Which mountain is the cold mountain that Du Mu went to in "Mountain Journey"?

"Mountain Journey"

Author

Du Mu (Tang Dynasty)

Genre

Seven-character Quatrains

Original text

Far up the Hanshan Mountain (2) the stone path (3) is inclined (6),

There is a home where the white clouds are (4).

Stop and sit (5) in the maple forest at night,

Frost leaves are as red as February flowers.

Translation Along the winding path up the mountain, there are still people living in the place where the white clouds are lingering. I stopped the car because I loved the evening view of the maple forest in late autumn. The frost-covered maple leaves are redder than the flowers in February.

Notes

1. Mountain walking: walking in the mountains.

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

3. Path: path.

4. White cloud birth place: a place where white clouds arise.

5. Sitting: because; due to.

6． Slant: This character is pronounced xiá

Appreciation

The poem uses the poet's emotional tendency and uses the maple forest as the main scene to draw a warm and gorgeous autumn color picture of the mountain forest. The stone path leading up to Qiu Mountain in the distance first gives readers a distant view. The top of the mountain road is a place shrouded in white clouds. The road is made by people, so the white clouds are lingering but not ethereal. The cold mountains contain life, and the sentence "where the white clouds are born, there are people" becomes a natural thing. However, this is just building momentum for the next two sentences. Next, the poet clearly tells the reader that I am still parking in front of the mountain so late, just because the mountain in front of me is in full swing, better than the maple leaves of spring flowers. Compared with the white clouds in the distance and the houses that may not be visible, the maple forest is full of the pure beauty and vitality of life.

Brief Analysis

This is a short poem that describes and praises the scenery of mountains and forests in late autumn.

The first sentence, "The stone path on the cold mountain in the distance is slanted", writes from bottom to top, a stone path winding towards the mountains full of autumn. The word "cold" points out the late autumn season; the word "yuan" expresses the longness of the mountain road; the word "slant" echoes the word "yuan" at the beginning of the sentence, describing the high and gentle mountains. Since the slope is not steep, you can travel around the mountain by car.

The second sentence, "There are people living in the white clouds," describes the distant scenery the poet saw when he was walking in the mountains. The word "生" vividly expresses the various dynamics of white clouds rising, lingering and floating, and also indicates that the mountain is very high. The three words "someone's home" will make people think of the smoke curling from the kitchen, the crowing of chickens and the barking of dogs, thus making people feel that the mountains are full of life, without any fear of death. The word "someone's home" also refers to the "stone path" in the previous sentence, because this "stone path" is the passage for residents in the mountains.

The word "si" in the third sentence "Stop and sit in love with Fenglin at night" is interpreted as "because". Because the evening view of the maple forest at sunset was so charming, the poet stopped to watch it. The word "night" in this sentence is used extremely delicately, and it contains multiple meanings: (1) It points out that the first two sentences are what you see during the day, and the last two sentences are about the scenery in the evening. (2) Because there is sunset only in the evening, the gorgeous sunset glow and the red maple leaves complement each other, making the maple forest particularly beautiful. (3) The poet lingered so much that in the evening, he was still reluctant to board the car and leave, which shows his great love for the red leaves. (4) Because I parked the car for a long time and observed the details, I was able to understand the fourth sentence, "Frost leaves are as red as February flowers." This is a wise and interesting aphorism.

"Frost leaves are as red as February flowers", this is the central sentence of the whole poem. The descriptions in the first three sentences are all foreshadowing and setting off this sentence. Why does the poet use "hongyu" instead of "hongru"? Because "red as" is just like spring flowers, it only decorates the natural beauty; while "red as" is incomparable to spring flowers. It is not only more colorful, but also more cold-resistant and can withstand the test of wind and frost.

This little poem is not only an impromptu chant of scenery, but also a chant of objects and aspirations. It is the expression of the poet's inner spiritual world and the sustenance of his aspirations and interests, so it can enlighten and encourage readers.

This poem describes the colors of autumn, showing a moving picture of autumn colors in mountains and forests. The poem describes mountain roads, people's homes, white clouds, and red leaves, forming a harmonious and unified picture.

These scenes are not juxtaposed with equal status, but are organically connected, with some masters and others slaves, some in the center of the picture, and some in a foil position. To put it simply, the first three sentences are objects, and the fourth sentence is subject. The first three sentences describe the background, create the atmosphere, and pave the way for the fourth sentence.

"The stone path is sloping up the cold mountain in the distance", writing about mountains and mountain roads. A winding path stretches towards the top of the mountain. The word "yuan" expresses the length of the mountain road, while the word "slant" echoes the word "up" and expresses the high and gentle shape of the mountain.

"Baiyun was born in a family", writing about clouds and people. The poet looked up along this mountain road. Where the white clouds floated, there were several stone houses and stone walls made of mountain rocks. The "people" here correspond to the "stone path" in the previous sentence - this mountain path is the passage up and down for those families, right? This organically links the two scenery together. There are white clouds hanging around, indicating that the mountain is very high. The poet uses the technique of crossing the clouds and breaking the mountains to block the readers' sight with these white clouds, but leaves room for imagination: above the white clouds, if there are mountains outside the clouds, there must be another kind of scenery, right?

The poet is only making objective descriptions of these scenery. Although the word "cold" is used, it is only to tease out the word "late" and "frost" below, and does not express the poet's emotional tendency. After all, it is just preparing for the subsequent description - outlining the environment where Maple Forest is located.

"Stop and sit in the maple forest at night" is different. The tendency is already very clear and strong. The mountain road, white clouds, and people did not move the poet's heart, but the evening view of the maple forest made him unable to suppress his surprise. In order to stop and enjoy the scenery of the mountains and forests, I didn't even bother to drive. The scenery written in the first two sentences is already very beautiful, but what the poet loves is the maple forest. Through the contrast between the front and back, the ground has been laid for the description of the maple forest, and the momentum is sufficient, so it is a matter of course, leading to the fourth sentence, which points out the reason for loving the maple forest.

"Frost leaves are as red as February flowers", completes the third sentence, and the beautiful scenery of a late autumn maple forest is concretely displayed in front of us. The poet was pleasantly surprised to find that under the evening light of the setting sun, the maple leaves were flowing red, and the forests were dyed. The mountains were covered with brocade clouds, like shimmering clouds. It was redder and more gorgeous than the spring flowers in February in the south of the Yangtze River! What is commendable is that through this piece of red, the poet saw that the vitality of autumn like spring makes the autumn mountains and forests present a warm and vibrant scene.

The poet did not sigh sadly when autumn came like other feudal literati. He praised the beauty of nature’s autumn colors, which reflected a bold and upward spirit and a kind of heroic spirit. The brushing of the pen shows the poet's talent and insight. This is a hymn to autumn colors.

The fourth sentence is the center of the whole poem. It was written by the poet with strong ink and color and concentrated writing power. Not only the sparse scenery in the first two sentences serves as a foil for this gorgeous autumn scenery, but even the sentence "stop and sit in the maple forest at night" seems to be a lyrical narrative, but actually plays the role of setting off the scenery: the parking and looking, intoxicated and intoxicated. The poet has also become part of the scenery. With this scene, the charm of autumn colors is even more apparent. But after one rewrite, it stops abruptly and becomes full of melodious sentiment and endless aftertaste.

About the author

Du Mu (803～852)

Poet of the Tang Dynasty. The word Muzhi. He was born in Jingzhao Wannian (now Xi'an, Shaanxi Province). He was born into a noble family, and his grandfather Du You was a famous prime minister and historian in the middle Tang Dynasty. In his later years, Du Mu served as a member of Zhongshushe and lived in Fanchuan Villa in the south of Chang'an City. Later generations were called "Du Ziwei" and "Du Fanchuan".

Life Du Mu lived in the late Tang Dynasty when internal and external troubles were deepening. He had been concerned about state affairs since his youth and had the ideal to save the country from danger and restore the prosperity of the Tang Dynasty. When he was 23 years old, he wrote "A Fang Palace Ode", which took the Qin Dynasty's abuse of people's power and extravagance to subjugate the country as a warning, and sounded the alarm to the rulers of this dynasty. As for the birth and death dates of Du Mu, Qian Daxin's "Suspicious Nian Lu" inferred from Du Mu's self-written epitaph in the sixth year of Dazhong that the year of birth was the nineteenth year of Zhenyuan (803) and the year of death was the sixth year of Dazhong (852). However, some scholars have verified that his death year was seven years after Dazhong.

In the second year of Yamato (828), he passed the imperial examination, passed the examination, and was awarded the title of Secretary of Hongwenkan.

In October of the same year, he left Chang'an and served as a staff member in the office of Jiangxi Observer Shen Chuanshi. Later, he was transferred to Huainan Jiedushi Niu Sengru and Xuanshe Observer Cui Danmuzhong as secretary in charge and judge. Traveling around various places for more than ten years broadened his horizons and prompted him to further devote himself to the study of practical management of the world, focusing on "the traces of the rise and fall of governing chaos, the matters of wealth and soldiers, the dangers of terrain, the distance and distance, and the gains and losses of the ancients" (" "Book of Li Zhongcheng"), he has been researched a lot, and he is especially fond of discussing politics and military affairs. The political treatise "Sin Yan" written in the Huainan shogunate and other political treatises provided relevant insights into the current problems of revamping the Ming Dynasty and eliminating feudal towns. The famous "Zhang Hao Hao Shi" was also written during this period.

In the fourth year of Kaicheng (839), he returned to Chang'an and served successively as Zuo Buque, Shanbu Department and Bibu Yuanwailang. After the second year of Huichang (842), he successively served as governor of Huangzhou, Chizhou and Muzhou. When he was a local official, he often reformed the bad government within his own ability and exempted him from the excessive taxes and miscellaneous taxes imposed by cunning officials and nobles. During the Huichang period, Prime Minister Li Deyu presided over the military activities to fight against the Uighur intrusion and the rebellion in Ping'an Zelu Fan Town. In order to realize his political ideas, Du Mu wrote a letter stating the military strategy, which was adopted, and achieved the results of "Ze Luping, Luo Mu's strategy" ("New Book of Tang·Du Mu Biography"). It can be seen that he does have practical political talents.

In the third year of Dazhong (849), he returned to the imperial court and served as a wailang and a compiler in the history library. He came back as the governor of Huzhou. A year later, he was transferred to the imperial examination and was promoted to the imperial court. After the official death, he was born in Shushe.

Du Mu was an upright man by nature, disdainful of catering to the powerful, and was not very proud of his official career, so he maintained a clear-headed critical attitude towards social politics. However, the frustration of being unable to realize his ambitions also led to his indulgent, decadent and laissez-faire life style, and some "romantic affairs" were spread.

Literary Creation Du Mu's literary creation has many achievements, including poetry, fu, and ancient prose. He advocated: "Every writing should be based on meaning, supplemented by Qi, and use words and sentences as its military guard" ("Reply to Zhuang Chongshu"), and he has a relatively correct understanding of the relationship between the content and form of works. He most respected Li Bai, Du Fu, Han Yu and Liu Zongyuan ("Poems to My Nephew Ayi on the Winter Solstice"), and was able to absorb and integrate the strengths of his predecessors to form his own special style. In "Shi Xian Qi", it is said: "A certain person worked hard on his poems, but he did not strive for perfection, did not strive for beauty, did not involve customs, was neither modern nor ancient, and was in the middle." Hong Liangji of the Qing Dynasty also said that his "writing is different from that of Han and Han. Liu's poems are different from those of Yuan and Bai, and his poems and prose are all different from those of the four other schools." ("Beijiang Poetry Talk"). Quan Zuwang even praised him as "the first person after Tang Changqing" ("Du Mu's Theory").

Poetry creation is the most outstanding aspect of Du Mu. He is as famous as Li Shangyin, another outstanding poet in the late Tang Dynasty, and is also known as "Little Li Du". His ancient poetry was influenced by Du Fu and Han Yu, with broad themes and vigorous writing. Long pieces such as "Drinking Alone in a Junzhai" focus on expressing the poet's ambition to save things and save the world, "with five colored threads in his life, willing to mend Shun's clothes", expressing his heartfelt feelings and dripping with gratitude. "Poems of Reminiscence" reflects the turbulent history of domineering vassal towns and frequent border troubles in the decades after the An-Shi Rebellion in the Tang Dynasty. It has a magnificent picture and high-spirited spirit. It can be read together with "Sin Yan" (Weng Fanggang's "Shizhou Poetry"). For example, "Du Qiuniang's Poems" and "Zhang Haohao's Poems" sympathize with the misfortunes of women in feudal society; "Li Gan's Poems" praises a friend's uprightness and integrity, and is also known as a famous poem. His modern poetry is distinguished by its clear and beautiful words and ups and downs of emotion. The seven-rhythm "Early Wild Geese" expresses nostalgia for the people in the northern frontier fortress who were invaded and displaced by the Uighurs in a way that expresses their nostalgia. It is graceful and has an aftertaste. "Climbing the Mountain in Nine Days" uses a bold style to describe his broad-mindedness, but also contains deep sadness. Some lyrical poems such as "Mountain at Qinhuai", "Mountain Journey", "Jiangnan Spring Quatrains", etc. , can use simple spoken language and concise line drawings to convey endless poetic and artistic feelings, which have always been passed down to people. However, historical quatrains such as "Red Cliff", "Inscribed on the Four Hao Temples of Shangshan", and "Three Quatrains on Passing the Huaqing Palace" combine narrative and argumentation, and are highly capable, often striking in unexpected places. A refreshing read. Of course, he also wrote some bohemian, decadent and frivolous works such as "Remembering" and "Farewell", which are negative parts.

Du Mu’s poetry has a unique style. Liu Xizai's "Art Summary" compared his poetic style with Li Shangyin's and said: "Du Fanchuan's poems are majestic and heroic, while Li Fannan's poems are affectionate and long-lasting.

"points out the difference between the two. The general trend of poetry in the late Tang Dynasty is to paint with intricate details. Du Mu was influenced by the trend of the times and also paid attention to diction. This tendency of emphasizing diction is consistent with his personal "majestic appearance" Combining the characteristics of "Yingfa", elegance, beauty and charm, bold and graceful, the predecessors used the word "Junshuang" to summarize this basic style (Hu Yinglin, "Shi Sou"), which is more pertinent.

Du Mu's articles are also unique in the late Tang Dynasty, "extremely comprehensive and full of affairs of state" ("Sikuquanshu General Catalog"). It is said that the "Yan Jiang Lu", "Sin Yan", "Original Sixteen Guards", "Books with Liu Situ", "Preface to Xue Chushi", "Afanggong Fu", etc. written by him are all related to reality. It was inspired by the political content of current affairs, especially the article "Sin Statement", which was fully included in the "New Book of Tang Dynasty: Du Mu Biography" written by Song Qi, and was praised by Ouyang Xiu, who believed that his writing skills were beyond his reach (Fei Gun's "Liang Xi Manchu" "Zhi"). In addition, the article "The Story of the New Nantingzi in Hangzhou" also reflects the author's progressive Buddhist thoughts. In terms of language, Du Mu insists on using prose, which is sharp and clear. In the late Tang Dynasty, parallel prose was popular. , inherited the tradition of the ancient prose movement of the Mid-Tang Dynasty. He also introduced prose style and sentence structure into fu, and wrote a new style of "prose fu" that integrated narrative, lyricism and discussion like "Afang Palace Fu", which was a breakthrough. Since the Six Dynasties and the early Tang Dynasty, the trend of fu writing becoming increasingly parallel and rhythmic has had an important influence on the development of later fu styles.

The "Zunqian Collection" contains the title "Baliu" written by Du Mu. The poem "Zi" is 90 characters long. Some people believe that Du Mu was the first literati to compose lyrics using long tunes in folk tunes. However, according to later research, his style is not similar to that of the Tang Dynasty, so there is no conclusion on this matter. .

This collection and the annotated version of "New Tang Book·Yiwenzhi" contain 20 volumes of Du Mu's "Fan Chuan Collection", edited by his nephew Pei Yanhan, and contain 450 poems and essays. There is 1 volume of external collections and 1 volume of supplementary collections by Tian Gai of the Northern Song Dynasty. More than 170 poems have been collected and appended to the end of the book. However, some other people's works are included in the popular edition of "Fan Chuan Collection" by Yang Shouchang during the reign of Emperor Guangxu of the Qing Dynasty. Jing Suyuan copied the Song Dynasty edition from the official treasury in Fengshan, Japan, copied the Song edition from the Jiajing period of the Ming Dynasty, and the new annotated edition published in 1978. The most popular one should be the Qing Dynasty. Feng Jiwu's "Annotations on Fan Chuan's Poems". In addition, Du Mu has annotated 13 chapters of "Sun Zi", which are included in "Eleven Comments on Sun Zi".

Du Mu's deeds can be seen in the new and old "Tang Zi". "Book" and "Tang Caizi Biography" are written by Miao Yue, "Du Mu Biography" and "Du Mu Chronicle", which are sufficient reference for the description of this poem. The beautiful mountain scenery in autumn

[Edit this paragraph] Xiang Si·Mountain Travel

Xiang Si

There are people deep in the green forest and a stream of water. Several families were separated.

At noon on the mountain, there were traces of mud on the grass and deer passing by.

The sound of steaming tea could be heard through the bamboo fence. p>

When I meet a customer who returns from selling medicine, he doesn't hesitate to follow him to the island.

In addition to serving as a minor official in Dantu County, Xiang Si has lived in the grasslands for a long time and is very familiar with the mountain scenery. This song "Mountain Travel" is about mountain villages and wild scenes. Due to the poet's meticulous observation and profound experience, the poems written are fresh, delicate, appropriate and lifelike. It's as fascinating to read as it is to hear and see.

"There are people in the deep green forest, and there are many families in the canal of flowing water." He started to write to show the beautiful scenery in the mountains - there are scenery, people and villages. The words "Yi" and "fen" are very vivid. The word "Yi" indicates that although Tochigi here has become a deep forest, it is not uninhabited, but "there are people". There must be a village for everyone, but the poet did not say directly that "there is a village", but said that a stream is shared by several families, which is extraordinary. Here is a forest, a stream, several families, and a picture of a beautiful mountain village, all drawn from the fourteen characters.

The second couplet describes the scene in more detail. The poet used the "spotting method" to select two common things, "noon on the mountain" and "mud marks on the grass", to write a very unusual poetic scene. At first glance, "Mountain Day Noon" seems unremarkable, but once the "Back Peak Shadow" is rendered, the beauty of the flowing water, the reflection of the strange peaks, and the rippling beauty immediately appears.

Similarly, "mud marks on the grass" are very common, but once "passing a herd of deer" is used to exaggerate it, the gratifying scene of a herd of deer racing and their hooves falling into the grass immediately comes into view. "Spot dyeing" is originally a technique of Chinese painting. One point is dyed, with different light and thickness, distance and depth, making the scene more vivid on the paper. The wonderful use of "spotting" in the poem has the same effect. It is strange in the ordinary, strange and ordinary. The two are cause and effect and complement each other. Just imagine, just saying "noon on the mountain" and "mud marks on the grass" are of course boring. Even just saying "the shadow of the peak" and "passing the deer group" are also boring. Only the first four words are used to "dot", and then the third word is used to add "dye", so the two pictures in this couplet immediately show the dynamic and beautiful realm to the readers.

In the third couplet, the poet accurately captures the most distinctive things in the mountain village in late spring-roasting tea and pulling cocoons to develop the artistic conception of the poem. Cleverly, the poet did not directly describe how the farmers in the mountain village were busy picking up tea, dividing tea, frying tea, boiling cocoons, uncoiling pupae, and spinning silk. Instead, he only said that he could smell the fragrance of steaming tea in the smoke rising from the hut; The sound of silk silk can be heard while leaning against the bamboo fence, allowing readers to experience the grand scene of the harvest by themselves. Here, the artistic conception created by the poet makes readers feel more intimate with the help of synaesthesia.

According to the poetic development, the last couplet seems to be about the poet entering the mountain village. But otherwise, "Whenever a visitor comes back from selling medicine, he will not hesitate to follow him into the island clouds." As the poet was walking, he met an old man who came back from selling medicinal materials, and then he followed the old medicine farmer into the misty island clouds deep in the mountains. Go in. This closing stroke has profound meaning and is the purpose of the poem. Why didn't the poet join the steaming mountain village where tea was made and silk was made, instead of escaping to the empty Yunshan Mountains? The word "without hesitation" vaguely revealed his difficulties. Xiang Sisheng was born in the troubled times of the late Tang Dynasty. He felt that his talents were not met and his ambitions were unrewarded. He wrote in another poem: "It is so clumsy to offer talents as gifts. It is not shameful to return after time" ("Returning to the Mountains"). What is said here is " "Don't be ashamed to return" also expresses the poet's mood of refusing his official career and willing to hide in the mountains and forests. "We will not hesitate to follow each other into the island cloud", as the last sentence, it seems to be closed but not closed, and the aftertaste lingers.

The characteristic of this poem is its ingenious conception, changing shapes step by step, traveling around the mountains, and describing the author's experiences in and outside the village in a clear-cut manner. The scenery is bright and beautiful in the description of the scene; the emotion is lyrical and meaningful; the environment is profound in the creation of the scene. It is indeed a masterpiece.