Su Shi (1037-1101): Writer, calligrapher and painter of the Northern Song Dynasty. His courtesy name was Zizhan, his nickname was Dongpo Jushi, and he was a native of Meishan, Meizhou (now part of Sichuan). Su Xunzi. Jiayou Jinshi. Shi was a generalist and a pioneer in poetry, poetry, literature, calligraphy and painting. His prose and Ouyang Xiu were also called Ou Su; his poetry and Huang Tingjian were called Su Huang; his poetry and Xin Qiji were called Su Xin; he is one of the four great calligraphers "Su, Huang, Mi and Cai"; his paintings created the Huzhou School of Painting.
Su Shi used to be a member of the ancestral hall, Wai Lang, during the reign of Shenzong. Because he opposed Wang Anshi's new law, he sought a foreign position and served as the general magistrate of Hangzhou, with knowledge of Mizhou, Xuzhou and Huzhou. Later, he was demoted to Huangzhou for writing poems that "slandered the imperial court". Zhezong was a bachelor of the Hanlin Academy at that time. He had traveled to Hangzhou, Yingzhou, etc., and was appointed Minister of the Ministry of Rites. Later he was demoted to Huizhou and Danzhou. He died of illness in Changzhou the second year after returning to the north. In the Southern Song Dynasty, he was posthumously named Wenzhong. Together with his father and younger brother, they are collectively known as "Sansu". Politically, it belongs to the old party, but it also has demands for reforming bad governance. His writing is unbridled, clear and fluent, and he is one of the "Eight Great Masters of Tang and Song Dynasties". His poems are fresh and bold, good at using exaggerated metaphors, and have a unique style in artistic expression. A few poems can also reflect the sufferings of the people and accuse the rulers of their extravagance and arrogance. Ci Kai is bold and unrestrained, which has a great influence on future generations. "Nian Nujiao·Chibi Nostalgia" and "Shui Diao Ge Tou·Bingchen Mid-Autumn Festival" are widely recited. He is good at running script and regular script, adopting the styles of Li Yong, Xu Hao, Yan Zhenqing and Yang Ning, and is able to create his own ideas. The writing style is plump and full of ups and downs, giving it an innocent and lively feel. Together with Cai Xiang, Huang Tingjian and Mi Fu, they are known as the "Four Families of the Song Dynasty". He is good at painting bamboo and is a scholar of literature. He also likes to paint dead wood and strange rocks. When discussing painting, he advocated "spiritual resemblance" and believed that "when discussing painting, we should see it as a neighbor of children"; he spoke highly of the artistic attainments of "paintings in poems, poems in paintings". Poems include "Seven Collections of Dongpo" and so on. The extant writings include "Essays and Posts in Appreciation to Civil Teachers", "Ji Dao Wen in Honor of Huang", "Qian Chibi Fu", "Poems and Posts on Cold Food in Huangzhou", etc. His paintings include "Pictures of Dead Trees and Strange Rocks", "Pictures of Bamboos and Stones", etc.
Su Shi was a Chinese writer, calligrapher and painter in the Northern Song Dynasty. His courtesy name is Zizhan and his nickname is Dongpo Jushi. A native of Meizhou (now Meishan City, Sichuan Province) in the Song Dynasty. His father Su Xun and his younger brother Su Che are both famous ancient writers, known as the "Three Sus" in the world. Jiayou became a Jinshi and served as a judge in Fengxiang Mansion, advocating the reform of bad government. Shenzong opposed the reform at the time, but during his tenure in Mizhou and Xuzhou, he fought floods and exterminated locusts, helped the poor and rescued orphans, and made many political achievements. Later, he was demoted to Huangzhou for "slandering the imperial court". Zhezong was a bachelor of the Hanlin Academy at that time and went out to know the four states of Hangzhou, Ying, Yang and Ding. Huizong was pardoned and summoned back for the first time. Poems, lyrics and prose all represent the highest achievements of Northern Song literature.
Most of Su Shi's poems express his emotions about the ups and downs of his official career. There are also works that reflect the suffering of people's livelihood and reveal the darkness of reality. The poetic style is bold and fresh, especially good at metaphor. Together with Huang Tingjian, he is also known as "Su Huang".
Su Shi's poems have a wide range of themes, including travel notes, nostalgia, gifts, farewells, and reasoning. He also broke through the strict constraints of music and promoted the development of poems. His famous works include "Nian Nujiao", "Shui Diao Ge Tou", etc., which pioneered the bold style of poetry. Together with Xin Qiji, he was called "Su Xin".
Su Shi's prose is full of unbridled arguments, and his narrative structure is rigorous and clear. For example, "The Story of Shizhong Mountain" and "The Story of Fanghe Pavilion" are both recited together with "Chibi Ode" and "Hou Chibi Ode". Famous articles. Together with Ouyang Xiu, he is also known as "Ou Su" and is one of the "Eight Masters of Ancient Prose in the Tang and Song Dynasties". Literary thought emphasizes "doing something for something", advocating nature, getting rid of constraints, "creating new ideas in laws and regulations, and sending wonderful principles out of boldness". Committed to promoting underachievers, Huang Tingjian, Qin Guan, etc. all came from his disciples.
Su Shi was also good at running and regular script, and together with Huang Tingjian, Mi Fu[fu2] and Cai Xiang, he was known as the "Four Masters of Song Dynasty". He studied with famous masters in Jin, Tang and Five Dynasties, and gained influence from Wang Senqian, Li Yong, Xu Hao, Yan Zhenqing and Yang Ningshi, and became his own family. Zi said: "I can't create my own calligraphy"; another said: "I come up with new ideas and don't follow the ancients." Huang Tingjian said: "In his early years, he was very good at using pen, but he was not as good as the boss who gradually approached nature"; another said: "When he arrived in Huangzhou Later, his strokes were extremely powerful. "In his later years, he had the momentum of overseas turbulence, and his knowledge, broadmindedness, and knowledge were outstanding, and he experienced many ups and downs in his life. His calligraphy style is full of ups and downs, innocent and vast. You can imagine his calligraphy by looking at it. As a person. At that time, his brothers and nephews You, Mai and Guo, and his friends Wang Dingguo and Zhao Lingju all learned from him; later historical celebrities such as Li Gang, Han Shizhong, Lu You, Wu Kuan in the Ming Dynasty, and Wu Kuan in the Qing Dynasty. Zhang Zhidong also learned from him, which shows his great influence.
Su Shi painted ink bamboo under the guidance of Wen, which was simpler and more vigorous than Wen, and had the potential to dance. Mi Fu said that he "made black bamboo from the ground to the top.
I asked: Why not divide it section by section? Said: When the bamboo is growing, why does it grow section by section? "He is also good at painting old trees and strange rocks. Mi Fu also said: When he makes dead wood branches, they curl up without any reason; the stones are hard and cracked, and they are also strange and strange without any reason, just like the feeling of depression in his chest." It can be seen that his paintings have a lot of whimsy and far-reaching ideas. He has outstanding views on both calligraphy and painting, and his influence on painting is even more profound. For example, we attach great importance to spiritual resemblance, advocate that there is emotion outside the painting, and that the painting should have sustenance, oppose resemblance in form, and oppose the constraints of formula, advocate "the original uniformity of poetry and painting, natural craftsmanship and freshness", and clearly put forward the concept of "scholar painting", etc., which will be followed by " The development of "literati painting" has established a theoretical foundation. The extant writings include "Poems about Cold Food in Huangzhou", "Ode to Chibi", "Essays in Appreciation to the Civil Teachers" and "Jidaowen in Honor of Huangzhou", etc. Among the surviving paintings are "Scroll of Ancient Trees and Strange Rocks"; and "Scroll of Bamboos and Stones of Xiaoxiang" discovered in recent years must also be his work. His poems include "Dongpo Seven Collections", and his lyrics include "Dongpo Yuefu" and so on. [Qing Dynasty] Wang Wenhao wrote "Collection of Su Wenzhonggong's Poems Compiled and Annotated".
Yang Wanli (1127-1206), courtesy name Tingxiu and Chengzhai, was from Jishui (now part of Jiangxi). His family was poor when he was young. He was a Jinshi in the 24th year of Shaoxing (1154) and served successively as Dr. Taichang, Dr. Baomo Pavilion held the rank of bachelor and so on. When Han Yuzhou was in power, he lived in seclusion for fifteen years due to political disagreements. Finally, he died of illness due to sorrow and anger. There is "Chengzhai Collection".
Yang Wanli's poetry creation generally went through a process of imitation, transition and self-containment. Thirty-two years ago in Shaoxing, he studied the Jiangxi style, and this poem was later burned by him. From then on to the fourth year of Chunxi (1177), it was a period of change in his poetic style. During this period, on the one hand, he studied and discussed the profound tenets of Neo-Confucianism with Zhang Jun and Zhang Shi, and at the same time, he transferred his experience and understanding of Neo-Confucianism from daily life to literary creation. In his poem "Inscribed on Jian Yizhai in Deming Dynasty of Tang Dynasty", he said: "I have been obsessed with old books all my life, but I later learned that I will not have many children in this way. I read books from the canal and laugh at the maple and water of the river." This kind of contempt for books and emphasis on daily life His attitude towards life became an opportunity for his poetic style to change. Among the more than 700 poems in the "Jianghu Collection", some are based on Chen Shidao's five rhymes, Wang Anshi's seven unique poems, and Tang Dynasty quatrains. At the same time, there are also some witty and light poems, such as:
The spring eye is silent and cherishes the details. The water flows, the shade of the trees shines on the water, the love is clear and soft. The little lotus has just revealed its sharp corners, and a dragonfly has already stood on it. ("Little Pond")
The plums have sour teeth, and the bananas are divided into green and window screens. The day is long and I fall asleep with no thoughts, watching children catching willow flowers. (Part one of "Two Quatrains in "Rising from a Nap in the Early Summer")
Five years after Chunxi, the unique style of Yang Wanli's poetry was basically formed, and his poetic views were basically mature. His "Preface to the Collection of Jingxi" says that at this time, "I suddenly had enlightenment, so I thanked the Tang people, Wang (Anshi), Chen (Shidao), and all the gentlemen in Jiangxi, who did not dare to learn, and then I was delighted. ... After reading a few poems, I couldn’t read as well as I did the previous day. Moreover, at this time, I “walked through the back garden, climbed up to the ancient city, picked berries and chrysanthemums, climbed over the flowers and bamboos, and everything came together, and I presented them with poetry materials.” The poem writing was very smooth. . This view of attaching importance to observing nature and drawing materials from daily life is a powerful reaction to the Jiangxi poetic school's poetic theory that advocates "reinventing the reincarnation" and "turning iron into gold" from the predecessors.
However, the formation of "Chengzhai style" not only attaches importance to obtaining novel and vivid materials from nature and daily life, but also requires a thorough mind and philosophical thinking; the poet is passionately devoted to nature All things and daily life are integrated with each other, and at the same time, we must jump out to observe and understand the philosophy of life contained in them calmly and rationally. Only in this way can the poems written in this way not only have the vitality of nature and life, but also be rich in Reasonable interests, like the following poems:
Mo said that it would be easy to go down to the ridge, which won the wrong favor of passers-by. Entering the circle of chaotic mountains, one mountain releases another mountain block. (Part 5 of "Six Poems on Passing through Songyuan Morning Cooking Paint Shop")
The traces of spring can be found without trace, and the heart of spring cannot be seen without looking at poetry. The orioles are beside the willows and the gulls are beside the grass, which becomes greener and darker every day. (Part 1 of "Crossing the Second Crossing of Yang")
When I pour a glass or two of green wine, the ship door will close and then open again. No one can see the wrinkles in the beautiful mountains, they are all picked out by the setting sun.
(Part 3 of "Three Poems on a Boat Crossing Xietan")
In addition, such as "The lotus leaves connecting the sky are infinitely green, and the lotus flowers reflecting the sun are uniquely red" ("Sent Off to Lin Zifang at Dawn from Jingci Temple"), "The Stream Loop Road" When there is no way out, suddenly there are one or two plum blossoms" ("Returning Late to the Rain"), "In the green duck pond and weeping poplars, the first lotus flower is seen for the first time" ("Coming to Jianchang"), etc., all express " The characteristics of "Cheng Zhai Ti" in the way of creation: First, he is good at sensitively discovering and quickly capturing the interesting and beautiful scenes that appear in nature and daily life that ordinary people cannot discover or easily ignore. This is what he Abandon stacking up ancient people, stripping away ancient sayings, imitating ancient poems, and passionately devote yourself to life; second, pay attention to integrating your own subjective understanding and experience into these scenes, so that they have a distinctive sense of reason, which is the so-called "not "Break in the heart, why is the sentence new?" ("Sichuan scholar Gan Yanhe lived in Zhang Wei Gongmen Hall, and used the rhyme of Zhang Qinfu's poems to write two poems to express his gratitude"). This is his way of experiencing Neo-Confucianism and Zen Buddhism. The product of introducing poetry.
The basic characteristics of "Chengzhai style" in terms of language are natural fluency, fun and lively.
Since Yang Wanli’s poems mainly describe ordinary natural scenery and daily life to express the vitality and his inner life experience, the harsh or overly elegant language will hinder what he wants to express. Content, so he didn’t put too much effort into the form of language, but tried hard to pursue some meaning beyond the form of language. This is just as he said: "I am not looking for poems, the poems come to me."
("Late Cold Inscription on Narcissus and Lakes and Mountains") Specifically speaking, first of all, most of Yang Wanli's poems have complete syntax and coherent meaning, with few intermittent splicing and jumping connections. This transcends the Jiangxi Poetry School and is more inherited. The language style of Song poetry has been formed since the Mei, European and Su periods; secondly, it mostly uses natural colloquial language and colloquialisms to make poetry as lively as daily dialogue, and achieve novel, lively, light and interesting effects.
Yang Wanli's poems rarely reflect the broad social life, but although there are only a few such poems, some of them are relatively well written. For example, "Compassion for the Farmers" "has endured hunger to survive the remaining years of his life, and it is even more worthy of the extra years", which describes the hardships of farmers to survive; and "Four Quatrains on First Entering the Huaihe River" describes what he saw and thought when he was on a mission to the Jin Kingdom. , can also arouse readers' rich thoughts, such as the third poem:
The boats on both sides of the Taiwan Strait are going in different directions, and it is difficult to negotiate with the waves. Only the gulls and herons were left, flying freely from north to south.
Generally speaking, wit, liveliness and fun are naturally the outstanding strengths of Yang Wanli's poetry, but at the same time, his poems rarely express sharp and profound feelings about life (at this point, he is not as good as Huang Tingjian) ), so most of them use trivial materials and lack grandeur.
Some poems are rough and slippery, which makes people feel vulgar and tasteless; occasionally they also have the bad habit of showing off their knowledge, and they fall back on the old path of the Jiangxi School. But after all, he created a new style of poetry, which is incomparable to poets who blindly imitate the ancients. After Yang Wanli broke the envelope of the Jiangxi School of Poetry, some poets wanted to find a new path outside the Jiangxi School of Poetry, but lacked originality, so they found other ancient poets as objects of imitation, as if they had walked out of a prison cell and entered again. In the other cell, it was not as good as Yang Wanli who jumped out of the cell and was free and unrestrained.
Reference: http://211.157.2.224:8082/viewstaticres/SysContent5/d1/dd3/ddd133/591895330533/591895330533.htm
Answer: Huangfuying-Tong Shengyi Level 3-29 10:19
Yang Wanli (1127～1206) was a poet of the Southern Song Dynasty. The word Tingxiu. A native of Jishui, Jizhou (now part of Jiangxi). In the 24th year of Shaoxing (1154), he became a Jinshi and was awarded the title of Ganzhou Sihu to join the army. He was then transferred to the county magistrate of Yongzhou Lingling (now part of Hunan). At this time, Zhang Jun, a famous general in the Southern Song Dynasty, was relegated to Yongzhou and encouraged Yang Wanli to study with "righteousness and sincerity". Therefore, he named his study "Chengzhai" and was known as Mr. Chengzhai in the world.
Life In the thirty-second year of Shaoxing (1162), Xiaozong came to the throne and Zhang Jun re-appointed him. Yang Wanli was recommended as Lin'an professor, but he was unable to take up the post because his father was dead. After the mourning period expired, he was renamed Fengxin County, Longxing Prefecture (now part of Jiangxi Province). When he was in office, he prohibited subordinate officials from taking bribes, which was very popular among the people.
In the sixth year of Qiandao (1170), he wrote thirty chapters of "Qianli Ce", stating his opinions on major issues such as "kingdom", "national power", "ruling", "talent", "criminal law", and "civil affairs". He received the attention of prime ministers Chen Junqing and Yu Yunwen and was recruited as a doctor of Guozi. The following year, the minister Zhang □ (son of Zhang Jun) was relegated to Yuanzhou because he opposed the appointment of his relative Zhang Shuo. Yang Wanli resisted and persuaded him to stay, and wrote to Yu Yunwen to persuade him to uphold justice. Although Zhang □ was still demoted, Yang Wanli's words and deeds were praised by public opinion. He was repeatedly moved to be a young prisoner. In the first year of Chunxi (1174), he went out to be the magistrate of Zhangzhou, and soon changed his magistrate to Changzhou. In the sixth year of Chunxi's reign, he was promoted to the Tea Superintendent of Changping, Guangdong, and promoted to Tidian Penal Prison, Guangdong. In the ninth year of Chunxi's reign, he resigned from his post due to his mother's death. After serving for eleven years, he returned to Hangzhou and was appointed as a member of the Ministry of official affairs, wailang, and was promoted to doctor. The following year, due to the earthquake, he responded to the imperial edict and wrote a letter, advising Xiaozong to "put aside the non-urgent tasks and concentrate on preparing for the enemy" and "manage the ships and eliminate dangers" in order to "enhance the country and enrich the people". In the thirteenth year, he moved to the Privy Council as prosecutor and the prince's attendant, and recommended 16 talents including Zhu Xi and Yuan Shu to Prime Minister Wang Huai. Later he was moved to the post of secretary and junior prisoner. After Emperor Gaozong died, he fought hard for Zhang Jun to be worthy of worshiping in the temple. This angered Emperor Xiaozong and led him to visit Junzhou (today's Gao'an, Jiangxi).
In the 16th year of Chunxi (1189), Guangzong ascended the throne, and Yang Wanli was called into the court as secretary and supervisor. At the end of the year, the Jin Dynasty envoy came to congratulate Zhengdan, and Wanli was sent to accompany him. During this trip, he wrote many poems. In the first year of Shaoxi (1190), he went out to serve as deputy envoy to Jiangdong. At this time, the imperial court wanted to use iron money to control the counties in the south of the Yangtze River. He opposed it and refused to obey the edict. Therefore, he angered the Prime Minister and was appointed magistrate of Ganzhou. Wan Li refused to go to his post and asked to return home. After that, he lived in the countryside for 15 years. After Ningzong ascended the throne, he was repeatedly called to serve in the court, but he refused to resign. He died at home in the second year of Kaixi (1206). Before he died, he wrote the last words of "My head is like this, I have no way to serve the country, only loneliness and anger", which embodies the same deep concern for the country as Lu You's poem "Shi'er".
Poetry Creation and Poetry Theory There are more than 4,200 poems by Yang Wanli in existence today, many of which are relatively substantial in content. Starting from his first collection of poems, "Jiang Hu Ji", he wrote some works that were concerned about the security of the country. For example, "Reading the Imperial Edict" gives advice on Xiaozong's change of strategy due to the setback in his fight against the Jin Dynasty; "Dao Meets Wang Yuangui Ge Xue" expresses indignation at the Communist Party's gain in power and Zhongliang's expulsion; "Elegy of the Former Young Master Zhang Wei Gong" , I deeply regret that the famous patriotic minister Zhang Jun died of hatred. In the winter of the 16th year of Chunxi's reign, he was ordered to welcome the envoys of the Jin Dynasty and crossed the Yangtze and Huaihe rivers north. He was filled with sorrow, sorrow and anger, and wrote poems, including the famous "Four Quatrains on Entering the Huaihe River for the First Time": "The boat left the Hongze River and the sand on the shore was not good, and people arrived at the Huaihe River with a bad mood. Why bother?" Sangqian is far away, and the north of Zhongliu is the end of the world! "Don't talk in vain when you meet the king, but Guihong can't say anything. "The Huaihe River Basin was originally the territory of the Song Dynasty, but now the Huaihe River has become the territory. After crossing the border between Song and Jin Dynasties, north of Zhongliu was Tianya, and people in the north and south lost their freedom of communication. The poet looks back on the present and recalls the past, gathering all kinds of feelings, expressing his feelings about the scene, and expressing his emotions. He has reached the artistic realm he pursues of "the poem has been exhausted but the taste will last forever" ("Chengzhai Poetry Talk"). In addition, like "The Baigou used to be outside the divide, but the Yi River is now in front of the Huaihe River" in "Inscribed on the First Mountain in the Southeast of Xuyi Army"; "The people at the top of the river are ashamed of others, and the people at the end of Jinshan are worried." ", as well as poems such as "The Boat Crossing the Yangtze Bridge and Looking into the Distance", "Crossing the Yangtze River", "The Rain Remains at Dusk and the Sunny Returns", etc., also express his patriotism.
Yang Wanli also wrote some poems that reflected the working life of farmers, such as "Song of Bamboo Branches". The seven poems describe boat trackers sailing on rainy nights: "Fortunately, it has been warmer all night and the sun has become clearer. Why bother with the drizzle to send the disabled to watch?" "Nong Li's shoes are broken, so he has to drag himself through the mud!" He expressed concern for the hard-working lower class people. "Ten Interpretations of the Poems of the Polders" was written by him when he passed by Dangtu and saw the polders building embankments. The purpose was to "teach the polders who built the polders to sing them in order to share their efforts." The poem depicts water conservancy in an appreciative manner. The benefits brought by the project to the people; "Planting Yangge" describes the scene of farmers working nervously in the rain. Like "there is half an inch of soil in the barren mountain, Tian's father has never been full" ("Journey to the Morning Cooking Paint Bridge Road in Fakong Town"), "I didn't send new jade grains to Taicang, I dared to slip the key of Yunzi first" ("Enter the City Later") "Daozhong Zaixing") and "Compassion for Farmers", "Compassion for Drought", "Farmer's Sigh", "Autumn Rain Sigh", etc. all express deep sympathy for the farmers' suffering from different angles.
Yang Wanli's poems are quite distinctive in terms of artistic style and expression techniques. His poetry was the first to learn from the Jiangxi Poetry School. The preface to "Jianghu Collection" says: "I wrote more than a thousand poems in my youth, and they were all burned in the seventh month of the Renwu Year in Shaoxing. They are probably in Jiangxi style.
"The preface to his second collection of poems "Jingxi Collection" says that he first studied Jiangxi, and then studied Chen Shidao's Wulu and Wang Anshi's Qijue. Later he also studied late Tang poetry. It was not until the age of 51 that he "suddenly enlightened". Jump out Following the footsteps of others, we blaze our own trail and look for poetry in nature: "Walking around the back garden, climbing into the ancient city, picking berries and chrysanthemums, climbing flowers and bamboos, all things are completed, and I present them with poetry materials." If you don't leave Gai Hui, the former will not be defeated, but the latter will be forced. "He wrote in "Postscript to Recent Poems of Xu Gongzhong Province": "I am ashamed of the sects and sects, and the writers each have their own style. Huang Chen rests his feet under the fence, and Tao Xie stands out before leaving. "From imitating his predecessors to building his own poetry circle, from searching for poems in books to discovering materials for writing poems from nature and daily life, Yang Wanli's poems finally got rid of the Jiangxi poetic school's separation from life and imitation of the ancients, focusing only on words and sentences. The custom of careful forging in rhythm has formed the "Chengzhai style" that is unique and has a great influence on later generations.
The formation of Chengzhai style is related to the "living method" advocated by Yang Wanli. "Living method" was originally proposed by Lu Benzhong, the author of "Jiangxi Poetry Society Sect Map", which means "to be able to go beyond the rules, change unexpectedly, and not deviate from the rules" ("Preface to the Collection of Xia Junfu"). Yang Wanli His "living method" also includes this meaning, but the basis is to learn from nature. His poet friend Zhang □ said: "The spirit of creation is endless, and it is jumping and vigorous to catch up." How much is known about words and sentences at present, and it is rare to have a living style poem. "("Carrying a compilation of Yang Mijian's poems to board the boat because of the two outstanding achievements") jumps vigorously, pursues the creation, is good at capturing the fleeting and changing natural taste, and uses vivid, lively and full of changes. Expressed in language, this is Yang Wanli's "living method".
Correspondingly, the outstanding feature of Cheng Zhai style is that it is good at capturing the characteristics and dynamics of natural scenery, such as "Xiao Xing Wang Yun Shan". : "When the sky is about to dawn, there are many strange peaks to behold. But there was a peak that suddenly grew, and then I knew it was the real mountain. "Passing the Xinkai Lake in Baoying County": "The clouds and smoke in the sky press down on the water, and the waves in the lake beat the clouds back." There are no plain trees in the middle, and the water-colored sky cannot be separated. "The writing is novel, lively, and very interesting. Not only that, the author also expresses the "liveness" of interest through the "liveness" of the scenery. For example, "Passing the Songyuan Chenchuiqigongtian": "Mo Yan has no difficulty in going down the ridge. , earning the favor of pedestrians. Entering the circle of thousands of mountains, one mountain releases another mountain block. "Most of these poems are rich in imagination and strange, with lively scenery and interesting meanings, and the techniques of expression are also lively. Each stroke and scene change, making people dizzy.
Another characteristic of Chengzhai style It is humorous. Everything in nature, as big as the sun, the moon, mountains and rivers, as small as bees, butterflies, flowers and trees, are all included in the poem, and the writing is humorous, so much so that Jiang Kui once said, "Everywhere in the mountains and rivers, I am afraid of seeing you." "Mocking the Bee", "Mocking the Dragonfly", "Mocking the Child", "Mocking the Stars and Moon", "The Play" are all full of humor. Some poems can also contain irony and anger in humor, such as "Mocking the Stars and the Moon". "Going down to the beach of Hengshan Mountain and looking at Jinhua Mountain": "The pole master just trusted the boat flow and did not make any plans for water or rocks on the foreshore." However, it was spun three times by the turbulence, turning the stern of the boat into the bow. "As for "Mocking the Huai Feng": "If you don't clear the northern fog, you will only roll up the Langtou Mountain! "Ant Watch": "How much food can a tiny body hold?" After a hunt, the car is full! "The meaning of ridicule is even more obvious.
The language is simple and easy to understand, natural and lively, and appropriate selection and melting of proverbs into poems are another characteristic of "Chengzhai style". This is compared with Jiangxi His search for obscure classics, use of new words, rhyming with rhymes, and awkward sentences are obviously a bold act of liberation. The "Preface to the Song of Bamboo Branches" calls the Yinkuo tracker boat people "yining, Xiaoxiao, and joking" to compose the song, which shows that he has an interest in folk songs. The language form of the book is also absorbed. For example, "Calling to the Feng Bo" writes about playing with the God of Wind: "If the Feng Bo persuades you to drink a glass of wine, why do you need a drama to shock the old man? Can Duan be my prestige?" Kishirianagi turned around and waved his hand! "It embodies the characteristics of Chengzhai style.
Yang Wanli was as famous as Lu You and Fan Chengda at that time. He had a high reputation in the poetry circle of the Southern Song Dynasty and was praised by some poets of the Northern Jin Dynasty (Liu Qi "Gui Qian Zhi" Volume 8) However, the content of Yang Wanli's poetry is inferior to that of Lu and Fan: his works that care about national affairs are far less sad than Lu You's, and his works that sympathize with the people's sufferings are not as profound as Fan Chengda's, and they are not as profound in quantity. Much less. The main achievement of Yang Wanli's "Cheng Zhai Style" is the meticulous use of "living methods" in its creation, material selection and style, but due to the limitations of the subject matter. The details are so trivial that the realm is not very broad. In addition, he sometimes pursues interest too much, "plays freely" and "snaps the pen", resulting in some poems lacking the necessary artistic summary and being sloppy. The language is sometimes used without selection and casually, causing future generations to suffer. There are sarcastic words such as "任 clever" and "slick".
His seven-character quatrains had a great influence on Jianghu poets in the middle and late Southern Song Dynasty and Guo □ and others in the Qing Dynasty.
Yang Wanli's poetry theory is mainly found in "Chengzhai Poetry Talk" and some prefaces. He emphasized the social role of poetry, calling poetry "a tool to correct the world" ("On Poetry"), and believed that poetry should be written with a purpose and play a certain role in promoting good and satirizing evil, and should not be ignored. In terms of expression methods, he attaches great importance to euphemism and implicitness, and emphasizes "meaning" and "taste". The "flavor" of poetry he refers to not only inherits the characteristics of Sikong Tu's theory of "charm", but is also influenced by some of the poetic theory of the Jiangxi School of Poetry. He pursues "flavor" without departing from "form" and "method". Of course, the "law" Yang Wanli talks about is mainly "living law". He advocates originality and opposes the imitation style of "regarding appearance rather than flavor" that sticks to the rules. Therefore, Yang Wanli is different from others in the Jiangxi Poetry School. He vigorously advocates the style of poetry in the late Tang Dynasty and pursues the "strange flavor of the late Tang Dynasty". When commenting on his predecessors, he was also able to break away from the prejudices of his time. He not only praised Du Fu and Huang Tingjian, but also praised Li Bai and Su Shi. His "Preface to the Poems of the Jiangxi Sect" says: "The four families of today are like Su, Li, and Huang. Du. The poems of Su and Li are like Zi Liezi's wind control. The poems of Du and Huang are like Ling Jun's riding on a laurel boat." The jade car is like a jade car. Is the person who has no need for it the most holy person in poetry? "The metaphor is wonderful and often quoted by later generations. "Chengzhai Poetry Talk" does not focus exclusively on poetry, but also contains some literary theory.
Ci and Ci Fu "Poems of the Past Dynasties·Ci Hua" quoted from "Xu Qingyan" and said that Yang Wanli "not only has unique talent in poetry, but also has unique talents in poetry". There are 15 of his poems extant. Among them, [Zhaojun's Resentment] "Ode to the Gull on the Pine": "I heard a deer swooping on a pine tree, and I knew it was a sand gull coming to stay. Children, don't make any noise, for fear of scaring it! It suddenly flew away in a moment, and flew away to nowhere. 'I have begged. "Return to rest", Bao Shaou "The style of poetry is lively, fresh and interesting, which is very similar to his poetry style.
Yang Wanli's poetry is also quite distinctive. For example, "Wuxi Fu" uses the stele of "Zhongxing Ode" written by Yuan Jie as an introduction. It uses the past events of Emperor Xuanzong and Suzong of the Tang Dynasty to satirize current events, and criticizes Huizong and Gaozong of the Song Dynasty. People at that time rushed to recite them. , as famous as Fan Chengda's "Guanwa Gong Fu". "Hai □ Fu" describes the battle in Caishiji where the Song army defeated the Jin soldiers with naval ships, which is also of practical significance. This type of fu, like the works of Ouyang Xiu and Su Shi, breaks away from the rigid syntax of Han fu and the parallel style of Qi and Liang Dynasties, and uses rhyme in a loose style. Most of the rhymes are before the function words, so it reads coherently and fluently and naturally.
Yang Wanli is also proficient in the study of "Yi" and has 20 volumes of "Chengzhai Yi Zhuan". His interpretation of "Yi" is similar to Cheng Yi's. Because he loved to cite historical events to verify the Book of Changes, he was criticized by later generations of classics scholars. However, Ji Yun and others still believe that "Chengzhai Yi Zhuan" has "indelible" aspects ("Sikuquanshu General Catalog").
He has written 133 volumes of "Chengzhai Collection" (including 10 poetry collections such as "Jianghu Collection", "Jingxi Collection" and other articles), and has photocopied Song Dynasty banknotes of "Sibu Congkan". There are also 42 volumes of "Collection of Yang Wenjiegong's Poems", which were edited and edited by Yang Yuncai during the Qianlong period of the Qing Dynasty. There are 20 volumes of "Chengzhai Yi Zhuan", the Song version of "Zhao Shutingying" is the best. "Chengzhai Poetry Talk" 1 volume, there is a "Continuation of Poems Talk in Past Dynasties" edition.
Answer: Pecking B Wooden W Bird - Manager Level 4 3-29 10:24
Yang Wanli (1127-1206), named Tingxiu and Chengzhai. A native of Jishui, Jizhou (now Jishui County). An outstanding poet in the Southern Song Dynasty. He became a Jinshi in the 24th year of Shaoxing (1154). He was granted the title of Sihu in Ganzhou and later transferred to the position of Prime Minister of Lingling County in Yongzhou. He met Zhang Jun who was relegated to Yongzhou and received much encouragement and instruction. After Xiaozong ascended the throne, Zhang Jun became prime minister and recommended Wanli as a professor in Lin'an Prefecture. Before taking office, his father died. After serving his term, he changed his name to Fengxin County. In the sixth year of Qiandao (1170), he was appointed Doctor of Guozi and began to serve as a capital official. Soon he was moved to Taichang Cheng and became a young general. In the first year of Chunxi (1174), he was sent to Zhangzhou and changed to Changzhou. In the sixth year, he promoted tea salt in Changping, Guangdong, suppressed Shen Shi's uprising army, and was promoted to Tidian Prison in Guangdong. Soon after, his mother died and he left his post. He was called back to be a member of the Ministry of Civil Affairs, Wai Lang, and was promoted to a doctor. In May of the twelfth year (1185), he responded to the imperial edict with an earthquake, discussed ten current political issues, advised Xiao Zonggu to put aside urgent matters, concentrate on preparing for the enemy, and firmly opposed some people's suggestions of abandoning the Huaihe River and withdrawing bail. Yangtze River's advice to harm the country advocates recruiting talents and actively preparing for war. The following year, he was appointed Privy Council Prosecutor and Prince's Attendant. In the fourteenth year (1187), he was moved to the position of Secretary Shaojian. After Emperor Gaozong died, Wanli fought hard for Zhang Jun to be worthy of the temple sacrifices and accused Hong Mai of "referring to a deer as a horse", which angered Emperor Xiaozong and sent him to Junzhou (today's Gao'an, Jiangxi). Guangzong ascended the throne and was called secretary supervisor. In the first year of Shaoxi (1190), he served as the envoy to accompany the Kingdom of Jin to celebrate Zhengdan and was also the reviewer of the Record Academy.
In the end, Xiaozong was dissatisfied with him and became the deputy envoy to Jiangdong. The imperial court wanted to carry out iron money in the counties south of the Yangtze River, but Wanli thought it would be inconvenient for the people, so he refused to obey the edict, disobeyed the prime minister's wishes, and changed his name to Ganzhou. Wan Li saw that his ambition could not be realized, so he did not take up his post. He begged for a ancestral official position (he had no actual official position, only received a ancestral salary, which was equivalent to retirement) and returned. In the second year of Kaixi (1206), he died of grief and anger because he hated Han Zhou for misusing power and ruining the country. He was eventually appointed as a scribe in Baomo Pavilion and was given the posthumous title of "Wenjie".
Yang Wanli advocated the war of resistance throughout his life and opposed surrender. In many "letters", "policies" and "notes" to the emperor, he repeatedly stated the country's ills and denounced the mistake of surrender and the patriotism. Love is beyond words. He was an upright and upright official, and tried his best not to disturb the people. Xu Ji, a poet at the time, praised him as "as clean as water, but poor but with gold" ("Tou Yang Chengzhai"). After his term as deputy envoy to Jiangdong was completed, he should have had tens of thousands of money left over, but he abandoned it all in the official treasury and returned without taking any money. He was upright and upright, spoke out when things happened, pointed out the ills of the times, and had no scruples, so he was never of great use. In fact, he did not bother to seek promotion when he was an official. When he was a Beijing official, he was ready to be dismissed at any time. Therefore, he prepared the travel expenses home from Hangzhou in advance, locked them in a box, hid them in his bedroom, and warned his family not to buy them. I am afraid that my luggage will be cumbersome when I leave my job and return to my hometown. Later, during the fifteen years when he was idle and at home, when Han Zhou was in charge of the government, Han Xinjian Nanyuan asked him to write a "note" and promised to reward him with a high-ranking official. Wan Li refused to write, saying that "the official can be abandoned, and the 'note' Don't do it." You can imagine his character by doing several things. The poet Ge Tianmin praised him as "a spine as iron as a heart as stone" (see "Collections of the Sages of the Southern Song Dynasty. Collection of Ge Wuhuai"), which is not a posthumous compliment.
Yang Wanli was an outstanding poet in the Southern Song Dynasty and had great influence at that time. His poems are comparable to those of Lu You, Fan Chengda and You Miao, and are known as the "Four Great Masters of the Southern Song Dynasty". He initially imitated the Jiangxi School of Poetry, but later realized the shortcomings of the Jiangxi School of Poetry's pursuit of form, difficulty, and astringency. In the 32nd year of Shaoxing (1162), he devoted all his energy to writing more than a thousand poems, determined to break away from the stereotypes of the Jiangxi School of Poetry and find a new path. He recalled the creative path he had taken in his "Preface to Jingxi Collection": "In his poems, I first learned from the gentlemen of Jiangxi, and also learned the five-character rhyme of Houshan (Chen Shidao), and the seven-character rhythm of Banshan Old Man (Wang Anshi). I learned quatrains from people in the Tang Dynasty in the late 1990s. When I wrote poems in 1898, I suddenly realized it, so I thanked the people of the Tang Dynasty and the gentlemen of Wang, Chen, and Jiangxi for not daring to learn it, and then I was very happy about it." He also made it clear in his poems. Confession: "I am ashamed of the sects and sects, and the writers each have their own style. Huang (Tingjian) and Chen (Shidao) rest their feet under the fence, while Tao (Qian) and Xie (Lingyun) stand out before they move." ("Postscript" Xu Gongzhong's "Singing Qianjin Poems" Part 3) It is precisely because he did not follow others' footsteps or stay under the fence of others, but dared to go all the way, innovate and innovate, and finally became his own style, forming his unique poetic style, which is called "Chengzhai Style". It played a certain role in promoting the change of the poetry atmosphere at that time.
Yang Wanli is knowledgeable and talented. His works are eclectic and full of variety, including the majestic and magnificent masterpieces such as "Gui Qianjun, Inverted Three Gorges, Chuan Tianxin, and Penetrating the Moon Grottoes"; there are also objects and postures that describe people's feelings. A wonderful lyrical poem describing the scenery. The poetry style is simple and natural, the conception is novel, humorous, fresh and lively, and has a strong artistic appeal. He also paid great attention to the advantages of studying folk songs and absorbed a large number of vivid and fresh spoken ballads and proverbs into poetry. Therefore, his works often "slang and proverbs come from the tongue" (Jiang Honghe's "Hantang Poetry Talk"), giving people a simple and natural feeling. Feel. For example: "The moon shines crookedly on Kyushu, some families are happy and others are sad; I am worried about the menstruation, so I have to rest and rest." ("Bamboo Branch Song") is completely like a folk song blurted out, reflecting His achievements in learning folk songs.
Some of Yang Wanli's existing poems directly express his patriotic feelings and concern for current affairs. Especially when he served as the accompanying envoy of the Jin Dynasty He Zhengdan, he crossed the Yangtze River and Huaihe River for the first time and went to the north to meet the Jin envoy. He saw with his own eyes that the great rivers and mountains of the Song Dynasty fell into the hands of the Jin people. The Huaihe River became the northern boundary of the Southern Song Dynasty. The flesh-and-blood fellow villagers were unable to travel freely, and they felt infinite emotions in their hearts. They wrote many patriotic poems, such as: "The boat leaves Hongze and the sand on the shore, and it is not a good idea to go to the Huaihe River; why should Sanggan be far away? To the north of the middle stream is the end of the world!" "The boats on both sides of the river are going in different directions, and it is difficult to negotiate the waves. There are only gulls and herons flying from north to south." ("First Entering the Huaihe River") When he passed by Jinshan in Zhenjiang, he saw the picturesque scenery. The pavilion in Jinshan became a place dedicated to entertaining the Jin envoys to cook tea. He angrily wrote the poem "Shame for others at the end of the river! Sadness for others at the end of Jinshan" ("Snow Ji Xiaoxiao Climbing Jinshan"), deeply criticized The humiliated small court of the Southern Song Dynasty.
In addition, such as "Crossing the Yangtze River", "Reading the Edict of Sin", "Elegy of the Former Young Master Zhang Wei Gong", "Elegy of Prime Minister Yu", "Two Poems on the River in Yuzhang", "Taishi Qin's Tomb in Sumu Niuting", etc. The poems may express thoughts about home and country, or call for the war of resistance and restoration of the country, or praise the generals who died fighting the enemy, or satirize the powerful traitors who betrayed the country and surrendered to the enemy. They are all famous poems in Wanli.
He also has some poems that reflect the lives of working people and express his concern for people's livelihood and sympathy for the working people. For example, "Compassion for the Farmers", "Viewing the Harvest", "Farmer's Sigh", "Autumn Rain Sigh", "Compassion for the Drought", "Bamboo Branch Song", "Planting Yangge", etc., are of high ideological and artistic quality. But the number of works in the above two categories is not very large.
Most of Yang Wanli's extant poems are lyrical and social poems about rivers, winds, mountains and moon. In this part, some of the themes of the works are too detailed, lack a high degree of artistic generalization, and are crude and vulgar. But he also has many short poems that describe the scenery. Due to his meticulous and in-depth observations, vivid descriptions, and sincere feelings, they are full of interest and quite moving. For example, "The plums leave sore teeth, and the bananas are divided into green and window screens. When the day is long, I wake up with ruthless thoughts, and I watch the children catching willow flowers." ("Relaxing in Early Summer, Starting from a Nap") "Wuwaijiang