As a school of poetry, Han, Meng and others have a clear theoretical proposition, first of all, the theory of "injustice is singing". Han Yu pointed out in the preface to seeing off Meng Dongye: "When everything is uneven, there must be sound ... so do people. Those who want to speak before they speak, their songs are thoughtful, and their crying is pregnant. Everything that comes out of his mouth will be blessed! "
The so-called "unfairness" mainly refers to people's inner imbalance, emphasizing the performance of inner unfairness. It not only reveals the reasons for creative activities, but also affirms a specific creative psychology, that is, the "uneven" mentality. This preface was specially written for Meng Jiao, who was down and out all his life and had no talent. It goes without saying that Meng Jiao is praised as a "good singer", and so does his tendency to pay more attention to the poor and the sad "singing their misfortunes". Han Yu further pointed out in "A Pure Talk on Singing and Poetry Preface": "The voice of husband and peace is weak, and the voice of sorrow is wonderful; Happy words are hard to write, poor words are easy to be good. It is an article, always in the wilderness; Princes and nobles will be at a loss if they are ambitious and not good at performance. "Although the voice of peace and the voice of sadness here can be regarded as" uneven "sounds, the so-called" it is difficult to write a happy word "does not mean that it cannot be done, and" it is easy to write a poor word "does not mean that it must be good, but as far as the law of literary creation is concerned, because the former was born in the hands of princes and nobles, its living condition is slippery and it is difficult to show the depth of" singing "; The latter experienced hardships, and the "injustice" caused by the fierce collision between its vitality and resistance easily disturbed the common people and spread for a long time.
Another key point of the theory of "injustice is singing" lies in attaching great importance to the lyric function of poetry. Originally, as a master of poetry and prose, Han Yu paid more attention to prose. He said that he was just a "poet all his life" ("One Harmony and Eighty-two Rhymes"), and clearly thought that his poems only expressed "strange words" ("Prime Minister's Book") compared with his essays on the Six Classics and helping trees to teach Taoism. However, it was precisely because Han Yu did not equate poetry with literature that poetry avoided the fate of becoming a Taoist tool and a political vassal. "Feeling grudges" means "injustice", and "expressing sorrow and entertaining sorrow" means expressing this kind of injustice indefinitely. The so-called "depression in the middle and venting it to the outside" (Preface to Seeing off Meng Dongye) refers to this situation. From this point of view, Han Yu's advocacy of "resentment" is to advocate aesthetic emotional catharsis, especially the catharsis of "gratitude and resentment", which can be said to grasp the lyric material of literature. [3]
Pen making
Another important viewpoint of the school of poetry is that "pen creates nature", which is "pen creates nature" (Guo) in Li He's words. "Pen complements nature" requires both creative poetic thinking and subjective judgment of the object. Meng Jiao praised, "The black electricity flying in his hand is like a mysterious spring gushing out. Everything is in accordance with the words, and the three lights turn ("Send a cursive script to offer people to Lushan Mountain"), which is related to poetry. He believes that "form is confined to dust", but it can "release heaven and earth", and use his heart to cage Kun and seek the method of "everything" (Hanlin Zhang Sheren's Poems). In "To Master Zheng", I said: Heaven and earth are in my arms, and Truls Thorstensen thunders. The article is very small, and I cut the image. Song Yu boasted big sentences, and Li was crazy. If it is not the heart of a saint, what is fate? How bold it is to put heaven and earth in your arms and let me decide as much as possible! Only by exerting creative poetic thinking can the image be "cut", the "should" be created and the image of storm and thunder be born.
Like Meng Jiao, Han Yu also attaches great importance to his mind, courage and subjective judgment of the object. He repeatedly said: "Learning literature is more mysterious and calling Bo Cheng Xiong faster" ("Send a few words to Meng Xingbu in the rain"); "Carving a knife for wisdom" ("Yong Xue gives Zhang Ji"); "When the scale is favorable, the words are clever" (Answer to Meng Jiao). As for the "mystery" in the study of poetry and prose, it is supplemented by "carving" and seeks "wisdom network". The creation of ideas, words and sentences should avoid vulgarity and seek "cleverness", which shows Han Yu's creative orientation. Han Yu also repeatedly stressed that writing should be "self-reliant, not conformist" ("Answer Liu Xin"), be bold and innovative, and "be brave" ("Send the teacher away"). He said: "Since I took a ride, why should I forget nature!" ("Four Lu brothers in Guisimen, Dean of Yunfu, Wang") This is not to "replenish nature", but to declare war on nature. Si Kongtu commented on the Han Dynasty: "Hundreds of songs and poems written by the Ministry are driven by lightning and thunder, and their shapes have changed greatly, so they have to be encouraged to breathe." The formation of this style of Korean poetry is closely related to its innovative poetic theory and the cultural trend of thought in the middle Tang Dynasty. [3]
A magical and strange wind
Han Meng's poetry school advocates "writing to supplement nature", but it also advocates the beauty of strangeness and strangeness. Han Yu wrote in the poem Diao Zhang Ji: Du Li's article is full of flames ... I want to sharpen my hands when giving it ... I want to have two wings to catch and expel the eight famines. Mental traffic, strange things enter my intestines. The stinger pulled out the whale's teeth and lifted the spoon to taste the syrup.
This poem is quite different from some critics who praised Du Fu and suppressed Li Yu at that time, and gave Li and Du Fu the same high praise. The foothold of this praise lies not in the ideological content of Du Li's poems, but in the unique language, majestic momentum and artistic innovation of his poems. Therefore, the "communication" between Han Yu and Du Li's spirit is "all kinds of strange things enter my intestines", and he wants to track down Du Li, which is also the method he adopts. The so-called "pulling out the whale's teeth" and "thinking about the essence of heaven" have brought their boldness, strength, strangeness of thinking and strangeness of environment to the extreme, and they are completely unconstrained and unconstrained. This is a new aesthetic orientation. Han Yu not only practiced it in his own creative practice, but also used it to examine, evaluate and praise the poems of other poets in the same school. He said that Meng Jiao's poem is "It is better to look at the cave from ancient times to the present and drive away from you like an elephant. Hard words, appropriate force "("recommended "); It is said that Jia Dao's poem is "full of crazy words, but depressed and miserable." . Poor people often make things dull "("Send a teacher to john young "); It is said that Zhang Ji's poem is "an article entertains itself, and a stone hits the sun." "Long Hu Ding, the pen can be carried alone" ("Give Zhang Eighteen Years of Disease"); He said that the poems he wrote with Meng Jiao and others were "alarmist talk, bold talk and approaching the emperor's tomb" ("Drunken Gift to Secretary Zhang"). Its focus is on the greatness of power, the danger of words and the strangeness of environment. Although the above comments are inconsistent with the poet's creative reality, they highlight Han Yu's aesthetic thought; Although Han Yu also noticed the "appropriateness" and "plainness" in his poems, he often ignored the plainness and plainness because he paid attention to the grandeur.
Like Han Yu, most other members of Han Meng's poetry school also have an aesthetic orientation of advocating strangeness and strangeness. For example, Meng Jiao declared that he was "lonely and shy of spring customs" ("Hanlin Zhang Scheeren's Poetry"); Lu Tong said: "I love writing poems recently, and the novelty is quite annoying. Suddenly, the ancient works are vulgar "("Send the master gift with the sunrise "); Liu Cha declared that "Poems are as bold as the sky" ("Ask Yourself") and "There are hundreds of articles thick" ("Answer to Meng Dongye"); Li He is more fascinated by Leng Yan's secluded poetic structure, which is not only "a supplement to nature", but also a master's mind. Although these poets are limited by their own circumstances, their horizons are not wide enough, their materials are narrow, and they mostly work hard on hard songs, resulting in grandeur and strangeness, and their poetic landscape is mostly secluded, but they strongly responded to Han Yu's proposition with their own aesthetic pursuit and creative practice, and strengthened their unique style characteristics. [3]
Take the text as a poem.
In addition to pursuing the magnificent and bizarre beauty of poetry, Han Meng's poetry school also boldly innovated, integrating prose style and syntax into poetry, integrating narration and discussion, and wrote many excellent works (Chen's On Han Yu, the First Draft of Pavilion). Han Yu is an outstanding representative in this field. As a master of ancient Chinese prose, he is familiar with the rules of ancient Chinese prose, and his unconventional spirit and bold personality make him unaccustomed to the shackles of poetic methods. Therefore, it is a major reason for the formation of his poetic prose culture to use a prose pen with relatively free expression to convey poetry and express lyricism happily. And look at his famous "rock":
The towering and steep rocks, narrow mountain roads like sheep intestines, and the dusk when bats are flying come to this temple. When I climbed the steps of the temple and sat down, there was a field soaked in rain. The rain made the branches and leaves of banana rough and the mountain was more beautiful. Monks told me that the ancient city walls were magnificent, lit by torches and looked sticky. Make my bed and prepare rice soup. The food is rough, but it is enough to fill my stomach. It's late at night, sleep quietly, the white stopped rumbling, the moon climbed the mountain, and the brightness entered the doors and windows. At dawn, I left alone, unable to see the way in and out of the fog, and I groped my way up and down. The mountains are bright red, Jianshui River is green, shiny and watery, and pine and oak trees are densely surrounded and lush. I met a stream on the road, stepped barefoot at the foot of a stone, and the sound of running water blew up my clothes. These things themselves can make life happy. Why should we be bound and hindered by people? . Oh, the selected students are far behind me in my own country. What if I spend my old age here and never go home again? !
The whole poem is lined up, not even a sentence is carved. In chronological order, the poet's travel notes are presented in an orderly narrative way. On the structural arrangement, on the one hand, it touches the scenery with rich colors, on the other hand, it expresses feelings with light strokes, which is natural and clear, a sense of freedom that is completely relaxed from the secular cage, a subjective spirit that breaks away from the shackles of metrical rules and pursues the original beauty of poetry, which is like prose, but very poetic.
Han Yu not only used prose to construct his poems, but also used a lot of prose syntax in his poems, trying to melt the boundary between poems and texts. Five-character poems, such as "Yi Long is a pig" in Fu Chengnan, "a sinner cannot be moved" in Longli, "a weaver" in Xie Ziran, and "it's dark and snowy" in Nanshan; Seven-character poems, such as "I can't be fat", "My son is gone, I want to get rich", "Kunlun drowned in a city prison" and "Although I want to regret my tongue" in Luhun mountain fire, all deliberately use awkward syntax, which makes the language situation and rhythm lag behind the traditional five-character poems and three-character poems. Another example is "Zai Zai Dong Shengxing":
Huaishui is out of Tongbai Mountain, far away in the east, and you can't rest for thousands of miles. On the other side of the water, it is not thousands of miles or hundreds of miles into the Huaihe River. Shouzhou belongs to Anfeng County. When Tang Zhenyuan was in power, Dong Sheng, a county resident, lived in seclusion.
Get rid of the shackles of rhythm, rhythm and symmetry, and completely break the characteristics of fluency, harmony and symmetry of poetry, which is novel, uncommon and strange in form, and the tendency of prose culture is more obvious. [2]
Discuss poetry
At the same time, Han Yu ignored the tradition of emphasizing image, comparison and interest in classical poetry, and made many comments in his poems, directly expressing his views on life and society, forming the characteristic of putting comments into poetry. There are notes in the poems such as Praiser, Drunken Gift to Secretary Zhang, and Biansi Gift to Servant Zhang. The next 36 sentences "Thank Nature" and 65,438+04 sentences "Gift for Hou" are almost all notes. Some of these arguments are full of grief and indignation, and their semantics are straightforward, so they cannot be written by themselves; Others are purely preaching, changing the image into philosophy, which is boring to read. If some arguments are lyrical, concise and free and easy enough to win the whole poem, it is naturally indispensable. [2]
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