Everyone's life cannot be smooth sailing, some people are young and old, but in their twilight years, they are in trouble. Some people are late bloomers, and when they are young, they experience twists and turns. The more hardships you endure in your life, the more you will be able to appreciate the hard-won happiness and the more you will cherish the beauty in front of you, as well as the relatives and friends around you.
In the early days of the Tang Dynasty, it was prosperous, and the whole country showed a peaceful atmosphere. However, everything flourishes and declines, and the Anshi Rebellion destroyed the foundation of the Tang Dynasty, and also made countless literati and writers have to lament that they can't see the glory of the past again, let alone know where to go for the rest of their lives. What is shared below is Du Fu's riverside viewing, writing two poems of five rules, refining words exquisitely, metaphors are appropriate, and more broad-minded.
Brazil Yiting Guanjiang rises to Dou Envoy Jun (one of them)
Sheng Tang Du Fu
The South River rises in the rain, and the waves are chaotic in the far peaks.
The lonely pavilion is thin, and Wanjing is forced to look.
Xiao Han is sad about the birds, and the mud and sand are trapped by the old dragon.
The world is the same guest house, with my open-mindedness.
In the late spring of the second year of Zongbao in the Tang Dynasty, Du Fu, who lived in Bashu Zizhou, had already passed the year of knowing the destiny of heaven. The poet lives in a foreign land, lives in embarrassment, misses his hometown every day, cares about people's livelihood, and often feels anxious and troubled.
The Pasir Pavilion is a post house in Mianzhou, where Du Fu made a short stay. Dou Yuanjun was also a guest passing through Mianzhou, although he and Du Fu met in Pingshui, they felt that they hated to meet too late. This poem was composed when the poet and Dou Yuanjun were enjoying the scenery by the river together, expressing the complex feelings in the author's heart.
The gist of the poem is: the rain is continuous, the water level is rising rapidly, and the waves are turbulent, like chaotic peaks. Standing on a high place, the terrain is steep, as if it can override the surging rapids below. The waves are rolling, and they are constantly letting out bursts of roars, and the loud sound seems to be able to shake the whole of Mianzhou.
Sometimes the heavy rain makes the birds soaring in the sky helpless, and sometimes the mud and sand will trap the dragons in the river. The poet was very happy to live in the same inn with Dou Yuanjun, and to talk to each other, so that he could relieve his sorrow and be open-minded.
The opening chapter describes the rain scene and the river waves, and the metaphor of the three characters "chaotic distant peak" is apt, which not only shows the scene of the rushing and roaring river, but also alludes to the poet's mood and restlessness. The next two sentences are even more proficient in refining words, and the words "Ling" and "force" are the words of these two sentences, depicting the high terrain of the post house and the sound of the Rongrong (river rush) of Wanjing (that is, the Bajun area).
The neck joint technique is wonderful, "Xiao Han is worried about the bird, and the mud and sand are trapped by the old dragon." "The birds in the heights do not know how to be sad, but the poet uses empathy to transfer his sorrow to the outside world. The old dragon in the water is also the author's imagination, and it also shows Du Fu's depressed mood when he was trapped by the rain.
The ending seems to be a matter of course, through the description of the scenery and mood described above, it conveys the thousands of sorrows in the heart of the poet, so when there is a friend with a similar experience standing next to him, he suddenly feels that he can "take me with an open mind". The full text is a blend of scenes, depressed and frustrated, showing Du Fu's superb poetic heritage, and also reflecting the poet's broad-mindedness of worrying about the country and the people.
Brazil Yiting Guanjiang rises to the Dou Envoy Jun (the second)
The evening wave is slightly green, and the foot of the empty shore is green.
The day is both spring and twilight, sad and drunk without waking up.
Wandering like a glass of wine, hesitating in this post pavilion.
Looking at each other thousands of miles away, it is the same duckweed.
The gist of the poem is: In the evening, the rain gradually stopped, and the turbid river waves suddenly began to glow green. The wide river surface is intertwined with the blue sky, making it appear that the water and the sky are the same color. Although the river stopped rising, it was late spring and sunset, and the poet was full of sorrow, half drunk and half awake, and was not in the mood to enjoy the evening river scenery.
Wandering and helpless life, sorrow and resentment are intertwined, like a glass of turbid wine in front of us; in a foreign land, filled with gunsmoke, hesitant and uncertain, we don't know where to settle down for the rest of our lives? We are thousands of miles away from home, holding hands with each other and looking at each other, as if we are duckweed in the water.
The opening chapter points out that in the evening, the first glow after the rain, "the waves are slightly green, and the shore foot is green" respectively shows the rippling blue waves in the near distance and the water and light in the distance. It is precisely because the fog on the river surface dissipates that the view becomes wider. However, the spring twilight and the twilight, the sadness and drunkenness make the poet have no intention of appreciating the scenery, and he cannot eliminate the pain of wandering and homesickness.
The neck couplet turned to describe the author's feelings at that time, the Anshi Rebellion caused countless people to leave their hometowns, and Du Fu was not spared, even if he hid in Bashu, he often lived in fear, and he didn't know who to turn to and where to go. At the end, "duckweed" is used as a metaphor for a wandering life, which is extremely appropriate, and full of grief and helplessness.