Lagerstroemia indica in late autumn

[Edit this paragraph] Du Xing

title

Mountain travel

author

Du Mu (Tang)

Literary form/style/genre

Seven-syllable/seven-syllable quatrain

original text

The stone road winds to the cliff in the distance.

Where there are some white clouds, you can see some households.

I stopped the carriage and was fascinated by Fenglin.

The frosty autumn leaves are redder than the flowers in February.

Follow the winding path up the mountain, and there are people in the place where white clouds are around. I stopped the car because I like the late autumn scenery in Fenglin. Maple leaves dyed with autumn frost are more colorful than spring flowers in February.

To annotate ...

1. Mountain Travel: Walking in the mountains.

2. Hanshan: refers to the mountain in late autumn.

3. Path: Path.

4. Bai Yunsheng: a place surrounded by white clouds.

5. Sit: Because; Due to.

6. crooked: this word is pronounced Xi×

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Through the poet's emotional tendency, the poem depicts a warm and gorgeous autumn picture of a mountain forest with maple forest as the main scene. Far up the Qiushan Stone Trail, first of all, give readers a farsighted view. At the top of the mountain road is a place full of white clouds. The road is made by people, so white clouds are not illusory, and Hanshan is full of vitality. It is natural to say that there are people in Bai Yunsheng. However, this is only to prepare for the last two sentences. Then the poet clearly told the readers that it was so late that I stopped in front of the mountain just because the mountain was in full swing and more beautiful than the maple leaves of spring flowers. Compared with the white clouds in the distance and people who are not necessarily visible, LAM Raymond is full of pure beauty and vitality.

Brief analysis

This is a poem describing and praising the mountains in late autumn.

The first sentence "The stone path is inclined to the distant cold mountain", from bottom to top, write a stone path winding to the autumn scenery of the mountains. The word "cold" points to the late autumn season; The word "far" describes the length of the mountain road; The word "oblique" takes care of the word "far" at the beginning of the sentence and writes a high and slow mountain. Because the slope is not big, you can travel by car.

The second sentence "There are people in Bai Yunsheng" describes the distant scenery that the poet saw when he was hiking in the mountains. The word "sheng" vividly shows the dynamics of white clouds rising, curving and floating, and also shows that the mountain is very high. The word "someone" will remind people of the smoke curling up in the kitchen, the cock crowing and the dog barking, making them feel that the mountains are full of vitality and there is no dead terror. The word "home" also takes care of the "stone path" in the previous sentence, because this "stone path" is the passage for residents in the mountains.

The word "sit" in the third sentence "Stop in the Maple Grove and Sit Late" is interpreted as "because" because the sunset in the Maple Grove is so charming, the poet deliberately stopped to watch. The word "late" in this sentence is exquisitely used and contains multiple meanings: (1) points out that the first two sentences are seen during the day and the last two sentences are scenes at night. (2) Because there is a sunset glow in the evening, the gorgeous sunset glow and the flaming maple leaves reflect each other, and the maple forest is particularly beautiful. (3) The poet lingered, and in the evening, he reluctantly boarded the bus and left, showing his love for red leaves. (4) Because we stop for a long time and observe carefully, we can appreciate the interesting epigram of the fourth sentence "Frost leaves are red in February flowers".

"Frost leaves are redder than February flowers" is the central sentence of the whole poem. The descriptions of the first three sentences are all paving the way for this sentence. Why do poets use "Yu Hong" instead of "Hong Ru"? Because "red as" is like spring flowers, it is nothing more than decorating natural beauty; And "Red in" can't be compared with spring flowers. It is not only brighter in color, but also more cold-resistant and can stand the test of wind and frost.

This little poem is not only an impromptu ode to scenery, but also an expression of ambition. It is the expression of the poet's inner spiritual world and the sustenance of his interest, so it can enlighten and inspire readers.

This poem depicts the colors of autumn and shows a touching autumn color map of mountains and forests. The poem describes mountain roads, people, white clouds and red leaves, forming a harmonious and unified picture. These scenes are not juxtaposed in the same position, but are organically linked, with the master and the slave, some in the center of the picture and some in the background. To put it simply, the first three sentences are the object, the fourth sentence is the subject, and the first three sentences describe the background, which creates an atmosphere for the fourth sentence and plays a role in paving the way and setting off the background.

"Far away from the cold mountain, the stone path is inclined", writing about mountains and writing about mountain roads. A winding path winds to the top of the mountain. The word "far" describes the length of the mountain road, and the word "oblique" echoes the word "up" to write a high and gentle mountain.

There are people in Bai Yunsheng, which is about clouds and people. The poet's eyes have been looking up along this mountain road. Where the white clouds float, there are several stone houses with walls made of stone. The "people" here take care of the "stone path" in the previous sentence. This mountain road is the passage for those families, right? This organically links the two kinds of scenery. There are white clouds around, which means the mountain is very high. The poet used the technique of breaking through clouds and mountains, so that these white clouds covered the reader's sight, but left room for imagination: there must be another kind of scenery besides white clouds, right?

The poet is only describing these scenery objectively. Although the word "cold" is used, the following words such as "late" and "frost" are just sorted out, which does not show the poet's emotional tendency. After all, it is only to prepare for the following description-to outline the environment where Fenglin is located.

"Stop and sit late in the maple forest" is different, and this tendency is very obvious and strong. Mountain roads, white clouds and others did not impress the poet, but the evening scenery of Fenglin surprised him. In order to stop and enjoy the scenery of this mountain forest, I don't care to continue driving. The scenery written in the first two sentences is already beautiful, but the poet loves the maple forest. Through the background, I have made a good preparation for describing the maple forest, so it comes naturally and leads to the fourth sentence, pointing out the reasons for loving the maple forest.

"Frosty leaves are redder than flowers in February" complements the third sentence, and a beautiful view of maple forest in late autumn is displayed in front of us. The poet was pleasantly surprised to find that under the sunset glow, the maple leaves were about to drip and the forest was dyed. It is really full of mountains and clouds, just like bright rosy clouds. More fiery than the spring flowers in February in Jiangnan! What is commendable is that the poet saw the vitality of autumn as spring through this piece of red, which made Lin Qiu present a warm and vibrant scene.

Unlike ordinary feudal literati, this poet did not sigh sadly when autumn came. He praised the beauty of autumn in nature, embodied the spirit of being bold and uplifting, and showed the poet's talent and insight with a wave of his pen. This is an autumn hymn.

The fourth sentence is the center of the whole poem, written by the poet with strong colors and coherent brushwork. Not only did the sparse scenery in the first two lines set off gorgeous autumn colors, but even the seemingly lyrical narrative of "stopping to sit in the maple grove late" actually played a role in setting off the scenery: the poet who stopped to watch, Tao Ran drunk, became a part of the scenery, and only with this scene did autumn colors become more charming. After a rewriting, it came to an abrupt end, and it seemed melodious and memorable.

Brief introduction of the author

Du Mu (803 ~ 852)

, Tang Dynasty poet. The word Mu Zhi. Jingzhao Wannian (now Xi 'an, Shaanxi) people. Born in a famous family, his grandfather Du You was a famous prime minister and historian in the middle Tang Dynasty. In his later years, Du Mu lived in Fan Chuan Villa in the south of Chang 'an, which was later called "Du Weizi" and "Du Fanchuan".

Du Mu lived all his life in the late Tang Dynasty, when domestic troubles and foreign invasion deepened. He was concerned about state affairs since he was a child, and he cherished the ideal of saving the peril and restoring the prosperity of the Tang Dynasty. At the age of 23, he wrote A Gong Fang Fu, taking the abuse of power and extravagance in the Qin Dynasty as a warning, which sounded the alarm for the rulers of this dynasty. As for Du Mu's date of birth and death, Qian Daxin's Record of Doubtful Years inferred from the epitaph written by Du Mu in Dazhong six years that his date of birth and death was Zhenyuan nineteen years (803) and Dazhong six years (852). But some scholars have verified that he died seven years later.

In the second year of Daiwa (828), he was awarded the title of librarian of Hong Wen Library. In the same year 10, he left Chang 'an, went to Jiangxi to be the chief of staff in Shen Chuanshi, and later transferred to Huainan to be the secretary and judge under Cui Dan's account. For more than ten years, traveling all over the country has broadened his horizons, prompting him to further devote himself to the study of practical use, and he is particularly interested in discussing politics and soldiers in "The Trace of Controlling the Rise and Fall of Chaos, the Matter of Assigning Soldiers, the Danger of Terrain, the Gains and Losses of Ancient People" (Li Zhongcheng's Book). The political commentary "Sin Yan" written by Huainan shogunate put forward the viewpoint of repairing the political affairs of Ming Dynasty and pacifying the buffer region. The famous poems were also written in this period.

After four years (839), he returned to Chang 'an, where he was appointed as Zuobuque, Catering Department and Bibi Department. After two years in Huichang (842), he successively served as the secretariat of Huangzhou, Chizhou and Zhou Mu. Local officials, on the other hand, often reform graft within their own power and exempt treacherous officials from exorbitant taxes. During Huichang period, Li Deyu, the prime minister, presided over the military activities against Uighur invasion of Heping Anze Road. In order to realize his political ideas, Du Mu wrote a letter stating the general plan of using troops, which was adopted, and achieved the effect of "Lu Zeping, just like a pastoral policy" (The Biography of Du Mu in the New Tang Dynasty). It can be seen that he does have practical political talent.

In the third year of Dazhong (849), he returned to Korea as a foreign minister and editor of the history museum, and returned to Huzhou as a secretariat. A year later, he was transferred to Kao Gong Langzhong and Zhi Zhi Patent. Finally, the official wrote a book.

Born in Geng Jie, Du Mu disdained to please powerful people, was not proud of being an official, and held a sober critical attitude towards social politics. However, the repression of his ambition made him indulge in a dissolute, decadent and laissez-faire lifestyle, and some "love affairs" also circulated.

Literary Creation Du Mu's literary creation has many achievements, including poetry, prose and ancient prose. He advocated that "everything should be based on meaning, supplemented by qi, and defended with words and sentences" (a reply to Zhuang Chongshu), and he had a correct understanding of the relationship between the content and form of his works. He worships Li Bai, Du Fu, Han Yu and Liu Zongyuan most ("My Little Nephew Ayi's Poems in the Winter Solstice"), but he can absorb and melt the strengths of his predecessors and form his own special style. The poem "Dedicated to Poetry" says: "A person who works hard for poetry does not seek perfection, miraculous effect, customs, the present or ancient times." In Qing Dynasty, Hong also said that his "prose is different from Han and Liu, poetry is different from Yuan and Bai, and poetry is different from the four schools" (Beijiang Poetry Talk). Quan even praised him as "the first person after Tang Changqing" (Du Mu's theory).

Poetry creation is the most prominent aspect of Du Mu, which is as famous as Li Shangyin, another outstanding poet in the late Tang Dynasty, and is also called "Little Du Li". Influenced by Du Fu and Han Yu, his classical poems have a wide range of themes and bold brushwork. Long stories such as Drinking Alone in Counties and Villages emphasize the poet's ambition of "mending clothes all his life" to save things to save the world and express his inner gratitude. The Poem of Feeling for the Heart reflects the turbulent history of the buffer region in the decades after the Anshi Rebellion in the Tang Dynasty. It has a magnificent picture and rich emotions, which can be read together with its lyrics (Zhou Shi Shi Hua by Weng Fanggang). Yu Ru's Du Qiuniang's poems and Zhang's poems are both sympathy for women's misfortune in feudal society. "Li Gan's Poems" praised a friend's integrity and honesty, also known as masterpieces. His modern poems are famous for their beautiful words and ups and downs. The seven-law "Early Wild Goose" expresses the nostalgia for the people in the northern frontier displaced by the Uighur invasion, and it has a graceful and lingering taste. After nine days, climbing the mountain, on the other hand, is unconstrained style, but it also contains deep sadness. Some lyric poems, such as "Bo Qinhuai", "Mountain Walk" and "Jiang Nanchun Jueju", can convey endless poetry with simple spoken language and concise line drawing, and have been told by the population all the time. The quatrains in history, such as Red Cliff, Four Noble Temples in Shangshan, and Three quatrains in Qing Palace, combine narration and discussion, and are often read in unexpected places. Of course, he also wrote some dissolute and frivolous works such as Farewell and Farewell, which are all negative parts.

Du Mu's poetry has a unique style. Liu Xizai compared his poetic style with Li Shangyin in "Art Outline", saying: "Du Fanchuan's poems are heroic and heroic, and Li Fannan's poems are affectionate." The difference between them is pointed out. The general trend of poetry in the late Tang Dynasty is gorgeous and dense, and Du Mu is influenced by the atmosphere of the times and also pays attention to the use of words. This tendency of fierce rhetoric, combined with his personal characteristics of "heroic and heroic", is elegant and magnificent. The predecessors used the word "handsome" to summarize this basic style (Hu Yinglin's poems), which is more pertinent.

Du Mu's articles are also unique in the late Tang Dynasty, which are "harmonious, profound and extensive, and cut into the world" ("Sikuquanshu Catalogue"). According to his preface to a bosom friend, his works, such as Yan, Sin Yan, Yuan Shiwei, A Book with Liu Situ, A Preface to Farewell History, and A Fang Gong Fu, are all based on reality and have political contents critical of current politics, especially the one of Sin Yan. In addition, the article "Newly Built Nanting in Hangzhou" also reflects the author's progressive thoughts on Buddhism. As for the language of the article, Du Mu insists on using prose, which is sharp and clear. With the popularity of parallel prose in the late Tang Dynasty, Du Mu inherited the tradition of ancient prose movement in the middle Tang Dynasty. He also introduced the brushwork and sentence patterns of prose into Fu, and wrote a new style of "Three Fu" which integrates narrative, lyric and discussion, just like "A Fang Gong Fu", which broke through the trend of increasingly parallel and rhythmic Fu since the Six Dynasties and the early Tang Dynasty, and had an important impact on the development of Fu in later generations.

There is a 90-word "Eighty-six Words" written by Du Mu in the Collection of Respect for the Former. According to this, some people think that Du Mu was the first literati who used the long tune in folk songs as lyrics. However, according to later research, its style is not like that of the Tang Dynasty, and this matter is still inconclusive.

This episode and the proofreading New Record include 20 volumes of Du Mu's Fan, edited by his nephew Pei, and 450 poems. Later, people added 1 extra-volume collection, 1 other collections of Tian Jian in the Northern Song Dynasty, and * * * collected 170 poems, which were attached to the end of the book, but mixed with some other people's works. Fan's popular versions include Yang Shouchang-yuan's engraving of the Song Dynasty in the Guangxu period of Qing Dynasty, the four-part manuscript in the Jiajing period of Ming Dynasty and the shadow version printed by the new school published by 1978. The most widely circulated annotated book is Ren Feng's Biography of Fan Chuan's Poems. In addition, Du Mu once annotated Sun Zi 13, which was included in Sun Zi's Eleven Notes.

Du Mu's deeds can be found in the old and new Biographies of Tang Tales. Today, Miao Yue wrote Biography of Du Mu and Chronicle of Du Mu, which is enough for reference.

meaning

This poem describes the beautiful mountain scenery in autumn.

[Edit this paragraph] Xiang Si Xing Shan

Xiang Si

There are also people in the green forest, and a canal has several tributaries.

In the afternoon, the mountain returned to the peak shadow, and the grass was covered with mud marks on the deer.

Steam tea out of the hut and listen to the sound of silk through the bamboo fence.

Every time I come back from selling medicine, I will not hesitate to go to Daoyun.

Xiang Si has lived in the wild for a long time, and is very familiar with the scenery in Shan Ye. This song "Hiking" is about the wild interest in mountain villages. Thanks to the poet's careful observation and profound experience, this poem is fresh, delicate, appropriate and realistic. It is fascinating to read.

"There are also people in the green forest, and they are a little bit." Start to show the beautiful scenery in the mountains-there are scenery, people and villages. The words "one" and "one" are very vivid. The word "Yi" means that although it has grown into a deep forest, it is not uninhabited, but "occupied". There must be a village for some people, but the poet did not directly say "there is also a village", but said that a stream was shared by several families, which made his speech extraordinary. Here, a forest, a stream, several families and a beautiful mountain village map are all made by fourteen big calligraphy and painting.

The second couplet is more detailed. The poet chose two ordinary things, "noon on the mountain" and "grass with mud marks" by stippling, and wrote a very unusual poetic picture. At first glance, Noon on the Mountain seems unremarkable, but once it is rendered by Shadow of the Peak, the flowing water, the reflection of Qifeng and the swaying beauty immediately appear in front of you. Similarly, "grass with mud marks" is also very common, but once the "deer herd" is rendered, it immediately reflects the gratifying scene of the deer running and their hooves falling behind the grass. "Dot dyeing" is originally a technique of Chinese painting. It is dyed bit by bit, with different shades, distances and shades, and the scene on paper is more vivid. The wonderful use of "stippling" in poetry also has the same effect. It sees strangeness in the ordinary, and strangeness comes from the ordinary. The two are mutually causal and complementary. Imagine, of course, saying "Mountain Morning" and "Mud Trace Grass" is boring, even if it is just "Back to the Peak Shadow" and "Crossing the Deer". Only when the word "dot" is used before the word "dot", and then the word "dye" and the word "dot" are used together, then the two pictures in this couplet suddenly show readers a dynamic realm of beauty.

In the third part, the poet accurately grasped the most distinctive thing in the mountain village in late spring-baking tea and pulling out cocoons, which opened up the artistic conception of the poem. Cleverly, the poet did not directly tell how the farmers in the mountain village were busy picking tea, distributing tea, frying tea to cook cocoons, returning pupae and spinning silk, but only said that they smelled the fragrance of steamed tea in the smoke rising from the hut. Through the bamboo fence, I heard the voice of reeling, so that readers can enjoy the harvest of farming themselves. Here, the artistic conception created by the poet makes readers feel more cordial through synaesthesia.

According to the poetic development, it seems that the tail couplet should write the poet into the mountain village. But otherwise, "whoever sells medicine will not hesitate to follow him into the island cloud." The poet walked and met an old man who came back from selling medicinal materials. He walked into the misty mountain island cloud with the old medicine farmer. This collection of pens is meaningful and the essence of poetry. Why didn't the poet devote himself to the steaming mountain village where he made silk for tea, but hid in the empty Yunshan? The word "casually" vaguely revealed his difficulties. Xiang Si was born in the troubled times at the end of the Tang Dynasty. He felt incompetent and ambitious. In another poem, he wrote: "It's no use giving gifts, and you are not ashamed to return them when you have gone home" ("Returning to the Mountain"). The "return without shame" mentioned here also shows the poet's state of mind of refusing his official career and being willing to live in seclusion in the mountains. "I don't hesitate to follow the island cloud", such as the last sentence seems to be closed but not closed, and the aftertaste still exists.

The characteristics of this poem are ingenious conception, changeable shape, sightseeing and clearly writing the author's experience inside and outside the village. Write scenery, beautiful scenery; Lyric and meaningful; Creating a profound realm is really a masterpiece.