Poems crossing Huaqing Palace

Crossing Huaqing Palace

Author: Du Mu

Original text:

Looking back at Chang 'an, Mount Li is like a pile of splendid scenery, and the gates of Huaqing Palace on the top of the mountain are opened in turn.

As soon as I rode on the smile of smoke and smoke, no one knew that the fresh fruit litchi was sent from the south.

Precautions:

1, Huaqing Palace: Yuanhe County Records: Huaqing Palace is on Mount Li, and the Hot Spring Palace was set in the early years of the eleventh year of Kaiyuan. Tianbao was changed to Huaqing Palace in six years. He also built the hall of eternal life, named Jilingtai, to worship the gods.

2. Embroidered piles: Mount Li has East Embroidered Ridge on the right and West Embroidered Ridge on the left. Tang Xuanzong planted trees and flowers on the ridge of the field, which was lush.

3. Thousand gates: describe the magnificent palace at the top of the mountain with many portals. Second place: in turn.

4, a ride (ancient J read Ji, now generally read Qi (two tones)): refers to the person riding a horse.

5. Red dust: refers to the dust flying when riding a horse.

6. Concubine: refers to the imperial concubine of Yang Yuhuan.

7. Red dust: This refers to flying dust. Concubine: Yang Guifei. Music history "Biography of Yang Taizhen": On the last day, I said: Enjoy the famous flowers, don't use old music words for concubines! Biography of Li Guifei in the New Tang Dynasty: My concubine loves litchi and wants to be born, so she rides it, travels thousands of miles, and reaches the capital without changing her taste. Tang Shi Supplement: Yang Guifei was born in Shu, loves litchi, and was born in Nanhai, especially in Shu, so she flies forward every year. However, the party is familiar with the heat, and it will be defeated. It is unknown to future generations. Press: This poem may be freehand brushwork, intended to satirize Xuanzong's favorite concubine, and it is impossible to verify all the historical facts one by one. In the Tang Dynasty, the litchi in Lingnan could not be transported to Chang 'an, so Su Shi said that the litchi at this time came from Fuzhou, not Lingnan. Litchi ripe season, Xuanzong imperial concubine is not in Lishan. Xuanzong entered Huaqing Palace every winter and October, and returned to Chang 'an the following spring. Chen Yinke, a close friend, also made textual research on the fallacy of Cheng's Archaeological Compilation.

8. knowing is: knowing.

Poetic:

Looking back at Mount Li from Chang 'an,

I saw trees, flowers and buildings, just like a pile of splendid scenery.

On the top of the mountain, the palace doors are opened layer by layer.

The post horse runs so fast that it can't see clearly what it is carrying.

Only Yang Guifei looked at the mountain from a distance.

I smiled happily when I learned that my favorite litchi had arrived.

Appreciate:

Huaqing Palace was built in 723 AD (the 11th year of the reign of Emperor Xuanzong of Tang Dynasty), where Emperor Xuanzong and Yang Guifei had fun. Many poets in later generations have written poems about Huaqing Palace, and Du Mu's quatrains are particularly exquisite and well-known. This poem lashed out at the extravagant life of Xuanzong and Yang Guifei through the typical event of sending litchi, with a slight artistic effect.

The first sentence describes the scenery of Mount Li where Huaqing Palace is located. The poet writes from the perspective of looking back at Chang 'an, just like a cinematographer. He first presents a broad and far-reaching panorama of Mount Li to the audience: lush trees, lush flowers and plants, palaces and castles stand among them, just like a beautiful group. Pile embroidery not only refers to the East Embroidery Ridge and the West Embroidery Ridge on both sides of Mount Li, but also describes the beauty of Mount Li.

Then, the scene moved forward, showing the magnificent palace on the top of the mountain. The normally closed palace door suddenly opened slowly. Then there are two close-ups: outside the palace, an emissary is riding a horse, flying fast, raising clouds of red dust behind him; In the palace, the princess smiled. Several shots seem to be unrelated to each other, but they all contain the suspense carefully arranged by the poet: Why are thousands of doors open? Why is there a car coming? Why did Yu Ji laugh again? The poet deliberately kept silent until the tense and mysterious atmosphere made the reader want to know, and then implicitly and euphemistically revealed the mystery: no one knew it was litchi. The word litchi tells the whole story. Biography of Yang Guifei in the New Tang Dynasty: I love litchi, so I want to live it, so I ride it and travel thousands of miles. Her taste has not changed, and she has arrived in the capital. Knowing this, the suspense in front was released at once, and those shots naturally merged.

Wu Qiao's "Poems Around the Furnace" said: Poetry has implications, especially for people who have no definite view of the story. The artistic charm of Du Mu's poems lies in its implication and profundity. In the poem, I don't understand that Xuanzong is dissolute and lewd, and the imperial concubine dotes on arrogance. However, the vivid contrast between riding the world of mortals and the princess's smile has received much stronger artistic effect than expressing opinions directly. The word "princess smile" has a profound meaning. During the Spring and Autumn Period, Zhou Youwang smiled for Bo Feizi and lit a bonfire, which led to the country's demise. After reading this, readers can easily think of this well-known story. The word unknown is also thought-provoking. In fact, litchi is not unknown, at least the concubine knows, and so does the emperor who is not named in the poem. This writing is to show that this matter is very important and urgent, and there is no reason for outsiders not to know. This not only exposes the absurdity of the emperor's doing everything he can to please his favorite concubine, but also echoes the unusual atmosphere rendered earlier. The whole poem does not need difficult words, allusions and carvings. Simple and natural, profound and powerful. It is a masterpiece of history in the quatrains of the Tang Dynasty.

He Li Guohua Qing Palace

Crossing Huaqing Palace

Author: Li He

Original text:

In this spring, at the foot of the mountain, only crows are sad, and the curtains hang long, covering the lonely Hua Gong.

Clouds filled the air, the red pane looked dim, the step stones were broken, and the money-shaped purple moss was skewed.

At that time, there was still wine in the jade bowl, and the silver lamp was bright, and it was adjacent to the outside.

When King Shu left, there was a bud on the edge of spring.

Appreciate:

This is a five-character poem. At the beginning of the poem, crows crow in the spring night, and the palace curtain is separated by royal flowers. The first poem describes the atmosphere of spring night. Poets render from two aspects: sound (hearing) and image (vision). It means that in the spring night, the moonlight is dim, and the crow sounds like crying in the lonely and desolate palace. In ancient China, crows were considered ominous, and they were often used to describe desolation and terror. For example, Li Shangyin described the desolate Sui Dyke in Sui Palace: fireflies have gone and left the weathered grass, but they are still in the weeping willows, and crows inhabit at dusk. Fang Ting, the man of Qin Guan: Beyond the sunset, there are ten thousand points in Western jackdaw in the west, and the water flows around the lonely village. And so on, all show a bleak scope. Then the palace curtain was separated from the imperial flower, which was the garden flower of the imperial court. In poetry, it is often used as a metaphor for a rich and prosperous life. Today's Huaqing Palace is too depressed to see the bustling scene of the past. A single word not only vividly describes the bleak and desolate scene of Huaqing Palace, but also shows that the prosperous scene of the past no longer exists and will never return.

Next, the couplet was dark, the stone was broken and the money was crooked. This couplet inherits the bleak atmosphere of the first couplet and magnifies the bleak scene outside the palace. In artistic techniques, the poet used color description, and through the change of color, he highlighted the desolation, coldness and desolation of Huaqing Palace. This couplet means that the desolate haze hangs over the palace, making the scarlet lattice window look so dull, the stone steps are broken and covered with purple moss. Among them, the dark words in the previous sentence not only describe the bleak color, but also imply a sad environment. The next oblique sentence not only shows the result that no one has broken the stone, but also implies the scene of depression. Through a dark slant, the poet showed the scene of Huaqing Palace in depth and in detail from the glory and image, giving people endless image space.

Then, the jade bowl at the neckline was filled with residual dew, the silver lamp lit the old yarn, and then the couplets were transferred from the desolation outside the palace to the palace. Through two excellent details, the desolate and depressed scene in the palace was further displayed. This couplet means that on the table, the exquisite jade bowl still contains residual wine, and the gauze covered on the silver lamp is stained and worn out. Here, the poet used contrast: jade bowl and residual dew, silver lamp and old yarn. This contrast connects the past with today, sees the silence in the palace now and creates an extremely profound aesthetic realm. In particular, poets also pay attention to linking the most beautiful things with sadness to form a shocking picture. Here, the jade bowl is full of residual dew, and the old yarn lit by the silver lamp itself gives people an uncoordinated picture, even a picture that makes people laugh. However, it is this picture that can stimulate readers' endless imagination and deep thinking.

When Shu Wang left out and away, there was already a tender bud on the edge of the spring. Fu Nan, a scholar in A Qing, thinks that this poem has a good sentence, which is very correct. On the surface, this connection probably means that the leaves of wild celery grew in the hot springs before the emperor who fled to Sichuan got the news of him. Judging from the lack of recent letters, it shows that the desolation of Huaqing Palace did not begin today, but has a long history. The emperor fled to Shu and became desolate. Judging from the existence of celery buds, it was the emperor who fled to Shu that implicitly caused the Huaqing Palace to be so desolate and deserted. As we know, Bai Juyi wrote in Song of Eternal Sorrow: It was early spring. They let her bathe in a pure pool to warm and smooth her creamy skin. It was so prosperous and luxurious that the emperor's spring night was short and the sun rose too fast. Since then, the emperor gave up his early hearing, but now it is the scene of spring celery buds hedging and the sun blowing (Bai Juyi's "village house").

In a word, this poem depicts the desolate scene of Huaqing Palace in many ways. In writing, the poet writes from the atmosphere, inside and outside the palace, making the desolate and desolate Huaqing Palace sad and touching, and creating an artistic conception with profound historical and cultural implications and poet's aesthetic feelings. At the same time, in writing, it pays attention to implication and achieves the aesthetic effect of wanting more.

Snow and dark clouds in the suburbs of Huaqing Palace

The snow on the outskirts of Huaqing Palace in Wuqing is dark in the clouds.

The snow in the suburbs darkened the clouds, but the palace collapsed and dried up.

The green trees and the blue curtains set each other off, and no one knew it was cold outside.

Make an appreciative comment

Wu Rong's Huaqing Palace, recorded in The Whole Tang Poetry, is divided into two groups, one with two poems and the other with four poems. This is the first of two poems in Huaqing Palace.

Huaqing Palace is closely related to the names of Tang Xuanzong and Yang Guifei. For example, Du Mu's "Crossing the Qing Palace": Chang 'an looks back and embroiders in piles, and the top of the mountain opens a thousand times. The princess of mortals smiled, but no one knew it was litchi. It chose Yang Guifei's view that she was happy when she saw the tribute litchi coming to the foot of Lishan Mountain, and exposed the sin that the ruling class ignored people's livelihood for their own selfish interests. Wu Rong's Huaqing Palace is somewhat similar to Du Mu's poems in terms of subject matter and expression, which reveals the sufferings brought to the people by the extravagant life of Emperor Xuanzong and Yang Yuhuan through the details in Huaqing Palace, but the artistic conception created is unique.

The first sentence, the suburbs are covered with snow and dark clouds, with the emphasis on the heavy snow outside Huaqing Palace. Flying figures have a dynamic aesthetic feeling, depicting the scene of the north wind whistling and snowflakes flying in the suburbs of Gong Jin. A dark word, from the perspective of color, describes the power of heavy snow emptying, omits the sense of touch from the visual feeling, and makes it easy for people to experience the biting chill outside the palace from the poetry picture, giving people a cold feeling.

In the second sentence, when the snow falls into the palace, the pen tip turns from outside the palace into the palace. A unique word defines the special scope of falling snow, and a rotating word vividly describes the scene of the rapid melting and disappearance of falling snow in the palace from the perspective of time, and implicitly writes the warmth in the palace, which is in contrast with the first sentence.

The third sentence is shaded by green trees and green curtains, which vividly depicts the harmony of spring in the palace. The underground hot springs of Huaqing Palace spew, and the palaces on the ground are resplendent and magnificent, and the forbidden walls are towering, which can keep out the wind and cold, so the temperature in the palace is high and the trees are green all year round. The green trees here represent the difference between the natural creators in the palace and those outside the palace, while the blue curtain reflects the luxury of the owner's life in the palace.

No one knows that it's cold outside, but he writes the fatuous image of the owner of Huaqing Palace, who doesn't care about state affairs and people's sufferings. The poet implicitly pointed out: since Emperor Xuanzong of Tang Dynasty didn't even know the change of natural phenology and the arrival of winter, how could he know that it was cold? The king of a country doesn't know the taste of cold, how can he observe the state affairs clearly and remember the sufferings and joys of the people? Such a fatuous person provided the soil for the ambition of An Shi Rebellion to germinate and grow consciously or unconsciously.

This poem is novel in artistic conception and implicit in irony, which is in sharp contrast with the temperature difference inside and outside the palace, resulting in the scattered structure of the poem and ups and downs. The successful use of exaggeration has also become one of the artistic features of this poem.

Poems in the old village

Poems in the old village

Passing through the village of the old man

Tang Meng Hao ran

Prepare chicken and rice for me, old friend,

You entertained me on your farm.

We look at the green trees around your village.

And pale blue in remote mountainous areas.

Hold banquets, nurseries,

Talking about Sang Ma with a glass in hand.

By the time we spend our holidays in the mountains,

I'll come back at chrysanthemum time.

Precautions:

1, Guo: visit.

2, collocation: preparation.

3. Yard: the small yard of farmers.

5. Just: Go ahead. The meaning here is appreciation.

Translation:

Old friends prepared yellow rice and roast chicken.

Invited me to visit his simple family.

The village is surrounded by a circle of green trees.

The suburbs are covered with green hills.

Pushing open the window, the field is facing the nursery.

Drinking wine and talking about agriculture, mulberry and horses.

On the Double Ninth Festival in September,

Try chrysanthemum wine again!

Appreciate:

This is an idyllic poem, which describes the quiet and leisurely life scene of farmers and the friendship of old friends. Poetry is written all the way from invitation to hope, which is natural and smooth. The language is unpretentious and the artistic conception is fresh and meaningful.

This is a very simple pastoral landscape painting. Sincere and cordial friendship, a typical farm life scene, combines the beauty of nature, life and friendship in one furnace, which shows the harmony of the poet's inner world.

Shen Deqian said that Meng Haoran's poems are light in language and taste (Tang poetry). In other words, when reading Meng Shi, we should appreciate its inner charm through its faint appearance. Passing through an old friend's village is not the lightest of Meng's poems, but its description is dull, its language is clean, and there are almost no exaggerated sentences and exciting words. It is also a poem that is too light to read (Meng Haoran of Wen Yiduo). Where is its poetry?

This old friend prepared a delicious meal and invited me to his hospitable farm. This beginning is like a note in a diary. I came at the invitation of an old friend. There is no rendering in the text, I am here at the call, simple and casual. This is just a possible form between friends who don't need to be polite. The invitation of chicken and millet not only reflects the unique flavor of Tianjia, but also reflects the simplicity of hospitality. It is this kind of hospitality without ceremony and ostentation and extravagance that makes the hearts of friends more open to each other. This beginning is calm and natural, but it is an excellent introduction to the content of life to be developed, showing the characteristics of the atmosphere, which needs to be further enriched and developed below.

Green Woods surround the village and green hills are located outside the city. Walking into the village and looking around is a fresh and pleasant feeling. These two sentences are close to the border and surrounded by green trees, which seem to be unique and unique. The next sentence is light, accompanied by green hills abroad, which makes the village not lonely and shows a broad prospect. The village is located in Pingchou, far away from Qingshan, which makes people feel light and quiet, and never lonely. It is precisely because the old friend Zhuang appeared in such a natural and social environment that the guest and the host raised their glasses at the window. We opened your window, crossed the garden and the field, and talked about mulberry and hemp with cups in our hands, which was even more carefree. The word "open porch" here seems to be inadvertently written into the poem, but the above two sentences are about the location of the village. Here, the narrator drinks and chats in the house. When the porch window is opened, the position is reflected in the room, giving people a more relaxed and happy feeling. For these two sentences, people pay more attention to Sang Ma, and think that it is good to meet each other without miscellaneous words (Tao Yuanming's Return to the Countryside) and forget about farming. But there are threshing floors and vegetable gardens in front of the entrance window, surrounded by green shade, giving people a spacious and stretched feeling. Sang Ma makes you feel more rural. Therefore, we can not only appreciate the stronger local flavor, the flavor of labor production, but also smell the soil flavor on the nursery, see the growth and harvest of crops, and even see the characteristics of regions and seasons. With the combination of these two sentences and the first two sentences, green trees, green hills, cottages, playgrounds and Sang Ma blend together harmoniously, forming a beautiful and quiet pastoral landscape, while the laughter of the host and guest and the words about Sang Ma seem to linger in our ears. It is different from the pure fantasy of the Peach Blossom Garden, but it is more realistic in the prosperous Tang society. It is in such a world that poets who once lamented that the lords in the kingdom were harsh on us and unpredictable not only forgot the setbacks encountered in political pursuit, but also the gains and losses of fame and fortune, and even the lonely and depressed mood in seclusion. It seems not hard to imagine that his thoughts are relaxed, and even his actions are flexible, from his view of mountains and rivers, from his * * * words about wine with friends in Sang Ma. The environment and atmosphere of the farm showed its conquest here, which made Meng Haoran seem to be converted.

Please come here to see chrysanthemums when the ninth festival comes. Meng Haoran was deeply attracted by farm life, so when he left, he told his master frankly that he would come back to see chrysanthemums on the Double Ninth Festival in autumn. A few simple poems, the enthusiasm of old friends to treat each other, the pleasure of being a guest, and the cordial harmony between the host and the guest are all on the paper. This can't help but remind people of Du Fu's "being drunk by Tianfu mud": when the moon rises, I stay, but I still ask for help. Du's father supports people, and he is in a hurry; Montessori made an appointment with an old friend again to soften his words. The difference between the stagnation and Meng's calmness may give us a glimpse of some news.

An ordinary farm, an ordinary dinner of chicken and millet is so poetic. It describes the prospect of the eyes, and the level of description is completely natural in spoken language. The pen and the pen are very relaxed, and even the form of rhythmic poetry is free and flexible. You only think that this brisk and approachable style is in line with the simple peasant countryside he described, which shows that the form and content are highly adapted, but they are calm and kind, but not dull. Plain contains deep affection. On the one hand, although there is almost no trace of strenuous exercise in every sentence, on the other hand, there has never been weakness in every sentence. For example, the first two sentences of the poem only write the invitation of friends, but they can show the simple peasant atmosphere; Three or four sentences only write green trees and green mountains, but you can see a world; Five or six sentences only write wine gossip, but they can show the comfortable fit between mood and environment; Seven or eight sentences only say that Chongyang will come again, but naturally they show their attachment to this village and old friends. These sentences are balanced and even, and together with * * *, they form a complete artistic conception, which combines quiet and beautiful pastoral scenery with simple and sincere friendship. This is the so-called wonderful pen, which has no syntax (Shen Deqian's Tang poetry). It's coincidence and misfortune not to be strange (Pi Rixiu's Meng Ting in Yunzhou). He deeply integrated artistic beauty into the flesh and blood of the whole poem, which seemed natural and natural. This kind of showmanship is not dazzling, not showing off skills, not only relying on one or two carefully crafted sentences to prop up the facade, but also reflecting the superb artistic level. For example, a beautiful woman, her beauty is perfect and holistic, not because a certain part is particularly touching. Instead of putting on airs, she was amazed by a natural color and charm. It is precisely because of the true reflection that the words are free and easy and clear, which makes the whole poem show its charm from a light touch without heavy makeup.