Death and life are broad, and Zi Cheng said. Holding the hand of the son, and the son with the old drumming

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Drumming and boring, enthusiastic use of soldiers. Tuguo City Cao, I travel south alone.

From Sun Tzu Zhong, Ping Chen and Song. I don't want to return, I am worried.

Where to live? Lost his horse? In order to get it? Under the forest.

Death and life are broad, and Zi Cheng said. Holding the hand of the son, growing old with the son.

Yu Is broad, not I am alive. Yu Xuanxi, I don't believe it

Translations

　　The sound of drums beating boring encourages soldiers to go to battle. People stayed in the country to build a city, but I went south.

　　Following the general Sun Zizhong, he wants to mediate Chen and Song. The long period of not allowing me to go home made people sad.

　　Camped and set up a home, tied horses and lost horses. Where do I go to find it? It turned out that the horse was under the woods.

　　Whether gathered or dead or alive, I swore to you. Hold your hand tightly, white head to old with you.

　　Sigh and part with you for a long time, it is difficult to meet with you. Sighs are too far apart to fulfill that vow.

Appreciation

It depicts the soldier's feelings of not being able to return home for a long time, and expresses a strong desire to return home and reunite with his relatives. The poem began to be written on the southbound journey, and then wrote about the pain of not returning after the war, and then wrote the memories of the separation and rendezvous with relatives, until the final strong control and demolition, the second is written, the context is clear, and the emotions are progressive in turn. The narrative promotes the expression of emotion, and the lyrical is closely related to the development of the plot, complementing each other and naturally.

　　This is a famous love poem. The poem recounts the day and night thoughts of a zhengfu for his sweetheart: he remembered the vow of "holding the hand of the son, and growing old with the son", thinking that now life and death are parted, the end of the world is lonely and bitter, how can he not shed tears, and his liver and intestines are broken!

Appreciation

　　There are several different theories about the background of this poem: mao chuan believes that in the summer of the fourth year of Lu Yingong (719 BC), Wei joined forces with Chen, Song, and Cai to cut zheng; Xu Zhengbo believes that in the autumn of the same year, Wei Guo again cut down Zheng and robbed Zheng Guo's crops. During these two wars, there were soldiers in Chen, and Song Shushou ("Poetry Detective") and Yao Jiheng believed that it was said that In the twelfth year of Lu Xuangong, Song Fa Chen, and Wei Mugong were cut down by Jin in order to save Chen ("General Theory of the Book of Theory"). Whatever the context, it's safe to say that it reflects the resentment and longing of a long-lost Seifu. The Qing Dynasty scholar Fang Yurun believed that it was "the poetry of the Shu Shu Who Thinks Of Not Returning" ("The Primitive Book of Poetry"), which is correct.

　　It is a neat four-word poem, and the whole poem is divided into five parts in chronological order— the journey.

　　The first layer of four sentences is written before the sign. Explain the reasons and background of the Southern Expedition. The first two sentences are very characteristic in structure: the poet first writes "drumming and boring", creates a tense and urgent atmosphere with the sound of boring drums, and then explains the reason for "drumming"—"enthusiastic use of troops, because the country wants to have war, so it is boring and boring." This poetic expression technique was summarized by later classical literary commentators as "rising against the tide" and had a great influence on later poetic creation. For example, Wang Wei's "Watching the Hunt" "Wind Power Horn Bow Whining. The general hunts Weicheng" and Du Fu's "Painting eagles" "Practice the wind and frost, and the goshawk paintings are special", using this technique. The next two sentences, "Tuguo City Cao, I travel south alone", compare my own experience with others. More prominently, the two "earth countries" refer to the construction of houses or city fortifications in the capital; "Chengcao" means to build a city in Pudi. hidden. The place name of Weiguo is in the southeast of present-day Hua County, Henan. In the country to serve in the soil, the construction of the city is extremely hard. The "Decline" section of the same "Evil Wind" once lamented and rebuked this kind of harsh labor: "Decline and decline, Hu does not return? Wei Jun's sake, Hu is in the mud! But in the eyes of the protagonist in "Drumming", although this kind of errand is hard, he can live in the country and be with his relatives. Compared to the south chen and song. Living in a foreign land, the separation of flesh and bones is still better. As Lü Donglai analyzed: "The city of Tuguo is not without hard work." And I am alone in the territory and now I am outside, and death is unknown, although I want to be a person who dives into the city of the earth country, I cannot get it. ("Lü's Family Cushion Reading Poems") Through this bitter contrast and choice, the tragedy of the protagonist's encounter is even more revealed. The people were war-weary and resentful of the rulers who fought frequently. It's all there is to it.

　　The second layer of four sentences is the writing sign. Sun Zizhong, the general of the Southern Expedition, had no examination in his life. "Pingchen and Song", that is, the Chen and Song states in the crusade and pacify the south. Some people want to link this sentence with a certain historical fact, or interpret "Ping" as "union" - uniting Chen Guo, Song Guo and Cai Guo to cut zheng", or "Ping" as "mediation" - "mediating the discord between Chen Guo and Song Guo". None of this seems to be poetic. If the "Tuguo City Cao, I travel south alone" mentioned in the previous layer is the unique misfortune of the protagonist, then the misfortune in this layer has added another layer: that is, not only to leave the country. He went south alone, and he also had to defend a different place for a long time - "I don't want to return". What kind of end will this "no return" lead to? What kind of mental state will it cause to the defender? Anti-war poems of past dynasties have different ways of dealing with this and showing different ways of expressing themselves. The "Wushan Gao" in Han Le Fu uses an implicit metaphor to express the pain of recruiting people to have a home: "I want to return to the east, is it harmful?" I set no high drag, water how soup soup back? Du Fu's "Soldier Carriage Line" directly denounced the consequences of this policy of poor military force from the economic depression in the rear and the lack of food and clothing for his wife and children: "The emperor does not hear about the two hundred prefectures in Shandong and the thousands of villages. Even if there is a key woman who hoes and plows, there is nothing in the grass. Gao Shi's "Yan Ge Xing" reflects the emotional trauma caused by the two sides of the expedition from the front and the rear, the zhengren and the si woman: an iron coat is far away from the hard work, and the jade should cry away. The young woman Chengnan wants to cut off the intestines, and the recruits jibei look back" It should be said that these three treatment methods and expression methods have been inspired and influenced by similar themes in the Book of Poetry. In the next few levels, the above three techniques are used.

　　The third layer uses a subtle approach. But it is not an inner monologue, but through the setting of questions and answers: Love dwells in love? Love to lose your horse? In the midst of the scramble to find the camp, the warhorse was lost. In ancient battles, the war horse can be said to be the warrior's most powerful assistant and closest companion. We only need to read the praise of the war horse in "Xiaoya Caiyan": "Riding on the other side of the four oysters, four oysters rioting." The gentleman depends on, and the villain depends. "You can know its place in the minds of the recruiters." But at this moment, the warhorse on which they "depended" and "what they depended on" was thrown away, and the order of the conscription troops was chaotic. The sloppiness of military discipline is evident. What is even more wonderful is that the protagonist's war horse is lost and regained: the war horse is not lost, and it has run under the mountain forest. If the loss of the warhorse was intended to imply that the military discipline of this unit was scattered, then this false alarm more prominently reflected the trance and loss of souls of the recruits. Although this mental state of recruiting people is related to the exhaustion of this army and the lack of fighting spirit, the more important fear is caused by his longing for his hometown and the concern of his relatives. The following two layers focus on this inner emotion of the protagonist, and are also a specific explanation of the second layer of "worry". The perspective of performance is carried out from the two aspects of memory and reality, zhengfu and simu.

　　The fourth layer is the transition from harsh reality to memories of the past. The poet recalls the time when he left home to march south and wept goodbye with his wife: in that year, the two made a vow to "live and die" and grow old with white heads. The parting of the League Governor not only reflects the depth of the two people's feelings and the steadfastness of love, but also contains a vague worry about the future. The terrible thing is that this worry has finally turned into a cold soo fact: the recruiter cannot go home to reunite with his loved ones. Therefore, the last layer of the poem, from the return of the past to the harsh reality, concentrates on expressing The strong feelings of Zhengfu on this, which is ostensibly lamenting that the two are too far apart to meet each other, do not leave for too long, cannot practice the alliance, in essence, what is denounced and accused. It is not difficult for the reader to understand.

　　This poem has many unique features in its structure and approach. Structurally, it basically writes out the complex psychology and behavior of a soldier who was forced to march south before, during and after the expedition in chronological order, and inserts memories to form a strong contrast between the past and reality, and forms a pause in the structure. At the same time, in the narrative, lyrical, emotionally formed waves. Especially on the last floor, which is completely lyrical and ends with a single word, we seem to see a drooling-faced zhengfu shouting at the sky in a foreign land, telling his inner longing and pain to his distant relatives.

　　In addition, although this is a poem that has been blamed for the war policies of the rulers, it is more subtle in its expression. When we read that this recruit was envious of those servants who stayed in the country all day to transport earth and build cities, who could not leave a bitter laugh? In particular, the third layer regains this typical detail through the loss of the horse, and the military discipline of this expeditionary force is scattered and exhausted, and the protagonist's inner pain and trance are shown to be unusually vivid and vivid. What combat effectiveness would such a unit, such a state of mind, have? So it is also a powerful mockery of the policy of the commander-in-chief.

　　"Death and life are broad, and Zi cheng said." Holding the hand of the son, growing old with the son. ”

　　It is an ancient and unwavering commitment, a romantic and beautiful legend. The thousands of mountains and rivers in the hand suddenly shortened, the enmity and hatred of the hand dissipated leisurely, the tearful eyes of the hand could not bear to look at each other, the hand held of love, and the love of each other was difficult to sleep.

　　When holding hands, cold and warm know both hearts; when holding hands, sorrows and joys are forgotten. Helpless is the sadness after holding hands, helpless is the sadness of the breakup.

　　Hold hands because of love.

　　The more true the love, the purer the heart; the deeper the love, the more simple the love. When you hold hands, you are never crazy or selfish.

　　Holding the hand of the son, growing old with the son?

　　Hold the hand of the son, live and die and forget!

　　Holding the hand of the son, growing old with the son. This should be a feeling of standing side by side and gazing at the rise and setting of the sun together; it should be a feeling of changing the heavens and changing the situation, and it is the feeling of witnessing the years and witnessing feelings.

　　Holding the hand of the son, growing old with the son. When you cry, someone accompanies you to be sad, listens to you, smooths your messy hair and haggard face for you, tells you that tomorrow is still sunny; when you smile brightly, the whole world is bright with you, and he stands quietly on the side, smiling and watching you as bright as the sun...

　　Holding the hand of the son, growing old with the son. It should be a landscape of two people holding up the sky on the same side. Like two separate trees, you hold up one side of the sky together, the branches and leaves bloom under the blue sky, and the roots support each other under the ground. Wind or frost, rain or snow, the hand of the son, every moment is so beautiful, every moment is a moving love poem, every moment is worth using all the time to reminisce...

　　"Life and death are broad, and Zi Cheng said." Holding the hand of the son, growing old with the son. This sentence embodies the most typical way of interpreting "love" in Chinese - implicit and resolute, life and death. Fit is the union, broad is separated, death and life are broad, life and death are separated. The vicissitudes of the sea and the mulberry fields, the bucket turns to the stars, the love that does not change the hearts of you and me, the sea vows the mountain alliance, I do not know the return date, and the pain is deep in the heart. "Life and death are broad, and Zi Cheng said." There are two interpretations, a: Whether it is gathered or scattered, I have sworn with you. b Regardless of life and death, we are both happy with each other. I don't quite understand this sentence, but according to the two explanations that may be true, it is written here, each person has different opinions, and those who are interested can find and examine it themselves.

　　The hand of the son is constantly obstructed by thousands of rivers and mountains, and the hand of the son is as weak as an air.

　　The hand of the son's tearful eyes could not bear to look at each other again, and the hand of the son could not sleep at night.

　　When holding hands, cold and warm know both hearts; when holding hands, sorrows and joys are forgotten.

　　The love of the hand - the more true the love, the purer the love; the deeper the love, the more simple the love.

　　Forgetting the grievances, the hand of attachment is to hold hands, hold the son, hold your hand and walk together in this life and the next life.