On Su Shi’s development and innovation of Song poetry
(1)
By the time the poems reached the Tang Dynasty, they had reached the pinnacle of perfection and it was quite difficult to continue. trend. If the people of the Song Dynasty wanted to compete with the Song Dynasty, they had to find another way and create their own style. The poetry innovation movement of the Northern Song Dynasty once again inspired people: inheritance and imitation can only barely maintain life; vigorous vitality can only come from continuous development and innovation.
Ci, as an emerging poetry style, originally had strong vitality. It is a pity that Wen Tingyun and others in the late Tang Dynasty, while making outstanding contributions to the development of the art of Ci, led Ci to the path of "Yanke". In the Song Dynasty, due to traditional prejudices, the poetry world still followed the legacy of the Five Dynasties. Yan Ou's Ci, which represents the style of the times, is classified as "the Xikun Ci". Liu Yong created slow Ci and turned elegance into vulgarity, which is a pioneering contribution. However, due to lack of sufficient artistic courage and other reasons, it failed to open up a broad road of innovation for Song Ci.
Su Shi is here. His majesty has brought a new dimension to the world of poetry. How could it be so? First, in terms of literary and artistic thought, Su Shi has always opposed falling at the feet of his predecessors and imitating imitation; he advocates continuous innovation and innovation, and advocates that each writer should have his own unique artistic style. Secondly, he was talented and courageous, and he had unique artistic attainments in various literary and artistic practices, including not only poetry and prose, but also calligraphy and painting. Based on these two points, it is difficult for us to imagine that Su Shi would be willing to rely on others once he started writing poetry. Judging from the available materials, Su Shi entered the world of poetry late⑴, which was the era when "wherever there is well water, one can sing Liu Ci"⑵. However, Su Shi was condescending and did not take it seriously. He has been writing poetry for only four years, and he said this in a letter "Yu Xianyu Zijun":
The recent poetry is quite small, although it does not have the flavor of Liu Qilang, but it is still the same family. hehe! I hunted in the suburbs a few days ago and got a lot. I made a lot, which made the strong men of Dongzhou place their palms in their hands and stamp their feet to sing, playing flutes and drums to celebrate the festival. It was quite spectacular. "Near but quite composed of small poems" should refer to "Jiangchengzi·Remembering Dreams" and "Flowers in the Rain·First Arrival in Mizhou" written in the eighth year of Xining's reign. The term "suburban" undoubtedly refers to "Jiangchengzi·Mizhou". State Hunting". This passage shows: First, even if you write graceful and romantic poems, you must be different from Liu Yong and have your own characteristics. Second, I have written a series of unique and powerful poems that have no flavor of Yanashichiro. Third, and what is particularly important is that Su Shi openly challenges the traditional style of Ci and Liu Ci, which is popular all over the world, and proposes to "become one of the same family" in the Ci world and be unique. It can be seen that under specific historical conditions, it was Su Shi who, with his extraordinary artistic courage and talent, set off a wave of innovation in the Ci world and brought about huge and profound changes in Song Ci.
(2)
The most significant sign of Su Shi's development and innovation in Song poetry is "using poetry as lyrics", and one of the important connotations of "using poetry as lyrics" is that ordinary poetry Anything that can be incorporated into poetry can be incorporated into lyrics. "Dongpo's poems are quite similar to Lao Du's poems, because they have no intention and cannot be included." (3) Although this statement is not an exaggeration, but in view of the actual situation of the poetry circle in the early Song Dynasty, he can evaluate Su Shi from the development of themes and content. His innovative spirit can be described as insightful.
First of all, Su Shi expressed his patriotic ambitions with words. As we all know, throughout the three hundred years of the Zhao and Song dynasties, there were constant border troubles, and the patriotic spirit has always run through the literature of the two Song Dynasties. However, although there was no shortage of works in the Northern Song Dynasty poetry world that cared about state affairs, they had little repercussions in the poetry world. For this reason, patriotic poems such as Su Shi's are of great significance in opening up the field of Song poetry.
A soap flag is lit in front of the green cover, and a long fence is formed under the yellow thatched hillock. The arrogant horse runs in the air and stands in the air to prevent the eagle from flying over the ground. Looking back, the white clouds are green, and my clothes are covered with red leaves when I return. If you use Xiliang Bo in Holy Dynasty, Baiyu will be more effective.
——"Sacrifice to Changshan and Return to the Small Hunting"
I chatted like a teenager, holding the yellow on the left and the blue on the right. Brocade hats and mink fur coats, thousands of cavalry rolling around Pinggang. In order to repay Qingcheng, he followed the prefect, shot tigers himself, and watched Sun Lang. It doesn't matter if you're drunk, your chest is still open, and your temples are slightly frosted! In the cloud of holding the knot, when will Feng Tang be sent? He can hold the eagle bow like the full moon, look northwest, and shoot at the wolf!
——"Jiangchengzi·Hunting in Mizhou"
Su Shi's two works were written at the same time. Whether they depict hunting scenes, express heroic emotions, or express patriotic ambitions, Even the methods used are very similar.
There are many works in Su's poems that describe the love between men and women. There is an aspect of him inheriting the legacy of "Flower Room", and even occasionally involving @⑶玎, but there are indeed some "we are one family" love poems that are different from traditional ones, such as his "Die Lian Hua":
The flowers have faded to red, green and apricots are small. When the swallows are flying, the green water is surrounded by people.
There are few willow trees blowing on the branches, and there are no fragrant grasses anywhere in the world.
There is a swing in the wall, a road outside the wall, pedestrians outside the wall, and a beautiful woman in the wall smiling.
The laughter gradually disappeared and became quieter, and the passionate people were annoyed by the ruthlessness.
This poem does not have the gorgeous and fragrant words of the Five Dynasties poems, nor does it have the indulgent and evil attitude of Liu Qin's poems. The first film depicts a suburban scene in late spring and early summer, fresh, bright and full of life. The two sentences "Willow branches on the branches" blend the scenes, have a meaningful artistic conception, and contain profound philosophy of life: Even if the wind and rain are ruthless and the willow branches on the branches become rarer, "within ten rooms, there must be loyalty." The fragrant grass is far away, He Chou has a close friend who is hard to find, showing a kind of sentimental and optimistic mind. The next film depicts the laughter of the "beautiful woman" inside the wall and the melancholy mood of the "passer-by" outside the wall. The contrast between the two is very humorous. The "beautiful woman" returned gracefully, unaware of the inner troubles of the "passer-by". It is clear that he calls himself "passionate", but blames the "beautiful woman" for being "ruthless". After reading this, it makes people laugh. But if you think about it carefully, it seems to inherit the aftertaste of "Li Sao", and it has a different meaning. Zhang Yan said: "Words need to come up with new ideas. To be able to be as beautiful and soothing as Dongpo, to be unexpected, to be new without seeking newness, is something that Zhou and Qin people could not achieve." 6 This should be referred to this type of love poems.
Su Shi's romantic poems not only have a unique flavor and characteristics, but also "use poetry as lyrics", which expands the scope of romantic poems and extends the traditional love between men and women to the love between brothers and sisters, and the love between teachers and friends. .
The Su brothers were both talented in literature, and their political views and experiences were generally similar. They often sing poems and lyrics, which are not limited to the narrow brotherhood, but are often full of broad social content, such as the second part of "Qinyuanchun·Going to Mizhou for an Early Journey to Send Children":
At that time, he was a guest in Chang'an. He was like a young man who had just arrived from the two continents. I have thousands of words on my pen and thousands of volumes in my mind, and I am writing to you, Yao and Shun. How difficult is it to do this? When I use it to give up, my actions are hidden in me. Why not sit back and watch at leisure. He is tall and healthy, but he is too old to swim and fight in front of a bottle. First, I recall the scene in the early Jiayuan years when the Second Su Dynasty came to Bianjing and learned about Ouyang Xiu. It can be said that he was in his prime, his talents were first revealed, he was full of economics, and he promised "to Jun Yao and Shun", and he had great ambitions to build a career for the country. "Yongshe" is followed by "The Analects of Confucius", which actually means dissatisfaction with the new law. However, the poet can express it with broad-mindedness, so that the work will not fall into the quagmire of sentimentality. Su Shi loved his younger brother very much. When his younger brother was suffering from adversity, he would often send words of encouragement. For example, the phrase "Shui Diao Ge Tou" was written because of Su Che's other poem "His words are too sad". The previous film advises us to take Xie An's "elegant ambitions into the crown, and his regrets to Cangzhou" as a lesson. Once his ambitions are hard to achieve, it is better to retire as soon as possible. The next film imagines the joy of drinking with each other after retiring into seclusion: "When I am drunk and singing, you will be harmonious. When I am drunk, you must help me, but drinking can forget my worries." Letian knows that his life is mixed with infinite political bitterness, and he is saturated with temptations. A deep sense of brotherhood. As for his famous poem "Shui Tiao Ge Tou", which is "also pregnant with Ziyou": "I hope that people will live forever, thousands of miles away from the beauty of the moon", not only the meaning of the words is healthy and optimistic, but also because of the high summary power of the poem, it also provides comfort. The love of brotherhood has extended to people all over the world who have "sleepless" nights during the Mid-Autumn Festival.
It is not uncommon in poetry to sing, reciprocate, and express friendship. But before Su Shi, the world of poetry was almost blank. Su Shi made up for this shortcoming by using poetry as lyrics. Generally speaking, his friendship words have the characteristics of being full of new ideas and getting rid of the clichés and clichés. "Tonight, wherever the remaining lamp shines slantingly, there will be tears: when the autumn rain is clear, the tears will not clear." ("Nanxiangzi·Songshugu") This is the scene of imagining being alone with a lantern after farewell. "We are both familiar with Yu, but only the moon is in the waves of the West Lake." ("Mulan Hua Ling Ci Ou Gong Xihu Yun") This is a deep memory of the senior teacher Ouyang Xiu. What should be especially commended is that in his farewell speech, he also used political and state affairs to encourage each other, such as "Don't think about the ups and downs of idle things, Zhongqing will never forget Tongxiang" ("Huanxisha·Gift to Chen Haizhou"), "The clouds in the palace are born with wings, and the discussion is The soldiers' teeth and cheeks are covered with wind and frost" ("Huanxisha·Pengmen sent Liang Zuozang"). This was actually the first time that patriotic poets in the Southern Song Dynasty used their lyrics to harmonize and encourage each other. Also, the most taboo word for farewell is to be sentimental.
Su Shi was unique in his ability to use reason to convey emotions, and in his true friendship, he showed a bold and pure charm:
The wind of love comes thousands of miles away, and the tide of love comes back ruthlessly. Ask how many times the sun shines at Xixing Pukou on the Qiantang River? There is no need to think about the present and the past, and look down on the mistakes of the past! Who is like Dongpo who is old and has lost his memory?
Remember the beauty of Zhengchun Mountain on the west bank of the West Lake, with green sky and misty sky. Even poets are in love with each other, just like me and you are rare. I made an appointment with him to return to the sea eastward in the next year, and I hope that Xie Gongya will not violate his ambition. On Xizhou Road, you should not look back to wet your clothes for me.
——The opening sentence of "Eight Sounds of Ganzhou·Ji Shen Liazi" immediately evokes the scene, "The sudden snow-capped mountains roll in from the ground"⑺, the momentum is extraordinary! However, the rise and fall of the ocean tide is just like the change of times and the gathering and dispersing of people and events, both in ancient and modern times. The first film uses scene metaphors to create a lyrical version of the second film. Changes are caused by reason and emotion. Before a person sets out on his journey, he must first make an appointment for his return. It is difficult to find a close friend across the world. Since they agreed to return to the West Lake together in the next year to enjoy the joy of "forgetting the opportunity", what's the harm in saying goodbye today? The whole text is clear and elegant, without the air of a turban or the cries of children, it is all about the sincerity and heroic spirit that touches the heart. Its meaning is far-reaching and thought-provoking.
(3)
The unique new artistic conception and new style are also one of the important contents of Su Shi's development and innovation of Song Ci.
The poetry circle in the early Song Dynasty was represented by Yan Ou. Because he focused on imitating the Five Dynasties, he often lacked true feelings and had no clear personality, so he lacked a unique artistic style. Su Shi is different. On the one hand, he emphasizes "natural arts and science, and full of gestures." 8 On the other hand, a personal "I" is clearly active in his words. It can be said that Su Shi's unique literary and artistic outlook and strong personalization are the important internal basis for Su Shi to open up a new realm of Song poetry and create a new style of Song poetry.
When it comes to the boldness of Su Ci, we must not stick to the previous opinions and attribute its significance only to breaking through the shackles of rhythm, or even regard it as "not its true character"⑼, or call it a "different style" ⑽. The emergence and development of boldness as a new style and genre is relative to the traditional graceful style and the graceful Ci School. Regardless of the choice of subject matter, expression techniques, language use and even aesthetics, there are obvious differences between the two. The most important significance of its appearance is that it breaks the dull and monotonous old pattern of one flower blooming and one bird singing alone in the poetry world, ushering in a new world where a hundred flowers bloom and a hundred birds compete.
As for the specific discussion of Su Shi's bold lyrics, it should include two categories. The first category is passionate, vigorous, generous and tragic works. The second category is uninhibited, clear and elegant works. If you discard the former, you will discard the essence of Su Shi's bold and unrestrained poetry; if you discard the latter, you will not be able to fully reflect the essential characteristics of Su Shi's bold and unrestrained poetry. Both are indispensable.
The representative works of the first category are "Jiangchengzi". The words enliven the author's own image on the magnificent scene of thousands of people riding around hills and deserted streets. He was drunk and in high spirits, shouting, "It doesn't matter if your temples are as frosty!" Not only did he lead Huang Qingcang and "talk about being a teenager" on a hunting expedition, he also longed to be sent to the frontier fortress to "shoot the wolf" in the northwest to eradicate border troubles. Serve the country and establish a career. The style is bold and strong, majestic and vigorous. The term "Niannujiao·Chibi Nostalgia" is much deeper than "Jiangchengzi". The author pays tribute to the ancient battlefields, and in the description and praise of the majestic mountains and rivers, the poet's surging ambition and pride are stirred up. In memory of the ancient heroes, the author pours his infinite admiration into the heroic figures with flying spirits and lasting achievements. The sentiments convey the thoughts of "To Jun Yao and Shun" from a distance. However, comparing ancient and modern times, when faced with the severe reality of unfulfilled ambition and premature gray hair, one cannot help but feel sad and angry, which leads to a gloomy and desolate mood in the passionate and generous lyrics. Generally speaking, this type of words reflects more of the positive, enterprising and passionate side of Su Shi's thoughts. Although there are not many of them, they are treasures among Su Shi's bold poems.
The beginning and ending of "Niannujiao" express Su Shi's nihilistic view of history and life to a certain extent. This idea has its origins. As early as in his youth, Su Shi wrote poems such as "After a hundred years of heroes, I can only see fish and shrimps" ("Ten Poems of Jingzhou"), "My heart is light and not tired, and the situation is peaceful" ("Out of the Gorge"). These poems This is the ideological basis for the large number of wild, uninhibited, clear and elegant works in Su Shi's bold poetry. We cannot simply erase these words.
Because in such works, Confucianism, Taoism, and Buddhism, passive worldliness and active use of the world, detachment and persistence, decadence and optimism, indifference and enthusiasm, are often complexly intertwined and fused, contradictory yet wonderfully unified. . Let's try to read his famous poem "Shui Diao Ge Tou":
When will the bright moon appear? Ask the sky for wine. I don’t know what year it is today in the palace in the sky. I want to ride the wind back home, but I'm afraid it will be cold in the high places. Dance and clear the shadow, how can it be like being in the human world? Turn to the Zhu Pavilion, look down at the Qihu, and the light will make you sleepless. There shouldn't be any hatred, so what's the point of saying goodbye? People have joys and sorrows, separations and reunions, and the moon waxes and wanes. This is a difficult thing in ancient times. I hope that people will live long and travel thousands of miles to meet Chanjuan.
Facing the bright moon, the poet is full of thoughts. From drinking wine to the moon and fantasizing about "returning on the wind" - getting rid of this annoying world and pursuing the beautiful but ethereal spiritual transcendence. But he also has a sober and realistic side, realizing that the coldness of high places is not as warm as the world. So he sang "Dancing to clear the shadows, how can it be like being in the human world?" He stepped on the earth and brought out an ethereal charm. This is the real Su Shi! Being separated from each other and missing relatives during the Mid-Autumn Festival will inevitably make people sad. But Su Shi was able to explain his feelings with reason: Human beings have joys and sorrows, just like the moon has its waxing and waning phases. This common principle of the universe and life has been in place since ancient times and did not originate from oneself. If you look at it with an optimistic mind, life is infinitely beautiful. As long as each other is healthy and long-lasting, even if we are far apart, we can still express our longing for each other through the bright moon. May all the people in the world who have no sleep for the moon tonight be comforted and live happily! The lyrics of the poem are so harmonious that the contradictions and unity between the world and heaven, reason and emotion are rendered so poetic, optimistic and cheerful. The unique personality of the poet is expressed so vividly and vividly, and the whole text is majestic and clear. The unique success of Su Shi's words.
After the "Wutai Poetry Case", Su Shi's inherent Buddhist consciousness also developed, so in his lyrics, he increasingly longed for a transcendent and empty realm in order to seek self-spiritual liberation. Just like expressing feelings about the Mid-Autumn Festival, "Nian Nujiao·Mid-Autumn Festival" written when he was exiled to Huangzhou is different from "Bingchen Mid-Autumn Festival Ci". In the first film, "The osmanthus flies in, and the place where the light shines is soaked in the cold autumn green for a day. The jade sky and the tower, the flying luan comes and goes, and the person is in the cool country", which is purely an illusory and ethereal realm. The next film describes his wild singing, drinking, and drunken dancing under the moonlight. It is written that he "wanted to ride on the wind and return suddenly. Why ride on the wings of a roc! In the Crystal Palace, the flute broke with one blow." The image of becoming a fairy and ascending to immortality.
With the demotion of Huangzhou, he was repeatedly demoted to Huizhou and Danzhou. But he did not collapse mentally. Instead, he did not change his joy, and his words did not change his style. His poem "Ding Feng Bo" uses other people's affairs to express his own feelings. The following cloud says:
After returning from thousands of miles away, the years are getting younger and younger. When I smile, I still see the plum blossoms in the mountains. Let me ask, "Is Lingnan bad?" But he said, "This is my hometown where I feel at ease." The hearty smile dispelled the miasma of Lingnan, and the open-mindedness welcomed the hometown in my heart. He simply did not regard being relegated as a pain, but found pleasure in "travelling far away". This kind of realm and style is unprecedented in the world of poetry.
Ode to the mountains and rivers, the sad red and green scenery, express the feelings of life and death, sadness of spring and autumn, and have always been regarded as the "true nature" of poetry. However, this kind of traditional chapter has a narrow realm after all. The style is weak and cannot open people's minds and give people a healthy sense of beauty. Most of Su Shi's landscape chanting works are unique and have their own realm, such as:
Rocks pierce the sky, waves break the shore, and thousands of piles of snow are rolled up.
——"Niannujiao"
Thousands of hectares, all mirrors are pure, and the green peaks are inverted. Suddenly the waves rose, and a white-headed leaf danced.
——"Water Melody Songtou"
Coming west from Jianghan, there are tall buildings and deep green grapes. Still with its own, Min'e snow waves, Jinjiang spring scenery.
——"The River is Red"
A small boat crosses the river, lying down watching the green walls and red buildings rising.
——"Water Dragon Song" or the majestic mountains and strange water, piercing the sky and cracking the shore, shocking; the clear and pure reflection, but suddenly the waves are dancing; or the river is surging westward, rolling with bursts of nostalgia; Sometimes I dream of crossing the Spring River, looking back at the green wall among the clouds, which all show Su's unique style that is different from Yan Ou, Liu and Qin: open mind, broad realm, bright colors, whimsical and heroic Strong, giving people a healthy, bright and beautiful artistic enjoyment.
Despite this, her "leisurely elegant" attitude that does not change with the times, and her "lonely, thin and snowy posture" essence will never change. This is the real "Meg"! It is also a self-portrait of the "personality" of Su Shi, who was "full of anachronisms" and did not follow the crowd and insisted on being upright and upright. Liu Xizai wisely pointed out: "'Snow-shuang posture' and 'Romantic style' can be obtained by those who study Poe's poetry." ⑿
Second, use personification techniques to fully expand your imagination. , a multi-layered depiction of the things being chanted from form to spirit, such as "Shui Long Yin·Yang Hua", which is praised as the "most skilled" in chanting things⒀:
It looks like a flower or not like a flower, and no one cherishes it Fall from teaching. Leaving home on the road, my thoughts are ruthless and thoughtful, lingering in the soft intestines, sleepy and delicate eyes, trying to open or close. Dreams follow the wind thousands of miles, looking for the man to go, but he is still there, and the oriole calls. I don’t hate that these flowers have all flown away, I hate that the red flowers in the West Garden are difficult to decorate. When dawn comes and the rain passes, where are the traces? A pool of broken apples. There are three parts of spring scenery, two parts of dust, and one part of running water. If you look closely, they are not Yanghua, but the dots are Liren's tears. The poem’s relics capture the spirit, and it “harmonizes and sounds like the original sung”⒁, which shows that the poet is extremely talented. "Like a flower, but also like not a flower", the beginning of the sentence is extremely sublime, establishing the purpose of the poem: "like a flower", "not a flower", the two are neither inseparable nor inseparable. Only by this can we make all kinds of comparisons remain inseparable from the essence and have traces; only by their separation can we fully develop our imagination without losing sluggishness. The following describes the poplars falling from the branches and falling to the ground, just like a missing woman being abandoned. It seems "ruthless" but is actually "thoughtful". The tender intestines of the missing woman and the sleepy eyes are just like the soft and graceful willow branches and the flying and falling of the willow leaves. The three lines of "Meng Sui" are adapted from the Tang Dynasty poem "Spring Sorrow". The poplar flowers are dancing in the wind, rising and falling; the missing woman has left her soul to find her husband, flying thousands of miles, and the oriole calls back in her dream. It not only captures the soul of the poplar flowers, but also captures the missing woman. god. In comparison, the famous line in the original work, "The beaded curtain is loose and drooping, but it is lifted up by the wind", which inevitably pales in comparison. In the next film, the author takes a different approach and his imagination becomes more and more fantastic. The poem is set against the background of falling red, and it tells that the spring events are over, but the love is still deep, starting from "the dawn comes and the rain passes", to trace the final destination of Yang Hua. I don't want to see only the scattered pond, three-quarters of the spring scenery, surrendered to the loess, paid to the running water, without a trace. At this point, the feelings of cherishing and hating spring for the missing woman, as well as the feeling of "beautiful women grow old", have been fully explored. The final sentence is the finishing touch, echoing the first sentence, explaining the theme of the unity of flowers and people, and the strict organization can also be seen in the ease of scrolling. Chanting things to this point can be described as a work of deification.
Thirdly, "Ci is derived from poetry. Although it is a small chant of objects, it is also so valuable that it has the purpose of popular people. The Ci of Tang, Five Dynasties and Northern Song Dynasty did not chant objects very much. All the publics in Nandu have it. There is sustenance." ⒂ Generally speaking, the poetry of the Northern Song Dynasty focuses on the natural, bright and ambiguous artistic conception, and does not place much emphasis on sustenance. The poetry of chanting things in the Southern Song Dynasty focused on the craftsmanship of words and sentences and the use of allusions, especially sustenance. Su Shi's "Bu Suanzi" chants about wild geese, which not only embodies the artistic style of chanting things in the Northern Song Dynasty, but also pioneers the chanting of things in the Southern Song Dynasty:
The missing moon hangs the sparse tung trees, and the missing moon breaks the tranquility of the people. Who sees a lonely person walking around alone? Misty and solitary shadow. Startled but looked back, no one can spare the regret. Picking out all the cold branches and refusing to live on them, the lonely sandbank is cold. The first film is about Hong Jianren. "Lonely people come and go alone" is a realistic description, but it is also like a misty solitary red dragon flying in the moonlit sky. There is some fiction in this reality. "Miao Miao Gu Hongying" is an imaginary description, but it is also like a lonely person wandering in the small courtyard at night, the reality is revealed in the imaginary. In short, the virtual and the real are set off, and the human beings are integrated into one. The poem is written specifically for Hong, but the language still uses puns, so Hong can see people. During this period, Gu Hong's image ranges from the action of looking back in shock, picking up all the cold branches, and ending up on the sandbank, to the spirit of resentment without complaining, resigned to being lonely, and his form and spirit are very vivid and full. This word has some sustenance and is recognized in ancient and modern times, but there are different opinions on its connotation. In fact, the lyrics reflect the author's complex psychological state during the period when he was devalued. The poet had a hard time sleeping on a moonlit night, walking alone in a quiet courtyard, and occasionally saw the silhouette of a solitary tiger. For a moment, the scenery and emotions met, and then he poured out his infinite attachment, sadness, and anger, his noble self-preservation, and his willingness to be lonely, through the image of the solitary tiger. And out. The whole poem has a high degree of integration of emotions, scenery, people and objects, with a natural and clear meaning. It has reached an artistic realm where there is no sustenance but no sustenance⒄.
In short, although Su Ci is not without ideological and artistic flaws, Su Shi's contribution to the development and innovation of Song Ci is unprecedented, and its influence is far-reaching.
From then on, Xin Qiji continued the tradition, but also broke new ground, pushing the art of Song poetry to a new peak. This depends not only on the times and personal factors, but also on Su Shi's origins. Note:
⑴According to the chronology of Zhu Qiáng＠⑺ Village's "Dongpo Yuefu", the first "Langtaosha" ("Leaving Dongcheng Yesterday") was written in the first month of the fifth year of Xining, when Su Shi was already three years old At the age of seventeen, his poetry and prose had already become famous.
⑵Ye Mengde's "Recorded Words on Summer Vacation"
⑶⑿ See Liu Xizai's "Art Introduction"
⑷See the first issue of "Qilu Academic Journal" in 1980
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⑸ Su Shi also wrote in "Huanxi Sand": "I am ashamed that there will be two wheat harvests this year, and thousands of fine waves dance in the clear sky." This also shows the poet's joy in celebrating the harvest.
⑹Zhang Yan's "Etymology"
⑺Zheng Wenzhuo's hand-written "Dongpo Yuefu"
⑻Su Shi's "A Letter of Appreciation to the Civil Teachers"
⑼Chen Shidao's "Houshan Poetry"
⑽Ji Yun's "Summary of the General Catalog of Sikuquanshu"
⑾Su Shi also wrote the poem "Red Plum", with the same theme.
⒀⒁ Wang Guowei's "The Words of the Human World"
⒂ Jiang Dunfu's "The Words of the Fenduli Room"
⒃For additional information on the love affairs between men and women, see Long Fu's "Nv Hongyu" "Zhi"; or the main "Kaopan＠⑻" said, see "Leibian Caotang Shiyu" quoted @⑼Yang Jushi's words, but I missed it and tried to hide it sentence by sentence.
⒄See Zhou Ji's "Selected Poems from the Four Scholars of the Song Dynasty" and "Jiecunzhai's Miscellaneous Works on Ci"
Foreign characters＠⑴The original character is Shanyoujiaxian
＠⑵The original character is the left half of the red traditional Chinese character, plus the right half of the right part of cao
＠⑶The original character is the female right plus the right half of the butterfly
＠⑷The original character is The left half of She is added to the right
＠⑸The original character is Kou Li plus Luan
＠⑹The lower right half of the original character for Xiu is changed to Yu
＠⑺The original character is the traditional Chinese character of Qiang
＠⑻The original character is Banxiajiamu
＠⑼The original character is the traditional Chinese character of fish with the right plus the same character