Compare Lu You's "Shu Ang" and Du Fu's "The Prime Minister of Shu"

Shu Anger is one of Lu You's famous seven-rhythm poems. The whole poem is full of melancholy emotions and rich charm, which is obviously inspired by Du Fu. The two unions in China are committed to work steadily, especially the couplets "building boat" and "iron horse", which are majestic and heroic and are widely recited by people. Such poems come from his personal experience and are full of his feelings about political life. They are incomparable to those works that show off their talents and show off their talents.

At an early age, I knew that the world would be difficult.

Looking to the north of the Central Plains, the air is like a mountain.

The building boat is crossing Guazhou in the snow at night,

The iron horse disperses in the strong autumn wind.

I walled the Great Wall and promised myself that it would be empty.

The faded temples in the mirror are already stained.

When you are a disciple, you are truly famous in the world.

Who can be compared to others in a thousand years!

It was written by Chunlu when he was traveling in his hometown of Shanyin in the thirteenth year of Chunxi (1186), the reign of Emperor Xiaozong of the Song Dynasty. Lu You was sixty-two years old at the time, which was obviously my age. However, the poet was deposed and could only stay idle in his hometown. He thought about the broken mountains and rivers, the Central Plains had not yet been conquered, and "there is no battlefield to serve the country if you want to die". I felt how difficult the world was. , the villain harmed the country and "the scholar had no place to serve alone", so the poet burst out with anger. "Book anger" means expressing the deep anger in one's heart.

"A strong man is old before the country's hatred is broken, and the sword in the box makes a sound at night." When a hero has no place to use, he will return to the memory of the iron horse. I think back then, when the poet looked north to the Central Plains, his ambition to regain the lost land was like a mountain surge, what a courage! Did the poet ever think that the road to killing the enemy and serving the country would be so difficult? I thought that I was selfless and devoted myself to serving the country, so the country would help me. Who would have expected that there would be traitors who would obstruct and sabotage me and lead to my repeated dismissal? The poet begins by asking himself, how much anger is there?

The two sentences "Lou Chuan" describe the Song soldiers' fight against the Jin soldiers' invasion in the southeast and northwest, and also summarize the poet's past travels. In November of the 31st year of Shaoxing reign of Emperor Gaozong of the Song Dynasty (1161), the gold lord Wanyan Liang invaded the south. The Song army refused to defend in the Guazhou area, and then the Jin army retreated. The previous sentence refers to this. In the eighth year of the reign of Emperor Xiaozong of the Song Dynasty (1172), Lu You was attending Wang Yan's military affairs in Nanzheng. The poet and Wang Yan actively planned to march into Chang'an. They once forcibly crossed the Weishui River and had an encounter with the Jin soldiers at Dashan Pass. The next sentence refers to this. The glorious past summarized in these two sentences is in sharp contrast to the present situation of "people who are willing to kill thieves are unable to recover". "In good times, I am afraid that I will regret it in another year, and at the critical moment, another autumn will come." Thinking that there is no chance of restoring the Central Plains today, what is the poet's heart like weeping blood? From a poetic perspective, these two poems also fully demonstrate Lu You's great poetic talent. The images of "building ship" (majestic warship) and "night snow", "iron horse" and "autumn wind" are combined, and there are two open and magnificent battlefield pictures. The selection of imagery is very clean and typical.

The sentence "Cover the Great Wall" is a metaphor used by the poet to express his ambition. Tan Daoji, a famous general in Liu Song Dynasty during the Southern Dynasties, once called himself the "Great Wall". The emperor wanted to kill him, so he said: "I will destroy your Great Wall." Lu You promised himself this, which shows how majestic he was when he was young. He defended the country and showed his prestige in the border areas. Who else could he do? However, what about today? The poet's anguish of unrealized ambitions all hangs over the word "empty". Ambition is in vain, struggle is in vain, everything is in vain, but when I look at myself in the mirror, I see the first spots on my temples, and my bright head! How sad it is to compare the two? Thinking about it again, this ending was not caused by my lack of ambition or my lack of efforts, but because of the villain who mistook me and the world that made me wear thin! I have the will, but God won’t let me. Sadness becomes anger.

Look at the last couplet again. Codes are also used to clarify aspirations. Zhuge persisted in the Northern Expedition. Although he "died before he left the army", he was famous all over the world and "made heroes burst into tears". After thousands of years, who can compare with it? It is obvious that the poet used the allusion to denounce the mediocre people in the government and the public, indicating that his ambition to restore the Central Plains will also be "famous". The poet cannot find comfort in reality, so he has no choice but to put his soul thirsting for comfort into the future. This is naturally a helpless move. The poet had no choice but to vent his anger and frustration.

Looking back at the whole poem, I can see that every sentence is angry and every word is angry. Poetry is made out of anger, and poetry is full of anger.

The Prime Minister of Shu

Where can I find the ancestral hall of the Prime Minister? There are many cypresses outside Jinguan City.

The green grass reflects the spring color on the steps, and the oriole's voice is heard in the sky through the leaves.

Three visits have troubled the world, and two dynasties have opened the hearts of old ministers.

He died before leaving the army, which made the hero burst into tears.

Translation:

Where can I find the ancestral hall of Zhuge Liang, the Marquis of Wu? In the place with dense cypress trees outside Chengdu.

The green grass reflects the natural spring color on the steps, and the orioles on the trees sing gracefully to each other across the branches.

The First Lord of Determining the World once visited the thatched cottage three times, assisting the founding of the two dynasties and continuing the industry with loyalty.

It is a pity that he died of illness in the army before he went out to attack Wei Wei. This made the heroes of all ages burst into tears!

Depressed and frustrated, the whole is integrated

——Appreciation of Du Fu's "The Prime Minister of Shu"

"The Prime Minister of Shu" is a famous work among the seven rhymes of Du Fu, the great poet of the Tang Dynasty in my country.

In 221 AD, Liu Bei proclaimed himself emperor in Chengdu, named his country Shu, and appointed Zhuge Liang as prime minister. The poem titled "Prime Minister of Shu" was about Zhuge Liang.

Zhuge Liang was a famous statesman and military strategist during the Three Kingdoms period. He once formulated a series of policies and strategies for Liu Bei to unify the world, assisted Liu Bei in revitalizing the Han Dynasty, established the Shu Han regime, and formed a three-legged situation with Cao Wei and Sun Wu. After Liu Bei's death, Zhuge Liang assisted his son Liu Chan, who went on many expeditions to the Central Plains. Due to physical and mental exhaustion and overwork, he eventually died in the army. People's admiration and respect.

Although Du Fu cherished the political ideal of "Serving Jun Yao and Shun", his official career was bumpy and his ambition could not be realized. When he wrote the poem "Prime Minister of Shu", the Anshi Rebellion had not yet subsided. Witnessing the dire situation of the country and the devastation of the people, and having no way to find a job or serve the country, I have infinite admiration and respect for Zhuge Liang, who created the foundation and saved the current situation.

In December of the second year of the Qianyuan year of Emperor Suzong of the Tang Dynasty (759 AD), Du Fu ended his four-year wandering life in Qinzhou and Tonggu (now Chengxian County, Gansu Province). When I arrived in Chengdu, with the support of my friends, I settled on the bank of Huanhua Creek. In the spring of the next year (the first year of Emperor Suzong's reign in the Tang Dynasty, AD 760), he visited the Zhuge Wuhou Temple and wrote this touching and eternal song.

Where can I find the Prime Minister’s ancestral hall? There is a lot of people outside Jinguan City.

The "Prime Minister's Ancestral Hall", now called Wuhou Temple, is located in the southern suburbs of Chengdu. Chengdu was the capital of Shu during the Three Kingdoms period. Zhuge Liang presided over state affairs here for more than 20 years and established great achievements. An ancestral hall was built for Li Xiong in the Jin Dynasty when he became king in Chengdu. Later, when Huan Wen pacified Shu, Chengdu suffered great damage. Only Wuhou Temple remained intact. "Jinguan City" is another name for Chengdu in ancient times. Chengdu produces Shu brocade, and in ancient times there were dedicated officials to manage it. They lived in Shaocheng in Chengdu (Chengdu used to have Dacheng and Shaocheng), so Chengdu was also called Jincheng, Jincheng or Jinli. Another theory is that Chengdu is named because it is close to Jinjiang River and the mountains and rivers here are bright and beautiful as brocade. "Sensen" refers to the tall and dense cypress trees. According to records in books such as "The Scholars" and "Taiping Huanyu Ji", there is a big cypress tree in front of Wuhou Temple, which is said to have been planted by Zhuge Liang himself.

There are two sentences in this couplet. The first sentence "Where can I find the Prime Minister's ancestral hall?" is a self-question. Instead of calling him "Prime Minister of Shu", he uses the word "Prime Minister", which makes people feel very cordial. Especially the word "Xun" in it shows that this trip is a purposeful visit, rather than just casually strolling through it; and because Du Fu first arrived in Chengdu, he was unfamiliar with the geography and unfamiliar environment, so he wrote such a "Xun" Character. This word "Xun" has rich meanings. It also effectively expresses Du Fu's strong admiration and memory for Zhuge Liang, and it is transitive due to people. It also shows that the Prime Minister's Ancestral Hall is a place that the poet has longed for and wants to pay homage to. The last sentence "There are many people outside Jinguan City" is the answer. This is the scene that the poet envisioned. It describes the exterior view of the Prime Minister's Ancestral Hall, indicating the location of the ancestral hall, and echoing the previous sentence. The three words "Bai Sensen" also exaggerate a peaceful and solemn atmosphere. These two sentences directly inherit the title of the poem "Prime Minister of Shu", and they are very powerful, using both narrative and descriptive writing.

The green grass reflects the spring color on the steps, and the oriole sounds good in the sky through the leaves.

"Ying steps" reflects the steps. Ancient temples had courtyards and halls. To enter the hall, people have to climb up the stairs. "Good sound", a pleasant sound, here refers to the singing of birds.

This two-sentence couplet is like a close-up shot, written from far to near, from the outside of the ancestral hall to the inside of the ancestral hall. It describes the interior of the Prime Minister's ancestral hall. "The green grass on the steps reflects the beauty of spring", which is the successor to the first sentence of the Prime Minister's Ancestral Hall. The green grass reflects the steps, which shows that the grass is deep, indicating that the ancestral hall lacks management and repair, and few tourists come here. "The oriole has a good sound in the sky across the leaves", which is the continuation of the second sentence. The oriole's flying across the leaves shows how luxuriant the trees are; the oriole's singing in the air shows that the mess created by Wu Hou's painstaking efforts has been forgotten by future generations. These two lines of poems set off the desolation and desolation of the ancestral hall, and contain the poet's feeling of thinking about things and people, and recalling the sages. It also contains the meaning that Bicao and Oriole do not understand the changes in personnel and the change of dynasties. In particular, the clever use of the words "empty" and "自" in the poem makes the meaning of this couplet even richer. Regarding these two sentences, some commentators on Du's poems think that they are descriptions of scenery, while others think they are "truly lyrical rather than realistic descriptions of scenery." Of course, both of these opinions have certain truths; but, to be more precise, they should be Think of these two sentences as "the language of scenery contains emotions, and the language of love embodies scenery." This is just like what Fan Xiwen of the Song Dynasty said in his book "Talking to the Bed at Night": "The scenes blend together but are indistinguishable." Such examples are common in Du Shi's poems. For example, the poem "Wuhou Temple" written by Du Fu when he was in Kuizhou begins with the following two sentences: "The paintings of the ruined temple are falling, and the grass and trees on the empty mountains are growing." It describes the desolation of the scenery outside the temple and expresses the poet's feeling for the desolation behind Zhuge Wuhou. The sadness is a vivid example. Wang Fuzhi of the Qing Dynasty said in "Jiangzhai Poetry Talk" that "the scene is called two, but they are inseparable. The poet is divine in the poem, and the wonderful combination is infinite. The clever one has the scene in the scene, and the scene in the scene." Du Fu's lyrical poems about scenes can be said to be Really reached this situation.

Three visits have troubled the world, and two dynasties have helped the hearts of the old ministers.

"Three Visits" refers to the three visits that Liu Bei made when Zhuge Liang was living in seclusion in Nanyang. Zhuge Liang's "Chu Shi Biao" said: "The late emperor did not think that his ministers were despicable, and he was in vain. He paid close attention to his ministers in the thatched cottage three times." "Frequent trouble" means being troubled many times. Another theory can be found in Wang Shihan's "Poetry Compilation" of the Qing Dynasty. Wang Shihan believed that "frequency trouble" was a Tang Dynasty slang, and its meaning was similar to "solemn". "The plan of the world" refers to the strategy of unifying the world. Specifically, this refers to Zhuge Liang's strategy of using Jingzhou and Yizhou as bases to organize internal affairs, connect with Sun Quan in the east, and Cao Cao in the north, and then unify the world. "Two Dynasties" refers to the two generations of Shu, the first lord Liu Bei and the later lord Liu Chan. "Kaiji", "Kai" refers to helping Liu Bei create a foundation; "Ji" refers to assisting Liu Chan in relieving difficulties. "Ji" means completion, and can also be interpreted as maintaining success and completing a career. "The heart of an old minister" refers to Zhuge Liang's spirit of being loyal to Shu and sparing no effort until death.

This two-sentence couplet is particularly thick and has rich meanings. It not only vividly expresses Zhuge Wuhou’s talents and strategies, his desire to serve the country, and his life achievements, but also vividly shows his loyalty and perseverance. spiritual character. At the same time, he also solemnly stated the reason why the poet admired Zhuge Wuhou. Because this couplet is the focus and core of the whole poem, the poet has been secretly working on it since the beginning, constantly gathering momentum, circling all the way, and only now focuses on highlighting it and using heavy pen and ink. This is also in line with the writing rule of "one thick and one light" in the middle two couplets of rhymed poetry. This couplet is also an example of Du Fu's use of discussion in poetry. Originally, lyricism is a distinctive feature of poetry, and generally does not include discussion. However, Du Fu broke the rules in this regard and often used discussions in his poems. This not only made the content of his poems distinctive, but also reflected one of Du Fu's poetry techniques. Shen Deqian in the Qing Dynasty once said: "People say that poetry is about temperament, not discussion. It seems like it, but it is not exactly the same. ...But discussion must be carried out with emotional charm." Because of the emotional charm of Du's poems, the discussion not only does not dilute the poem The atmosphere and complete image make the lyrical atmosphere of the poem more intense and the image fuller. Qiu Zhaoao said that these two lines of poems were written with "seriousness and solemnity"; Pu Qilong thought that the syntax of this couplet was "like being made of gold, and its closeness is like cutting it; it is also like making gold and muddy." They are both very insightful.

He died before leaving the army, which made the hero burst into tears.

The sentence "Sent out" refers to Zhuge Liang's six trips to Qishan in order to conquer Wei.

In the twelfth year of Jianxing (AD 234), the emperor of the Shu Han Dynasty, he led the army and later left the Xie Valley and occupied Wuzhangyuan (southwest of today's ?d County, Shaanxi Province). He and Sima Yi held a stalemate across the Wei River for more than a hundred days. In August, he died of illness in the army. "Heroes" here generally refer to people with lofty ideals who commemorate Zhuge Liang, including the poet himself.

The two sentences at the end of this couplet follow five or six sentences, showing the poet's lofty admiration for Zhuge Liang's dedication and his regret for his unfinished career. These two lines of poetry are both narrative and lyrical, expressing the power of people. Coupled with the powerful foreshadowing of the previous six lines, the reader feels that the ending is both energetic and lingering. Wang Yuyang of the Qing Dynasty once said: "It is always necessary to make a strong ending to a poem." Shen Deqian also believed that "hanging out of the distant gods" is a good way to end a poem. All these wonderful points are fully reflected in the conclusion of this poem.

In our country’s classical poetry, there are many works that pay tribute to historical sites. Some people go to a scenic spot and compose a poem as usual. Is there any emotion in it? A little bit, but not profound. We say that Du Fu is a rival in lyricism. In his poems about ancient relics, although they are about ancient things, they also express his inner emotions. "The Prime Minister of Shu" is a very typical example. The first half of this poem describes the scenery, and the second half is lyrical. The two parts before and after are connected by the word "自" and the word "empty". The poet saw that the temple of such a memorable great man had become so dilapidated and desolate, which aroused various emotions. These poems seem to express nostalgia for ancient times, but they are actually the author's expression of his inner feelings.

The artistic form of the poem "The Prime Minister of Shu" is also perfect.

Ancient poetry, like ancient prose, pays great attention to the structure of succession, transition and combination. The so-called "initiation, inheritance, transfer, and collection are the same method." The first and second sentences of the poem "Prime Minister of Shu" closely follow the title of the poem, describing a special trip to visit the Prime Minister's ancestral hall, which is "qi"; the third and fourth sentences, directly following the above, describe the spring scenery in the ancestral hall, which are "Inherit"; the fifth and sixth lines, push aside a layer and write an evaluation of Zhuge Wuhou, this is "turn"; the seventh and eighth lines, wrap up the whole poem and write a tribute to Zhuge Wuhou, this is "turn" combine". In just eight sentences, there are narratives, scene descriptions, discussions, lyricism, vivid pen and ink, deep feelings, and a complete whole, which fully embodies the "melancholy and frustrated" style of Du's poetry.

Another writing feature of this poem is that it successfully describes the specific situation of the Prime Minister's Ancestral Hall, and accurately captures the dense ancient cypresses, the spring grass on the Yinggai and the oriole in the leaves that best express the poem. The scenery with typical environmental characteristics is used to create a quiet and solemn atmosphere, so as to express the poet's specific mood of paying homage to the ancients in this atmosphere. In addition, the poem also has extraordinary summary power, which is prominently reflected in the fifth and sixth sentences' expressions of Zhuge Liang's character and life achievements.

"Li Du's articles are astonishing, and his poems are best known as Du Linghao." Du Fu's verses have indeed achieved achievements that are difficult for others to achieve, especially his poems after Kuizhou, which are more mature. His rhythmic verses are well-crafted, the words are precise, and the sounds are harmonious. As he himself confessed, "In the late stages, the rhythm of poetry gradually becomes more detailed" and "If the words are not surprising, they will never stop." These advantages of Du Fu's rhymed poems can be understood when we read the poem "The Prime Minister of Shu" carefully.

This poem was written by Du Fu in memory of Zhuge Liang when he was wandering in the southwest. This poem has its own artistic characteristics: first, it captures the characteristics of the typical environment of the ancestral hall to exaggerate the silent and solemn atmosphere, and expresses the poet's memory of Zhuge Liang very truly. The second is a general description of Zhuge Liang's political activities, outlining the image of a promising politician. The last two sentences express the praise and regret for Zhuge Liang from the fact that Zhuge Liang's failed achievements will be left to future generations to remember him endlessly. These two desolate and tragic sentences are famous sentences that have been passed down through the ages.

During the Three Kingdoms period, Zhuge Liang, the prime minister of the Shu Han Dynasty, supported the royal family, aspired to a clear world, dedicated himself to death, and his great image became an example for later generations of loyal and patriotic scholar-bureaucrats to admire and learn from. Whenever the country is in turmoil or when it is relatively peaceful, there are always some poets who describe Zhuge Liang in their pen and ink, and express their ideals of hoping that contemporary heroes will stand up to calm the world by fervently calling for heroic spirits. Du Fu composed this poem when he first arrived in Chengdu in the first year of Shangyuan (760).

At this time, the Anshi Rebellion, which had lasted for five years, had not yet been settled, and the fate of the country was still in turmoil. Against this background, Du Fu went to the Wuhou Temple on the outskirts of Chengdu to pay his respects. Writing this poem, naturally, he was not only thinking about the ancient times, but also writing this poem. Rather, it contains a deep concern for the times and the country. Reading this poem, what comes to mind is not just the image of the ancient hero Zhuge Liang. There are also tears in the lyrical protagonist's sadness, sighing and crying. This is a political lyric poem with extremely strong emotions. Its mourning for heroes and sentimental sentiments about current events permeate every sentence and every word, but its expression method is quite peculiar. It neither expresses emotions directly nor subtly expresses its meaning. Instead, it adopts the method of describing the scene in the first half, and purely using facts and discussions in the second half. It uses the clues of psychological activities when describing the scene to open up an accurate comment on the object of remembrance, from which the poet naturally reveals Full of passion. The first four sentences of the poem describe the scene of the ancestral hall, and the description implicitly reveals Du Fu's eager admiration for Zhuge Liang, who is also a loyal and patriot. The two sentences in the first couplet are self-contained questions and answers, recording the location of the ancestral hall, but the purpose is not to explain the geographical location, but to express feelings, so "where to find" is used to show the eagerness of visiting the temple to pay tribute to the ancient times. The two sentences in the second couplet describe the desolate scene of the temple. The two empty characters "自" and "empty" are the eyes of this couplet. They have two functions: one is to lament that no one appreciates the green grass and beautiful orioles, which shows that the hero has passed away forever and the ruins are Second, it is a pity that the plants and birds that accompany the heroic spirit do not understand the metabolism of human beings and do not pay homage to that great ancient man. The sighs of "white spring color" and "empty good sound" reveal the deep sorrow for Zhuge Liang. From the affectionate description of this scene, to the second half of the chapter when the author himself stands up to comment and mourn Zhuge Liang, it appears that the whole scene echoes closely, and his feelings are very sincere and strong. After the Song Dynasty, many poets and poets did not advocate the expression of comments in poems. It is not the true nature of poetry to think that poetry should not violate its original principles, and then the discussion will fall flat. Some commentators in the Ming and Qing Dynasties even thought that many of Lao Du's famous works, including "The Prime Minister of Shu", were "purely argumentative" works. I think that since a poem wants to express the author's emotions, it is inevitable that it will sometimes be discussed. The question is not whether it can be discussed, but whether it is done well and measured, and whether it helps deepen the author's feelings and the content of the poem. artistic conception. The four lines of discussion in the second half of this poem are a successful example that can be followed by later poets. First of all, this discussion is naturally triggered by the vivid description of the scene. It is not stiff and boring at all, but full of emotion. It not only fits the image and connotation of the object of chanting, but also carries the strong feelings of the lyrical protagonist. It is incisive and condensed, sublimating the theme of the whole article. Secondly, the stories used in the discussion are Zhuge Liang's own stories. They are extremely general and contain image thinking, which can arouse readers' associations with Zhuge Liang's life. The sentence "Three visits" is reminiscent of the three visits to the thatched cottage and Longzhong's decision-making, and the sentence "Two dynasties" and "departure" are even more reminiscent of Zhuge Liang's assisting the first lord Liu Bei and the later lord Liu Chan in the two dynasties, taking two Sichuan and establishing the Shu Han Dynasty, and the White Emperor Tuogu. , six trips out of Qishan, and death from illness in Wuzhangyuan and other touching deeds. This is completely different from ordinary abstract discussions. It is a poetic discussion that can not only express the author's feelings but also inspire the readers' passion. From the lyric level of the whole poem. The "strategy of the world" praises his majestic strategy for the times, and the "heart of a veteran" praises his loyalty to the country. Lao Du's own concern for the country is also implicitly embedded in it. Only with the solemnity and solemnity of these two sentences, and the heart-wrenching words of mourning in the last couplet, does the whole article appear to be invigorating and have great power to shock people's hearts. The two last couplets express the same feelings of frustrated heroes throughout the ages. Wang Shuwen, the leader of the Yongzhen Reform in the Tang Dynasty, and Zongze, the national hero of the Song Dynasty, all recited these two words angrily when their careers failed. This shows how the tragic beauty created by the ideological content and artistic skills of this poem has endured for a long time.