Du Mu (803 AD - about 852 AD) was a poet of the Tang Dynasty, Han nationality, named Muzhi, named Fanchuan Jushi, a native of Jingzhao Wannian (now Xi'an, Shaanxi Province), and the grandson of Prime Minister Du You. In the second year of Emperor Wenzong's reign in the Tang Dynasty, he became a Jinshi and was awarded the title of School Secretary of Hongwen Hall. Later, he went to Jiangxi to observe the envoys, then transferred to Huainan Jiedu, and then went to observe the envoys. He was compiled by the History Museum, served as a member of the Ministry of Food, Bi, and Si Xun, and served as governor of Huangzhou, Chizhou, and Muzhou, and finally became a member of Zhongshushe. An outstanding poet in the late Tang Dynasty, he is especially famous for his seven-character quatrains. He was good at poetry, and his "Afang Palace Fu" was passed down to future generations. Paying attention to military affairs, he wrote many military papers and also commented on "Sun Tzu". There are twenty volumes of "Collected Works of Fan Chuan" handed down to the world, compiled by his nephew Pei Yanhan, including four volumes of poems. There are also one volume each of "Fan Chuan Wai Ji" and "Fan Chuan Bie Ji" supplemented by the Song Dynasty. "Complete Poems of the Tang Dynasty" collects eight volumes of Du Mu's poems. Most of the poems in the late Tang Dynasty are soft and subtle, but Mu's poems are sharpened by sharpness. Qijuelong has the spirit of Yiyunyuan, and all the families in the late Tang Dynasty let him alone. He is known as "Xiao Du" to distinguish him from Du Fu. Together with Li Shangyin, he is known as "Little Li Du". Mu Zhi is ambitious, good at talking and fighting, and prides himself on his ability to help the world. ICBC cursive script. "Xuanhe Shupu" says: "Mu's writing is vigorous and vigorous, which is similar to his articles." Dong Qichang's "Rongtai Collection" said: "After I saw Yan and Liu, Wen Feiqing and (Du) Muzhi were also famous Ye." It is said that his book "has the charm of the Six Dynasties". Among the handed down ink writings are "Zhang Haohao's Poems". He has many works, including the Collected Works of Fan Chuan, Volume 147 of "Old Book of Tang", and Volume 166 of "New Book of Tang". "Zhang Haohao's Poems", written in cursive and ink, was written by Du Mutai in the eighth year of Taihe (834), when he was 32 years old. The post is a hemp paper, 28.2 cm long and 162 cm wide, with 46 lines and a total of 322 words. It can be seen from the entire poem that his calligraphy has the charm of the people of the Six Dynasties. The original work is now in the Palace Museum. This calligraphy work has continuous momentum and smooth ink. Because it is a poem, it has a simple and unpretentious beauty. At the beginning and end of the volume, there are inscriptions, inscriptions and seals of people from the Song, Yuan, Ming and Qing Dynasties. It was collected by Zhihe Branch of Song Dynasty, Jia Sidao of Ming Dynasty, Xiang Zijing of Ming Dynasty, Zhang Xiaosi of Qing Dynasty, Qing Biao of Qing Dynasty, Qianlong, Jiaqing, Xuantong Imperial Households and Zhang Boju. It has been recorded in "Xuanhe Shupu", "Rongtai Collection", "Life Spectacular", "Daguanlu", etc. Du Mu is famous for his poetry, so the title of his book is concealed by the title of his poem. This book is engraved into "Qiubitang Dharma Notes". There are photocopies in Enguangshi and Japan's "Showa Dharma Collection". In his later years, Du Mu lived in the Fanchuan Villa in South Chang'an, so later generations called him "Du Fanchuan".
Reference materials: /view/9559.html?wtp=ttLi Shangyin (about 813-about 858), a poet of the Tang Dynasty, also known as Yishan, also known as Yuxisheng, also known as Fan Nansheng, a poet of the late Tang Dynasty, and Du Mu has the same name and is called "Xiao Li Du". Among them, Li Shangyin's poetic style is closer to that of Du Fu. "The only person in the Tang Dynasty who learned from Lao Du and gained his vassalship was Yishan" (Wang Anshi said), while Du Mu's poetic style is more similar to Li Bai.
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lt; brgt; Li Shangyin, like Li He, is a clan member of the Tang Dynasty. However, due to the age, his family has become very poor; At the age of six, he "went out among the public" with two ancient essays, "Cai Lun" and "Sheng Lun", and were appreciated by Linghu Chu, who stayed in Dongdu (Luoyang). Linghu Chu was a master of parallel essays at that time, and Li Shangyin learned from him carefully. With his guidance, he quickly outperformed his master, and this skill became a very important skill in his subsequent livelihood.
lt;brgt;At the age of twenty-six, Li Shangyin received the support of Linghu and his son and became a Jinshi. The following year, he entered the shogunate of Wang Maoyuan, the Jiedu envoy in Jingyuan, and later married his daughter. But at that time, the Niu (Sengru) and Li (Deyu) parties were fiercely fighting, Linghu Chu belonged to the Niu Party, and Wang Maoyuan belonged to the Li Party. Li Shangyin's move was seen as taking refuge in Wang Maoyuan, so he was accused by Linghu Chu's son Linghu Gu of "taking advantage and stealing profits". From then on, he spent his whole life in the strife between the Niu and Li parties, living in poverty and desolation, and living up to the "want to return to heaven and earth" He was forty-six years old with his great ambition and talent.
There are also many famous articles and aphorisms in ancient times.
His poems emphasize artistic conception, are subtle and subtle, affectionate, obscure and tortuous, with deep sustenance, gorgeous and beautiful, and are rich in gold and jade. He is good at using historical allusions and myths and legends to form rich and colorful poems through imagination, association and symbolism. Artistic image; his "Bixing" is based on the "Book of Songs", "Beauty Herb" is modeled on "Li Sao", the depth and depth of Du Fu's poems are the essence of Du Fu's poems, and the beautiful imagination and language directly benefit from Li He. If Li He's poems are more imaginative, then Li Shangyin's poems are more emblematic.
lt;brgt;Li Shangyin's poems were very popular in the early Song Dynasty. The "Xikun Style" imitated the usage of Yishan's poems and later became the Xikun Poetry School. However, it only mechanically learned to pile up rhetoric and could not Get the essence of Yishan poetry.
lt; brgt; Li Shangyin's epic poems use the past to satirize the present without any scruples. For example, the two poems of "Mawei" directly refer to Emperor Ming of the Tang Dynasty "How to be the emperor in the fourth century, not as good as the Lu family, there is no worry", so The courage to "criticize Chengyu" was also rare in the Tang Dynasty, which was politically liberal and open-minded; and in "Ode to History", "I reviewed the virtuous countries and families in the past, and their success was due to diligence and frugality, and their failure was to extravagance", and in "Northern Qi", "Little pity for jade" Poems such as "The body is full of Chen Ye, and the Zhou army has entered Jinyang" are all direct denunciations and satires of Tang Jingzong's extravagant style; the famous article "Jia Sheng": "In the middle of the night, Jia Sheng seeks talents and visits ministers, and Jia Sheng's talent is even more unmatched." "It's a pity that I sat in front of the table in the middle of the night and didn't ask about the people or ghosts and gods." He rebuked the emperors of the late Tang Dynasty for their ridiculous behavior of seeking immortality and making elixirs for immortality, and thus harming the country. "A Hundred Rhymes in the Western Suburbs" truly describes the situation of the people after the war and drought three years after the Ganlu Incident. It also traces a series of major changes in the country over the past hundred years and explores the political solution from the comparison between the past and the present. , worrying about the country and its people, quite similar to Du Fu's "Northern Expedition".
lt;brgt;Li Shangyin's love poems are extremely accomplished. He has more than ten "Untitled" poems, and there are more than ten poems that take the first two words as the title but are actually untitled, such as "Jin" "Se", "Bicheng", "Weiyou", etc., and several other poems that seem to have titles but are actually untitled, writing about lingering love, fantasy, and sadness: "There is no colorful phoenix flying in the body, but there is a clear connection in the heart"; "It's hard to say goodbye when we meet, the east wind is powerless and the flowers are withered"; "The life of a goddess is just a dream, and my sister-in-law has no husband in her home"; "If you don't believe in the storm, the water chestnut branches are weak, who can teach the osmanthus leaves to be fragrant in the moon dew"; "Liu Lang has already I hate that Pengshan Mountain is far away, and I am even more separated by 10,000 layers of Pengshan Mountain." "In the heart of spring, don't let the flowers bloom, every inch of lovesickness and every inch of gray."
lt;brgt;The text of his "Jinse" is splendid and gorgeous, with easy-to-understand literal meaning and profound content. It has always been known as "a piece of Jinse solves people's difficulties". In addition, "The young girl Su'e can withstand the cold, and she fights with the beautiful women in the frost in the middle of the moon" ("Frost Moon"); "God's will pity the grass, and the world will be clear again at night" ("Wanqing"); "Chang'e should regret stealing the elixir, the blue sea The blue sky and the heart of the night" ("Chang'e") also left a deep impression on people.
lt;brgt;Like Li He, Li Shangyin is also good at writing dreams; life is like a dream, and dreams are like life. In Li Shangyin's poems, these two realms are incompatible, and he finds the right meaning through dreams. Escape from the painful life and find a bright, beautiful and happy life through dreams. Such as "I am a colored pen passed down in a dream, and I want to write flowers and leaves to send to the clouds in the morning" ("Peony"); "Ten years of dreaming of picking Huazhi" ("East Return"), etc.
His poems are sincere, convoluted and tortuous, while his prose is sharp, straight and vigorous, unique, witty and unstoppable. He refutes worldly opinions and expresses his heart directly. His work is elegant and fair, full of talent and sentiment, and is not limited by style. Being good at expressive expressions had a great influence on later generations, and was regarded as the golden rule of four or six literary works.
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lt; brgt; "The Complete Works of Li Shangyin" is based on three volumes of "Annotations to the Collected Poems of Yu Xisheng" written by Feng Hao of the Qing Dynasty, and eight volumes of "Collected Works of Fan Nan" written by Feng Hao in detail. , Qian Zhenlun and Qian Zhenchang's brothers' annotations of "Fan Nan's Collected Works Supplement" are compiled into a complete collection of twelve volumes, and the annotations are deleted. The content is complete but not long, and the price is low. A collection of Li He's poems is attached at the back of the book, which is suitable for This book is for readers who have a certain foundation in classical Chinese and also like late Tang poetry.
Main Works
Chanju
Dengle Youyuan
Wind and Rain
Falling Flowers
Liangsi
Beiqing Luo Jinse
Untitled Part One
Sui Palace (I)
Untitled Part Four
p>Untitled Part Three
Choubiyi
Untitled Part Two
Spring Rain
Untitled Two Parts
p>Send Rain to the North
Send to Linghu Langzhong
Sui Palace (2)
Yaochi
Chang'e
p>Brief introduction of Jia Sheng Yan Shu
Yan Shu (991-1055), named Tongshu, was born in Linchuan (now Fuzhou, Jiangxi). He was a young orphan with few talents and was able to write articles at the age of seven. At the beginning of Jingde, he was recommended as a child prodigy and was granted a Jinshi background. Promote secretaries to save orthographic characters. He successively served as the minister of ceremony of Taichang Temple. Hanlin bachelor, Prince Zuo's concubine, Jiaji Shizhong, moved to the Ministry of Rites, Minister of Rites, and Deputy Privy Envoy. Because he disobeyed the empress dowager's decree, he was informed of Xuanzhou by the Minister of Punishment and changed to the Tianfu. Later, he became the imperial censor Zhongcheng, the minister of the Ministry of War, and the secretary-supervisor. He was a bachelor of Zizheng Palace and a bachelor of Imperial Academy. In the first year of the Ming Dynasty (1032), he moved to join the political affairs committee and became Minister Zuo Cheng. From Qingli Zhongguan to Jia Tongzhongshu, he was a bachelor of Pingzhangshi and Jixian Palace, and also served as the privy envoy. He died in the second year of Zhihe, at the age of sixty-five, and was given the posthumous title Yuanxian. Yan Shu's "articles are rich and beautiful, with endless applications, especially his poems, elegant and thoughtful" ("History of the Song Dynasty"). His poems are good at small orders, and they mostly express the poetry, wine, life and leisurely mood of bureaucrats and scholar-bureaucrats. The collection of poems and essays is no longer available. There are three volumes of "Zhuyu Ci". 6?1 Appreciation of some poems by Yan Shu
Huanxisha
Yan Shu
A new song and a glass of wine, the weather is the same as last year.
When will the sun set? Helplessly, the flowers fall away,
The familiar swallow returns. The fragrant path in the small garden wanders alone.
Appreciation: Although this word contains the meaning of regretting the spring, it is actually an expression of emotion. The upper part of the poem combines the present and the past, overlays time and space, and focuses on thinking about the past; the lower part cleverly uses the scenery in front of you to focus on the sentimentality of today. The language of the whole word is round and fluent, popular and clear, clear and natural, with profound meaning, enlightening and thought-provoking. The deep thoughts about the universe and life in the words give people philosophical enlightenment and beautiful artistic enjoyment.
Start with the sentence "A new song with a glass of wine, the weather last year is the same pavilion." Write about the current situation of drinking and listening to songs. From the intricate sentence patterns and the brisk and fluent tone, we can feel that when the poet faced the current situation, he initially had relaxed and joyful feelings and a free and easy attitude. But while listening and drinking, this situation unexpectedly triggered the recollection of a similar state experienced "last year": it was the same late spring weather as this year, and we faced the same pavilions and pavilions as before us. Clear songs and fine wine. However, under the appearance that everything seems to be the same, it is clearly felt that something has undergone irreversible changes. This is the long passing years and a series of personnel events related to it. So the poet couldn't help but sigh from the bottom of his heart: "When will the sunset return to the west?" The sunset is in the foreground. But what the poet triggered by this was his lingering on beautiful scenery and love affairs, his confusion about the passage of time, and his faint hope for the recurrence of beautiful things.
"There is no choice but the flowers fall away, and the swallows return as if they have known each other before." The line of work is clever and complete, fluent and implicit. This is also the reason why this poem is famous. But what is more interesting is the intention contained in this couplet. The withering of flowers, the passing of spring, and the passage of time are all irresistible natural laws. Although it is useless to linger on regrets, so I say "there is nothing to do". This sentence is connected with "the sunset"; however, in this late spring atmosphere, I feel What is suffered is not only the helpless decline and disappearance, but also the gratifying reappearance. Isn't the swallow returning gracefully like an old acquaintance who nested here last year? This sentence should be "when will you return".
Although flowers falling and swallows returning are also in the foreground, once they are associated with "helplessness" and "déjà vu", their connotations become very broad and carry the symbolic meaning of beautiful things. In the intertwining of regret and relief, there is a certain philosophy of life: all the beautiful things that are bound to disappear cannot be prevented from disappearing, but while they disappear, there are still beautiful things reappearing, and life will not become nothingness because of its disappearance. . It's just that this kind of reappearance is not the same as the intact reappearance of beautiful things. It is just "deja vu".
The fundamental reason why this word is so popular and widely recited is that there is thought in the emotion. The words seem to be unintentionally describing commonplace phenomena, but they have philosophical implications, inspiring people to think about the universe and life issues from a higher level. The poem involves the profound and broad idea that time is eternal but life is limited, but it is very implicit.
Die Lian Hua
Yan Shu
The chrysanthemums on the threshold are worried about the mist orchid weeping dew, the curtain is light and cold, and the swallows fly away.
The bright moon does not know the pain of separation and hatred, and the slanting light penetrates Zhuhu at dawn.
Last night the west wind withered the green trees. I climbed up to the tall building alone and saw Tianya Road.
If you want to send a colorful note and ruler, you will know where the mountains and rivers are!
Appreciation: This is Yan Shu’s famous poem about his boudoir. The upper part of the poem uses the technique of empathizing with the scene, selecting the scenery in front of him, injecting the protagonist's emotions, and highlighting the hatred of separation; the second part of the poem follows the hatred of separation, and vividly expresses the protagonist's eagerness to see through the high building. In "Human Words", Wang Guowei compared the three sentences of this poem "Last Night West Wind" together with the words and sentences of Ouyang Xiu and Xin Qiji to the three realms of scholarship, which shows that this poem is famous. The whole word is profound and euphemistic, yet implicit, and broad and far-reaching.
Start a sentence with a description of the scenery in the garden at dawn in autumn. The chrysanthemums are covered with a layer of light smoke and mist, and they look like they are crying; the orchids are stained with dew, and they look like they are crying silently. Orchids and chrysanthemums originally contain a certain metaphorical color (symbolizing the quietness of character). Here they are personified with "sad smoke" and "weeping dew", which transfer subjective emotions to objective scenery and reveal the heroine's own sadness. The words "sorrow" and "cry" have obvious traces of characterization, which are different from the round and smooth language style of Dayan's poems. However, they have their own role in expressing moods, exaggerating the atmosphere, and shaping the image of the protagonist through external objects.
The second sentence "The curtains were lightly cold, and the swallows flew away." It is written that in the early morning of the New Autumn, a wisp of coldness rippled between the curtains, and the swallows flew away through the curtains. There is not necessarily a connection between these two phenomena, but in the eyes of the protagonist, who is full of sorrow and is particularly sensitive to festivals, the swallow seems to fly away because it cannot bear the coldness of the curtain. Here, instead of writing about the feeling of swallows, it is better to write about the feelings of the people behind the curtain. Not only do we feel the coldness of early autumn physically, but we also feel the feeling of loneliness and desolation mentally.
Chill. Yan's double flight further highlights human loneliness. These two sentences purely describe objective objects, and their expressions are very subtle and subtle. The next two sentences "The bright moon does not know the pain of separation and hatred, and the slanting light penetrates the Zhuhu at dawn." Looking back from this morning to last night, the "partition and hatred" is highlighted, and the emotion has also changed from subtle to strong. The bright moon is an ignorant natural thing. It does not understand the pain of separation and hatred, and it only shines on Zhuhu. It is natural. In this case, it seems that we should not resent it, but we do. This seemingly unreasonable complaint effectively expresses the heroine's feelings about the sleepless night and external things caused by the heroine's torment of separation and hatred.
"Last night, the west wind withered the green trees. I climbed up to the tall building alone and looked across the road to the end of the world." The film continues with "At Dawn" and then goes back to write about climbing high and looking far away this morning. "Only" corresponds to "Li Hate" and reflects "Flying Together", while "Looking to the End of the World" is born from a sleepless night, with a delicate pulse. "The west wind withers the green trees" is not only what you can see when you climb up the stairs, but also contains the memory of lying up all night listening to the west wind falling leaves. The green trees all withered due to a night of westerly wind, which shows that the strong force of the west wind kills people. The word "withered" conveys the strong feeling given to the protagonist by this significant change in nature. The scenery is desolate and the people are lonely. When almost finished, the author unexpectedly reveals a realm of infinite scope and scope: "Go up to the tall building alone and see all the way to the end of the world.
"There is certainly a sense of vastness here due to the high distance, and there is also the emptiness and melancholy of not seeing anything, but the spacious and unencumbered realm gives the protagonist a kind of spiritual satisfaction, allowing him to escape from the narrow curtain courtyard. The sadness and melancholy turned to the longing for the vast realm, which can be understood from the word "looking at the end". Although these three sentences contain invisible sadness and separation, the feelings are tragic and not delicate and decadent. The breath; the language is also cleansed, and it is purely described in white. These three sentences are the best sentences in this poem that have been passed down through the ages.
Looking at the high building, I can’t see what I want, so I think of the music to send it far away. Send colorful notes and rulers, and you will know where the mountains and rivers are! "Colored paper, here refers to the poem paper on which the poem is written; ruler refers to the letter. The two sentences are vertical and closed, contrasting the protagonist's strong desire to send the message far away with the sad reality that the message has not been sent, which makes it more prominent." With the sadness of "the mountains and rivers in my eyes are empty and my thoughts are far away", the poem ends in this vague and hopeless feeling. "The mountains are long and the water is broad" corresponds to "Looking to the end of the world", once again showing the fascinating realm, and "knowing The sigh of "Where" adds to the endless emotion. Among the many poems written by the Wanyue poets about the sadness of separation, this is a quite famous poem. It not only has the unique characteristics of deep affection and elegance, And it has the characteristics of broadness and loftiness that are rare in ordinary graceful words. It is not different from the graceful words, but in some aspects it surpasses the graceful words.
Yan Shu
The paths are sparsely red, and the green suburbs are full of green.
The spring breeze cannot lift the poplar flowers, and the green leaves are hiding in the faces of passers-by. , The bead curtain separates the swallows. The incense from the stove floats quietly.
When I wake up from a sad dream, the setting sun shines in the deep courtyard.
Appreciation: This word describes the scene of late spring. The first film depicts a scene in the suburbs, the second film depicts a scene inside the courtyard, and finally ends with "The setting sun shines brightly in the deep courtyard", revealing a touch of sadness.
The first three sentences describe a typical picture of Fang. Spring evening picture in the suburbs: On both sides of the path, the flowers have become sparse, and only a few scattered red petals can be seen occasionally; at a glance, green has spread all over the mountains and plains; near the high platform, the trees are lush and shady, and the area is "red and sparse". "Green all over" and "trees are overcast" signify that spring has passed and the atmosphere of late spring is very strong. Although the three sentences are about the quiet scene in front of you, the words "rare", "all over" and "see" show things. The process and dynamics of development. Looking at the sequence of "path", "fangjiao" and "high platform", there is also a sense of changing shape with each step.
"The spring breeze does not release the ban on poplars, and the mist blows on the faces of passers-by." . "The poplar flowers blowing against the face is also a typical scene in late spring. However, when the poet described this scene, he injected his own subjective feelings and wrote that the spring breeze did not know how to restrain the poplar flowers, causing them to fly all over the sky and flutter in the faces of passers-by. On the one hand, this implies that we have no choice but to let the poplar flowers dance to send spring back; on the other hand, it highlights the unrestrained and active vitality of the poplar flowers. Although the scene of late spring is written here, it has no decadent mood and is full of life. " "Mongmeng" and "Flapping" are very dynamic. The word "pedestrian" reminds me that what is written above are all what the poet saw when he was walking in the countryside.
The film "Tibetan Orioles on Green Leaves, Pearls" The two sentences "The curtain separates the swallows" are divided into outdoor and indoor. One is connected to the top, the other is connected to the bottom, and the transition is natural. The first sentence says that the green leaves have grown very dense, hiding the figure of the oriole, which is consistent with the "color of the trees" in the previous sentence. "Yin and Yin" corresponds to each other; the next sentence says that swallows are separated by red curtains and are not allowed to enter the room, which leads to the following description of the indoor scene. With the words "hidden" and "separated", it vividly describes the beautiful trees in early summer. The scenery and the tranquility of the eternal day are written in such a quiet room. The incense in the incense burner curls up, entangles and entangles with the floating hairspring, and gradually merges with it. Together, it is difficult to tell which one is the cigarette and which one is the hairspring. The two words "Zhu" and "Zhuan" appear to be dynamic, but in fact they convey the silence of the entire room. "The word, the realm suddenly emerged.
The ending shot "When I woke up from a sad dream, the setting sun shone deep in the courtyard. "I skipped a stroke and wrote about the time when I woke up from a drunken dream at sunset. It turned out that the poet had a drink at noon and fell asleep after drinking. When he woke up, it was already sunset, and the setting sun was shining on this deep red gate courtyard. The "sorrow dream" is pointed out here, indicating that the dream is related to spring sorrow.
After waking up from the dream, the setting sun still shone deep in the courtyard, which meant that the early summer was long and difficult to entertain. The predecessors commented that this poem describes the beautiful scenery, emphasizing its spirit rather than its appearance. 6?1 Characteristics of Yan Shu’s poetry
He is a poet who is elegant and thoughtful. Because he occupies a high position and is the prime minister, he often expresses some elegant themes, so his poems are not vulgar language, but more about expressing a certain feeling of life with concise and concise strokes. He has a classical tradition of summing up more with less, such as his famous scene-describing sentences, "Last night the west wind brought out the green trees" and "Going up to the tall building alone and looking at the end of the world."
Yan Shu's lyrics are often imagistic, and he often quotes Tang poetry into his lyrics. For example, "Love is only like a spring willow, occupying the poor time." Such a sentence is used to write about sentimentality and sadness. Abstract emotions are difficult to write, so he used a spring willow, so he had a great influence on everyone later. When reading Qin Guan's poems, the boundless silk rain is as fine as the tide. When writing this sorrow, he used silk rain to express it, so in general, this is a way of intention in Tang poetry.
Yan Shu’s life experience determines the elegance and elegance of his poems, and the hard and thin technique also limits the poet’s vision. The subject matter of Yan Shu’s poems is relatively narrow, and he There will never be the stormy waves of Dongpo's poems. He writes more about celebrations, extensions, birthday banquets, and other social works. In addition, even if he writes about scenery, I find that he often repeats, The swallows he loved the most were the swallows that left the clouds without mercy and returned deliberately to Liang Shangyan. The curtain was light and cold, and the swallows flew away. The flowers fell helplessly, and the swallows returned like Cen knew each other. They came back again. There are many swallows, and there are so many swallows behind them. The two sentences are poems in themselves, so the poems are indistinguishable. From this point of view, can we also see the characteristic of Yan Shu using poems as lyrics? At the same time, Yan Shu likes to write flowers, cursive, plum blossoms, and fine details in his lyrics. Rain, writing about the ending, writing about melancholy, the fine grass is worried about the smoke, the faint flowers are shy of dew, etc. 6?1 Social background and literary situation in the early Northern Song Dynasty
Social background in the early Northern Song Dynasty
In 960 AD, Song Taizu Zhao Kuangyin established the Song Dynasty through mutiny. In the early days of the establishment of the Northern Song Dynasty, the political situation was unstable. There were many separatist regimes outside, and it was difficult to control the Zhou Dynasty's old and young people inside. In addition, in the later Zhou Dynasty, there were many generals with heavy troops and forbidden troops who had the same status as Zhao Kuangyin, as well as many local separatist regimes. Envoy. For this reason, the Song Dynasty established the tone of governing the world with civil servants since the beginning of Song Taizu, and greatly weakened the rights of local and central officials, strengthened imperial power, and maintained the rule of the Zhao family. First, Song Taizu restored local power to the central government. Secondly, a series of measures were used to divide the power of the prime minister into three parts: the prime minister in charge of government affairs, the privy envoy with military power, and the three envoys of finance, plus the supervisory agency that has been independent since the Qin and Han Dynasties. The system of separation of powers in the middle and early Northern Song Dynasty was established.
The literary situation in the early Northern Song Dynasty
Song poetry occupies a very important position in the entire Song Dynasty literature. In the eyes of ordinary people, it is comparable to Tang poetry and represents the highest level of Song Dynasty literature. The achievement of "literature of a generation". It is comparable to the "literature of a generation" and represents the highest achievement of Song Dynasty literature.
After the development of the late Tang Dynasty and the Five Dynasties, the literary form of Ci became popular in the Song Dynasty. The prosperity of Song poetry is not accidental. It is closely related to the special background of the Song Dynasty. Ci originated from the folk and has a strong entertainment color. Due to the policy of emphasizing civility over military affairs in the Song Dynasty, civil servants enjoyed very generous treatment. When Emperor Taizu of the Song Dynasty was "releasing military power over a glass of wine", he publicly encouraged ministers to "buy more singers and dancers." What is good at the top must be good at the bottom, so the whole society has formed a culture of competing for pleasure. And because the society in the Song Dynasty (especially the Northern Song Dynasty) was relatively stable, the political situation was relatively stable. Ci, a literary form with a strong entertainment color and almost no traditional political or moral load, finally found the most suitable growth environment in the Song Dynasty, so it developed at an unusual speed.
Ci in the early Northern Song Dynasty: Ci in the early Northern Song Dynasty followed the characteristics of the Ci in the Tang and Five Dynasties. The form was mainly Xiaoling, and the content mostly wrote about love between men and women, sorrow and separation, and the elegance that has prevailed since the late Tang and Five Dynasties. Wanli's style of writing tends towards Yanke.
Most of the lyricists in the early Northern Song Dynasty were poets, such as Wang Yucheng, Qian Weiyan, Lin Bu, etc. During this period, the creation of Song poetry had not yet entered a prosperous stage. 6?1 Several themes about Yan Shu
1 The characteristics of Yan Shu’s poetry are related to the social background and literary situation in the early Northern Song Dynasty
Although the writing styles of most poets and lyricists will be in line with the society at that time His background and the situation in the literary world are closely related, but Yan Shu is different. Yan Shu's talent was discovered at a very young age, and he was considered a "child prodigy" by adults. Later, he seemed to look down on the real world with an otherworldly perspective. Therefore, his writing style does not depend on the social background and literary situation at that time.
2 Why his poems were not accepted by most people at the time
Yan Shu’s poems were smooth and calm, which was in line with the artistic characteristics of poetry at that time, but his poems were not It cannot be accepted by most people. Judging from the cultural level of society at that time, there were not many literate people, and even fewer people could appreciate poetry, so this did not determine anything. Whether it can be accepted by most people cannot be used as a criterion for evaluating poetry.
3 The relationship between Yan Shu’s wealthy and prominent life experience and his poetry style
Due to Yan Shu’s outstanding talent, he successfully obtained a high official and a generous salary, but I am not familiar with his poetry. You can often feel his sadness and helplessness. In fact, Yan Shu was a keen poet, so even though he was an accomplished poet, the sadness of "impermanence" revealed in his poems was as real and profound as that of other less accomplished poets. In his sadness, you can feel a broad-minded embrace.
4 A work by Yan Shu that is not in line with his style
Shan Tingliu
I lived in the Western Qin Dynasty and took my gambling skills with me. On the flowers and willows, there are new tips.
I occasionally learn the tone of Niannu, and sometimes it is high and restrained. There are countless Shu brocades, and the hard work is worthy of them.
After traveling to and from Xianjing Road for several years, the remaining cups were left to burn away. If you care deeply, who can you trust?
If you have a close friend who appreciates it, sing "Yangchun" without hesitation. A song is a feast for tears, and the veil is covered again.
The style of Yan Shu's poems has always been calm and harmonious, but this poem is written with excitement and sadness. When Yan Shu encounters setbacks, he often shows another side of his strong character and is extremely excited. After this, you will feel that the emotion and excitement expressed in this poem are not only not exceptional, but also inevitable. This work with an exceptional style not only fails to shake Yan Shu's foundation as a rational poet, but also provides an additional layer of powerful proof. 6?1 Yan Shu’s contributions and achievements and his evaluation
Yan Shu has many achievements and contributions in literature. He can write poems and is good at words. The articles are rich and beautiful, and the calligraphy is all exquisite. He is the author of two hundred and forty volumes of collected works. (See Ouyang Xiu's "Yangong Shendao Stele") But most of the system has been lost. Only one volume of "Zhuyu Ci" (about 130 poems), more than 100 poems, and dozens of articles are still circulating today. His poems are elegant and thoughtful, either narrating and chanting things, or expressing his aspirations and emotions. They often contain profound meanings, sometimes also contain philosophy, and their artistic conceptions are profound and broad. For example, "Spring Sun", "Qixi Festival", "Mid-Autumn Festival", "Medicine", "Collation by the Prime Minister of Shizhang Temple", "Brother Diao Su", etc. are all outstanding, among which "the moon melts in the pear blossom courtyard, and the breeze is gentle in the catkin pond" "The wind blows and the butterflies are idle and emotionless, and the flowers in the dew world are cold and fragrant"; "It may not be that Su'e has no resentment, the jade toad is cold and the osmanthus is lonely"; "The autumn river continues to grow long and looks at each other, how can it be the only human thing to be sad"; " When the grass will be green in Jiuyuan, everyone will bring wine and cry about their youth, etc., which are great sentences. However, his outstanding contribution lies in the aspect of Ci.
In the early Song Dynasty, the popularity of Ci was not yet developed, there were still few authors, and the CI world was still very lonely. Since the rise of Yan Shu, he likes to write small poems, and his influence has been great. Important poets at that time such as Ouyang Xiu and Yan Jidao (son of Shu) were deeply influenced by him. His Ci followed the legacy of the Southern Tang Dynasty and "Huajian", and started the graceful Ci style of the Northern Song Dynasty. In the history of the development of Ci, he has made great contributions to the Ci poetry world in the Song Dynasty. Therefore, he was once called the "founder" of poets in the early Northern Song Dynasty.
In terms of ideological content, due to being limited to aristocratic life, there are many words of praise and repayment, which lack profound social significance; the short poems that are good at expressing emotions on the spot also mostly use traditional themes such as parting emotions and songs about flowers and wine. Some of them are combined with one's own state of mind, and not all of them are "moaning for nothing". But the higher achievement lies in artistry. Many of the works are written in a romantic manner, gentle and elegant, elegant and peaceful, subtle and euphemistic, full of charm and artistic conception. At the same time, the language is clear and the tone is harmonious. He abandoned the richness and delicacy of "Flower Room" and absorbed the elegance and elegance of "Yangchun", thus forming his own characteristics. For example, in the popular "Traveling on the Shasha": "The paths are sparsely red, the suburbs are full of green, and the trees on the high platform are dark and gloomy. The spring breeze does not let go of the poplar flowers, and they flutter in the faces of pedestrians. The orioles are hidden in the green leaves, the red curtains separate the swallows, and the incense is incense "Quietly moving around. When I wake up from a sad dream, the setting sun shines deep in the courtyard" can represent its general style. His poems such as "Willows in the Mountain Pavilion", "Butterflies in Love with Flowers", "Bodhisattva Man", "Huanxi Sand", etc. are all famous works that have been recited by people. Among them, "The mountains and rivers are full of empty space and the thoughts are far away, and the falling flowers and wind and rain hurt the spring even more"; "There is nothing to do about it" The flowers have fallen, and the swallows have returned, as if they had known each other before."; "Under the tall vine leaves, the autumn light is late, and the precious bushes turn into gold;" "Last night in the west was spring," are all famous sayings that have been widely circulated, and some of them are often quoted by people to this day. This further established the value and status of Yan Shu's poetry in Song poetry.
Yan Shu was deeply respected by people of his time because of his high literary and political qualifications. Fan Zhongyan had outstanding achievements and similar status. He respected Yan Shu as his teacher all his life. He wrote about his family status in his book, and he must be called "disciple". When he visited in his later years, he still gave him a revered poem: "I once entered Huang Fei to accompany the country, but... Come to Jiang to receive teaching." (See the Collected Words and Actions of Fan Wenzhenggong.) Song Xiang and Song Qi came out a little later, and named themselves "Although brothers are very noble, they must hand-copy the articles and send them to the public, begging Zhou Run." "("Yu Yin Cong Hua" quoted from "Western Qing Poetry") "Gong Jugong of Song Dynasty (i.e. Song Xiang) all wrote them on the wall of the wall." I, Yan Shu's youngest son Yan Jidao, still called himself "an old official in his family." ("Shao's Records after Hearing and Seeing") After seeing this, people at that time respected Yan Shu extremely.