What does Du Fu’s poem about walking alone by the river looking for flowers mean?

"Seven Quatrains for Looking for Flowers Alone by the River" is a collection of seven poems by Du Fu, a great poet of the Tang Dynasty.

The first poem describes the reason for finding flowers alone, starting from being annoyed by flowers;

The second poem writes about walking to the riverside and seeing so many flowers;

No. The third poem describes the flowers of certain people, dazzling red and white, overwhelming;

The fourth poem describes looking at the flowers in Shaocheng from a distance, imagining the prosperity of the flowers and the happiness of people;

The fifth poem describes the peach blossoms in front of Huang Shi's pagoda;

The sixth poem writes that Huang Si's natal house is full of flowers;

The seventh poem summarizes appreciating, loving and cherishing flowers. The first four poems in the group of poems respectively describe being annoyed with flowers, fearing spring, reporting spring, and pity for flowers, showing sad feelings;

The last three poems show the joy of admiring flowers, and contain the meaning that spring is hard to stay. . The whole poem has a clear context and well-organized layers. It is a unique picture of looking for flowers, which expresses Du Fu's cherishment of flowers, his lingering in a beautiful life, and his hope that beautiful things will always be there.

Original text of the poem:

Seven quatrains about walking alone by the river in search of flowers

Part one

I am annoyed by the flowers on the river, and there is nowhere to tell me Just crazy.

Walking around to find a drinking companion from my neighbor in the south, spending ten days drinking alone in an empty bed.

Second

The dense flowers and stamens are afraid of the riverside, and walking in danger is really afraid of spring.

Poetry and wine are still enough to drive, there is no need to cook the white-headed man.

Third

The river is deep and the bamboos are quiet for two or three houses, and the busy red flowers reflect the white flowers.

To repay the spring sunshine, you should send good wine to your life.

Fourth

Looking east, Shaocheng is full of flowers, and the tall buildings with hundreds of flowers are even more pitiful.

Who can open the golden cup with wine and summon the beautiful women to dance and embroider the banquet.

Fifth

In front of the Huangshi Pagoda, the river is east, and the spring scenery is lazy and leaning against the breeze.

A cluster of peach blossoms blooms without an owner. Love the deep red and the light red?

Part 6

Huang Si’s natal family is full of flowers, with thousands of flowers hanging down the branches.

The butterflies dance all the time, and the orioles sing at ease.

The seventh one

If you don’t love flowers, you are willing to die, but you are afraid that the flowers will run out and you will be old.

Many branches are easy to fall off one after another, and the young stamens are open carefully.

Interpretation:

Explanation of words and sentences

Jiang: refers to the Huanhua River beside the author's thatched cottage in Chengdu. Dubu: walking alone.

Che: Already, finished.

Bian Kuang: Bohemian. Dian means "epilepsy".

Southern neighbor: refers to Dendrobium Sirong. The original note of the poem: "Hu Sirong, I am a drunkard."

Xun: Ten days are one Xun.

Dense: dense. Wei (wēi): Tong "kuma", the bend in the mountains and rivers. One is "Li".

walking: steps.欹(qī): skewed. Reality: One work is "alone".

In: auxiliary word, equivalent to "get". When one says "in", it is equivalent to "when".

Cooking: Arrangement, help. White-headed man: old man. The poem is self-referential by the author.

Nosy: There is a provocative meaning here.

Send: send away. Career: life.

Shaocheng: a small town. Chengdu was originally divided into Dacheng and Shaocheng. Shaocheng was located to the west of Dacheng. "Yuanhe County Chronicle" records that Shaocheng is one mile southwest of Chengdu County.

Poor: cute.

Zhan: One is "lock".

Beauty: Refers to official prostitutes. Xiuyan: a sumptuous feast.

Huangshi Pagoda: The tower where the monk is buried. Lu You's "Notes on Laoxue'an": When I arrived at Xipu, I passed through a very lush pine forest and asked my soldiers, "Where are we?" The answer is: "The master's pagoda." The people of Shu call monks their masters and the place where they are buried is a pagoda, which is why they understand the sentence "in front of Huang Shi's pagoda" in Shaoling.

Lazy sleepy: tired and sleepy.

Ownerless: To fend for itself, with no one to care for or appreciate it.

Love: one is "reflection" and the other is "with".

Huang Siniang: Du Fu’s neighbor when he lived in a thatched cottage in Chengdu.芊 (xī): small road.

Linger: to be nostalgic and reluctant to leave.

Jiao: cute. Qiaqia: Onomatopoeia, describing the harmonious and beautiful sound of a bird’s call. It is said that "Qia Qia" is a dialect of the Tang Dynasty, which means just right.

Love: A work of "seeing". Ken: It’s still “fighting”. One is "desire" and the other is "suspense".

Many: many and messy.

Tender pistil: refers to the flower in bud.

Vernacular Translation

Part 1

I was so troubled by the spring flowers on the riverside that I had nowhere to express my feelings, so I had to wander around.

I came to the south neighborhood looking for a partner who loves drinking. Unexpectedly, his bed was already empty and he went out drinking ten days ago.

Second

The numerous flowers and stamens wrap around the riverside like a brocade. When I walk crookedly, I feel really afraid of spring.

But for now, poetry and wine can still be at my disposal, so there is no need to bear any psychological burden on me, a white-headed man.

Third

There are two or three families living in the quiet bamboo forest on the bank of the Shenjiang River. The provocative red flowers stand out against the white flowers.

I have a place to repay the kindness of spring. The oars in the hotel can send my years away.

Fourth

Looking east to Shaocheng, the flowers are like smoke, and the tall white flower restaurant is even more eye-catching.

Who can bring me wine and invite me to drink freely, and call me beautiful women to sing, laugh and dance at a grand banquet?

Fifth

I came to the east bank of the river in front of Huangshi Pagoda, feeling sleepy and lazy, bathing in the warm spring breeze.

An ownerless peach blossom is in full bloom. Should I love the deep red or the light red?

Part 6

The lush flowers of Huang Si’s natal family cover the path, and the branches are bent low to the ground by thousands of flowers.

The colorful butterflies are always flying among the fragrant flowers, and the soft and free orioles are singing happily.

The seventh one

It’s not that I love flowers to the point of death, it’s just that I’m afraid that I’ll be forced to live in old age when my flowers run out.

When the flowers are in full bloom, they tend to fall one after another. Please consider opening the tender pistil slowly.

Appreciation:

When the spring was warm and the flowers were blooming, Du Fu wanted to find a companion to enjoy the flowers, but failed to find him, so he had to walk alone along the Jinjiang River in Chengdu. , write one place; write one place, and change the meaning; seven poems in a row, forming a system, and at the same time, each poem has its own rules. In this group of poems, the first poem about the reason for finding flowers alone starts from being annoyed about flowers. It is quite abrupt and unusual. In the second poem, I went to the riverside and saw many flowers. Suddenly I said I was afraid of spring. The language was very strange, but it was actually an irony. The third poem writes about some people's flowers, which are dazzling red and white, and are overwhelming. The fourth poem is about looking at the flowers in Shaocheng from a distance and imagining the prosperity of the flowers and the happiness of people. The fifth poem describes the peach blossoms in front of Huang Shi's pagoda, the sixth poem describes Huang Si's natal house full of flowers, and the seventh poem summarizes appreciating, loving and cherishing flowers. This group of poems has a clear context and well-organized layers. It is a unique picture of looking for flowers. It expresses Du Fu's cherishment of flowers, his lingering in a better life, and his hope that good things will always be there.

In this group of poems, each poem is closely related to the theme of "Looking for Flowers", and each poem contains flowers. The first sentence of the first sentence, "I am annoyed by the flowers on the river," echoes the last sentence, "If you don't look at the flowers, you will want to die." It's like a snake in the Changshan Mountains. Appreciate flowers and look at flowers, all the way to the end.

The first song: "The flowers on the river are annoying." Flowers are annoying, but actually they are lovable. Flowers are on the river, and the shadows of the flowers are charming on the water. The light and color of the water are even more lovely. The word "crazy" vividly describes the mood of love for flowers. So the poet looked for a companion to enjoy the flowers, and "walked to the south to find a companion who loved to drink wine." It can be seen that Du Fu asked his neighbor to enjoy the flowers together. "After ten days of drinking alone in an empty bed", it is clearly written that this wine-loving companion went out to drink, but he must also have gone to enjoy the flowers alone. "Nowhere to Tell Only Dian Kuang" is about two people - they both went to the riverside to look for flowers alone. Maybe there are more people looking for flowers, and everyone loves beauty. These seven quatrains are about looking for flowers, and the word "Dian Kuang" runs through them. This first poem is a solution to the problem.

The second song: "The thick flowers and stamens fear the riverside", which is derived from the first song "The river is annoyed by the flowers". The flowers on the river are numerous and have messy stamens surrounding both sides of the river. Huanhua Creek is a sea of ??flowers. The first sentence of the first poem says "The flowers on the river are so annoying", while the second sentence of this poem says "It's dangerous to walk but I'm afraid of spring". Wang Sishi gave a relatively thorough explanation of the form and psychology of madness in "Du Sui". The flowers are so intoxicating, and then he writes poetry and wine, "There is no need to take care of the head-turner."

But this kind of "拋" is by no means an arbitrary destruction of the rhythm. The overlapping of "thousands of flowers" has a kind of oral beauty. The "Duo" in "Qianduo" is in the same position as the character "四" in the previous sentence. Although they both belong to the oblique tone, they have the upper and lower tones of each other, and there are still changes in tone. It is not that the poet does not pay attention to the musical beauty of poetry. This is reflected in the use of bivocal words, onomatopoeia and overlapping words in the third and fourth sentences. "Liu Lian" and "Zizai" are both two-tone words, connected like beads, with subtle tones. "Shishi" and "Qiaqia" are overlapping words. Even if the upper and lower sentences form a contrast, the meaning of the poem is stronger and more vivid, and it can better express the poet's instant pleasure when he is obsessed with flowers and butterflies, and is suddenly awakened by the sound of warblers. Except for the words "wu" and "ying", these two sentences are all made of alto-dental sounds. The use of this series of alto-dental sounds creates a sense of self-talk, which vividly conveys the intoxication and surprise of people who watch flowers because of the beautiful scenery. Endless feelings. The effectiveness of sound is extremely helpful in expressing mood. In terms of syntax, most of the poems in the prosperous Tang Dynasty are natural and coherent, but Du Fu is different from them. For example, "pairing knots" (parallel couplets in the back) are the style of quatrains in the early Tang Dynasty. Quatrains in the prosperous Tang Dynasty are now rare because it is difficult to achieve a complete and full ending with this kind of ending. Du Fu, however, rarely sees coincidence, so the post-couplet of the poem is both stable and full of lingering rhyme, so it is used just right: while it is pleasing to the eye, hearing the song "Cha Cha" adds a lot of appeal. In addition, these two sentences should be written according to the customary grammar: The dancing butterfly lingers and dances from time to time, and the delicate oriole crows at ease. Putting "Liu Lian" and "Zizai" at the beginning of the sentence is not only due to phonological needs, but also emphasizes them semantically, making it easier to understand the meaning, and the syntax also appears novel and changeable.

The last song: "If you don't love flowers, you want to die." Be quick and straightforward, without hiding anything. Du Fu was accustomed to fighting to the end and often used harsh words, such as "If your words don't shock you, you will die". He also wrote: "I'm just afraid that the flowers will run out and I will get old." What I'm afraid of is that the flowers will fade and people will grow old. The next two sentences describe the scenery, describing the easy falling of flower branches and the slow opening of stamens. The scenery embodies the deep feelings of flowers, expressed in couplets, and the writing style is doubled, and it is airtight, with deep feelings and fine words.

About the author:

Du Fu (712 AD - 770 AD), courtesy name Zimei, Han nationality, originally from Xiangyang, later moved to Gong County, Henan. Called himself Shaoling Yelao, he was a great realist poet in the Tang Dynasty. Together with Li Bai, he was known as "Li Du". In order to distinguish them from the other two poets Li Shangyin and Du Mu, known as "Little Li Du", Du Fu and Li Bai are also collectively known as "Big Li Du", and Du Fu is often called "Old Du".

Du Fu had a profound influence on Chinese classical poetry. He was called the "Sage of Poetry" by later generations, and his poems were called the "History of Poetry". Later generations called him Du Shiyi and Du Gongbu, and also called him Du Shaoling and Du Caotang.

Du Fu created such masterpieces as "Looking in Spring", "Northern Expedition", "Three Officials" and "Three Farewells". In 759, Du Fu abandoned his official position and went to Sichuan. Although he escaped the war and lived a relatively stable life, he still cared about the common people and national affairs. Although Du Fu is a realist poet, he also has a wild and uninhibited side. It is not difficult to see Du Fu's heroic spirit from his famous work "Song of the Eight Immortals in Drinking".

The core of Du Fu's thought is the Confucian thought of benevolent government. He has the grand ambition of "bringing the kings to Yao and Shun, and then making the customs pure." Although Du Fu was not well-known during his lifetime, he later became famous and had a profound impact on both Chinese and Japanese literature. About 1,500 poems by Du Fu have been preserved, most of which are collected in "Du Gongbu Collection".