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Appreciation of Du Fu's ancient poem Ascending the Mountain
In our daily life or work and study, we will always come into contact with some familiar ancient poems. In a broad sense, ancient poetry refers to all China's poems before the Opium War, corresponding to modern new poems from the West since modern times. So what kind of ancient poetry is more infectious? The following is an appreciation of Du Fu's ancient poems "Climbing the Heights and Looking Far". I collected them for your reference only, hoping to help you.

Appreciation of Du Fu's Ancient Poem "Climbing to the Top and Looking Far" The ape whimpered and prevented the sand white bird from flying back.

The endless trees are rustling leaves, and the Yangtze River is rolling unpredictably.

Li in the sad autumn scenery, a wanderer all the year round, lives alone on the high platform in today's illness.

After all the hardships and hatred, the white hair is full, and the wine glasses are damaged. -Du Fu's "Ascending the Mountain"

Appreciate:

There is a saying among the people in the Tang Dynasty that Du Fu, a poet and sage in the Tang Dynasty, can know the sufferings of the people. Du Fu's compassion for heaven and others, and his concern for his country and people are doomed to be the most miserable and unfortunate poet. Among all Du Fu's poems, A Journey to the Mountain can be said to be a masterpiece with hardships, bitterness and sadness. This poem was written by the poet when he was in Kuizhou in his later years. By climbing the mountain, he expressed his sadness about the fate of life and generosity to the current situation, and poured out the poet's complex feelings of long-term wandering, old illness and loneliness, and he was impassioned. "Ascending the Mountain" is far away, touching the scenery and feeling, and full of emotions, from which sadness comes; Where is the sadness? Follow the path of the text, closely follow the words and analyze them layer by layer.

The first one writes about the scenery, reflecting oneself, rendering the atmosphere and setting off the mood. This couplet depicts two pictures:

First, Gao Jiang Xiakou, autumn wind hunting, high apes whistling, empty valleys ringing, mourning for a long time;

Second, there are rivers and lakes, the water is clear and the sand is white, and the birds are dancing. The beauty, cheerfulness and clearness of the latter embodies the sadness, strength and sadness of the former, and it is not difficult to perceive the poet's sadness in the gale and the wailing of the ape. The word "mourning" is related to the All-China Federation, covering the whole article. It is harsh, painful and creepy to read. Li Bai's apes on both sides of the strait can't stop crying, and the canoe has crossed Chung Shan Man. They are all singing and laughing, but there is no sadness at all, because Li Bai's good luck is different from Lao Du's down and out.

The couplets look up and down, and the scenery is expressive, long and deep, and the language is natural. The poet looked up at the sky, falling trees and rustling down; Looking down at the river, it keeps running and rolling in. The vastness of the picture highlights the heaviness and tragic life. The rustling, tumbling, imitation and painting not only remind people of the rustling of fallen trees and the surging Yangtze River, but also convey the poet's feeling that his youth is fleeting and his ambition is hard to be rewarded. The autumn of Kuizhou is also a clear metaphor for the autumn of Du Fu's life, which is gloomy and sad. Yes, in the autumn of life, what Du Fu got was not family happiness, fame and wealth, but old and sick, with nothing but wandering and inseparable. What hope is there in life? Where is the hope of life?

Neck-tail couplets express grief, with forceful pen and vivid words, which are the crystallization of blood and tears and the precipitation of sadness and hatred. It is Wan Li's sorrow to wander the rivers and lakes, involuntarily, and fly away. For many years, non-stop parties and getting on and off the bus have been the sorrow of regular customers. Life is short, troubled, old, weak and sick, which is the sorrow of many diseases; Climbing high and overlooking, thinking about the wind, heaven and earth are Confucianism, and it is a lonely sorrow; Down and out, suffering is sweet, worrying about white hair, not many years, this is the sadness of frost temples; When the situation is turbulent, the people are in trouble, and when they are worried about the country and hurt the country, they are at a loss, which is the worry of their home country; Wandering in a foreign land, being sick and disabled, drinking because of illness, adding sorrow and causing resentment, this is the sorrow of drinking. These are all sad and hateful, cutting constantly, and the reason is still chaotic. It is sadness, especially a taste in my heart.

Looking at the whole poem, whether it is scenery writing or lyric, it is sad. Throughout the ages, Du Fu has shouldered all the responsibilities of life experience, honor and disgrace of his home country, ups and downs of the world, gains and losses of people's hearts, how much grief and hatred, how much hardship and hardship. He is like a giant with indomitable spirit, shouldering endless sadness. We are surprised that life is so heavy and tragic!

Expansion: In the first year of Yongtai, Tang Daizong (765), Yanwu, the magistrate and resident in Chengdu, died of illness. Du Fu lost his dependence in Chengdu, so he went to Kuizhou by boat. At that time, although the Anshi rebellion had been settled, Tubo and Uighur often invaded the border, and the struggle of local separatist forces intensified, and the situation was not peaceful. In 767, on the ninth day of the ninth lunar month, Du Fu, 56, climbed a mountain by the Yangtze River alone. Faced with the surging waters of the Yangtze River, the poet was filled with emotion and wrote a famous article "Ascending the Mountain".

This poem has a great influence on later generations. Hu Yinglin in Ming Dynasty commented: "The fifty-six words in this chapter, such as submarine corals, are thin and hard to move and unfathomable, but they are all naked and powerful. There were no ancients in the past and no knowledge in the future. This should be the first of the seven-character method in ancient and modern times. "