About Zhao's poem 1. A long poem about Zhao.
Poems in Sao style refer to poems such as Li Sao. This is because Qu Yuan, as a verse, belongs to the category of poetry. Moreover, the ancients thought that Qu Yuan was not far from the ancient poets, and his works still had the legacy of the ancient sages, won the poet's meaning, or changed the elegance (this is the common view since Han Confucianism, and they think that "Poetry 300" is generally the anger of the ancient sages, and so are his works); Qu Yuan's "Li Sao" is a self-innovative style, that is, a poem in Sao style, so it makes sense to call Qu Yuan a poem in Sao style. After the Qin and Han Dynasties, people called poems with rich Sao style, such as Yu Ji Ge by Xiang Yu, Da Feng Ge by Liu Bang, Sorrow Poems by Cai Yan and Song of Gao Ming by Li Bai. Sao style, also known as Chu ci style. It originated from Chu State in the Warring States Period and was founded by Qu Yuan. Qu Yuan and other poets wrote many excellent works in this style. This kind of works is full of lyrical elements and romantic atmosphere, with long length and words, free form and the word "Xi" at the end of the sentence.
Compared with Qu Yuan's previous poetry forms, Sao-style poetry has the following characteristics:
The first is the breakthrough of sentence patterns. Qu Yuan created a long sentence pattern with six words as the main, five words mixed with seven words, which was generally neat and flexible. This is a major breakthrough in four fonts. The second is the innovation of rules and regulations. Qu Yuan's "Sao Style" is not limited to the composition of ancient poetry, but indulges in his thoughts, or states, or mourning, or calling, which has its origin, development, circular care and extremely clear context. The third is institutional expansion. Most of Qu Yuan's previous poems were only short chapters with dozens of lines. His Li Sao, with 372 sentences and 2,469 words, laid a long system of China's ancient poems.
Sao style fu
The author thinks that Sao style fu is a kind of fu with distinctive literary characteristics, Song Yu is the first author of Sao style fu, and his Gao Fu Tang and Goddess are the earliest representative works of Sao style fu. In the early Han Dynasty, Jia Yi's Ode to Hanging Qu Yuan, Ode to Watching Birds, and Zhao Yinyi in Xiaoshan, Huainan were all famous works in Sao style. These works reflect the transition from Chu Ci literature to Ci Fu literature. With the completion of this transition, although there are occasional good structures in later Sao Fu (such as Sima Xiangru's Changmen Fu and Wang Shen's Denglou Fu). ), as a whole, it seems that it has completed its historical mission and gradually retired, which is of little significance to the simulation effect of later generations. It is worth noting that the noumenon or fu of Sao Style Fu should be different from Chu Feng's works (such as Song Yuzhi's Nine Arguments) with the technique of fu. Cheng's analysis in "On Sao Fu" is quite intriguing: "Farewell and orange ode are full of Sao; Nagato in Han Dynasty mourned for himself, which seemed coquettish and realistic. The door is poor, so comment ... or: Sao was written by Qu Yuan, where to start? Song Yu. "
Sao style fu in Han dynasty
Sao style fu comes directly from Chu ci. The earliest Sao Fu in the early Han Dynasty was Jia Yi's Diao Qu Fu Yuan, which reflected the author's anguish that he could never find a way out after being alienated by the emperor in the era of the unification of the Western Han Dynasty.
Jia Yi also wrote a poem "Bird-catching Fu", which is Zhuangzi's thought.
After Jia Yi, Yan Ji's Sad Life, Dong Zhongshu's Unfortunate Poetry and Sima Qian's Unfortunate Poetry were also used to express their feelings about misfortune.
As for Wang Baozhi's "Nine Huai" and Liu Xiangzhi's "Nine Sighs", they are just imitations of Chu Ci, and they are ridiculed by later generations as moaning without illness.
During the period of Emperor Wu of the Han Dynasty, Sima Xiangru created Ode to Adults in the form of poetry to cater to the superstition of Emperor Wu of the Han Dynasty about immortals.
In the Han Dynasty, with the political turmoil, some literati expressed their feelings and wishes in Sao style. At the end of the Western Han Dynasty, Liu Xin wrote "Sui Chu Fu", which showed that he adopted the indifferent and lonely attitude of Taoism in real life and entertained himself with piano books.
The most important poet at the end of the Western Han Dynasty was Yang Xiong, whose Taixuan Fu and Zhuanpin Fu had a great influence on later generations.
It is Zhang Heng's Return to Tianfu, which was written when the author was disappointed with reality and decided to leave the officialdom. This is of pioneering significance in the history of Fu. Zhang Heng's "Four Fu Xuan" combines the carefree of Taoism with the kindness of Confucius of Confucianism.
At the end of the Eastern Han Dynasty, there were more and more lyric poems in Sao style, and the representative writers were Zhao Yi, Cai Yong and others.
Zhao Yi's The History of Ci Fu Xie is a work attacking reality.
In the second year of Yan Xi, Cai Yong was forcibly recruited to Luoyang by eunuchs because he was good at playing guqin. He died halfway and came back. He wrote Shu Xing Fu, which is a work to express anger, but also a work to remember the past and hurt the present.
The lyric fu of Sao style in Han dynasty is a wonderful work in fu. During the Wei and Jin Dynasties, this kind of lyric works flourished and gradually occupied a prominent position in the field of Ci and Fu.
There are Jia Yi's Xi Poems, Huainan Xiaoshan's Calling a Hermit, Mourning for the Time, Emperor Wu's Autumn Wind, Seven remonstrances, Wang Bo's Nine Feelings, Liu Xiang's Nine Sighs, Liu Xiang's Farewell to the Palace, Yang Xiong's Anti-Li Sao, and the resounding Wu Shishi.
2. Zhao's best Tibetan poems
Outside Wang Zhao, it is expensive and sunny.
Clever flowers and clever Li Zuoying, the wind is the most sad. Miaomiao's name is sentimental and sad tears, and bloom smiles on purpose.
A spring breeze will follow you, and the moon will be bright in three minutes. Zhao Yuyuxiang, Dou, the beauty is looking forward to your arrival poetically.
Yingfeng stood at the window all night, and the most important thing was to step down in the same month. It is difficult to find a stick according to the principle of Zen, so don't see it from people who believe in Buddhism.
But a journey of a thousand miles is not the spring of a hundred years. Outside Wang Zhao, it is expensive and sunny.
Clever flowers and clever Li Zuoying, the wind is the most sad. The blue sky and white clouds are on fire, and the wind is blowing in the blue sea.
There are dark clouds in Wan Li and snow in Qian Shan. Zhao stepped through the snow, and the beauty helped the window to look at the moon platform.
Yingfeng doesn't know where she went, and she couldn't get in the dream. Butterfly feathers are cold, and Qian Shan's moon shadow is lonely.
It is better to have a moonlit night on earth than a jade man in the sky. Zhao Yanyun has been on Wan Li Road for more than ten thousand years.
The empty moon in Jiang Wanli is the poet's dream. It is unreasonable to accuse Shark Dragon of having no human relations.
Worried about the national luck of this life, sighing about the people's livelihood in my dreams.