Ascending to the far horizon and ascending to the high lyrical expression is a fine tradition in the subconscious of ancient Chinese literati, and it is also one of the images in ancient Chinese literature, and this kind of behavior with profound historical connotation and cultural implications often conveys a frustrated and worried mood.
Confucius once exclaimed that "climbing high and looking down makes people feel sad"; the Southern Dynasty poet Shen Yue also said that "the high platform is not to be looked forward to, and looking far away makes people sad"; He Xun even pinned his sorrow on the mountaineering: "The green mountains cannot be ascended, and one is sad." The Tang Dynasty poet Chen Ziang ascended the Youzhou Platform and couldn't help but express his endless feelings of "thinking of heaven and earth slowly, alone but drooling".
Sadly, autumn is also angry! The grass and trees fell and decayed. Since Song Yu associated autumn with sorrow, autumn has become one of the images in classical Chinese literature.
Autumn in the natural world symbolizes the autumn of life, autumn means that time will run out, life will decline, autumn as a cultural archetype and life symbol almost become a metaphor for the end of life, this metaphor and the vicissitudes of the world, the rise and fall of history.
When the two images of ascending and tragic autumn are combined, the feeling of sadness is strengthened in the act of ascending, and endless time, vast space, and lonely individuals instantly converge, heavily impacting the poet's tired heart and withered life. The poet's lament for the encounters of life, the worries about the fate of the homeland, and the convergence of various thoughts in the act of ascending to the heights have become one of the shining brilliances in human thought and behavior.
The intersection of behavior and the collision of thoughts produced under the dual imagery of ascending and tragic autumn often become one of the eternal themes in the poet's work, and in the long history of poetry, there have been many excellent poems that have amazed time and touched the reader's ascension and tragic autumn.
Among them, a poem by the Tang Dynasty poet Du Fu," "Ascending to the Heights", was regarded as a classic by later generations, and the Ming Dynasty scholar Hu Yinglin pushed this poem as "the first of the seven laws of ancient and modern times", and Yang Lun of the Qing Dynasty praised this poem "Du Ji Seven Words And Verses First".
The poem "Ascending to the Heights" is a poem written by Du Fu when he lived in Kuizhou during the Chongyang Festival in the second year of the Tang Dynasty's Emperor Zong's calendar. Through the poet ascending to overlook the scenery of the Autumn River, the whole poem organically integrates his sense of life, the thought of worrying about the country and the heavy sorrow of autumn with the autumn scenery of Xiao Ser, and pours out the complex feelings of the poet's wandering, old and sick and lonely, which makes the whole poem show a kind of painful and simple melancholy beauty everywhere, and the whole poem is passionate and moving. The original poem of Du Fu's "Ascension" is as follows:
The wind was rushing, and the tall apes roared, and the white bird of Nagisa Qingsha flew back.
Boundless falling wood, the Endless Yangtze River rolling in.
Wanli Is often a guest in the autumn and has been sick for more than a hundred years.
Hardship hated the frost sideburns, and poured out the newly stopped cloudy wine glass.
The first link writes the scene to the effect that the high apes are crying in the wind and the sky is very sad, and there are birds circling on the riverbank with clear water and white water. These two sentences are straight to the point and render a sad atmosphere.
These two sentences are also masterpieces in the layout, the poet is ingenious, the verses are naturally paired, not only the upper and lower sentences are paired, but also the sentences are self-paired, such as the sky against the wind in the previous sentence, high to urgent; the sand in the next sentence is to Nagisa, the white is clear, and it is read with a sense of rhythm and rhythm.
After the poet's artistic refinement, fourteen words, fine words, no falsehood, the power of words and sentences has reached the level of ingenuity: a "urgent", a "mourning" word is very substitutionary, can make people's feelings enter the sad situation created by the poet at the first time.
The poet surrounded the specific environment of Kuizhou and used the word "wind rush" to drive the whole union, and wrote a good sentence that sang through the ages at the beginning. Kuizhou is known for its many apes, the mouth of the gorge is more famous for the wind, the autumn day is high, the poet climbs to the heights, the cries of the apes are constantly heard in the gorge, and the empty valley is heard, and the mournful apes sound moving.
The poet exhales the sadness in his heart with the help of the mournful roar of the ape, and the lament of the ape and the sorrow of the poet's life situation penetrate each other, which can be described as a mournful scene to set the mourning, and the more sad and desolate, despite this, the sadness in the poet's heart is still difficult to eliminate.
The poet then places the overflowing, nowhere-to-go bitterness in the image of the bird. The phrase "Nagisa sand white bird flies back" depicts a cold and miserable picture, birds flying and circling in a desolate deserted sandbank, and from the perspective of the structure of the whole painting, this is the poet's close-up audiovisual feeling, but also a relatively narrow landscape painting.
What is the sorrow of the knot in the poet's heart? Originally, when he wrote this poem, Du Fu lived in Kuizhou, he had been away from his hometown for many years, and his impulse to return to his hometown at this moment was particularly strong, and due to the relationship between the terrain of Kuizhou, he could only take the Yangtze River waterway. At that time, the season was already Chongyang, the Yangtze River entered the dry period, and there were piles in the Qutang Gorge in Kuizhou, and it was difficult for ships to pass during the dry period.
The only way to go back is to wait for the next summer's flood season. It will take nearly a year, so the poet is very anxious. When I think of the hopeless return date, I can't help but feel sad. In this Chongyang Festival, where guests live in a foreign country, the poet has no choice but to ascend to the highest level to express his feelings.
Climbing high and looking far can make people realize the smallness of the individual and the shortness of life under the reference of the universe of heaven and earth, and the high platform often shows roughly the same psychological state of life: loneliness, loneliness, sorrow, and grievance. The finiteness of individual life, the sense of urgency that does not wait for me, and the frustration of life on the road are intertwined, constituting a huge emotional gap and various tragic emotional experiences when the poet ascends, and the poet sighs and even weeps.
The jaws continue the previous sentence, and the poet's sadness has been spreading. Xiao Xiao fell into the wood, and in the image, it is implied that the fallen leaves return to the roots, and the fallen leaves return to the roots, while the poet is trapped in the state, wandering forward, and has no hope of returning home, so that writing not only sets off the sadness in the lyricist's heart, but also supplements the lament in the opening sentence.
These two leagues concentrate on the typical characteristics of autumn in Kuizhou. The poet looks up at the sky and sees only the leaves of the wood falling down; the poet looks down at the Qingchuan River and sees only the billowing river. While writing the scene, the poet also expressed his deep feelings.
Du Fu wrote from a large place and did not make partial depictions, so that the picture scene was grand, the weather was open, and the poetry was more visual, which not only reminded people of the scene of scattered grass and trees and the surging scene of the Yangtze River, but also invisibly conveyed the sadness of the passage of time and the poet's ambition.
The neck link points out both the natural seasons and the chronology of life. It also points out that the lyrical way is to ascend to the top. Because the poet cannot feel the warmth in the real world, life is mostly away from home, living in a foreign country, floating in a zero residence, not to mention that now he is more than a hundred years old, plagued by diseases, and nostalgia is getting worse.
The depression and sadness of autumn are permeated with utter sadness within the scope of the poet's vision, and even in the space of the poet's distant imagination. The poet integrates his emotional experience and life experience into the sad poem, so the magnificent autumn scene depicted in the first two couplets is the externalization of the deep sadness in the poet's heart.
Although the tragic autumn is a common image used by ancient poets, autumn does not necessarily have to be described by sadness, but in the eyes of the poet, his eyes are full of autumn scenery with a vast silhouette, which makes the poet can't help but think of his own situation of being lost in his hometown and old age and illness, so he has infinite sorrow. The poet summarizes the feelings of Jiuke who are most likely to be sad in autumn and love to be on stage with many diseases into the poem, which makes people deeply feel the pulse of the poet's beating feelings.
The poet's sense of loneliness and loneliness, like falling leaves and rivers, is inexhaustible, endless, and the emotions and scenery blend together. At this point, the poem has given the general meaning of homesickness to the guest, added the content of the loneliness of the guest for a long time, increased the sentiment of people's sorrow and suffering in autumn, and added to the exclamation of people who have left their hometowns and people in the twilight years, and the poetry is even deeper.
The lonely poet's appearance on the Chongyang Festival was originally to relieve the pain of homesickness during the festival, but the scenery seen from a high altitude did not soothe the poet's painful heart; on the contrary, this sad and desolate autumn scenery and the sound of the ape song pushed the poet's sorrow to the extreme, and the so-called eternal sorrow was all in the unspoken.
This union is a concentrated portrayal of the poet's life of bumpy fate and turbulent displacement. Du Fu wrote from both space and time, and integrated the feelings of wandering and wandering and the feelings of being sick and alone in the twilight of many years into the majestic and far-reaching dialogue, which can be described as a blend of scenes.
Tail link "hard and bitter to hate the frost sideburns, sloppily poured new stopped cloudy wine cup", the poet's old attitude is fully displayed. The poet's lifelong hardships are condensed in the four words of "hardship, difficulty, bitterness, and hatred", which fluctuate and fluctuate, and the poet's depressed mood spits out word by word, and the state of suffering is indescribable.
The poet took the stage alone, drinking turbid wine alone, and did not have relatives and friends to accompany him, in this situation, the poet slowly raised the wine glass to relieve his sorrows, the discomfort of the body, the bitterness of the mood, and the difficulty of the situation, making it difficult for Du Fu, who could borrow wine to dispel his sorrows in the past, and a "new" word highlighted the pain of the poet's appearance on the stage.
The poem "Ascending to the Heights" is written around the sadness of wanting to return to his hometown, with clear imagery, exquisite conception, and deep emotion, which not only embodies the atmosphere of Tang poetry, but also creatively exerts the lyrical sorrow to the extreme, which is a sign of the artistic height of Du Fu's poetry.
The whole poem begins with a magnificent and poignant autumn scene, and finally boils down to the image of the poet in the twilight of life, the sadness of the autumn scene and the sadness of life echo each other, the poet is more and more weak, helpless, and it is difficult to say his bitterness without "sadness".
Du Fu's "Ascending to the Heights" is not only the sentimentality and lyricism of the poet, but also the voice of the poet when he is old and frail, lonely and lonely, and his lifelong obsession and the ideal of "to jun Yao Shun, and then to the customs" that he pursued all his life. At this time, the frail and sickly poet is no longer able to speak for the ideal, and only the sadness of struggling on the edge of survival remains.
Three years after writing this poem, a generation of poets Du Fu passed away with endless regrets in the endless desolation of "a hundred years of song suffering, not seeing a confidant".