The sixth group of the sixth grade of primary school comprehensively studied and collected poetry: the topic of poetry

In the green garden, sunflowers are exposed to the sun.

In the spring, everything is brilliant.

I am always afraid that the autumn festival will come and the yellow leaves will wither.

A hundred rivers go east to the sea, and when will they go west!

A lazy youth, a lousy age.

To annotate ...

1 Sunflower: There are mallows and hollyhocks. Xibang Rikui and others. Here refers to flowers and trees.

②(x) Drying due to sun exposure.

③ Yangchun: Spring. Deze: Grace, this refers to the sunshine and rain in spring.

The sunshine and rain in spring make everything alive.

⑤ ■ Flower ■ Flower: Same as "flower".

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There are three ancient poems * * * in Long song in Han Dynasty, which were included in Yuefu Poems by Guo Maoqian, a poet in Song Dynasty, and the last two poems were merged into one (in fact, they are completely irrelevant poems, and Yan Yu's Canglang Poetry has pointed out that the latter should be two). What I want to talk about here is the first of three songs, which was first seen in Xiao Tong's Selected Works. The theme of this poem is very clear, that is, two sentences at the end of the article: "Young people are strong and don't work hard, but old people are sad." Because the interpretation of Yuefu ancient poems in Tang Wu Classic says: "It won't be long before you say that you are glorious, you should be happy if you work hard, and you should be sad if you don't reach the top." Later generations turned such a poem with positive significance to persuade people to cherish youth and have fun in time into a work to persuade people to eat, drink and be merry in time. This is obviously a fallacy and distortion. Because the poem only says to "work hard" in time, it does not obviously suppress decadent ideas like "When we eat, drink and be merry in time, how can we stay here" in Nineteen Ancient Poems (the fifteenth). We should completely restore its positive and healthy true colors.

There are also different views on the meaning of the poem "A Long Song". I think Guo Maoqian's statement based on Shan Li's annotation in Selected Works is quite accurate and plain. He said: Cui Bao's Notes on Ancient and Modern Times said: "Long song, short songs, people's life span, each has its own destiny, and we must not be presumptuous." According to "Ancient Poetry", "Long song is fierce." Wei Wudi (such as Wei Wendi) said in Ge Yanxing: "Short songs can't be long." Jin Fuxuan's "Ge Yanxing" says: "Duh, come to Long song to continue short songs." However, songs have length and no life. Long song's continued short songs in Tang Dynasty were based on this. It seems that the so-called "long" and "short" refer to songs and tunes, regardless of the content. "Life length" is even more hypothetical.

There are two words in this poem that need special explanation, namely "Qingqing" in the first sentence and "Huang Qu" in the sixth sentence. Other words are generally easier to understand, so I won't repeat them here.

First of all, the word "green" certainly refers to color. For example, the so-called "woman in green" in The Book of Songs Zheng Feng Amethyst refers to the blue clothes. However, from The Book of Songs of the South to Yuefu folk songs and ancient poems in the Han Dynasty, the word "Qingqing" often appears, which not only refers to the color, but also describes the flourishing appearance of plants when they were young. This is explained in Zheng Xuan's Annotation of Mao Poetry in the Eastern Han Dynasty, Lu Deming's Interpretation of Classics, Duan Yucai's The Book of Songs Primary School in the Qing Dynasty and Shi Mao's Chen Huan's Biography of Poetry. Duan and Chen further explained that "Jingjing" and "Jingjing" in The Book of Songs are the same word, both of which refer to the lush foliage of plants. Now we often say "youth" and "youth" all come from the earliest meaning of the word "qingqing". This echoes the word "young and strong" at the end of the article, not just the color of "sunflower in the garden"

Secondly, how to understand the word "Huang Qu". "Selected Works" Shan Li's Note: "Yellow, faded." Five ministers' notes: "Yellow and Chinese (flower) colors are not good." Later, Mr. Yu Guanying commented on Selected Poems of Yuefu, and further thought that "Kun" was a loan word of □ (left fire and right staff), and interpreted "Huang Kun" as "yellow in appearance and fading in color". Thirty years ago, I annotated "Reference Materials on the History of Literature in the Han Dynasty", which is the same understanding. Later, I rummaged through the ancient books of Han and Jin Dynasties and found that the word "Huang Qu" had never been used except this poem. The common word is "Huang Zhuo" (for example, the Han miscellaneous book "Ji Jiu Pian", "Ganquan Fu", Cao Cao's "Hu" poem, and Tang Shihuilin's "Zhu Jing Yin Yi" quoted Guo Pu's Dialect Notes, etc. According to the original meaning of "Guo", it is described as a brilliant fire, which is formed by the original word "Guo" (that is, "Hui") and has no yellow meaning. Just because the word "yellow" is used in the poem, it is called "□ (left fire and right staff)". But the word "Huang" is common with the word "Huang" in ancient books of Qin and Han dynasties. The most obvious thing is that Ying Shao in the Eastern Han Dynasty wrote the word "Yellow Emperor" as "Emperor" in "Customs Sound". The original meaning of the word "emperor" means sunny. Later, because "yellow" has become a special title for emperors, the word "yellow" came from "fire". So I think the word "yellow" in this poem is actually a common word at that time, but the word "yellow" is written as "yellow". And the last word of this poem is "decline", which means withering. If the above "yellow" is described as "yellow in color", it will inevitably appear repeatedly in poetry. More logically, the "flower (flower) leaves" of plants were originally colorful in Xia Zhishi in spring, but they began to fade in autumn. This statement has never been seen before. Please consider whether it can be established.

Let's briefly analyze the artistic features of this poem. In my opinion, the theme of this poem is serious and healthy, but there is no problem of preaching and empty conceptualization. Its ideological content is to give a severe blow to those who don't know how to cherish youth, and its thought-provoking degree is breathtaking. But as far as the whole poem is concerned, it gives people a convincing and simple feeling, and it doesn't feel stiff and far-fetched at all. This is precisely because the original poet used imagery thinking as a metaphor to impress people, rather than using abstract concepts as dogma to teach people. The whole poem has ten sentences. The first eight sentences completely let the image and metaphor speak for themselves. Only the theme in the last two paragraphs is the natural conclusion that can be drawn from raising the thinking in images to logical thinking. This is the difference between early Yuefu folk songs and literati's preaching-oriented works.

The first two sentences are about spring. In a garden full of plants, spring is full of vitality. The first sentence uses "green" to describe "sunflower in the garden", which is colorful and full of vitality. Especially in spring, the flowers and leaves of plants are displayed with fresh dew at dawn. What a fresh and vigorous picture! This is the specific image that the second sentence gives the reader. However, although this sentence focuses on "waiting for the morning dew" (pay attention to this word "waiting for the day", which means that the garden is full of fresh and clean vitality before sunrise in the morning), the word "Xi" is used at the end ("Xi" means being dried by the sun), indicating that as long as the sun shines high, the dew will dry quickly, so, however, readers in such places, Three or four sentences focus on the image of the first sentence. The warm spring morning sun spreads light and heat, just like giving goodwill to everything. The so-called "gorgeous" not only refers to the light reflected by the sun on everything, but also reflects the vitality of everything itself in spring. Because light originally belonged to the sun, but now it has been given to everything, and even everything is thriving and shining. Five or six sentences further develop the other side of the second sentence and write the other side of nature, that is, from prosperity to decline, from growth to extinction, from young to old. When autumn comes, the China leaves of plants grow luxuriantly and beautifully, and finally they will die. However, as a folk elegy earlier than this poem said: "It is not easy to be exposed! The dew fell even more in the Ming Dynasty. When will people die? " Although plants decline from prosperity, they still go on and on, and will flourish again when the next spring comes. People can't do this, years can't go back, and youth is gone forever. However, the poet did not say it directly here, but inserted seven or eight sentences, using the metaphor that a hundred rivers enter the sea from the east and never return to the west, and euphemistically expressed the truth to the readers from the front. This not only deepens the truth to be told, but also strengthens the power of persuasion. Technically, it is "gaining momentum" and conceptually "deepening". In the end, it comes down to nine or twelve sentences, which not only makes the truth clear through the appeal of the image, but also makes the poet's attitude more sincere and sincere, giving people a feeling of tireless teaching.

Wu Qi, a poet in A Qing, commented on this poem in his "Conclusion of Selected Poems" and said, "All these are shortcomings of time." Actually, the characteristics of this poem are just the opposite. It is by using natural phenomena as a metaphor that the author sees the long-term temporality, the short-term strength, and the urgency and accuracy of things changing in eternity. The key point is that the images used in the poem are all big and long, with eternal nature, such as writing about plants in spring and autumn, the sun shining on the earth, the long river of time, and all rivers return to the sea. Compared with the so-called "Zhuangzi carefree tour" and "I don't know the fate of auricularia auricula, I don't know the spring and autumn", I immediately felt the difference between the two methods. Life is a day, a day is a month, and a month is a year. It seems long, but it is fleeting. If you let go, you will regret it day after day and year after year. If the last two sentences come clean, they can be finished in a few words, but that's a slogan, not a touching poem.