Xianyang City East Building 丨 Ancient Poetry Appreciation

Xianyang City East Building

[Tang Dynasty] Xu Hun

A high city is full of sorrow, and the crab leaves are like Tingzhou.

The stream and clouds rise at the beginning of the sun and sink the pavilion, and the mountain rain is about to come and the wind fills the building.

Birds under the green turnip QinYuan sunset, cicadas singing yellow leaves Han Palace autumn.

Pedestrians do not ask about the events of the year, the country came to the east to wei water flow.

About the Author:

Xu Hun (c. 791 – c. 858), courtesy name Obscure (一作仲晦), was a Tang Dynasty poet from Danyang,Runzhou (present-day Danyang, Jiangsu). One of the most influential poets of the late Tang Dynasty, he did not write ancient poems in his lifetime, specializing in legal styles; the subject matter was better than nostalgia and pastoral poetry, and the art was characterized by even pairs of dense and skillful poetry. Only the poems mostly describe the scenery of water and rain, and posterity intends to be on a par with the poem Saint Du Fu, and evaluates it with "Xu Hun a thousand poems, Du Fu's life is sad". When he became an adult, he moved to Jingkou (present-day Zhenjiang, Jiangsu) and was named after Ding Jiao,000 in his poetry collection, and his descendants were called "Xu Dingjiao" (許丁卯). Xu Shi mistakenly entered the Du Mu collection many times. Representative works include "Xianyang City East Building".

paraphrase:

Climbing the tall building, thousands of miles of nostalgia arise spontaneously, and the reeds and willows in front of you are overgrown, like Jiangnan Tingzhou.

The dark clouds by the stream have just risen, the sunset has sunk behind the pavilion, the mountain rain is coming, and the wind is blowing all over the building.

The Qin han Palace Garden, a desolate place, birds fall into the grass, autumn cicadas chirp among the dead yellow leaves.

Passers-by don't ask about the past, only the Weishui River flows eastward as always.

Appreciation:

The poet's first joint title, lyrical writing scene: Xianyang Old City across the Weishui and Chang'an; "Crab Leaf", secretly using the poetic meaning of "Shijing, Guofeng, QinFeng, Qingye", expressing longing for the mood; "Tingzhou", which refers to the poet's hometown in Jiangnan. As soon as the poet ascended the tall tower of Xianyang, he looked south, and in the distance there were smoke cages and leaves, and the fog covered the willows, much like Tingzhou in the Yangtze River. The poet travels to Chang'an, far away from home, and once he lands, homesickness comes to mind. Crabapple willow, actually slightly similar to Jiangnan. The sorrow of thousands of miles begins with nostalgia: "One up" indicates the short moment of time that triggers the poet's emotions, and "ten thousand miles" is extremely melancholy and the space is vast, and a "melancholy" word sets the tone of the whole poem. The brush strokes are low, the scenery is poignant, the touch is full of emotion, and the desolate and sad feelings come out of the pen, which is far away and powerful.

"The creek clouds rise at the beginning of the sun sinking the pavilion, the mountain rain wants to come to the wind full of buildings" In the "creek" refers to the river, "pavilion" refers to the Cifu Temple. The poet ascended the castle tower in the evening, only to see the clouds covered by the river, the twilight was vast, a round of red was getting thinner and thinner, and the sunset overlapped with the pavilion of Cifu Temple, as if falling close to the temple pavilion. Just when the picture of the first beautiful picture was displayed on this night, a cool breeze suddenly emerged, and the Xianyang West Building was suddenly bathed in a miserable wind, and a mountain rain was about to arrive. This is a copy of natural scenery, but also a visual depiction of the declining situation of the Tang Dynasty, which is full of dangers, and it vividly and vividly writes the real reason for the poet's "ten thousand miles of sorrow". The clouds rise and sink, the rain is full of wind, and the dynamics are clear; "the wind is the head of the rain", which has a profound connotation. This couplet is often used as a metaphor for the tense atmosphere before a major event, and is a famous phrase passed down through the ages.

"Birds under the green Wu QinYuan Sunset, cicadas singing yellow leaves Han Palace autumn" write the evening view of the close-up, the combination of virtual and real: the mountain rain is coming, the birds and birds are fleeing into the green wu everywhere, and the autumn cicadas are hiding in the yellow leaf high forest, these are the real scenes in front of the poet's eyes. However, the "Qin Garden" and "Han Palace", which have long disappeared, give people endless associations -- the Forbidden Garden Deep Palace, and now the green is everywhere, and the yellow leaves are full of forests; only birds and finches and insects are singing, and they do not know the rise and fall, and they are still the same. The evolution of history, the change of dynasties, and the vicissitudes of the world have pushed the poet's grievances from "thousands of miles" to "thousands of ages", with real scenes superimposed on virtual scenes, and the feeling of hanging on the ancients has spontaneously emerged.

"Pedestrians do not ask about the events of the year, the homeland of the east to wei water flow" as a knot, melting in the scenery: "pedestrians", passers-by. It refers to the ancient and modern conquest of people and wanderers, including the author; "homeland", referring to xianyang, the former capital of the Qin and Han dynasties; "coming from the east", referring to the poet (not Weishui) coming from the east. The poet finally sighed: "Don't ask about the rise and fall of the Qin and Han Dynasties in those years!" When I came to xianyang this time, I couldn't even find the ruins, only the Weishui River was still flowing as long as before. The word "mo ask" is not an exhortation, but a thought-provoking word, which allows the reader to sink the lessons of history from the sad and decadent natural scenery; a "flow" word implies a feeling of regret that is difficult to save. In the scene of the wordless flow of Weishui, the sorrow of the poet's lovesickness and the sadness of the past and the present are melted, euphemistic and subtle, which is sad.

This poem uses "clouds", "days", "rain" and "wind" to advance layer by layer, and renders them with "green turnips" and "yellow leaves", outlining a depressed and desolate mood, and expressing infinite feelings about the decline of the homeland through the desolation of "Qin Yuan" and "Han Palace". The whole poem blends scenes, allegories in the scene, the poet gives abstract feelings to the shape through the description of the scenery, and at the same time presents the natural scenery, it also reflects the rich life experience and profound thinking about history and reality. The scenery is chic and poignant, the feelings are sad and pathetic, the meaning is desolate, the realm is majestic and lofty, and the gods are full of energy, which is a masterpiece of the Tang Dynasty's landing on the Psalms.

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Consultant: Chen Jinzhi Lubei Qingquan

Editor-in-Chief: Hao Lixia

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Editor: Xiao Di Juan Juan Tea Drunk Wen Jie

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