On the Four Poets in Song Dynasty
Su Shi (1037 65438+10.8-165438+August 24), Zi Zhan, Zi Zhong, Tieguan Taoist, Dongpo Jushi,No. Su Dongpo, Su Xian, Po Xian, Han nationality, Meishan, Meizhou (.
In the second year of Jiayou (1057), Su Shi was a scholar. Song Shenzong worked in Fengxiang, Hangzhou, Mizhou, Xuzhou and Huzhou. In the third year of Yuanfeng (1080), he was demoted to be the permanent assistant ambassador of Huangzhou because of Wutai poetry case. After Song Zhezong acceded to the throne, he served as a bachelor of Hanlin, a bachelor of reading and a minister of rites, and was well known in Hangzhou, Yingzhou, Yangzhou and Dingzhou. In his later years, he was exiled to Huizhou and Danzhou because of the ruling of the New Party. Song Huizong was granted amnesty and returned to the north, where he died. Song Gaozong posthumously awarded a surname; Song Xiaozong pursues "Wen Zhong".
Su Shi was a literary leader in the mid-Northern Song Dynasty, and made great achievements in poetry, ci, writing, calligraphy and painting. Vertical and horizontal text; Poetry has a wide range of themes, fresh and healthy, uses exaggerated metaphors and has a unique style. Also known as "Su Huang" with Huang Tingjian. The word is bold and unconstrained, and both Xin Qiji are representatives of bold and unconstrained, and they are also called "Su Xin"; Prose writing is rich and unrestrained, and he is also called "Ou Su" with Ouyang Xiu, and is one of the "Eight Masters in Tang and Song Dynasties". Su Shi's good book, one of Song Sijia; He is good at literati painting, especially ink bamboo, strange stones and dead wood. Li Zhimin commented: "Su Shi is a generalist." Wang Shizhen, together with Li Bai and Cao Zhi, are called the "Three Immortals" for more than 2,000 years since the Han and Wei Dynasties.
His works include Seven Chapters of Dongpo, Dongpo Yi Zhuan, Dongpo Yuefu, Xiaoxiang Bamboo Stone Map, Strange Stone Map of Dead Trees, etc.
Su Shi's views on society and thoughts on life are undisguised in his literary works, among which poetry is the most hearty. In more than 2,700 Su poems, the theme of intervening in social reality and thinking about life is very prominent. Su Shi's attitude towards various unreasonable phenomena in social reality is "out of date", and he always regards criticizing reality as an important theme of his poems. What is more valuable is that Su Shi's criticism of society is not limited to the New Deal or the present. He criticized the long-standing abuses and bad habits in feudal society, and embodied a deeper critical consciousness.
Su Shi's life was ups and downs, and he traveled everywhere, and his life experience was extremely rich. He is good at summing up experience from life experience and seeing laws from objective things. In his eyes, ordinary life content and natural scenery contain profound truth, such as Xilin Wall Topic and Mianchi Nostalgia. In these poems, natural phenomena rise to philosophy, and the perception of life is also transformed into rational thinking. What is particularly commendable is that the philosophy in poetry is naturally expressed through vivid and distinctive artistic images, rather than through logical deduction or discussion and analysis. This kind of poem is both beautiful and interesting, worthy of the name. "I don't know the true face of Lushan Mountain" and "Snow Mud Red Claw" became a popular idiom as soon as they came out, which shows that Su Shi's reasonable poems are widely loved. There are many similar works in Su Shi's poems, such as the Sangha Pagoda in Sizhou, the rain on the lake after the Qing Dynasty, and the wind control in Cihu. Su Shi is very insightful, so he can find wonderful ideas everywhere.
Deep life thinking makes Su Shi hold a calm and broad-minded attitude towards ups and downs, which is fully reflected in Su Shi's poems. Su Shi's poems in adversity, of course, contain pain, resentment and depression, but Su Shi shows more contempt for suffering and transcendence of pain.
Su Shi has profound knowledge, mastered the artistic skills of poetry to the point of perfection, and has an amazing spirit of innovation in treating artistic norms. Moreover, the expressive force of Su Shi's poems is amazing, and there is almost no theme that Su Shi's poems can't contain.
The late Northern Song Dynasty, represented by Yuan You's poetry circle, was the heyday of Song poetry. The creation of Wang Anshi, Su Shi, Huang Tingjian, Chen Shidao and others pushed the art of Song poetry to a peak. The prominence and distinctiveness of Wang, Huang and Chen's poems in style and personality may be more striking than Su Shi's poems. But in terms of creative achievements, Su Shi is undoubtedly the first poet in the Northern Song Dynasty. Su Shi's poems are outstanding in the dimensions of wide subject matter, diverse forms and profound emotional connotation. More importantly, Su Shi has a strong artistic compatibility, and he did not push a certain style to the status of a statue in theory and creation. In this way, although Su Shi made great contributions in the process of creating a new look of Song poetry, he basically avoided the two main shortcomings of Song poetry, namely, sharp and blunt and boring. Therefore, Su Shi surpassed his contemporaries in overall achievement and became the most popular poet in the Song Dynasty.
Ouyang Xiu (1007- 1072) was born in Yongfeng, Jizhou (now Yongfeng County, Ji 'an City, Jiangxi Province), a politician and writer in the Northern Song Dynasty, and was politically famous. Because Jizhou originally belonged to Luling County, it called itself "Ouyang Xiu of Luling". Posthumous title Wenzhong, a bachelor of Hanlin, a deputy envoy of the Council and a political adviser, is called Ouyang Wenzhong. Later generations also called him "the four great writers of the ages" with Han Yu, Liu Zongyuan and Su Shi. Together with Han Yu, Liu Zongyuan, Su Shi, Su Xun, Su Zhe, Wang Anshi and Ceng Gong, they are called "the Eight Masters of Tang and Song Dynasties".
Ouyang Xiu was the first literary leader to create a generation of literary style in the literary history of the Song Dynasty. He led the Northern Song Dynasty Movement and inherited and developed Han Yu's ancient prose theory. His high achievements in prose creation and his correct theory of ancient prose complement each other, thus creating a generation of writing style. Ouyang Xiu not only changed the style of writing, but also innovated the style of poetry. In historiography, there are also high achievements.
Ouyang Xiu was born in Mianzhou (now Mianyang, Sichuan) on June 21st, Northern Song Dynasty (1 August 0071). At that time, his father was an officer in Mianzhou. He was 56 years old. Three years later (three years in Dazhong Xiangfu, 10 10), my father died. Ouyang Xiu is the only son in the family, and lives alone with his mother Zheng. Orphans and widows have to go to Suizhou, Hubei Province to go to Uncle Ouyang Xiu. My uncle's family is not very rich. Fortunately, my mother Zheng is an educated lady. She taught Ouyang Xiu to read and write with a straw in the sand. Ouyang Xiu's uncle also cared from time to time, and finally did not let Ouyang Xiu lose his childhood basic education.
Ouyang Xiu loved reading since he was a child, and often went to the Li family in the south of the city to borrow books and copy. He is talented and studious, and often recites books before copying them. Teenagers, like adults, write poems and essays in complicated ways. Seeing the hope of family rejuvenation, his uncle once said to Ouyang Xiu's mother, "Sister-in-law doesn't have to worry about poor children, your children have wizards! Not only can you start a business, but you will also be famous in the world. " At the age of ten, Ouyang Xiu learned six volumes of Collected Works of Mr. Changli from Li Jia's Tang Dynasty, which he loved very much and laid the seeds for the Northern Song Dynasty movement in the future.
Ouyang Xiu's early political thoughts reflected the interests of the small and medium-sized landlord class and had a clear understanding of the serious economic, political and military crisis at that time. He advocated eliminating accumulated disadvantages, being generous and frugal, and seeking innovation with Fan Zhongyan and others. In his later years, with the improvement of social status, his thoughts gradually became conservative, and he resisted and ridiculed some new laws of Wang Anshi. But more realistically, Sima Guang and others have different attitudes.
Ouyang Xiu plays an important role in the history of China literature. He inherited the spirit of Han Yu's ancient prose movement. As the leader of the literary movement in Song Dynasty, his literary theory and creative achievements had a great influence on that time and later generations.
In the early Song Dynasty, in the temporarily peaceful social environment, the poetic style advocated by the aristocratic literati group flooded the literary world, which was flashy and meaningless, but it was all the rage. In order to correct the shortcomings of Quincy's style, Ouyang Xiu strongly advocated ancient Chinese prose. He loved reading Han Yu's collected works since he was a child. After he became an official, he personally revised Korean and published it all over the world.
He studied Han Yu's literary view and advocated Ming Dow's practical application. He emphasized the decisive role of Tao in writing and believed that Tao was the content, essence, form and tool of writing. Pay special attention to the cultivation of Taoism, and put forward that "Tao wins, literature is not difficult to come" (answer Wu Chong's Book of Scholars), "The purity of Taoism is based on the truth of China people, the enrichment of China people, and the brilliance of writers" (answer the Book of Ancestors' Selection), and "Scholars should learn from the classics", so that teachers can enrich themselves with "Tao". But he also corrected some of Han Yu's prejudices. In his interpretation of Tao, he regards "things" in reality as the concrete content of Tao. He believes that the reason why learning Tao can't be done is because "indifferent to abandon Pepsi" (Answer to Scholar Wu Chong). He opposes "high words but fresh words" (the same book as Zhang Xiucai). Regarding the relationship between "Tao" and "Wen", it is advocated that "Tao" and "Wen" should be paid equal attention. It is believed that "literature" must be subordinate to "Tao", but it is not "a sage must have words", and many examples are given to illustrate that "a person cannot be said from a poem or a book Historical Records". Words and deeds can be seen in the world. "The so-called" keep your word "means that the content should be true, the language should be literary, and the content and form should be unified. This is Ouyang Xiu's basic argument about creation.
He adopted the spirit of Han Yu's Preface to Literature, strongly advocated simple, neat, smooth and natural writing, and opposed flashy carving and eccentricity. He not only set out from reality, but also set an example with his outstanding creative achievements.
His idea was warmly endorsed by others, such as Mei and others. Later, in the official exam (invigilator), candidates were encouraged to write simple and fluent ancient Chinese. Anything that is empty, flashy or wins by strangeness is excluded. At the same time, he promoted and trained Wang Anshi, Ceng Gong, Su Shi, Su Zhe and other new writers. In this way, the movement he advocated won a decisive victory.
Wang Anshi (102 1 year1February 81May 2, 0861day), a native of Linchuan (now Linchuan District, Fuzhou City, Jiangxi Province), was a famous thinker and thinker in the Northern Song Dynasty. Wang Anshi successively signed judgments in Yangzhou, and decided cases in Yinxian and Zhou Shu, with remarkable achievements. In the second year of Xining (1069), he served as a political commissar, met with the Prime Minister the following year and presided over the political reform. Because of the opposition of the old school, Xining went on strike for seven years (1074). A year later, Song Shenzong was put into use again and retired to Jiangning. In the first year of Yuan You (1086), the Conservative Party gained power and all the new laws were abolished. Yu Ran died in Zhongshan (now Nanjing, Jiangsu) and gave it to a teacher. Shao Shengyuan (1094) was named "Wen", so he was called Wang Wengong.
From the literary point of view, Wang Anshi's works have made outstanding achievements in poetry, prose and ci. This movement, which was launched in the mid-Northern Song Dynasty, was strongly promoted by him, and contributed to eliminating the "flashy afterwind" that was all the rage in the early Song Dynasty. However, Wang Anshi's literary thought overemphasizes "practicality" and often underestimates the role of art forms. Many of his poems often show that the elements of argument and reasoning are too heavy, thin and stiff, and lack image and charm. There are also some poems about Buddhism and Buddhism, which are obscure and dry, but they do not lose everyone's demeanor.
essay
In order to realize his political ideal, Wang Anshi closely linked literary creation with political activities, emphasizing that the role of literature first lies in serving the society, emphasizing the practical function and social effect of articles, and advocating the unity of literature and Taoism. On the whole, his prose has carried out his literary ideas, exposed current malpractices, reflected social contradictions, and has a strong political color.
Wang Anshi's essays, aiming at current political or social problems, have distinct views and profound analysis. Long horizontal but not simple, short awkward but not thin. They expounded political ideas and opinions with rigorous structure, thorough reasoning, concise language and strong generality and logic, which played a positive role in promoting political reform and consolidating the achievements of the Northern Song Dynasty movement.
Wang Anshi's essays are straightforward, concise, short and pithy, forming a unique style of "thin and hard", such as "Reading the Biography of Meng Changjun", which is less than 100 words in length, but with clear hierarchy, thorough discussion, sharp and incisive words, rainbow momentum and indisputable logical power. There is also a part of landscape travel prose, which is concise, lively and labor-saving, and also records travel and reasoning.
poetic sentiment
Wang Anshi's poetry is bounded by two strikes in the ninth year of Xining (1076), which can be roughly divided into two stages, with obvious differences in content and style. The previous works mainly focus on "If injustice is heard", paying attention to social reality, reflecting the sufferings of the lower class, with obvious tendency and straightforward style; After retiring from politics in his later years, his mood gradually became dull, and a large number of poems about scenery and things replaced the previous political poems. Later, I wrote "Poor and Backward Work", devoted myself to pursuing the art of poetry, emphasizing meaning and rhetoric, using words carefully, being dual and precise, being subtle and profound, being profound and not artificial. He was unique in the poetic world at that time with his charming style, and was praised as "Wang Ti" by the world.
word
There are about twenty poems written by Wang Anshi today, which can be roughly divided into two categories: lyricism and Buddhism. They are "thin and elegant, washing away the old habits of the five generations." His lyrical lyric poems, his admiration for things, and his choice of vast, simple and simple images have created a unique emotional world for literati. The word "Gui Zhi Xiang Jin Mausoleum Nostalgia", like Fan Zhongyan's "The pride of fishermen, the scenery of Qiu Lai", * * * opened a precedent for bold and unconstrained ci, which had a good influence on later ci circles.
Huang Tingjian (1August 9, 045-1May 24, 05), whose real name is Lu Zhi, is a rich man in Fenning, Hongzhou (now xiushui county, Jiujiang City, Jiangxi Province), a famous writer and calligrapher in the Northern Song Dynasty, and the founder of Jiangxi Poetry School, with the same fame as Du Fu and Chen Shidao. Together with, Chao and Qin Guan, they all studied under Su Shi, collectively known as the "four bachelor's degrees under the door". He was as famous as Su Shi before his death and was called "Su Huang" by the world.
He is the author of Valley Ci, and Huang Tingjian's calligraphy is unique and is one of the "Song Sijia". Professor Peking University and pioneer Li Zhimin commented: "Huang Tingjian attracts cranes into the grass, strong and easy to swing, with a new realm."
Jiangxi Poetry School was formed in the late Northern Song Dynasty with Du Fu as the ancestor and Huang Tingjian, Chen Weizong as the ancestor (that is, "one ancestor and three schools"). Huang Tingjian is the founder and leader of Jiangxi Poetry School. This school advocates Huang Tingjian's theory of "turning iron into gold, robbing a fetus to change bones". Moreover, the members of the poetry school are mostly influenced by Huang Tingjian, and their poetry creation style is mainly chanting the life of the study and paying attention to the scrutiny skills of words. [2]
Huang Tingjian's poetry takes Du Fu, a master of Tang poetry, as the research object, and constructs and puts forward poetic theories such as "touching iron to refine gold" and "grabbing a fetus as a bone", which have become the theoretical program and creative principles of Jiangxi poetry school and have had a far-reaching impact on later literary creation. As one of the great poets in Song Dynasty, Huang Tingjian's influence on Song poetry even surpassed that of Su Shi, a great writer. Su Shi's poems are full of vitality, vertical in conception, wide in opening and closing, unpredictable, complex in structure and untraceable. Therefore, although Su Shi's achievements were high, there were few teachers and he failed to form a genre. Huang Tingjian's creative ideas are traceable, eloquent and studious, so he has many followers. Huang Tingjian's poems, with rigorous statutes and meticulous reasoning, represent the characteristics of the Song Dynasty. It can be said that Huang Tingjian's poems are the most artistic in the Song Dynasty. Influenced by Huang Tingjian, Jiangxi Poetry School also influenced the poetic style of the Southern Song Dynasty, which had a far-reaching impact on later generations. When Su Shi was a squire, he once recommended Huang Tingjian to replace himself. In the recommendation, there are "magnificent articles, wonderful in the world; The sentence "filial piety, catching up with the ancients" shows the importance of recommendation.
First, pay attention to the words. Use the word "every word has a place". At that time, people commented on Huang Tingjian's poems, "Every word must be refined in the month, and it has not been lightly issued." Huang Tingjian also put forward the "eye in the sentence" of poetry. The so-called "eye in a sentence" is what later generations call "eye in a poem", which means paying attention to the tempering of key words. For example, the word "green" in Spring Breeze and Green Jiang Nanan is tempered, which can be described as "turning a word like a key to closing a door".
Second, pay attention to grammar. Huang Tingjian's poem "Send Gu Zidun to Hedong": "The syntax is unknown, and the autumn moon is from Chengjiang". What is "syntax"? As can be seen from this poem, Huang Tingjian's exposition of poetry syntax is relatively simple, such as clear and sensible autumn moon. In "Two Letters with Wang", he said: "After arriving in Kuizhou, if you are familiar with his ancient poems, you will find that their syntax is concise and ingenious. The plains and mountains are high and deep, which seems unattainable. The article is successful, without axe teeth, and it is a good ear. "
The third is to pay attention to the rules. Huang Tingjian made a lot of discussions on the significance of the composition, such as: "If you want to write songs of Chu and catch up with the ancients, you must first read the songs of Chu and observe the twists and turns of the ancients' intentions before writing. For example, if you want to make brocade, you must have a brocade machine that can make brocade. " Compare the composition structure to a "brocade machine". Another example is "the things in the valley must be carefully arranged." Every time I see the post-school, I will tell you more about the twists and turns of the "original road". " Another example is: "Writing poetry is like writing a zaju. It was arranged from the beginning, and when it came, it was necessary to slap. "Taken together, Huang Tingjian's so-called composition is about the twists and turns of poetry structure, which are all thought out by studying the works of predecessors.
Although Huang Tingjian talked about the poetic method, he did not stick to it, but wanted to go beyond it and reach the realm of "self-harmony without worrying about breaking the rope".