss the ancient writing by the way. What is worth noting here is the word "who reads". "Huai" in "Huai Xie Gong" refers to Li Bai himself, and "who reads it" refers to others. The meaning of two sentences is to sigh that no one can understand his mood of "thanking the public against the wind". This is no ordinary nostalgia.
Li Bai has been politically frustrated and led a wandering life since he was excluded by the powerful and gave up his official position in Chang 'an. The guest's frustration and sentimentality, especially in the autumn wind, can be imagined. Xuancheng is his hometown, and now he comes again. As soon as he arrives in Xuancheng, he will miss Xie Tiao, not only because Xie Tiao has left such places of interest in Xuancheng, but more importantly, because Xie Tiao has the same feelings for Xuancheng. When Li Bai looked at the cool breeze alone in the upstairs of Xie Tiao, he remembered the previous generation poets he had always admired in the face of the mountains and rivers admired by Xie Tiao. Although ancient and modern times are separated, the spirit is far from each other. This vague emotion reflects his political loneliness. It is precisely because of political repression that I can't find a way out, so I have to send my feelings to the mountains and rivers and to the ancients who are still traveling; Who can understand his complicated mood at that time?
Wuqi Qu is an old topic in Yuefu's Western Quge in Qing Dynasty. The existing ancient poems of Jian Wendi and Xu Ling in the Southern Dynasties are mostly obscure, with seven words, four sentences and two rhymes. Li Bai's article not only changed from praising eroticism to satirizing the lewd life of the court in content, but also made bold innovations in form.
According to legend, Fu Cha, the king of Wu, spent a lot of manpower and material resources to build Gusu Terrace (the former site is located on Gusu Mountain in the southwest of Suzhou) in three years, and built spring night Palace on it to spend the night drinking with his favorite concubine. The first two sentences of this poem do not describe the luxury of Wu Palace and the lewdness of court life, but outline the outline of Wu Palace and the drunken silhouette of the beauty stone in the palace at sunset with exquisite and meaningful brushstrokes. "Wuqi time" takes care of the topic and points out the time. The poet set the Wu Palace in the background of dusk, which invisibly gave the "Wu Qishi" a certain symbolic color, which made people vaguely feel the dark atmosphere around the Wu Palace and linked it with the decline trend of Wu's dusk. This kind of environmental atmosphere is in sharp contrast with the scene of "Drunken Beauty in Wu Gong", which implies extreme sadness. This hint runs through the whole article, but it is subtle.
"Wu Gechu dance is not finished, and Qingshan wants to hold it for a long time." I only mention the songs and dances of the Wu Palace, focusing on the passage of time during the banquet. People who are addicted to carnival bliss often don't realize this. Singing and dancing, Zhu Yan was at the climax, but suddenly I was surprised to find that the mountain peak in the west had swallowed up half a red sun, and dusk was coming. The word "no" closely echoes the word "desire", which subtly and vividly shows the regret and regret of the king of Wu. And the scene of the sunset embracing the mountain, like "Wu Qishi" in the second sentence, vaguely reveals the face of the decline of the times, which makes the description of "unfinished joy" and dusk with ominous hints that it is difficult to enjoy for a long time.
"The silver arrow golden pot has leaked a lot. It looks like the autumn moon fell into the river." Continue to write about the dissolute night in Wugong. The authors of palace poems are often keen to show luxurious and decadent life, but Li Bai subtly understates it from the side. "Silver Arrow Golden Pot" refers to the dripping water of the copper pot timed in the palace. The more the copper pot leaks, the bigger the scale of the silver arrow rises, suggesting that the long autumn night is gradually disappearing, and the scenes of the prince of Wu and the stone frolicking that night are hidden behind the scenes. A round of autumn moon, crossing the sky in the silent passage of time, has faded and fallen into the river, which is near dawn. The insertion of the word "beginning to see" in the description of the scenery here not only reminds people of the activities behind the environment that constitutes the scenery, but also implies that obscenity and ugliness are hidden in the quiet and bright autumn night, revealing the psychology of hedonists. They always feel that the time for pleasure is too short. During the day, they want a long rope to tie the sun, and at night, they want the moon to be stationed in the center of the sky. Therefore, when he "watched the autumn moon fall on the river", his heart was inevitably filled with unspeakable disappointment and helpless sadness. This is precisely the decadent psychology peculiar to the last ruler. The sad and lonely image of "the autumn moon falling on the river" corresponds to the sunset and the scene inhabiting it, which makes the sad atmosphere of the whole poem more and more dense in the cycle.
The poet's satirical brush strokes did not stop there. He deliberately broke through the format of the ending of the old title even sentence in the May Seventh Song, making it strange and adding a meaningful ending to the poem: "The East is getting higher and higher!" "Gao" is a foreign word for "Gao". The east has turned white, and it will be dawn soon. Can the fun continue? This lonely sentence is not only like a sigh of the prince of Wu who hates short nights, but also like a warning bell sounded by the poet to the prince of Wu who is addicted to short nights. Poetry was suddenly shut down in this cold question, which was particularly eye-catching and thought-provoking.
This poem has a remarkable feature in conception, that is, taking the passage of time as a clue, it writes the process from day to dusk and from dusk to Dan in the life of Wugong. The poet did not describe the scene in this process in detail, but closely followed the passage of time and the change of scenery. Through symbolic and suggestive scenery such as crows in the cold forest, mountains in the sunset and autumn moon falling into the river, he hinted that the Wu Palace was debauched day and night, revealing the drunken life of the Wu King and hiding the tragic ending of the dissolute and indulgent. The whole story is written purely objectively, without any derogatory words, but the satirical style is sharp and cold, which deeply penetrates the spirit and soul of the object. Tang and Song poetry commented on this poem, saying, "Joy begets sorrow slightly gracefully, and soon elk swam in Gusu." If you don't tell me anything, you can say that you are deeply interested. ..... The end of a sentence is endless wonder. "This is a comment that quite captures the characteristics of this article.
Li Bai's seven-character ancient poems and verses are generally bold and unrestrained, but this "Wuqi Qu" tends to be introverted, deep and implicit, and has become his unique tune among the seven ancient times. Perhaps the predecessors thought it was to satirize the indulgence and infatuation of the martial arts palace through its lewdness. Xuanzong made great efforts in the early stage and abandoned politics in the later stage, which is similar to Fu Cha's making a fortune first, defeating Wu, and then indulging in debauchery, leading to his downfall. According to Tang Mengbang's Poem Art, when Li Bai first arrived in Chang 'an, He Zhangzhi saw his "Wuqi Qu" and sighed: "This poem can make the gods cry." It seems that He Zhangzhi's comments on "Make the Earth Cry" are not only from an artistic point of view.
The friendship between Li Bai and Du Fu is a precious page in the history of China literature. Among the existing poems of Li Bai, only two poems are recognized as being written directly for Du Fu. One is Send to Dongshimen, Dulujun County, and the other is this poem.
Dune City, located on the bank of Wenshui in Shandong Province, is where Li Bai stayed in the middle of Shandong Province. This poem may have been written in the autumn of the fourth year of Tianbao (745). Li Bai returned to Dune Apartment before Lu Jun bid farewell to Du Fu and went south to Jiangdong. From the spring and summer of Tianbao three years to the autumn of Tianbao four years, although there was a short separation, there were still many days together. Now, the poet bid farewell to Du Fu and returned to the sand dunes alone from a life full of friendship and joy, naturally feeling lonely and feeling the value of friendship. This poem is to express the feelings of "thinking of the monarch" that cannot be ignored in this situation. But it is worth noting that at the beginning, the poet used a lot of pen and ink to write "I"-my life, my surroundings, my mood. There is not a word "Xiang" or a word "Jun" in the first six sentences of the poem. I feel like I'm going around in circles when I read it, and I don't know where I'm going. It was not until the end of the poem that I suddenly realized and said the word "miss you". When we understand this theme and go back and savor the first six sentences, we feel that each sentence is not about "thinking of the monarch and the minister", which is stronger than a couplet, so that we can't help but express our feelings directly in the end. It can be said that the smoke of the first six sentences has become the foil of the last two sentences. Such an idea can not only create momentum for the theme of poetry from various angles and feelings, but also endow those daily life events with rich poetry.
The poem says, "What am I doing here?" This is the poet's own problem, which is quite a bit of unspeakable indignation and regret. This will naturally attract readers' attention and cause suspense. "The city of high-lying sand dunes", with high terrain, actually refers to its boring life. On the one hand, this sentence describes the present life, on the other hand, it also responds to the reasons for raising the above questions. What would happen if the poet didn't "lie high" in the sand dunes? Connecting that poem ("Send Du Fu") with the days when I spent time with Du Fu before I came to Dune, the answer is self-evident. The beginning of this row of poems is the complicated and depressed feelings of the poet after his love and happy life disappeared, which is produced in a sudden way.
One or two sentences tend to express subjective feelings, while three or four sentences turn to the description of objective scenery. "There are ancient trees on the edge of the city, listening to autumn sounds every day." For the poet, the sand dune city in front of him seems to have nothing to see except the old trees on the edge of the city, rustling day and night in the autumn wind. "In the middle of the night, the wind and bamboo knock on the autumn rhyme, and all the leaves are hated." This bleak autumn wind and sad atmosphere make people miss their friends and recall the past, which is even more difficult to understand. What shall we do? "There is a yearning for separation, Yao Sejin Zun". However, here and now, this situation is extraordinary, wine can't eliminate sorrow, and songs can't forget sorrow. Lu and Qi refer to Shandong where the poet was at that time. "Don't get drunk" means that you are not interested in getting drunk. "Empty Love", because I have no intention to appreciate it, I can only sing sentimentality. Such rewriting will greatly increase the weight of lyricism, and at the same time, it will also force the following.
Wenshui, which originated in Laiwu, Shandong, flows to the southwest. Du Fu bid farewell to Li Bai in Lu County and wanted to go to Chang 'an, which is also located in the southwest of Lu. Therefore, the poet said: I miss you like this mighty water, following you south day and night. The poet sends his feelings to the flowing water, takes care of the title of the poem and points out the main idea. The artistic conception of flowing water and endless lovesickness make the language enjoy a long charm. This kind of endless thoughts, as well as the kind of "green water on the horizon, green hills on the sea." "Let's meet each other, why get drunk" broad and free-spirited mind. It shows the poet's rich feelings and style.
In the development of China's ancient poetry, ancient style precedes metrical style. However, we will also see that when the rhythm of poetry prevails, it also has an impact on the writing of ancient poetry. For example, Li Bai's five ancient poems are all eight sentences. Although the antithesis in the middle four sentences is not neat, the antithesis of some words and the whole format can show the traces of metrical poetry. This kind of composition and sentence pattern, which is correct in ancient times, better expresses the poet's pure and deep feelings and makes the whole poem have a natural and dignified style.
This is a poem about breasts. The author praised Zhuge Liang's great achievements, especially his military talents and achievements. Three or four sentences, expressing regret that Liu Bei did not learn from Wu and ruined Zhuge Liang's great cause of reunifying China with Wu Kang and Cao Cao. The last sentence takes care of the beginning, three sentences take care of two sentences; In terms of content, it is not only nostalgia, but also expression, with affection in the heart and intention by implication; Don't draw a square in the quatrains.
This is a poem written by the author in memory of Zhuge Liang when he first arrived in Kuizhou. Written in the first year of Dali (766). "Eight-array map" refers to the array map of military drills and operations composed of eight formations: sky, earth, wind, cloud, dragon, tiger, bird and snake. This is Zhuge Liang's creation, which embodies his outstanding military talent.
"The Three Kingdoms, torn apart, have been bound by his greatness, and the Eight Faces Castle is built on his fame", these two sentences praised Zhuge Liang's great achievements. The first sentence is written from the general aspect, saying that Zhuge Liang made the most outstanding achievements in the process of establishing the situation that Wei Shuwu was divided into three parts. Of course, there are many factors for the coexistence of the three countries, and Zhuge Liang's assistance to Liu Bei in establishing the foundation of Shu from scratch should be said to be one of the important reasons. Du Fu's highly generalized praise objectively reflected the historical truth of the Three Kingdoms period. The second sentence is written from a specific aspect, saying that Zhuge Liang created an eight-array map to make him more famous. The ancients praised this point repeatedly. For example, the inscription of Wuhou Temple in Chengdu reads: "The combination of economy and strategy is not rewarded, and the layout is sincere." "The river is at war, the picture is in the column, and there is glory in the industry." Du Fu's poems praised Zhuge Liang's military achievements more intensively and concisely.
The first two songs are written in antithetical sentences, and the overall contribution of the "Three Kingdoms" and "Eight Arrays" to the military is ingenious and natural. Structurally, the first sentence really mentioned, cut to the chase; After the period, I wrote a poem to further praise the achievements, and also paved the way for the memorial relics behind.
"Next to this ever-changing river, there stands a stone, which is his sadness that he failed to conquer the State of Wu." These two sentences express their feelings about the site of "Eight Arrays". The site of "Eight Arrays Map" is located on the flat sand in front of Yong 'an Palace in southwest Kuizhou. According to Liu Yuxi's "Jingzhou Painting Vice" and "Jia", the eight arrays here are all piled up with fine stones, five feet high and sixty yards around, arranged in sixty-four piles, which remain unchanged. Even if it is flooded in summer, everything will be lost in winter, but the eight stone piles will remain unchanged for 600 years. The first sentence writes the magic of the relic very concisely. "Stones don't turn", use the poem "My heart is full of stones, so I can't turn" in The Book of Songs White Boat. In the author's view, this magical color is intrinsically related to Zhuge Liang's spiritual mind: his loyalty to the Shu-Han regime and the great cause of reunification is firm and unshakable. At the same time, the existence of this scattered and recovered eight-array stone pile, which has remained unchanged for many years, seems to symbolize Zhuge Liang's regret for his dying ambition. Therefore, the last sentence written by Du Fu was "saying that he never conquered Wu", saying that Liu Bei's swallowing Wu was a mistake, which destroyed Zhuge Liang's fundamental strategy of resistance and made the great cause of reunification fall by the wayside, which became an eternal regret.
Of course, this poem is not so much "lingering hatred" for Zhuge Liang as Du Fu's regret for Zhuge Liang, and this regret is permeated with Du Fu's depressed feelings of "self-mutilation and death" (Huang).
This quatrain of nostalgia has the characteristics of integrating discussion into poetry. But this argument is not empty and abstract, but vivid and lyrical. The poet combines nostalgia with narration, giving people a feeling of endless hatred and meaning.
Crane noticed that this was written from Dali to Kuizhou. Universe: Eight Array Map, located in Qili, southwest of fengjie county. "Jingzhou Map" says: A mile south of Yong 'an Palace, there is a picture of Kongming's Eight Arrays on the dock under the harbor, which is made of fine stone. Each is five feet high and ten feet wide, and the calendar is scattered, and the vertical and horizontal are equal. Nine feet apart in the middle, with a north-south lane in the middle, five feet wide, and 64 people gathered. Or people are scattered, summer water is gone, winter water is gone, and it is back to its original state.
The divided Three Kingdoms are bound by his greatness; the Eight Faces Castle is built on his reputation; beside the changing river, it stands as stone as his sorrow. He never conquered Wu.
By the changing river, his sadness stands in stone, which has been famous for thousands of years. Wu hates swallowing miscalculations, so that three points of merit are lost. In the next two sentences, use dot. Dongpo Zhi Lin: A beautiful woman calls a servant: "Many people misunderstand my poem" Eight Arrays "and think that the late Lord Wu Hou wants revenge, so they can't destroy Wu. I mean, Wu and Shu are places of lips and teeth, so it is not appropriate to take pictures. Those who were able to take Shu in the Jin Dynasty regarded Shu as swallowing Wu Zhi Zhi and hated it. " Zhu Zhu notes the history book: Zhao Lie was defeated and returned to Zigui, and Zhuge Liang said, "If the law is filial, it will surely control the Lord to the east. If you travel eastward, you won't be in danger. " If you see this, you will sign Wu Fei's words. The poem means that Kong can't stop the action of collecting Wu, which leads to the shame of Zigui and is a lifelong regret. Dongpo's theory is far from correct. Liu Jian said: Kong Ming used the genius of the world as a map of the battle of crossing the river, and it has not been polished so far. In order that the late Lord could use his own array, why was Guo Ting defeated even in the 700-mile plunge? It was the resentment at that time that I wanted to swallow Wu and didn't know the law. According to the following sentence, there are four kinds of sayings: Hate cannot destroy Wu, which is an old saying. Dongpo said that tachileik, the symbol of the late Lord, hated him. You can't control the Lord to go east, but you think you hate him. This is what Du Yi and Zhu Zhu said. In order to be unable to use the array method, Wu lost his teacher, which is what Liu said. )
① Biography of Kuai Tong: "Those who contribute to the world will not be rewarded." "Model": "Today, three points will benefit Yizhou." (2) Le Yi's book: "If you know early, you will become famous and never die." The old note "Battle Eight: Heaven, Earth, Wind, Clouds, Flying Dragons, Birds, Tiger Wings, Snake Dishes." Zhan Fangsheng waited on him and said, "May the river flow." 3 "Poetry": "My heart is full of stones, but I can't turn it." (4) The History of the Later Han Dynasty Wang Changchuan: "Death without complaint." Shu Zhi: Zhengzhen Historical Records: "Swallow and chew eight areas." Wu Jiansi talks about the cloud: the last sentence is "resentment swallowing Wu", and the meaning is self-evident. The old man is "swallowing the loss of Wu", which seems inexplicable. Attachment: Dongpo Zhi Lin: Zhuge made an eight-array map on the fish sand, with eight rows of stones, two feet apart. Huan Wen said to Qiao Zongshi, "This mountain is full of snakes." Neither civilian nor military positions know anything. I often see it, overlooking 100 feet from the mountain. Sixty-four every eight lines, a perfect circle. If there are no bumps, such as shadows in the sun and the moon, it is strange that pebbles are long and indistinguishable.
Liu Yuxi's Collection of Good Stories: Kuizhou, the western city, overlooks the river and sand, with Zhuge Liang's eight arrays under it, and the stones are distributed and still exist. The canyon was flooded, three trees were snowing away, water surged, and ten trees around it withered and fell with the waves. As for the falling water, everything is lost, and Zhuge Xiaoshi's pile is still in the ranks. If that's the case, it won't move today for nearly 600 years.
"Chengdu Tujing": Wuhou has 38 arrays: 60 has 4 arrays, and the square array method is also. In Mi Mou Town, 8 out of 20 people are also in charge. Chessboard city, six out of two hundred and fifty, also went to camp.
Yongjia Xue Shiyun, the country of Wuhou, can be seen in three places, one is Mianyang Gaoping old base area, the other is Bazhen Township in Guangdu, and the other is Nanjiang Beach in Yong 'an Palace in Yufu. In Gaoping, it's hard to know since Li Daoyuan. Wide city, long soil as the foundation, the chief is Jiang, four doors and two songs, sixty-four, eight people in a row, standing in two arrays, surrounded by 472 steps, and its chief hundred is twenty. Take the fish complex as an example, because the river is the potential, the stones are piled up by the flow, covered by the wall in front, and based on the moon after. In eight directions, the chief is two feet, and the inside of the crescent is 96 feet. Guangdu is ancient and unknown, but it can be found in Mars's Yi Zhou Ji. His words are all eight, and his wealth is half. Zhao bian's "Chengdu Ji" said that the old saying goes: As a soldier of Jiang's family, you should know the meaning of two arrays and two songs by sixty-four hexagrams. As the gateway of Kun, the image of law is born. However, its array lives on the flat ground, tied to the door wall, and the method of camp array is odd. Fish array in the river, because the water formed, seven or eight thought to rely on. 1996 Consider latitude, body eight arrays, and mid-month circle. The wall door is impressive, and the moon knows that it is changing. Therefore, although the Yangtze River moves eastward, the summer flow is turbulent. Thunder and galloping are not enough to simulate its potential; Going back to the mountains and rolling stones is not enough to express his anger. I'm in eight arrays and I'm really excited. It's been thousands of times over the years, and I haven't scratched it back. Therefore, Huan Wen thought that the snake of Changshan crossed the river without turning.
Wang Yu said, "Array 8: Two leather and two gold are the sky, three leather and three gold are the ground, two leather and three gold are the wind, three leather and two gold are the clouds, four leather and three gold are the dragons, three leather and four gold are the tigers, four leather hardware are the birds, and five leather and four gold are the snakes.
Li Guinian was a famous singer in Kaiyuan period. Du Fu's first encounter with Li Guinian coincided with his youth and the so-called "Kaiyuan Prosperity". At that time, princes and nobles generally loved literature and art, and Du Fu, because of his early talent, was extended by Li Fan, the king of Qi, and Cui Di, the secretary supervisor, so that he could enjoy Li Guinian's singing in their mansion. An outstanding artist is not only a product of a specific era, but also a symbol of a specific era. In Du Fu's mind, Li Guinian is closely connected with the prosperous Kaiyuan era and his romantic youth life. Decades later, they met again in Jiangnan. At this time, after eight years of turmoil, the Tang Dynasty has fallen from the peak of prosperity and fallen into many contradictions. Du Fu drifted to Tanzhou, "loose cloth and tangled bones, running around bitter and tepid", and his later situation was extremely bleak; Li Guinian also lives south of the Yangtze River. "Every time there is a beautiful scene, he sings a few songs and hears them in his seat, so he has to hide his face and cry and stop drinking" (Miscellanies of Ming Taizu). This encounter will naturally lead to the infinite vicissitudes of Du Fu's life, which has long been smoldering in his chest. "It's a common thing in Qi Wang's family, and Cui has heard it several times before." Although the poet is recalling his past contacts with Li Guinian, what he reveals is his deep nostalgia for the "Kaiyuan Shengshi". These two sentences seem very light, but the feelings they contain are deep and dignified. "Wang Qi Zhai Li" and "Cui Tang Jiu Qian" seem to blurt out, but in the eyes of the parties, the place where these two literary celebrities often gather gracefully is undoubtedly the rich and colorful source of spiritual culture in the prosperous era of Kaiyuan, and their names are enough to evoke good memories of the prosperous era. In those days, it was "unusual" to get in touch with an art star like Li Guinian, but it was not difficult to get in touch with him several times. Looking back now, it is simply an unreachable dream. The feeling of separation between heaven and earth contained here can only be tasted by combining the following two sentences. In the overlapping singing and chanting, the two poems reveal infinite attachment to the prosperity of Kaiyuan, as if to prolong the aftertaste.
Dream-like memories can't change the present reality after all. "It's the beautiful scenery in the south of the Yangtze River, and it's the season of falling flowers." Jiangnan, with its beautiful scenery, was originally a paradise for poets in Chengping era. Now I am really in it, facing the "lost season" with withered eyes and the wandering artists with white hair. The season of falling flowers seems to be an impromptu work, but it seems to have ulterior motives, intentionally or unintentionally. Readers who are familiar with the times and Du Fu's life experience will associate these four words with the decline of the world, social unrest, the decline of the poet and illness, but they don't think the poet is deliberately metaphorical. This writing style is particularly confusing. In addition, the two function words "exactly" and "you" in the two sentences are tossed and turned, revealing infinite feelings between the lines. The beautiful scenery in the south of the Yangtze River is in a strong contrast with the chaotic life experience of being divorced from the times and sinking. An old singer and an old poet reunited in wandering, and the flowing scenery dotted with two haggard old people became a typical portrayal of the vicissitudes of the times. It mercilessly confirmed that the "Kaiyuan Shengshi" has become a historical relic, and an earth-shaking change has reduced Du Fu and Li Guinian, who experienced the prosperity, to an unfortunate level. There is no doubt that the feelings are profound, but the poet wrote that "falling flowers meet the monarch again", but he accepted it with a gloomy mood, pregnant with deep sighs and painful sadness in silence. I don't want to say a word about this "beginning and ending", which is really meaningful. Shen Deqian commented on this poem: "The meaning has not been applied, and the case has not been solved". The meaning of this "inapplicability" is not difficult to understand for Li Guinian, a party with similar experience; For readers who are good at understanding people and discussing the world in later generations, it is not difficult to grasp. For example, Li Guinian sang in "The Palace of Eternal Life Tanci": "At that time, the sky was clear, but now the drums are beating along the street", "I can't sing endless dreams of rise and fall, I can't play endless lamentations, and my eyes are full of sadness" and so on. Although I sing repeatedly, the meaning is not more than Du Fu's poems, but it seems that the playwright has deduced it from Du Fu's poems.
Four poems, from Village of Emperor Qi's "Smell" song to Cui's face, and then to the emphasis on "Hui", "Wen" and "Hui" in the south of the Yangtze River, connect the vicissitudes of the times and great changes in life in the past 40 years. Although there is no poem directly related to the life experience of the times, it is not difficult for readers to feel the shadow of the great turmoil that brought havoc to the material wealth and cultural prosperity of the Tang Dynasty and the great disasters and trauma it caused to people through the poet's memories. It can indeed be said that "the chaos of the World Games, the rise and fall of the New Year, and the desolation of each other are all among them" (Sun Zhu's comment). Just as there is no set on the stage of an old play, the audience can imagine a very broad spatial background and event process through the singing performance of the actors; Also like a novel, it often reflects an era through a person's fate. The successful creation of this poem seems to tell us how much capacity this short genre of quatrains can have among great poets with high artistic generalization and rich life experience, and what artistic realm can be achieved when expressing such rich content.
This poem was written in Chengdu in the spring of 764, the second year of Zong Guangde (the fifth year of the poet's visit to Sichuan). In the first month of last year, loyalists recovered Henan and Hebei, and the Anshi rebellion was put down; In October, Tubo captured Chang 'an, established a puppet, changed the year number, and ran to Shaanxi on behalf of his ancestors; Then Guo Ziyi returned to the capital, which took advantage anyway; At the end of the year, Tubo invaded Songsong, Uygur, Bao and other states (in present-day northern Sichuan), and then fell into Jiannan, Xishan and other states. "Xishan bandits" in the poem refers to Tubo; "How Difficult It Is for Ten Thousand People" is also the most intense invasion of Tubo. At the same time, it also refers to the declining scene of eunuch dictatorship, separatist regime in the buffer region, diplomatic difficulties in the court and disasters.