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  诗的前半描写“旅夜”的情景。第一、二句写近景:微风吹拂着江岸上的细草,竖着高高桅杆的小船在月夜孤独地停泊着。当时杜甫离成都是迫于无奈。这一年的正月,他辞去节度使参谋职务,四月,在成都赖以存身的好友严武死去。处此凄孤无依之境,便决意离蜀东下。因此,这里不是空泛地写景,而是寓情于景,通过写景展示他的境况和情怀:像江岸细草一样渺小,像江中孤舟一般寂寞。第三、四句写远景:明星低垂,平野广阔;月随波涌,大江东流。这两句写景雄浑阔大,历来为人所称道。在这两个写景句中寄寓着诗人的什么感情呢?有人认为是“开襟旷远”(浦起龙《读杜心解》),有人认为是写出了“喜”的感情(见《唐诗论文集·杜甫五律例解》)。很明显,这首诗是写诗人暮年飘泊的凄苦景况的,而上面的两种解释只强调了诗的字面意思,这就很难令人信服。实际上,诗人写辽阔的平野、浩荡的大江、灿烂的星月,正是为了反衬出他孤苦伶仃的形象和颠连无告的凄怆心情。这种以乐景写哀情的手法,在古典作品中是经常使用的。如《诗经·小雅·采薇》“昔我往矣,杨柳依依”,用春日的美好景物反衬出征士兵的悲苦心情,写得多么动人!

  诗的后半是“书怀”。第五、六句说,有点名声,哪里是因为我的文章好呢?做官,倒应该因为年老多病而退休。这是反话,立意至为含蓄。诗人素有远大的政治抱负,但长期被压抑而不能施展,因此声名竟因文章而著,这实在不是他的心愿。杜甫此时确实是既老且病,但他的休官,却主要不是因为老和病,而是由于被排挤。这里表现出诗人心中的不平,同时揭示出政治上失意是他飘泊、孤寂的根本原因。关于这一联的含义,黄生说是“无所归咎,抚躬自怪之语”(《杜诗说》),仇兆鳌说是“五属自谦,六乃自解”(《杜少陵集详注》),恐怕不很妥当。最后两句说,飘然一身象个什么呢?不过象广阔的天地间的一只沙鸥罢了。诗人即景自况以抒悲怀。水天空阔,沙鸥飘零;人似沙鸥,转徙江湖。这一联借景抒情,深刻地表现了诗人内心飘泊无依的感伤,真是一字一泪,感人至深。

  王夫之《姜斋诗话》说:“情景虽有在心在物之分,而景生情,情生景,互藏其宅。”情景互藏其宅,即寓情于景和寓景于情。前者写宜于表达诗人所要抒发的情的景物,使情藏于景中;后者不是抽象地写情,而是在写情中藏有景物。杜甫的这首《旅夜书怀》诗,就是古典诗歌中情景相生、互藏其宅的一个范例。

  全诗景情交融,景中有情。整首诗意境雄浑,气象万千。用景物之间的对比,烘托出一个独立于天地之间的飘零形象,使全诗弥漫着深沉凝重的孤独感。这正是诗人身世际遇的写照。

  大历三年(768年),迟暮之年的诗人终于乘舟出了三峡,来到湖北荆门,心境不免孤寂。 此诗开头四句写“旅夜”:岸上有细草微风,江上只有一叶孤舟,依岸而宿,就舟而居,遥望原野,远处天与地似乎相接了,天边的星宿也仿佛下垂得接近地面。大江之中,江水浩浩荡荡东流,一轮明月映照在江水中,随着江水的流动而浮荡着。岸上星垂,舟前月涌,用“星垂”来描写原野的广阔,用“月涌”来形容大江的东流,形象而细致地描绘了江上的夜景。唯有在广阔的原野上才可感到“星垂”;唯其“星垂”,才能见出原野的广阔。而大江中有“月涌”,才能反映出江水的流动;也只因江水的流动,才能感到“月涌”。“星垂”、“月涌”是以细腻称阔大的手法,首四句塑造了一个宏阔非凡宁静孤寂的江边夜境。

  后四句书“怀”:“名岂文章著”,声名不因政治抱负而显著,反因文章而显著,这本非自己的矢志,故说“岂”,这就流露出因政治理想不得实现的愤慨。说“官应老病休”, 诗人辞去官职,并非因老而多病,什么原因,诗人没有直接说出。说“应”当,本是不应当,正显出老诗人悲愤的心情。面对辽阔寂寥的原野,想起自己的痛苦遭遇,深感自己漂泊无依,在这静夜孤舟的境界中自己恰如是天地间无所依存的一只沙鸥。以沙鸥自况,乃自伤飘泊之意。▲

appreciation

The first half of the poem describes the scene of “Lvye”. The first and second sentences are close shots: the breeze is blowing the grass on the river bank, and the boat with high mast is moored alone on the moon night. Du Fu was forced to leave Chengdu at that time. In the first month of the year, he resigned from his position as the chief of staff of the provincial envoy. In April, Yan Wu, his friend who lived in Chengdu, died. In this desolate and lonely place, I decided to leave Sichuan to the east. Therefore, here is not an empty landscape painting, but an allegorical landscape painting, which shows his situation and feelings: as small as grass on the river bank, as lonely as a lonely boat in the river. The third and fourth sentences are about the future: the stars are low and the plains are vast; The moon follows the waves and the river flows eastward. These two sentences are powerful and broad, and have always been praised by people. What is the poet’s feeling in these two scene lines? Some people think it is “open-minded” (Pu Qilong’s “Reading Du Xinjie”), while others think it is a “happy” feeling (see Collection of Tang Poems · Du Fu’s Interpretation of Five Laws). Obviously, this poem is about the sad situation of the poet’s wandering in his old age, and the above two explanations only emphasize the literal meaning of the poem, which is hardly convincing. In fact, the poet wrote about the vast plains, the vast rivers, and the brilliant stars and moons, just to set off his lonely image and sorrowful mood. This technique of writing sadness with music scenes is often used in classical works. For example, in the Book of Songs – Xiaoya – Picking Flowers, “I went there in the past, and willows depended on me”, how touching it is to use the beautiful scenery of spring to contrast the sad feelings of soldiers who went on the expedition!
The second half of the poem is “Shu Huai”. In the fifth or sixth sentence, I have a little reputation. Why is my article good? As an official, you should retire because you are old and sick. This is ironic, and the intention is very implicit. The poet has always had great political ambitions, but he has been suppressed for a long time and can not display them. Therefore, his fame was written because of his articles, which is really not his wish. Du Fu was indeed old and ill at this time, but his retirement was mainly due to exclusion rather than old age and illness. This shows the injustice in the poet’s heart, and reveals that political frustration is the root cause of his wandering and loneliness. As for the meaning of this couplet, Huang Sheng said that “there is no reason to blame, but one should blame one’s bowing” (Du Shi Shuo), and Qiu Zhao’ao said that “five are self modesty, six are self explanation” (Detailed Notes to Du Shaoling Collection), which may not be appropriate. In the last two sentences, what do you look like? But just like a sand gull in the vast world. The poet extemporized himself to express his sadness. The water and sky are wide, and the sand gulls are flying; People like sand gulls migrate to the Jianghu. This couplet expresses his feelings by means of scenery, which deeply expresses the poet’s sentimentality of wandering in the heart. It is really touching and touching.
Wang Fuzhi’s “Jiang Zhai’s Poetry” said: “Although scenes are divided into mind and object, scenes generate feelings, feelings generate scenes, and each other hides their homes.” Scenes hide each other in their houses, that is, they embody feelings in the scenery and feelings in the scenery. The former is suitable for expressing the scenery that the poet wants to express, so that the emotion can be hidden in the scenery; The latter is not an abstract description of love, but a collection of scenery. Du Fu’s poem “Journey at Night, Calling About Your Heart” is an example of the classical poetry in which scenes come into being and each other hides their homes.
The whole poem is a blend of scenery and emotion. The artistic conception of the whole poem is powerful and magnificent. With the contrast between scenes, a wandering image independent of heaven and earth is set off, making the whole poem permeated with a deep and dignified sense of loneliness. This is a reflection of the poet’s life and fortune.
In the third year of Dali (768), the late poet finally left the Three Gorges by boat and came to Jingmen, Hubei, feeling lonely. The first four sentences of this poem write “Traveling Night”: there is fine grass and breeze on the bank, and there is only a single boat on the river. It sleeps on the bank, and lives in the boat. Looking into the field, the sky and the earth seem to connect in the distance, and the stars in the sky seem to hang down close to the ground. In the big river, the river flows to the east in a vast way. A bright moon shines on the river, floating with the flow of the river. The stars hang down on the shore and the moon surges in front of the boat. The “stars hang” is used to describe the expanse of the field, and the “moon surge” is used to describe the eastward flow of the river. It vividly and meticulously depicts the night scene on the river. Only in the vast field can you feel the “star drop”; Only when the stars hang down can we see the vastness of the field. The flow of river water can only be reflected by the “moon surge” in the big river; Only because of the flow of the river can we feel the “moon surge”. The first four sentences of the “Star Sag” and “Moon Surge”, which are used to describe the magnificence with delicacy, create a vast, extraordinary, quiet and lonely riverside night scene.
The last four lines of the book “Huai”: “The fame is not written in articles”. The fame is not remarkable because of political ambitions, but because of articles. This book is not my own ambition, so it says “no”, which shows the indignation that political ideals cannot be realized. When it was said that “an official should take a sick leave when he is old”, the poet resigned from his official position, not because he was old and became ill. The poet did not directly say what the reason was. Saying “should” should not be, which shows the old poet’s sad and indignant mood. In the face of the vast and lonely field, I think of my painful experience and feel that I am drifting and helpless. In the realm of lonely boat at night, I am just like a sand gull with nothing to rely on between heaven and earth. Looking at yourself as a sandgull is meant to hurt yourself and drift. ▲

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