Ask for the translation of Du Fu s Ten Envoys in the Lake to Respect Jun Shi Guangling !

Lead the army to meet Li Ru. Two pairs of circles.

Wind high [interpretation].

1.It's windy. Tang Dufu "Sending Ten Envoys in the Lake to Respect Jun Shi Guangling" poem:

In the autumn evening, the mountain is green, and the wind is high and the lake is surging. Tang Liu Zongyuan's poem "Tian Jia" poem No. 3: "The wind is high and the elm willows are boiling, and the frost is heavy and the dates are ripe."

Ming Zhao Zhenyuan's "Reopening Feng Taifu for Yuan Shiyu (Yuan Kelizi)": "The sun is shining, and the young silk is in Cao Tablet; Wei Province has a high wind, and the tail of the focus is in the class management. ”

2.The wind gauge is superb. "Wei Shu Gao Yun Biography": "At that time, Rong Yao was high for thousands of years. ”

Appreciation Interpretation: Appreciation.

When the stream is washed by rain, the mud is removed and the sand is stored. The rain is heavy and the water is wide, so the dragon passes. The mud is less and the roots are off, so the lotus is low after the flowers.

The introduction of the old ginseng curtain is difficult to restrain himself. Scatter the horses' hooves, and they are happy to parade. If you want to seek rice, you must go to the farm, and the hazelnut grass in the field has been lost.

Thinking of Jiang Han, it is difficult for Shu to stay for a long time and shout early filial piety, but the old Qi is still in a hurry, and it is inevitable that Lu Ye will be confused. Therefore, I would like to leave the curtain and return to my hometown.

Celery paste with the swallow, the stamens on the bee whiskers.

Quatrain: [Tang] Du Fu.

The river is more than white, and the mountain blue flowers are burning.

This spring has seen and passed, and when is the year of return?

Desire: Like. Burn: burn.

Over: In the past. DH: What.

The white feathers of the river water are even whiter, and the green mountain peaks are as red as a burning fire.

This year's spring has passed again, and I don't know when it will be the day I will go home.

Appreciation] This poem contrasts the poet's strong desire to return home with bright colors and fresh and pleasant scenery, and expresses the author's feelings of living in a foreign country for a long time. This poem was written by Du Fu after he entered Shu and was written in late spring. expressed the emotion of being detained in a foreign land.

Jiang Bi Bird is more than white, and the mountain blue flowers are burning", this is a landscape painting inlaid in the mirror frame, full of ink on the paper, and rich color in the picture, which has a dazzling charm. You see, the blue waves of the river are rippling, revealing the white-feathered water birds, and the wings of the river, what a pleasant scenery! The mountains are verdant, and the flowers all over are extremely red, just like a burning fire, how beautiful, how brilliant!

With the white of the river blue lining the bird's feather, the blue and white reflect each other; With the red of the mountain green lining flowers, the green and red are each other's beauty. The word "exceed" makes the waterfowl more white by borrowing the blue background of the river, and the writing is deep and reasonable; The word "desire" is endowed with dynamic and swaying flowers in anthropomorphism. Two poems of four scenes of rivers, mountains, flowers and birds, and respectively apply four colors: green, green, fiery red and white, the scene is fresh and pleasing to the eye.

However, the poet's will is not here, and then the pen takes a steep turn, and sighs.

This spring has seen and passed, and when is the year of return? In the sentence, the three words "see and pass" are directly pointed to the time to write the poem. The scenery of late spring and early summer is not beautiful, but it is a pity that the years go by, and the return date is far away, which not only does not arouse the interest of playing, but instead arouses the sentimentality of wandering.

The artistic characteristics of this poem are to write sorrow with music scenes, and only when it is extremely harmonious in spring can it be compared to the poet's earnestness. It does not let the sentimentality of Sigui be directly revealed from the scene, but uses the difference between objective scenery and subjective feelings to contrast the poet's deep homesickness, which has a unique rhyme.

Two quatrains (one of them).

Du Fu The late days are beautiful, and the spring breeze is fragrant with flowers and plants.

The mud melts and flies the swallows, and the sand warms the mandarin ducks.

Tao Yukai, a poet of the Qing Dynasty, pointed out in his book "Speaking of Du" that there are many works in Du Ji that "use poetry as painting". This five-character quatrain written in Chengdu Thatched Cottage is a very poetic masterpiece. At the beginning of the poem, he writes from a large place, depicting the clear and gorgeous spring scenery in the Huanhua River area under the bright sunshine of early spring, with a concise pen and rich colors.

"Late day" is spring, and the words "Spring is late" in "The Book of Songs, Fengfeng, July". It is used here to highlight the early spring sunshine to capture the whole story. At the same time, the word "beauty" is used to dye the "rivers and mountains", showing the beautiful scenery of the spring sunshine, the green of the four fields, and the stream reflecting the sun.

Although this is a broad stroke, the bottom of the pen is spring.

In the second sentence, the poet further uses the warm spring breeze, the first flowers, the grass, and the rich fragrance to show the bright and good spring. Because the poet organically organizes the spring breeze, flowers and plants and the fragrant fragrance they emit, readers can have the feeling of benefiting the wind and smooth, the flowers blooming, and the wind sending the fragrance of flowers through association, and receive an immersive artistic effect.

On top of the bright and far-reaching picture, the third and fourth sentences turn to the specific and vivid depiction of the early spring scene.

In the third line, the poet chooses the most common and characteristic dynamic scene of early spring to depict. The spring flowers are blooming, the mud is melting and the soil is wet, and the swallows that return to spring in autumn are flying around busily, building nests in the mud. This vivid description makes the picture more vibrant, full of spring, and a kind of dynamic beauty.

Du Fu's observation of swallows is very detailed, "mud melting" is closely related to the first sentence, because spring returns to the earth, the sun shines before "mud melts"; Ziyan is newly returned, making a nest in the mud and flying non-stop, showing a spring mood.

The fourth sentence is to outline a static scene. The spring is melting, the sun is beautiful and the sand is warm, and the mandarin ducks should also enjoy the warmth of this spring, sleeping quietly on the sandbar by the stream. This also corresponds closely to the first sentence, because the "late day" is warm, and the sand is warm attracts pairs of mandarin ducks out of the water, bathed in the bright sunshine, which is so leisurely and comfortable.

Judging from the description of the scene, in contrast to the dynamic flying swallow in the third sentence, the movement and stillness are intertwined, and they contrast with each other. These two sentences are carefully described in the fine brush, the mud swallow, the sleeping mandarin duck, and.

The first and second sentences of the broad brush sketch the broad and bright scenery together, so that the whole picture is harmonious and unified, forming a picture of the early spring scenery with bright colors, vigorous business and beauty. As far as the thoughts and feelings contained in the poem are concerned, it reflects the poet's comfortable mood of temporarily settling in the thatched cottage after the "one-year-old four-line service" and "three years of starvation and walking on the barren mountain road", and it is also the poet's expression of the poet's joyful feelings for the vitality and prosperity of the natural world in early spring.

This five-character quatrain has a bright and far-reaching artistic conception and a fresh style. The whole poem is neat, but it is natural and smooth, and unpolished; The depiction of the scenery is beautiful and beautiful, without a trace, which is a chapter with a unique wind god in Du Zhong.

Translation: The wind is urgent, the ape is crying, and the birds are hovering on the river bank.

The boundless trees fall their leaves, and the endless Yangtze River water rolls and rushes.

Sadness to the autumn scenery sighed thousands of miles of wandering all year round as a guest, a lifetime of illness riddled with illness today alone on the high platform.

After all the hardships and hatreds, the white hair is full of temples, and the wine glass of decay and heart is full of deviations, and the sorrow is suspended.

Original poem: Ascending.

Tang Dynasty: Du Fu.

The wind is urgent, the sky is high, the ape is howling, and the white bird flies back.

Boundless falling trees and Xiao Xiao, endless Yangtze River rolling.

He is often a guest in the sad autumn, and he has been on stage alone for more than a hundred years.

Hardship, bitterness, hatred, frost and sideburns, pouring down a new turbid wine glass.

Nagisa: a small island in the water; A small piece of land in the water. Fallen Wood:

Refers to the leaves that fall in autumn. Xiao Xiao: Simulates the sound of falling grass and trees.

Wanli: Refers to being far away from home. Frequent visitor:

Wandering for a long time. 100 years: still talking about a lifetime, here refers to old age.

Theme idea: The first four sentences describe the scenery, describing the scenery of ascending, closely following the seasonal characteristics of autumn, and depicting the empty and lonely scenery by the river. The first joint is a local close-up view, and the jaw joint is an overall distant view. The last four sentences are lyrical, writing about the feelings of ascending, focusing on the author's own life experience, expressing the sadness of poverty, old age and illness, and living in a foreign land.

Author Achievement Impact:

The achievement of Du Fu's poetry lies first in expanding the scope of expression of poetry. He not only wrote about entertainment, songs, detention, banquets, and landscapes in rhythmic poems, but also wrote about current affairs in rhythmic poems.

Writing current affairs with rhythmic poems is more difficult because the number of words and rhythm are limited, but Du Fu can use it freely. Du Fu wrote the poems in a wanton manner, doing everything he could to change, conforming to the rhythm but not seeing the constraints of sound and rhythm, and neatly fighting but not seeing the traces of the battle.

Du Fu is very mature and profound in the concept of calligraphy creation. Judging from the records, his calligraphy style is based on regular lily and grassy work, and the overall intention is to act, admiring the ancient and majestic, paying attention to the speed, rhythm, gesture, ink method and so on in the writing, and he is also a very in-depth calligrapher in the Tang Dynasty.

The sky is high and the wind is urgent, and the sound of the ape's whistle seems to contain infinite sorrow, and the isolated island is white and white, and only the sand gulls swirl from time to time. Boundless fallen leaves are falling, and the surging Yangtze River is rolling. Thousands of miles away from home, lamenting that he often wanders in other places, is old and sick, and climbs the high platform alone in the cold autumn.

The world is difficult, but the hateful autumn frost has stained my temples, and I am destitute, so I have to put down this sorrowful wine glass.

The sky is high and the wind is urgent, and the mourning ape is howling. The isolated island is white, and the sand gulls are gathered. The sky is full of falling leaves, and Xiao Xiao is drifting.

Thousands of miles away, often as an autumn guest, old and decrepit, alone on the high platform. Destitute and destitute, suspend the turbid cup.

The poems express Du Fu's views on poetry creation in his later years, and are of a summarizing nature. Therefore, Wang Sizao's "Du Zang" said: "The articles that this prince spent all his life energy on began to become a "Du Poems", and this article is his own preface.

The above sentence "eternal events" refers to a long-term legacy and a great relationship, just like Cao Pi said, "the great cause of the article through the country, the immortal event". The next sentence "inch heart knows" means that for the article, the author's own understanding and perception are the most clear. Although these two poems are based on arguments, they are neat, highly generalized, and to the point, rich in connotation, and very philosophical.