preface
Among Du Fu's works, there is a group of poems that is more special, which is "Qujiang Three Chapters and Five Sentences".
In this group of poems, each of the five sentences, the first three sentences rhyme, and only the fourth sentence does not rhyme. The first rhymes, the second rhymes, and the third rhymes.
The three poems are continuous in context, the first one is self-injurious and nostalgic; the second is pretentious and open-minded, and the song is self-dispatched; the third, slightly indignant, here is no grandfather, there is a place to stay, I am going to go into hiding.
First, the wanderer is empty and droops two hairs
The Qujiang River is depressed and the autumn atmosphere is high, the Lotus is withered and folded with the wind and waves, and the wanderer is empty and hanging two hairs.
Shiraishi Susha also swayed, and mourned hong alone and begged for his Cao.
The central sentence of the first song is the third sentence: the wanderer is empty and hangs two hairs.
The wanderer's empty voice means that there is no fixed place to live and no career; the hair is hanging, the sideburns are white, and time has passed.
Qiu Zhao'ao's "Detailed Notes on Du Shi" commented:
The first chapter hurts itself, and its emotions are sad. In the third sentence, the upper two genera are Xing, and the lower two are proportional. The lotus withers and folds, causing two hairs. Sand and gravel swing together, self-proportioned drifting. Mourning begs Cao, thinking of the same qi also.
The first two sentences of the writing scene rise, leading to the third sentence to express emotion. The last two sentences use the analogy, the white stone sand also swings, and the white sand and stone drift and grind in the water, comparing their own encounters. Wai Hong called out to Qi Cao, comparing himself to a lonely Cry, confused, with a vague future, seeking bo le's support.
The poem rhymes with gao, tao, mao, cao, and the fourth sentence of the white-footed voice: dang.
Second, neither the present nor the ancient; mang, rhyme?
Even if the matter is neither modern nor ancient, the long song agitates the forest and is more difficult to count than the luxury of the house.
My people are willing to be as gray as ashes, and my brother and nephew are as sad as rain.
In this poem, the author first sings a long song, pretending to be broad, and then together with his brother and nephew, his heart is like ashes and tears are like rain. Show disappointment with reality.
Qing Dynasty Pu Qilong's "Reading Du Xin Xie":
The five words "neither the present nor the ancient" are self-explanatory poems. The language is not exaggerated but independent, outside the Six Dynasties of Han and Wei, to open up my ranks; in the "light and thin for the text" Lun, Ren Qu scorned, not imitating the ancient, not harmonious with the present, indeed confident.
Qing Dynasty Lang Tinghuai's "Biography of Shiyou's Poems":
Ruan Ting replied: Seven words and five sentences, starting from Du Zimei's "Qujiang Depression Autumn Qi High" also.
The form of this group of poems is "neither present nor ancient", which is different from the near-body poems and the common ancient poems. In the ancient poems of the Six Dynasties of The Han and Wei Dynasties, Qi Yan's seven-character poems are rarely seen, but the three poems are all five sentences, which have never been written before.
The poem also rhymes with the first three sentences, the fourth verse with white feet, and the fifth verse also rhymes. There is a problem here, many articles interpreting this poem, the mangy mǎng, if read in this way, is certainly not rhyming.
Look at the other rhymes of this poem, gu, number, rain, in Hanyu Pinyin also know that the rhyme mother is ǔ, so Mang must be the same. Look up the Kangxi Dictionary to see:
[Tang Yun Ancient Sound] Mo Patch Cut, Yin Ma. 【Chu Ci · Nine Chapters】 Tao Tao Mengxia Xi, grass and trees are reckless. Sorrow and sorrow will always be mourned, and the southern soil will be wandered.
Mang, which means grass, is homophonous with "ma", mo make-up. Mom doesn't read it as ma, it reads it as "grandma.". That is, the grandmother (mǔ) of Li Bai's "Sleepwalking in Heaven and Leaving Farewell".
It can also be seen from the "Nine Chapters of Chu Ren" that the grass and trees are reckless, the southern soil, and the mang and the soil rhyme.
Third, it will therefore be moved to the south side of the Mountain
Since this life, Du Qu was fortunate to have Sang Ma Tian, so he would move to the south side of the Mountain.
The short-clothed horses followed Li Guang and watched the fierce tiger die for the rest of his life.
In the first two poems, the author Huai Cai did not meet, and he was devastated; he sang a long song and was discouraged and tearful; in the third poem, he said that it was better to learn Li Guang and return to the South Mountain.
Although he is not as talented as Li Guang, and not as meritorious as Li Guang, he is unwilling to meet himself in his heart.
Fourth, how to change to seven
These three poems, if the third sentence is removed, have become seven sentences in form. The third sentence is the key ideographic sentence, and the poetry has a sense of jumping after removing it.
However, I personally feel more poetic, what do you think?
The first one is removed: the wanderer is empty and hanging two hairs.
The Qujiang River is depressed and the autumn atmosphere is high, and the Linghe withers and folds with the wind and waves. Shiraishi Susha also swayed, and mourned hong alone and begged for his Cao.
The second song to remove: more luxurious than the house is difficult to count,
Even if the matter is neither modern nor ancient, the long song agitates the forest mang. My people are willing to be as gray as ashes, and my brother and nephew are as sad as rain.
The third song is removed: Therefore, it will be moved to the south side of the mountain.
Since this life was suspended, Du Qu was fortunate to have Sang Ma Tian, short clothes and horses with Li Guang, to see the fierce tiger end up in his life.
These three capitals belong to the ancient style of the sentence, and the Tang people have many seven words of the ancient style of the sentence.
Conclusion
This group of poems, like its eight poems in Qiuxing, cannot be separated and appreciated, and it is the characteristic of the poems in the joint chapters.
Some people say that this group of poems was composed by Du Fu in the Chaos of An shi. Some people also analyze that his "self-lamenting frustration" without "words of sorrow" should be made after Tianbao's eleventh-year dedication has not met.
Du Fu is known as a master of the collection, and from this poem, it can also be seen that "even things are neither modern nor ancient", that is, inheriting predecessors, inspiring future generations, and working in several bodies, and each poetic style has a famous work passed down from generation to generation, which Li Bai does not have.
@Old Street Taste
Contrary to seeing the strange, or following the strange and not understanding, the "Poetry of the Wine Garden" evaluates the poet's three thieves