Time: Song Author: Huang Tingjian
Open the field to eat wheat, and the spring is dull.
deep ploughing is not enough, and the ears of cattle are wet.
those who are rich and fierce advocate it.
sometimes, you have to spill your chest with wine.
A brief introduction to the poet Huang Tingjian
Huang Tingjian (145-115), whose name was Lu Zhi, was named Fu Weng in the evening, also known as Mr. Yu Zhanghuang, Han nationality, and was born in Fenning, Hongzhou (now Xiushui, Jiangxi). Poets, poets and calligraphers in the Northern Song Dynasty were the founders of Jiangxi Poetry School. In the fourth year of Yingzong Zhiping (167), he was a scholar. Li Guan Ye Xianwei, Professor imperial academy from Beijing, School Booker Lang, Works Zuolang, Secretary Cheng, Fuzhou Biejia, Guizhou Resettlement, etc.
Like his predecessors, Huang Tingjian also attacked Xikun. Xikun poets pay attention to temperament, antithesis and rhetoric. In order to get rid of the influence of Xikun poets in art, from the beginning of Ouyang Xiu and Mei Yaochen, they tried to make some new explorations in conception, application, sentence cutting and writing. After the middle of the Northern Song Dynasty, the situation of peace and the risk of struggle between the old and new parties for more than a hundred years, even though many poets became more and more divorced from reality; At that time, the publication of a large number of books and the upsurge of feudal culture made them not satisfied with the use of ordinary allusions, but strive for novelty and novelty (Note: Ouyang Xiu and Mei Yaochen were dissatisfied with the white rabbit poems written by people at that time, "all of which were based on the moon palace in Chang E", and Su Shi's poem "Snow in the Star Hall" was "forbidden to tell stories", all of which saw the poet's ethos of striving for novelty and novelty at that time, and it was even worse in Huang Tingjian. )。 In this way, although they tried to learn from poets since Du Fu and Han Yu, they failed to better inherit the realistic spirit of poets since Du Fu and Bai Juyi. They got rid of the formalism of Xikun style and embarked on a new formalism road. This is the Jiangxi Poetry School that gradually formed from the late Northern Song Dynasty. Not all the poets in this school are from Jiangxi, but Huang Tingjian is so called because of his great influence in this school.
In Tiaoxi Fishing Hidden Conghua, Huang Tingjian's poem was quoted as saying, "Follow people's plans to end up with future generations." He also said: "The article is the most taboo." It can be seen that he has the ambition to open the way in literary creation. However, his social contacts are far narrower than those of his predecessors, such as Ouyang Xiu, Wang Anshi and Su Shi. His long-term study life and his tendency to be divorced from reality make him have to choose a creative path to win in book knowledge and writing skills. He said: "Poetry wins high, and it must come from learning." (See "The Prequel of Tiaoxi Fishing Hidden Conghua") and said: "Lao Du wrote poems and retired his compositions, and there was no place for a word; Gai's descendants read less, and Hu said that Han Du made his own words. The ability of the ancients to write articles can really cultivate everything. Although the ancient words are put into calligraphy, it is like a panacea, and the iron is turned into gold. " ("Answer to Hong Ju's Father") You can see his tendency. So how to turn iron into gold from what the ancients said? It is based on the poetry of predecessors, changing and describing it in an attempt to bring forth the new. He called this practice "thoroughly remould oneself", "taking vulgarity as elegance, taking the old as new" and "taking decay as magic". For example, Wang Bao described the beard of the bearded slave as "a bamboo that is far away from the slope" in "The Covenant". Huang Tingjian's poem "The Second Rhyme of Wang Bingzhi's Huiyu Plate Paper" says: "If a prince is destined for a slope, the poem will be empty." Further describing Wang Bingzhi's beard with the cool breeze in the empty valley has a new meaning. Another example is that according to Li Yannian's Song of Beauty, it is almost vulgar for later generations to describe beauty with "dumping the city" and "dumping the country". Huang Tingjian's poem "The Second Rhyme Liu Jingwen's Thoughts on Ascending to Ye Wangtai": "The public poem is as beautiful as beauty, and it has become a city without marriage." The meaning is deeper, and it is in line with the elegance of these literati. These methods of using book materials actually sum up the experience of poets in this field since Du Fu and Han Yu. The difference between his admiration and plagiarism of ordinary low-energy literati is that he avoids being familiar with the choice of materials, and likes to find some obscure allusions and rare literals in miscellaneous books such as Buddhist scriptures, quotations and novels. In the use of materials, we strive to make surprising changes and avoid eating them alive. In order to be different from Xikun poets, he also deliberately made awkward sentences, gambled on dangerous rhymes and used hard words, and even abandoned the effective artistic techniques that poets always pay attention to harmony of rhythm and vivid colors. A poem like the following can better express his characteristics in this respect.
my poems are like Cao Cao's, and I'm shallow and humble. Public is like a big country, Chu, swallowing five lakes and three rivers. Chibi Fengyue flute, Yutang cloud window; Syntax is unified, and the strong city is subject to my surrender. The withered pine falls into the ravine, and the waves hit it; Ten thousand cows can't pull forward, but the public is carrying it alone. All the people scoff, and the canal is not a double; Look at each other with bare arms, and worship old Pang under the bed. Children don't know, and the guest may be Dunpang; Your husband, I'd like to buy a red wine jar.
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Zi Zhan's poem is wonderful for the first time, which is a simple poem with a firm style and a secondary rhyme. This is a poem written by him and Su Shi. The first four sentences say that his poems are not as broad as Su Shi's. The middle twelve sentences describe Su Shi's appreciation for him, and at the same time show his arrogant character, like withered pine fallen in a ravine, which can't be pushed by the waves and held back by thousands of cattle. Four sentences say that his son may be able to match Su Shi's granddaughter, A Xun, which means that his poems can't be compared with Su Shi. This is exactly what Jiangxi poets later said, "Beat hard to get in and beat hard to get out", expressing their friendship with a humorous and teasing attitude. This poem, from the use of words, the cutting of sentences to the layout of meaning, has become the familiar road of five-character poets since Jian' an. However, compared with the poems presented by Cao Zhi to Ding Yi, Shen Yue to Fan Yun, and Du Fu to Li Bai, Huang Tingjian failed to express his true feelings effectively, despite his striking words and surprising intentions.
Of course, as a master of art who started the school of poetry, not every poem by Huang Tingjian is so blunt. When he was inspired by the real situation and got rid of the habit of deliberate curiosity to a certain extent, he was still able to write some fresh and smooth poems, like the following examples.
I was born in Qutang, and I was born in Shaoguan. Before the Jiangnan smile, standing on the Yueyang tower to the junshan island.
the wind and rain in Sichuan alone lean on the railing, and twelve Xiang 'e flowers are tied together. Unfortunately, I can't face the lake, only to see the junshan island in the Yinshan pile.
—— "Climbing Yueyang Tower and Looking at Junshan in the Rain"
I'm a fool, but I don't care about public affairs. Qian Shan has a vast sky, and Chengjiang has a clear moon. Zhu xian has been a beauty, and the young eyes are chatting because of the wine. Wan Li returned to the ship to play the flute, which is why we are allied with Bai Ou.
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The predecessors' comments on Song poetry are always referred to as Su Huang. Su Shi's poems are rich in weather, such as the Yangtze River, which is a spectacle of its own. The weather of Huang poetry is strict, such as dangerous peaks and thousands of feet, rising from the ground, which makes people daunting and creates different realms in art. However, Huang Tingjian's achievements can't be compared with Su Shi's, because although his poems can get rid of cliches and form a style characterized by innovation, thinness and hardness, they still can't cover up the emptiness of his life content and the tendency of being divorced from reality.
The anti-Xikun school was formed in Song poetry at first, because writers such as Ouyang Xiu, Su Shunqin, Mei Yaochen, etc. at that time faced the reality and matched their political struggles with poems, which reflected the people's wishes to some extent. On poetry, Huang Tingjian said: "Poets are also human beings. They are not forced to remonstrate with the court, resentful and resentful, and angry with their neighbors for scolding their seats." He also said: "It is a slander and aggression, leading the way to inherit the Ge, wearing a cloak and being targeted, and being angry for a while, everyone thinks that poetry is a disaster, a loss of the purpose of poetry, and it is not a mistake of poetry." Obviously, this cancels the fighting role of poetry, and the result is bound to embark on the road of divorced from reality and one-sided pursuit of artistic skills, deviating from the direction of the poetry innovation movement.