Tang poetry is one of the pinnacles of Chinese cultural treasure houses, and countless Tang Dynasty poets have worked together to create a dazzling pearl. Among them, the most well-known is Li Bai and Du Fu in the early stage, Bai Juyi in the middle period, and Du Mu and Li Shangyin in the later period.
Du Mu (803 – c. 852), courtesy name Muzhi, was a Han Chinese from Jingzhao Wannian (present-day Xi'an, Shaanxi). Du Mu was an outstanding poet and essayist of the Tang Dynasty, the grandson of du you, the prime minister, and the son of Du Congyu. In the second year of Emperor Wenzong of Tang's reign, he was a 26-year-old scholar and was awarded the title of scribe of the Hongbunkan School. Later, he went to Jiangxi to observe the envoy curtain, transferred to the Huainan Festival, and then entered the observation envoy curtain, the revision of the Liren Guoshi Museum, the catering department, the Bibu, the Sixun member Wailang, and the Huangzhou, Chizhou, and Muzhou assassins.
Du Mu lived in Fanchuan Villa in Chang'an in his later years, so he was later called "Du Fanchuan" and wrote "Fan Chuan Anthology". Du Mu's poems are famous for their seven utterances, the content of which is mainly based on the lyricism of YongShi, and his poems are handsome and handsome, and they are more relevant to the world, and they have achieved a high level in the late Tang Dynasty. Du Mu is called "Xiao Du", in order to distinguish du Fu, "Big Du". Together with Li Shangyin, he was called "Little Li Du".
Du Mu's poetic style is different from that of Li Bai Du Fu and others, he can write both sentimental and heroic, and he can write fragrant and beautiful, especially the seven gems are the most famous. Du Mu's Seven Perfections occupy a very important position in Tang poetry and have achieved remarkable achievements.
Du Mu's seven masterpieces are very beautiful, lofty and timeless, and rich in meaning. The idea of Yongshi is amazing and insightful; the charm of the scene is full of charm, which makes people immersed in it and cannot be forgotten for a long time. It is no wonder that the Qing Dynasty scholar Guan Shiming commented: "Du Ziwei is a genius, has a too white wind, and sometimes goes in and out of the dream. Seven words in one, especially specialized. ”
Today, I will talk about Du Mu's poem "Mountain Walk", which is novel in conception and exquisite in layout, absorbing brilliant autumn colors in the autumn breeze of Xiao Ser, competing with the spring light, which is pleasing to the eye and the spirit is more developed. At the same time, the language is clear and the sound is harmonious.
Mountain walk
Tang Dynasty: Du Mu
Far above the cold mountain stone path slope, there are people in the depths of the white clouds.
Parking to sit in love maple forest at night, frost leaves red in February flowers.
The poem depicts the color of autumn, showing a colorful and bright autumn color map of the mountains and forests. The poem writes about mountain roads, people's homes, white clouds, and autumn leaves, forming a harmonious and unified picture. These scenes are not juxtaposed in an equal position, but are organically linked, with master and slave, some in the center of the picture, and some in the foil position. To put it simply, the first three sentences are guests, the fourth sentence is the Lord, and the first three sentences are for the fourth sentence to depict the background and create an atmosphere, which plays a role in laying the groundwork and foiling.
"Far up the cold mountain stone path slope", write the mountain, write the mountain road. A winding path winds its way up the hill. The word "far" writes the length of the mountain road, and the word "oblique" echoes the word "up", writing out the high and gentle mountain. Writing in this way, from the meaning of the title, writes out the characteristics of "line", and from the composition point of view, it draws the characteristics of the mountain road and the deep and gentle shape of the mountain, and at the same time naturally leads people's eyes along the mountain road to the people's homes where Baiyun is born.
"There is a family in Baiyunsheng", write clouds, write people's homes. The poet's gaze followed this mountain road all the way up, and where the white clouds floated, there were several stone walls of stone houses made of mountain stones. The "people' home" here corresponds to the "stone path" in the previous sentence, and the "stone path" is the passage up and down the homes of those families. In this way, the two scenes are organically linked.
White clouds seem to emerge from the mountains, floating and swirling, not only can see the height of the mountain, but also show the pale white of the clouds and the green of the mountains, and the dots are dyed with bright tones. The poet uses the technique of crossing clouds and breaking mountains to let this piece of white cloud cover the reader's line of sight, but it leaves people with room for imagination: above the white cloud, there are mountains outside the clouds, and there must be another scenery.
The poet is merely making objective descriptions of these scenes. Although a "cold" word is used, it is only to amuse the following "late" and "frost" words, and does not show the poet's emotional tendencies. After all, it is still just preparing for the later depiction - outlining the environment in which the maple forest is located.
"Parking and sitting on the maple forest night" is different, and the tendency is already very clear and strong. The mountain road, the white clouds, and the people did not move the poet's heart, but this evening view of the maple forest made his surprise difficult to suppress. In order to stop and enjoy the scenery of this mountain forest, I did not care to drive to the road. The scenery written in the first two sentences is already beautiful, but the poet loves maple forest. Through the front and back contrast, it has paved the way for the description of the maple forest, and the momentum has been sufficient, so the water has come to fruition, leading to the fourth sentence, pointing out the reasons for loving the maple forest.
"Frost leaves are red in February flowers", the third sentence is supplemented, and the beauty of a late autumn maple forest is concretely displayed. The poet was pleasantly surprised to find that under the evening sun, the maple leaves flowed and the forest was dyed, it was really full of mountains and clouds, like a rainbow of flowers, it was even more fiery and gorgeous than the spring flowers in February in Jiangnan. What is rare is that through this patch of red, the poet sees that the vitality of autumn like spring makes the autumn mountain forest present a warm and vibrant scene.
The fourth sentence, "Frost leaves red in February flowers", is the center of the whole poem, written by the poet with heavy ink and condensed penmanship. Not only the sparse scenery of the first two sentences has become the background of this gorgeous autumn color, even if the sentence "parking and sitting in love with the maple forest night", which seems to be a lyrical narrative, actually plays a role in writing the scenery: the poet who stops and looks, is intoxicated, and has become part of the scenery, with this scene, it is even more charming in autumn. After a rewrite, it suddenly stops, and it seems to be melodious and endless.
All in all, it's an ode to autumn colors. Poets do not lament and sigh when autumn comes, as the ordinary literati of ancient times did. He sings the autumn beauty of nature, reflecting the spirit of boldness and upward mobility, and there is a kind of heroic and handsome atmosphere that blows on the ends of the pen, showing the poet's talent and also showing the poet's insight.
Modern Yu Weiyun's "Continuation of the Shallow Sayings of poetry": The poet's chant and the red leaves are many, such as "warm wine in the forest burns red leaves", "mangrove trees and green mountains are good to put boats" and other sentences, especially in the hot word altar, broadcasting pictures. Only Du Mushi admires its color. It is better than spring flowers. When the wind is strong and the frost is severe, the autumn light is unique, the red, yellow, cyan, the colors are salty, the mountains are wild, the spring flowers do not have this grand view, and Yi Sixun is specially rewarded with Yan Li Andong Peach. Modern Liu Yongji's "Essence of Tang Dynasty Absolute Sentences": Reading this poem can be seen in the poet Gao Huaiyizhi. Frost leaves are better than flowers, and it is not easy for ordinary people to speak out. As soon as the poet uttered it, he recited it in a thousand words.