In front of the church, the jujube is the west neighbor: a heart song full of great humanitarian spirit

In front of the church, the jujube is a neighbor to the west, and there is no food and no children.

Wouldn't it be better to be poor than to have this? Only fear turns to kiss!

That is, although there are many troubles in preventing distant guests, it is very true to insert fences.

Has sued poor to the bone, is thinking of the horse tears.

"Wu Lang Again" is a seven-sentence poem written by the great mainland poet Du Fu. There is one of the most basic unshakable laws of the Vinaya, which is that there are only eight sentences. Therefore, the poem is only fifty-six words. However, in these fifty-six words, there is a rich ideological content and a high degree of artistic achievement.

Du Fu's process and purpose in writing this poem is as follows: In 767 AD, the year after Du Fu drifted to Sichuan Province, he lived in a grass hall in Western Henan. There were several jujube trees in front of the grass hall, and a widow from the western neighbor often came to beat the dates, and Du Fu never interfered. Later, Du Fu gave up the caotang to a relative surnamed Wu to live in, and moved to Dongtun, which was more than ten miles away from the caotang. Unexpectedly, as soon as this surname Wu came, he planted a fence in front of the hall and forbade jujube hunting. The widow knew that Du Fu was the master of the grass hall and the jujube tree, so she came to complain, so Du Fu wrote this poem to advise Wu Lang, hoping that he would be as considerate of the widow as himself. Before writing this poem, Du Fu had already written a poem to Wu Lang, entitled "Jian Wu Lang Justice", so the poem was titled "Wu Lang Again". Wu Lang was younger than Du Fu, but in order to make it easier for him to accept his advice, he did not say "Jian Wu Lang again", but deliberately used a "submission" to show respect. This "submission" character seems to be not commensurate with the identity of the other party, but it is necessary, which is exactly where Du Fu is careful. Bai Juyi's poem "Title New Residence, Presenting Wang Yin and Jian Fu Zhongsan Tuan" said: "The bridge is built by the river, and the tree qianfu is planted." The "present" and "jane" in the title of this poem indicate identity. It can be seen that du's "Also presented Wu Lang" title, without the word "Jane", is indeed a slight meaning, not general. The Qing Dynasty Chen Olru's "Notes on the Du Law of the Book Nest" quotes Xu Hebo as saying: "The poet has a topic that seems to be irrelevant, but the words are extremely related, and those who are extremely righteous and powerful must refer to this poem in detail." Also note the proposition of the poem.

"Wind Poetry Heart Appreciation", Xiao Difei, Wenjin Publishing House, September 2020.

How did Du Fu advise Wu Lang? And look at the first sentence of the original poem, "The jujube in front of the hall is the western neighbor", straight to the point, starting from how he treated the neighbor's wife in the past. "Throwing dates" is playing dates. Du Fu also has a poem "Jujube ripe from people to fight", which shows that "fluttering" and "beating" are one meaning. Why not use "hit" instead of "pounce"? This is to achieve the consistency of tone and mood. When Du Fu wrote this poem, his mood was heavy, so instead of the fierce upper voice word "hit", he used this short, calm voice word "flutter". "Ren" means to let it go, not to interfere at all, and to fight as much as you like. The word "Ren" is important. Why such laissez-faire? The second sentence answers the question: "A woman without food and without children." "It turned out that this western neighbor was such an old widow who had no food, no children, no husband, no relatives, in a word, nothing. Du Fu wrote this poem as if to say to Wu Lang: Friend! For such a poor woman who has no way to enter the heavens and no door to the earth, can you say that we can not let her make some dates?

The third and fourth verses of the poem: "Is it better not to be poor and poor?" Only fear turns to kiss! "Poor and poor", immediately followed by the second sentence; "this" refers to the matter of throwing dates. The meaning of these two sentences is: If it were not for the helplessness of being poor, where would she go to beat other people's dates? It is precisely because she always has a feeling of fear, afraid of being insulted by the owner, and even treating her as a thief, so that we should not interfere, on the contrary, but to show goodwill, welcome, and make her feel at ease. Here, Du Fu gave a correct and reasonable explanation of the reason why the widow threw the jujube and said the words in the hearts of the poor. This is exactly in line with the progressive idea of "officials forcing the people to rebel" expressed in another of his poems, "Thieves and Thieves And Princes". There are two folk songs in Shaanxi: "Tang Dynasty poets have Du Fu, who can know the suffering of the people." "It's true. The above four sentences, which are all in one breath, can be regarded as a paragraph, which is Du Fu's self-narration of the previous events. Of course, the purpose was not to honor himself, but to inspire Wu Lang and make him realize that such a thing as planting a fence could not be done.

The fifth and sixth sentences of the poem fell on the subject and fell on Wu Lang. "That is, although there are many things to prevent distant guests, it is very true to insert a fence." These two sentences should be linked to see that they are not isolated from each other, but are one-sided, interrelated, interdependent, and complementary. The word "i.e." in the previous sentence is spoken when the word "is" is spoken. "Prevention" means to be wary and wary, so it is said to be defensive. The main word for "defense" is widow. "Distant guest" refers to Wu Lang. "Eventful" means having many hearts, or having said that they are worried. The subject of the word "interpolation" in the next sentence is Wu Lang. These two verses are strung together to say: As soon as the widow saw you planting a fence, she would prevent you from forbade her to play dates, although it was inevitable that she would be more heartbroken, or nervous, and it would be inevitable that she would "live in the belly of a gentleman with the heart of a villain"; but as soon as you moved into the grass hall, you were busy planting fences, but it was also very similar to really forbidding her to beat dates! The implication is that you can't blame her for being too careful, but you yourself are a little too inconsiderate. She was already worried, you don't particularly show kindness, that's enough, why are you busy plugging the fence! These two poems are very euphemistic and subtle. This is because he is afraid that the words will be too straight and blunt, and the meaning of the lesson will be too heavy, which will hurt Wu Lang's self-esteem and cause him to resent, but it is not easy to accept advice.

Here, it is necessary to talk about the interpretation of "distant guests" in passing. Some notes explain that "distant guests" refers to "passing guests", and "preventing distant guests" is to prevent passing guests from playing dates. In this way, the person who "guarded against distant visitors" was not a widow, but Wu Lang. I thought it was wrong. A distant guest is a person who is a distant guest, and classical poetry never calls a guest who passes by a distant guest. Du Fu's own poems can be testified, such as "Tiger Tooth Line": "Distant guests are wet with tears in the middle of the night." And "Early Hair": "Hardship and danger as a distant guest." This "distant visitor" refers to himself, not to any passing guest. Moreover, according to the interpretation of "passing guests", the word "although" of "although eventful" does not make sense, because if it is to prevent passers-by from playing dates, it cannot be said to be "eventful", and in this way, it also loses its echo with the word "but" in the next sentence, and the meaning cannot be penetrated.

Now, let's move on to the last two sentences of the poem: "I have complained about the poverty to the bone, and I am thinking of the horse with tears." These two sentences are the knot of the whole poem, and also the culmination of the whole poem. On the surface, it is a dual sentence, but do not think of it as a flat sentence, because between the upper and lower sentences is a process of development, from small to large, from near and far. In the previous sentence, Du Fu used the widow's complaint to further point out the social source of the widow's poverty, which is also the broad masses of the people. This is the exploitation of the officials, the so-called "solicitation". The cruelty of this exploitation had reached such a level that she was so poor that only a few bones remained. This also made a further snow wash for the widow's date. Du Fu seemed to be saying to Wu Lang: Friend! If the responsibility for the jujube is to be held accountable, it is also borne by corrupt officials, and the widow herself is not guilty. The next sentence goes farther, bigger, and deeper. Du Fu further pointed out another social root cause that plunged the people into deep trouble. This is the war that has lasted for more than ten years since the Anshi Rebellion, which is the so-called "Rongma". From a poor widow, by a small matter of throwing dates, Du Fu thought of the overall situation of the whole country, so much so that he shed tears. On the one hand, this is certainly a natural outpouring of his thoughts and feelings of loving the motherland and the people; on the other hand, it is also a proper article to wake up Wu Lang and enlighten Wu Lang. Let him know: In this situation of chaos and chaos, there are still more people who suffer than widows; anything can happen, and it is not just a date; the situation of war does not change, even our own lives are not necessarily guaranteed, and we are not now guests in the distance because of the war, and you still live in my grass hall? A selfish person is always blind, and if he can be told to stand a little higher, see farther, and think a little wider, he will naturally not worry about a few dates. In this way, the last verse of the poem seems to be pulled too far, as if it has nothing to do with the theme of dissuading Wu Lang from planting a fence, but in fact, it has a lot to do with it, and it has a great effect! It is in this place that we see the poet's "bitter intentions" and his attitude toward the people.

The popular nature of the poem "Wu Lang Again" is strong and distinct, and among the legal poems that are usually used to sing praises and praises, this poem deserves our attention, but this point can not be said more. To add here are some of the characteristics of artistic expression. First of all, the author adopts the method of laying out the facts and reasoning, using his own practical actions to inspire the other party, using the indisputable truth to wake up the other party, and finally using his own tears to impress the other party, appear and speak, and avoid abstract preaching as much as possible. The second is to use the imaginary words commonly used in prose as a transfer. Words like "not for", "only for", "have sued", "right thinking", and "i.e.", "convenience", "although", "but". As we said, this is a Vinaya poem, and the Vinaya has a lot of rules and precepts, for example, the middle four sentences must be made into duality, and it is easy to be dull. Now because of the use of these imaginary words, it can turn dullness into liveliness, so that this poem has both the formal beauty of the rhythmic poem, the musical beauty, and the flexibility of the prose, which is suppressed and intriguing. In addition, the euphemism of the wording also deserves our attention. Du Fu was the master of the grass hall, so he could have done a part of the master by not letting the widow play the jujube, but Du Fu tried his best to avoid thinking of himself as the master, only when Wu Lang was the master of the jujube tree, and he was just talking about human feelings for the widow, which could move the other party even more.

(Central People's Radio", "Reading and Appreciation", 1961 broadcast draft, later included in "Du Fu Research", Qilu Book Society, 1980 edition; "Xiao Di Non-Anthology", Shandong University Press, 2006 edition; "Xiao Di Non-Du Fu Research Complete Collection", Heilongjiang Education Publishing House, 2006 edition)