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玉华宫，在写此诗时已废为玉华寺，但此诗题不作“玉华寺”，而是写作“玉华宫”，体现了诗人在兵连祸结，国家衰微之时，对贞观之治的无限缅怀和对荣华难驻人世沧桑的感叹，抚今追昔，不禁伤怀无尽。
诗中前八句描写旧宫的凄凉景象。先写旧宫外景：“溪回松风长，苍鼠窜古瓦。”宫前溪水回流，松风长啸，苍褐色的老鼠在古瓦上窜来窜去。这遗弃在绝壁之下的宫殿，不知是何代帝王所建？接着写旧宫内景：不知何王殿，遗构绝壁下。那阴森的房中，青莹的灯光仿佛夜间的鬼火一样，年久失修的道路上流着湍急的水，水声好象在哀鸣。而除此以外的一切自然之声，却像笙和竽的吹奏声一样，悦耳动听，宫院内，秋色正显得分外潇洒。这里，作者用穿插手法，在每四句中，前两句写景，欲尽未尽，忽入抒情，在时断时续的跳跃式的写景中，插入自己的感慨，把景与情自然而然地结合起来，避免了平铺直叙，使情景达到了高度的融合。同时，在描写上采用了反衬法，即以乐衬哀。当此海内烽烟四起之际，自然声音、自然景物不因人事而变化，在秋色中显得这般美好，而眼前的古殿，却已满目荒凉。一个“古”字、一个“正”字，透出了此中消息，表现了作者在遣词用字上的匠心独具。这样反衬，昔盛今衰的对比更为强烈，作者的人生无常的感想也暗寓其中，为后八句作了巧妙的铺垫。
诗歌后八句抒写对旧宫荒凉的感慨。前四句承上而来，感叹人与物的幻灭无常。先写人：昔日宫中的美女，早已化为黄土，何况那些殉葬的木偶人呢！再写物：当年陪侍太宗的金舆，多么华美，如今何在？
留存下来的，只有荒殿门前那冰冷的石马了。从对人和物的感慨中，自然而然地引出了后四句的忧叹。诗人难以承受这所见所感的忧伤，瘫坐在草地上，时而高歌，时而痛哭，泪如雨下。他想：在历史的漫漫长河中，有谁能够长存永驻呢？这浩茫无际的人生忧伤，真是无终无了啊！仇兆鳌在《杜诗详注》中说：“上章（指《九成宫》）以伤乱作结，本章（即《玉华宫》）以忧老作结。”其实，这首诗在忧老中，更多地包含着伤乱的心情。作此诗时杜甫已经四十六岁，除困守长安十年外，又经历了三年的战乱，战乱的摧残，使人感到易于衰老，生死无常，他深刻地领悟到人生的艰辛，更体会到战争给人们带来的深重灾难。此时，他看到旧宫的荒凉景象，因景及人，因人而国，将个人的忧伤与国家的命运紧紧地联系起来，忧生而又忧世，使得全诗的意义更为深广，从而产生出更加沉郁的思想力量。
这首诗不仅在结构上显得跳跃而富于变化，同时在音韵上也很有特色。首先，此诗在用韵上，以短促的仄声韵一韵到底，与描写的荒凉景象和抒发的凄楚情绪很协调。其次，诗中多用仄声字，如“苍鼠窜古瓦”、“遗构绝壁下”，都是一平四仄，甚至整句全用仄声字的，如“况乃粉黛假”、“故物独石马”，五字五仄。这就使得诗歌在音律上显得“生拗”，急促有力，造成激昂的声情，给人以一种奇崛的美感。▲
appreciation
The Yuhua Palace was abolished as the Yuhua Temple when writing this poem. However, the title of this poem is not “Yuhua Temple”, but “Yuhua Palace”, which reflects the poet’s infinite remembrance of the rule of Zhenguan and his lamentation of the difficulty of prosperity in living in the vicissitudes of life when the country is in decline and the war is a continuous scourge. Looking back on the past, he can’t help but feel sad.
The first eight lines of the poem describe the desolate scene of the old palace. First, write the exterior scene of the old palace: “When the river returns, the pine wind grows, and the hamster rushes through the ancient tiles.” The stream in front of the palace flows back, the pine wind howls, and the pale brown mice scurry on the ancient tiles. What emperor built this palace abandoned under the cliff? Then I wrote about the interior of the old palace: I don’t know what palace is left under the cliff. In that gloomy room, the green lights seemed like ghost fire at night, and the road in disrepair was flowing with swift water, and the sound of water seemed to be wailing. In addition, all natural sounds are as pleasant as the sound of sheng and yu playing. In the palace, the autumn scenery is particularly natural. Here, the author uses the interspersed technique. In every four sentences, the first two sentences of the scene are filled with lyric feelings. In the intermittent jumping style of the scene, the author inserts his own feelings, and naturally combines the scene with the feeling, avoiding the straight narration, so that the scene reaches a high degree of integration. At the same time, in the description of the use of contrast, that is, music against sorrow. At the time of the war in the sea, the natural sound and scenery did not change because of personnel. They looked so beautiful in the autumn, while the ancient palace in front of them was desolate. A word of “ancient” and a word of “positive” reveal the news and show the author’s originality in choosing words. In this way, the contrast between the past and the present is more intense, and the author’s feelings about the impermanence of life are also hidden in it, which makes a clever foreshadowing for the last eight sentences.
The last eight sentences of the poem express the feeling of desolation of the old palace. The first four sentences come from the above, exclaiming the disillusionment and impermanence of people and things. First, I wrote: The beautiful women in the palace in the past have already turned into loess, not to mention those puppet figures who were buried dead! Re writing: Jin Yu, who served Emperor Taizong in those days, is so gorgeous. Where is he now?
All that remains is the cold stone horse in front of the gate of the barren hall. From the feelings about people and things, the last four sentences naturally lead to sorrow. The poet could not bear the sadness he saw and felt. He sat down on the grass, singing and crying. He thought: In the long river of history, who can live forever? The endless sorrow of life is really endless! Qiu Zhao’ao said in the Detailed Notes to Du Fu’s Poems: “The last chapter (referring to Jiucheng Palace) ends with injuries and chaos, and this chapter (namely, Yuhua Palace) ends with worries about the old.” In fact, this poem contains more feelings of sadness and confusion in worrying about the old. Du Fu was 46 years old at the time of writing this poem. In addition to being trapped in Chang’an for ten years, he also experienced three years of war. The devastation of the war made people feel vulnerable to aging and uncertain life and death. He deeply understood the hardships of life, and also felt the profound disaster brought by the war. At this time, he saw the desolate scene of the old palace. Because of the scenery and the people, and because of the people, the country, he closely linked the personal sorrow with the fate of the country. He worried about life and the world, making the meaning of the whole poem deeper and wider, thus producing a more gloomy ideological force.
This poem is not only leaping and changing in structure, but also distinctive in phonology. First of all, in terms of rhyme, the poem rhymes to the end with short tonal tones, which is in harmony with the desolation described and the sadness expressed. Secondly, in the poem, many oblique words are used, such as “the hamster flees the ancient tile” and “the structure under the cliff”. They are all square and four oblique words. Even the whole sentence is full of oblique words, such as “the situation is pink and black and false”, “the ancient thing is a stone horse”, and five words and five oblique words. This makes poetry sound “unruly”, fast and forceful, creates a passionate voice, and gives people a strange sense of beauty. ▲
