Poetry content

This poem breaks the pattern that most of the same theme is about the lingering lovesickness of husband and wife, highlights heroism and tragic feelings, and is also very sharp in criticism.

The main purpose of the poem is to condemn the generals who were encouraged by the emperor for their arrogance, underestimation, dissoluteness and dereliction of duty, which led to the failure of the war and caused great pain and sacrifice to the soldiers. The poet wrote about the frontier war, but the focus was not on ethnic contradictions, but on generals who sympathized with soldiers, satirized and resented them.

The whole poem uses very concentrated pen and ink to write the whole process of a battle. The first paragraph of the eight sentences was written by the teacher; In the second paragraph, I wrote eight sentences about defeat; In the third paragraph, eight sentences were written and surrounded; In the fourth paragraph, I wrote four sentences about the ending of the fight.

The two sentences at the beginning of the poem show the position and nature of the war, and refer to current events, which are felt. Three or four sentences seem to praise the mighty glory of Han when he will go to China, but in fact they have implied sarcasm. Five or six sentences describe marching: Through this golden drum, we can know the arrogant attitude of the general before the war, which also plays a foil role for the following.

At the beginning of the war, the word "flying" alerted the military crisis. I didn't expect the "residual thief" to have such power. From resigning to returning home, to Guan Yu, Jieshi, and even to Hanhai and Langshan, eight poems summarize the course of the expedition, and the atmosphere is gradually relaxed and tense.

The second paragraph is about losing in a key battle. Putting pen to paper is "the mountains and rivers outside are cold", which shows an open and steep area and brings out a cold atmosphere. "Hu Qi" came quickly and fiercely, like a crazy rainstorm, rolling in. The Han army struggled to meet the enemy and was killed in the dark. However, at this moment, the generals are far away from their positions for fun: "There are still beautiful girls dancing and singing for them in the camp!" " Such a strict and calm comparison of facts effectively exposed the contradiction between the generals and soldiers in the Han army and hinted at the original reason for the failure.

So what follows is the tired soldiers, the intractable encirclement, the sunset in the lonely city, and the gloomy scenery with distinctive frontier fortress characteristics, which set off the desolation of the defeated soldiers. In view of the above sentence, Han Jiang's heroic spirit of "rampaging" has vanished, and his guilt is certain.

The description of soldiers' sufferings in the third paragraph is a deeper condemnation of Han Jiang. This is not a general description of the war process, but a portrayal of the soldiers' mood in the besieged danger.

The next trio of "still at the front line, dressed in rags", a sentence of finding a husband and a sentence of losing a wife in the suspense of finding a husband are intertwined, and the pain of parting gradually deepens. The young women in the south of the city are sad day and night, but "the fury of the wind cuts my man?" It is futile to look back on the people in northern Hebei. After all, "in a place of death and blue emptiness, there is nothing ahead!" Stay away from Wan Li and never be seen, not to mention just "three slaughterhouses a day"; What I heard at night was "It's another night on the hour-the drums are rustling". Such a desperate situation really makes people think of who pushed themselves into this desperate situation. This is an indispensable part of deepening the theme.

The last four sentences are the whole article, dripping with tragic feelings. Finally, the soldiers fought hand-to-hand with the enemy, fought bloody battles, and the spirit of death was to achieve personal achievements! How simple, kind and brave they are, but how sad they are! The poet's feelings contain sympathy and praise, while Gu Xun is a powerful mockery of the Han generals who rashly opened their borders and risked greed. In the last two sentences, Li Guang, a flying general in the north of Weizhen, loves his foot soldiers everywhere and makes them "happy to die".

What a contrast this has formed with those arrogant generals. It is of great significance for the poet to put forward General Li. From the Han Dynasty to the Tang Dynasty, there were thousands of years, and there were countless generals who drove troops like chickens and dogs. It is difficult to prepare and bury soldiers in foreign countries, let alone Qian Qian! However, there has only been one Li Guang for thousands of years, so why not teach people to remember him hard? This poem ends with Li Guang, and its artistic conception is more vigorous and far-reaching.

Artistic feature

The whole poem is magnificent and vigorous, but after a terrible operation, it has disappeared without a trace. The atmosphere is solemn and stirring, and the thought is profound and implicit. "The mountains and rivers in the border are cold, and soon barbarians are stepping on the wind and rain", "The desert is poor in autumn, and the sunset leaves a few watchers", and the poet deliberately hints and exaggerates this tragic scene, exposing the sins of the generals who are eager to achieve success with desolate horror. Especially in the fierce war, the poet described the complex and changeable inner activities of soldiers, which was tragic and touching and deepened the theme.

From the perspective of expressive skills, this poem uses many contrastive techniques:

The golden drum when sending troops is in sharp contrast with the hardship and desolation after the defeat;

The hard work of the soldiers is in sharp contrast with the indulgence of the general;

The dedication of soldiers to their duties is in stark contrast to the greed and slack of generals.

Finally, Li Guang is put forward, which is another comparison between ancient and modern times.

In Song of Yan, the poet combines the desolate natural environment, the comprehensive war atmosphere and the complicated inner activities of soldiers in battle with interwoven poems, forming a rich, profound, tragic and dripping artistic style of the whole poem.

Text appreciation

Ge Yanxing is the old title of Yue Fu's Xiang He Ci Ping Diao Qu, and most of the songs are about the sufferings of the Northeast Frontier (Yan Di) and the homesickness of women. It was first seen in Cao Pi's works. The same is true of this poem, but it develops the traditional theme. This poem is based on several wars in which Zhang Shou pacified the Khitan Khitan rebellion and its remaining party rebellion, and warmly praises the patriotic spirit of the border guards in overcoming all difficulties and defeating the enemy. At the beginning of the poem, I first explain the location and nature of the war and write the image of Tang Jun's indomitable spirit when he debuted. Then he tried his best to exaggerate the hardships in the frontier, laid a good foundation for the soldiers to serve the country, and then turned to express their yearning for women. Soldiers are also flesh and blood, and they cannot do without children and husband and wife. However, at present, the enemy can only bear the feeling that "still in this southern city, the young wife's heart is broken, and the soldiers on the northern border are looking for their homes in vain". At the end of the poem, the historical allusion of "Li Guang is hard to seal" raised the ideological realm of soldiers to a higher level. They fought to the death, went through hardships and even died for their country, not for personal fame and fortune. This is much more noble than many people who have contributed to sealing Wan Huhou. Almost four sentences in the whole poem are rhymed, rhymed alternately, and a large number of rhymes are used in antithesis, which is full of the sound of Jin Ge Tiema but fluent in syllables, and has become the "first big piece" of frontier poems in Tang Dynasty.

Set comments

The words are shallow and profound, and the layout is thorns. This road comes from "Three Hundred Articles", which was slightly in the Tang Dynasty and lost in the Song Dynasty. When a "young woman" is associated with a "recruiter", it is unreasonable to say that the recruiter wants him to do so. The conclusion is bitter and plain, but just like a horse's clothes, it's better to make them thinner, and there is no room for ambiguity. ([Qing] Wang Fuzhi's Selected Poems of the Tang Dynasty, Volume 1)

Duff's articles, like dragons in the clouds, are not ancient prose in all directions, so it is difficult to see them. ..... The Lord of Prosperity, the Lord of Prosperity, can break the enemy's memory of the cultivation of General Li Zhi. In Duff's time, there must have been a border general who did not sympathize with the foot soldiers and made this poem in disguise. The host and guests are "half of us were killed in the front line, but the other half are still alive, and the beautiful girls are still dancing and singing for them in the camp" and "until the white sword can be seen again, splashing with red blood, when death becomes a responsibility, who will stop to think about fame". ("Gu Xun" means "Death is a soldier's death, and merit is a general's merit") The rest are guests and hosts. From "Smoke from the Han Family" to "Unfinished Customs Clearance", it is said that you have met the enemy. Behind this should be the "side yard", but it is straight and tasteless, so the words "young woman" and "recruitment" are used horizontally. "Be there or be square" is also a positive intention to end at such a time. If the article is positive, if it is written in this way, we should tell Li that he can break the enemy's merits and inspire this side. Poetry is more interesting than side. Don't quote "General Li" any more. Let people think ahead and get it. Therefore, it is said that "the speaker is not guilty, and the listener is enough to quit." ([Qing] Wu Qiao's "Poetry Around the Furnace" Volume 2)

There are two words in the sentence, which are the key to the seven ancient sentences. If you cover it like this, it will fall without hurting the soft rib. This grammar is often used in Du Gongbu's vicious lines. Yunda also used the right method. ([Qing] Huang Peifang, see Notes on Samadhi of Tang Xian)

Shen Deqian said: A thorn in your side will make you happy, and you won't pity the foot soldiers. The beginning describes the pain of traffic jam, and only the words "warrior" and "be there or be square" are the finishing touch. Very lucky. ([Qing] Zhang Xie's Three Hundred Notes on Tang Poetry (Volume 3))

translate

The war in the Tang Dynasty took place on the northeast border, and the soldiers resigned in order to defeat the defeated enemy. Men have the courage to cross enemy lines, and more importantly, the emperor gave them special rewards. Guan Yu's gongs and drums are loud, and Jieshi Mountain is flying with flags. A captain sent an urgent message across the desert, and the bonfire of Khan hunting reflected the Wolf Mountain. The depression of mountains and rivers has reached the border, and the Xiongnu military forces have come like a storm. The soldiers fought bloody battles, but the beauty in the general's account was still singing and dancing. In late autumn, the vegetation in the vast desert withered, and fewer and fewer soldiers fought in the lonely city at sunset. Soldiers try their best to solve the siege of Guanshan, although they often underestimate the enemy and make mistakes. Soldiers have been guarding the border for a long time, and they cry when they think of their wives at home. The young woman lives in the south of the city, and her husband looks back at the sky in the north of thistle. How can we cross the turbulent border? There is nothing in the clearing. The murderous look all day has turned into clouds, and Diao Dou's voice came from the cold wind at night. Hand-to-hand combat sees the blade bleed profusely, where is the personal contribution to die for the country? You can't see the cruelty of war on the battlefield, and people still miss General Li.

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This is a passage from Cao Pi's paper "Same but Different from the End", which means that the fundamental principle of the article is the same, and the difference lies in the different ways of writing and expression, that is, the four functions of literature at that time.

People who have heard of the emperor's memorial will naturally write about Athens, and don't talk nonsense in the village. For example, I cited Zhang's statement in the Monument to Lu Sidao, Assistant Minister of Qihuangmen, that the function of literature is to "praise temperament, narrate career, sharpen kingly way and promote the sage gate". When he was writing a paper with Xu Jian, he mentioned an article by a man named Fu Jiamo, and thought it was "like a lonely peak, with a wall standing at the beginning of ten thousand years, a cluster of clouds, a burst of lightning and thunder, which is really terrible!" It would be terrible if it were given to Langmiao. "New Tang book? Biography of Literature and Art called Fu's articles "elegant and bold". It is believed that Fu Jiamo's article is as powerful as a mountain peak, and its sound is like a thunderbolt. Although such an article is "awesome", it has a strong artistic appeal. But it is not suitable for "giving it to the gallery temple". In the Langmiao Palace, the momentum is too strong to be gorgeous and gentle, because it is "scary", scary and thrilling, which does not conform to the purpose of appealing to both refined and popular tastes and echoes Cao Pi's argument.

As for the book theory, there are Cao Pi's Quality Book and Martial Arts and Essays on Canon Theory. The former discusses man and himself in turn, while the latter is divided into four levels: scholars despise each other, literature is classified, literature takes qi as the first, and articles run through the country. They are well-organized and well-founded, which embodies the rigorous writing characteristics of Xia Ye Group at that time.

As for the inscription, it is only a traditional moral requirement. China people pay attention to "final decision", which can be seen from posthumous title, the emperor of past dynasties. The people say that they can change their manners and respect their guests, that they are full of poverty and chaos, that they are chaotic and that they are sad. This tradition in the Spring and Autumn Period evolved into an inscription system in later generations. It is always a glorious thing for celebrities to write their own inscriptions. In fact, inscriptions are mostly used to encourage themselves, and funerals are made for the dead. It is inevitable to bring praise, especially to officials. There are always many inscriptions written for others behind them. At this time, the requirement of "sincerity" is actually based on the expression of goodwill.

As for the desire for beauty in poetry and fu, it is undoubtedly Cao Pi's most creative sentence. Cao Pi's thought of "poetic beauty" is indeed a progressive thought, and it can even be said to be a change of concept. He described poetry and fu with the characteristics of "beauty", that is, he thought that literature in the pure sense must be beautiful. Compared with the Han Dynasty, especially Wang Chong's theory of denying artistic beauty for political utility and practical purpose, this is a great change and progress. Since Cao Pi, there has been an affirmation and positive evaluation of the "beauty" of articles (or literary works) in literary works. The direct influence is Lu Ji's Wen Fu. Needless to say, Lu Ji's Wen Fu is rich in words. More importantly, he also affirmed in Wen Fu that poetry is full of emotion and vivid charm, and the article should be colorful, considerate, elegant and colorful. Zhifu, a cultural conservative who was almost contemporary with Lu Ji, also had to think that Fu was "born of emotion and shaped by words" in On the Separation of Articles. "Speaking with illusion, applying Chen Qizhi". In the biography of Xie Lingyun in the Song Dynasty, Shen Yue spoke highly of Zhang Heng's Fu, and his evaluation pointed to the beauty of his writing and the brilliance of his literary talent. At the same time, it is also pointed out that poetry creation should be "based on emotion and quality of text", and poetry creation should not only group words with emotion, but also decorate feelings with words, focusing on text decoration. In the era of Liu Xie, Xiao Tong and Zhong Rong, this is no longer a difficult issue to discuss. Of course, the gradual deepening and improvement of this evaluation is more directly related to the literary creation of Qi and Liang Dynasties in Wei and Jin Dynasties. However, Cao Pi's theory is pioneering and has to be affirmed. I won't elaborate on the influence of this sentence.

For example, if you look at his Ge Yan line, you can know:

The autumn wind is bleak, the weather is cool, and the vegetation is shaken and exposed to frost.

The group of Yan resigned to solitary south lane, thinking about gentlemen and guests.

Xi is homesick, so you gave it to the other person to stay for a long time.

I keep my room empty, but I can't forget the time when I care about you.

I don't think my clothes are crying. Help the piano to sing strings and send them to Qing merchants.

Short songs cannot be long. The moon shines on my bed,

The stars are cold and flowing west, and the night is still young. Penny and Weaver looked at each other from a distance.

How can we limit the river beam?

This poem vividly depicts the feelings and psychology of the lyric heroine in art. She is elegant, vigorous and reserved, eager and dignified. The work skillfully combines the lyrical description of the scenery, the narration of the characters and the monologue of the heroine, forming a tragic style. Its rhetoric is gorgeous, and it also uses a lot of things from predecessors, but all this seems to be completely unintentional, without any traces of carving.

Cao Pi's poems have always been famous for their beauty and elegance, so Zhong Xing in the Ming Dynasty said that his poems were "elegant and beautiful, youthful and popular" ("Ancient Poems Return"). In the Qing Dynasty, Chen Ruoming called his poems "like calligraphy, holding his head down and saying nothing, and looking back is nothing but pity" (Selected Ancient Poems of Caijitang). Wang Fuzhi said, "There is no difference between ancient and modern times." Jiang Zhai's poetry talks are all about his "beauty" characteristics, which is the unique literary style that distinguishes Cao Pi from others in Jian 'an, and this is also the ideological root of his "poetic desire for beauty". This poem rhymes, and it is flat and elegant, which is a stage of the development of seven-character ancient poetry. Writers in Jin and Song Dynasties wrote seven words, and they continued to walk a long way. Later, through the efforts of Bao Zhao, Yu Xin and others in the Southern Dynasties, in the Tang Dynasty, Lu, Wang and others appeared magnificent works with rhyming lines, and the seven-character ancient poetry entered a new stage of development. It can be seen that Cao Pi's pioneering work of "poetry is beautiful" cannot be concealed.