Person Country: China
composer of ci poems
Five pronouns of Li Yu. Southern Tang dynasty monarch. The word is heavy, and the first name is from Jia. Xuzhou (now Jiangsu) people are called Huzhou (now Zhejiang) people. In the second year of Stegosaurus (96 1), he succeeded to the throne and was known as the queen in history. At the age of 38, Mr. Song flew across the river and besieged Jinling. The next year, the city was captured by Song, and he was captured to Bianjing, where he was appointed as a general and disobeyed orders. After being poisoned by Song Taizong Zhao Guangyi.
In the late Middle Dynasty, the Southern Tang Dynasty became a vassal of the Song Dynasty. When Li Yu was in office, he always kowtowed to the Song Dynasty. When he 18 years old, he made a contribution and his government was exhausted. But he still didn't want to cheer up, flashy and extravagant, superstitious about Buddhism, and was finally destroyed by the Song Dynasty. He is an incompetent emperor in politics, but he has many artistic talents, such as calligraphy, painting, mastering temperament and poetry, and his achievements in ci are particularly high.
Li Yu ink mark
Li Yu's ci poetry can be divided into two periods, one before and the other after the eighth year of Song Taizu Kaibao (975). His early ci poems have shown his extraordinary talents and superb skills, but the themes are narrow, mainly reflecting the palace life and the love between men and women, such as Jade House Spring, Late Makeup and Early Snow, Xi, Xiao Yue Falling, Su, Mutual Assistance, Morning Makeup and Bodhisattva Man. There are also works about parting lovesickness, such as Qing Ping Le and Don't Come to Spring Half. They are all lyrical, integrated, healthier and more readable. In the later period, Li Yu became a prisoner from an emperor. "When is the humiliating life, the deep pain of national subjugation, and the remembrance of the past?" Sand Waves, Rain Outside the Curtain, Night Cry, Flowers Fade in Spring and Lonely West Building are his later representative works, which mainly describe his vision and dreams of returning home and express his feelings for "the old country" and "the past"
Li Yu's Ci has inherited the tradition of Hua Jian Ci poets such as Wen and Wei Zhuang since the late Tang Dynasty, and has been influenced by it, which has promoted the creation of Ci. The main results are as follows:
(1) expands the expression field of words. Li Yu's previous writings were mainly erotic and shallow in content. Even if it contains a little hug, it mostly adopts figurative techniques, which are hidden but not revealed. However, most of Li Yu's works are straightforward, pouring out his life and feelings of the country and expressing his true feelings. Therefore, Wang Guowei said: "When the word arrived in Li Houzhu, its vision began to widen and its feelings deepened, so it became a musician's word and a scholar-bureaucrat's word." ("Words on Earth")
② It has high universality. Li Yu's ci often reflects a certain realm of universal significance in real life through concrete and sensible personality images. "The small building was easterly last night, so the old country could not bear to look back at the bright moon ([Yu Meiren])," The flowing water has come out in spring, and on earth ([Langtaosha]), "People naturally grow up and hate water ([Wu Yeti])," Hate is like spring grass, but live farther ([Qingpingle]) and other famous sentences have profound meanings.
③ Language is natural, refined and expressive. His writing is not gorgeous, but touching; Not vague, but meaningful; Form a fresh and beautiful artistic feature.
(4) originality in style. Hua and Southern Tang poets are generally good at euphemism, while Li Yu is good at euphemism. For example, Lou Yuchun's Mighty, Night Scare, The Big Strange Bitterness in Langtaosha (see Tan Xian's Tang Fu Thorn), Yu Meiren's chic, If a pony is born, it will be out of control (Zhou Ji's preface, as Na Lanxingde said, "Flower words are like ancient jade, which are valuable but not applicable, while Song poems are applicable and qualitative." (Miscellaneous Notes of Green Water Pavilion)
Li Yu is rich in poems, essays, words, books and paintings. His veteran said that he had 30 volumes of anthology and 100 essays. Li Yuji 10 is included in Reading in the County Zhai, and Nan Tang 10 is included in History, Art and Literature of Song Dynasty, both of which have been lost. There are two main characters, 1 Volume South Tang, in Zhi Zhai Shu Lu to solve the problem. At present, there are 34 Li Yu's poems in Mohuazhai (1620) in the forty-eighth year of Wanli in Ming Dynasty, among which Looking at Jiangnan can be divided into two. Shao Changguang recorded another 65,438+0 poems in the post-Qing period, and Wang Guowei supplemented nine poems of the Southern Tang Dynasty in modern times, but there seem to be many problems. According to the opinions of most modern scholars, only 32 poems can be identified as Li Yu's. In Qing Dynasty, Liu Ji wrote Two Essentials of Southern Tang Dynasty, Tang Guizhang wrote Two Essentials of Southern Tang Dynasty, and Wang Zhongwen wrote Two Essentials of Southern Tang Dynasty. For his deeds, see History of the New Five Dynasties, History of the Song Dynasty, Book of Southern Tang Dynasty written by Ma Ling and Lu You, and Chronicle of Two Masters of Southern Tang Dynasty written by Xia.
(A) the pain and worry in Li Yu's ci
The so-called bitterness, according to Buddhist classics, Buddha Sakyamuni sat under the bodhi tree and realized the Tao, which became the "four truths" and "twelve causes" of the basic teachings of Buddhism. The first of the "four truths" is the "bitter truth", which holds that everything in the secular world is "bitter" in essence. After careful investigation, since the emergence of human beings, people have been constantly fighting and struggling with nature in order to resist nature and obtain the basic right to live. As far as individual life is concerned, it is caused by the confusion, trouble and struggle of one's own mind and the irreconcilable gap between reality and ideal. The so-called "love should be with where will you go" and "don't suffer" is the pain that people want but can't get satisfaction. Li Yu's personality, temperament, belief, pursuit, and the reality and responsibility he must face after he ascended the throne undoubtedly aggravated the tragic color of his life consciousness, and then penetrated into his ci works.
Regarding anxiety, Mr. Xu once pointed out that anxiety is because the parties have discovered the close relationship between success or failure and their own behavior, as well as the responsibilities that the parties should bear in their behavior. Trouble is that under this sense of responsibility, we have to break through the psychological state when it is difficult. Therefore, the sense of hardship is the expression of the direct sense of responsibility of human spirit to things, that is, the spiritual expression of human consciousness. [6] Intellectuals in China have had the ambition of saving the world and securing the country since ancient times. Therefore, the concern for oneself ("self") is relatively indifferent, and more emphasis is placed on pursuing the grand cause of the country and the nation (that is, "self"). This huge psychological gap between strengthening the sense of responsibility for the country and the nation and failing to really participate in it to realize their ideals further aggravated their anxiety. Throughout the history of China's cultural thought, the sense of hardship almost represents the empathy of China's sages, and gradually accumulates into the unique moral consciousness and cultural complex of China intellectuals. It can be said that anxiety has been "hanging over China thinkers and permeating the whole cultural history of China." [7] Li Houzhu, as an individual, is naturally deeply influenced by China's traditional culture, and because of his unique position, that is, as a leader of a country, he shoulders the heavy responsibility that he always takes the country and the people as his own responsibility, but for his own personality, this heavy responsibility is undoubtedly overloaded. This determines his contradiction, hesitation, melancholy and bitterness, and words become the best carrier for him to vent his feelings.
When discussing the sufferings and worries in the poems of the late Lord, most people only look at the later period (after the national subjugation) and often ignore the works of the earlier period. In fact, this kind of consciousness can be found in Li's early and late works. However, many ci theorists used to divide Li Yu's life into two periods (before and after the national subjugation) or three periods (since he was born in 937-961; 962-975, that is, from accession to the throne to national subjugation at the age of 39; From 976 to 978, he died in the Song Dynasty. ) [8] (P369) In this way, a subjective assumption is made about the writing time of the postscript, that is, all the works expressing the theme of sadness are labeled as Li Yu's works after the national subjugation, and those works describing court life and girls' mourning are regarded as Li Yu's early works, that is, works before the national subjugation, and even it is concluded that his early works show the extravagant and decadent life of emperors, and most of them are of low style; However, due to the influence of life, the works after the national subjugation have been hit hard, and great changes have taken place in their thoughts, reflecting superb artistic skills and profound ideological themes.
What needs to be pointed out here is that it is reasonable and necessary to divide Li Yu's life into several stages and then study his works on the basis of this stage. First of all, through this stage, researchers and general readers can have a clear context of post-theme poetry from a macro perspective; Secondly, it is convenient to highlight the different thought patterns of the late masters in different periods and their influence on their creation; Third, a research system can be built relatively completely by stages, so that future research can be carried out smoothly under such a framework, and complex and messy problems can be systematized and simplified, which is more convenient for research. However, at this stage and in the research, there are still some problems to be discussed. For example, because of the concept of this stage, it is easy to produce a research mindset. Restore the writing time with the content of the work, or interpret the work with the writing time. This will inevitably narrow the interpretation space of the work and even cover up the ideological significance of the work. Let's briefly analyze it.
As a research method, it is not too wrong to study works according to the author's life experience and different historical periods. However, if we take some subjective assumptions as objective premises, and then analyze and judge them on this premise, it will inevitably lead to misunderstandings about the author and works. Take a simple example: "1+9= 10", so we want to get the result of "10", so we think it must be "1+9", which is illogical, but we can't think of "2+8" and "6". This is especially true in the study of ci. As an integral part of literature and art, Ci should have a broader and freer space for meaning interpretation. In Li's ci, if those unmistakable words are regarded as written after the national subjugation, it may be more reasonable and more in line with the state of mind of the ancestors in a specific period. For example:
How much hate, last night's dream: like the old garden, the car is like running water in Ma Rulong, flowers and the moon are spring breeze. ("Looking at Jiangnan, How Much Hate")
How many tears, broken face after crossing H. Don't talk to tears when you are worried. Shengfeng is sadder when he cries. ("Looking at Jiangnan, How many tears")
When is the spring flower and autumn moon, how much is known about the past. The small building was easterly again last night, and the old country could not bear to look back on the moon. Carved fences and jade bricks should still exist, but Zhu Yan changed them. How much sadness can you have? Like a river flowing eastward. ("When is the Spring Flower and the Autumn Moon") [9]
These words are clear and reveal the meaning, not too obscure. It can be said that "the voice of national subjugation is more sorrowful than heart death!" It makes sense to classify it as a work after national subjugation. However, some other words are not. However, because the researchers of Ci poetry have established the fact that the Southern Tang Dynasty died in 975 and the late master was captured into the Song Dynasty, they classify some words with vague meanings and large explanatory space as those written after the death of the Southern Tang Dynasty. For example:
Hua Lin thanked Chunhong. What a hurry! Helpless, cold rain comes early and wind comes late. When you are drunk, you should be heavy. Natural people hate water when they grow up. ("Wu Ye Hua Lin Xie Chunhong")
The past is only sad, but it is difficult to arrange the scenery. Moss invades the courtyard in the autumn wind, and a row of beads is idle. Who will come all day?
The golden lock has been buried and is extremely strong. On a cool night, the moonlight blooms, and I want to see the shadow of Yudian Yaochi, and the sky shines on Qinhuai. ("Langtaosha")
It was stormy last night, and autumn curtains rustled. Candle residual leakage is a broken pillow, so you can't sit still. It is a dream that things follow Shui Piao. Drunk hometown road should be steady and frequent, unbearable. ("Crying at night, last night's storm")
From the above-mentioned words, we can see that although there is no doubt that there is a kind of "sadness" and "sadness" that runs through the body of the words, the poet's melancholy mood is expressed by withered flowers, sad autumn wind, burnt-out candles and drunkenness, but we don't think these words can be judged as works after the national subjugation. In fact, it is because Li Yu has been gentle and cowardly since childhood, so "benevolent people have different opinions." Yashan belongs to literature, painting and calligraphy, knows rhythm, has broad forehead and rich cheeks, has teeth and heavy eyes. [10] (P362) This kind of appearance was considered expensive by the ancients, so it was envied by his brother Prince Wen. From Jia (Yu) to avoid disaster "I only think about classics and don't ask about politics. "Later, he witnessed the tragedy of his brother poisoning his uncle for the throne. These experiences undoubtedly cast a lingering shadow on his young and sensitive mind with artist characteristics, so that he developed a strong interest in Buddhism and often went to Buddhist temples to listen to scriptures in order to seek spiritual comfort and spiritual sustenance. Based on this, we can infer that these words may be his early works according to his sensitive characteristics of introversion and melancholy, which are more in line with the development track of his early thoughts and can highlight the life experience and personality characteristics of his late master. Therefore, we have more room to explain what he said. So we say, in fact, sadness, trouble, repentance and mourning run through the life of the late Lord.
Mr. Xu Lingyun said: "Human beings are always meeting the challenges of nature, society and life. Only after enduring thousands of difficulties and dangers can they win development and progress. Without worry and pursuit, there will be no motivation to move forward. The Chinese nation has a profound sense of history and a long-standing sense of hardship. It has been continuous since ancient times, gradually accumulated to the deep level of national psychology, evolved into the universal character of ancient culture, and became the excellent character of China people, especially the intellectual class. " And "worry often comes from the eventful autumn when the national situation is declining and people's livelihood is dying." 〔 1 1〕
This also proves that the anxiety and bitterness in Li Yu's poems are caused by the personality of his late master. On the other hand, it is more important to cultivate and nourish the traditional culture of China. It can be said that even if Li Yu doesn't become a bullied monarch by mistake, his sense of hardship will become a "fine tradition" as a member of the intellectual class. The declining national situation, precarious political rule, riddled with people's livelihood and miserable social situation in the Southern Tang Dynasty have become another source of anxiety in Li Yu's ci.
Try to look at the words "Wu Ye Ti Lin Flower Xie Chunhong" and "The Mermaid Qiu Chunhua Yue" quoted above.
Regarding the poem "Night Cry", Mr. Ye Jiaying pointed out: "From the beginning of' Hualin', I wrote the sadness of life that everything in the world has." "I can achieve the appearance phenomenon from the wind and rain, and directly experience the impermanence of life and the sadness of contusion." [12] (p110,12) The word "spring flowers and autumn moon" is praised by Mr. Wang as "a good word to catch the whole world", which describes the eternity and impermanence of the universe. Asking with a "when" shows that he doesn't understand this eternity. He doesn't know when this life will come to an end. The eternity of the universe is really a philosophical problem, but sensitive Li Yu feels it intuitively. "How much do you know about the past?" Just as he lamented in another sentence that "the past is empty and still like a dream", he wrote the sadness of life like a dream and the past like a dream. When the country breaks down, the moon is the same, and the mountains and rivers change hands. "Don't hate how much you left."
"The most beautiful poems are full of tears." (French Muse) Tears come from inner love and great sadness. Love is his "childlike innocence" in embracing the life of the universe, and grief is the deep sorrow and great pain of the country and the nation, which should be borne but cannot be borne. This kind of sadness just shows "an anxiety of life".
To sum up, we can evaluate the late master more fairly and accurately. As stated in the original research, before the demise of the Southern Tang Dynasty, he lived a carefree and luxurious life. After the demise of the Southern Tang Dynasty, his ideological taste was sublimated and he wrote many thoughtful poems. In fact, in his short life of 42 years, sadness and anxiety have always accompanied him, and his heart is full of lingering helplessness and melancholy. Even in his stable court life, he always showed his usual emptiness and loneliness in his words.
(2) Li Yu's confession and eulogy.
Although the late Lord did not escape into an empty door, he was immersed in Buddhist thought and was inextricably linked with Buddhism. Some sentences in his writing always express the author's certain ideological realm and some philosophical thoughts and spiritual feelings with strong religious feelings. Such as "a pot of wine, a pole, how many people are there in the world?" "The world is drifting with the tide, which is a dream." "People grow up and hate water." "How can we avoid the sadness and hate in life? What is the limit of ecstasy?" However, in other words, they show deep regret and mourning for the destruction and death of the country. For example:
Over the past 40 years, my motherland has been covered with mountains and rivers for three thousand miles. Phoenix Pavilion and Long Ta are even connected with Han Xiao, and Yushu Qiongzhi is a cigarette radish. How many times have you known each other? Once classified as ministers, Shen Yao and Pan were killed. On the day when he resigned from the temple in a hurry, Jiao Fang still played farewell songs and cried for Gong E ... ("Broken Array")
The rain outside the curtain is gurgling, and the spring is fading. Allred-rochow is too cold to stand. I don't know if I am a dream guest, but I am insatiable in one day. Don't lean on the bar alone, it is infinite. It's easier to see when it's not. The running water is gone, the spring is gone, heaven and earth! ("The waves wash the sand, and the rain is gurgling outside the curtain")
In front of the pavilion, the spring is full, dancing, drizzling, and temporarily opening when you don't put your eyebrows down. The green window is quiet and fragrant, and the fragrance is printed into ash, but it can endure lust and sleep. ("Picking mulberry seeds, chasing Hongying in the spring before the pavilion")
The so-called repentance, in Buddhist terms, originally meant that people confided their feelings and reviewed their mistakes. Ask for forgiveness, ask for forgiveness. Buddhism regards this as a way to cultivate the mind. [13] "Repentance is a sacred religious complex based on the fear of original sin and the yearning for heaven. ..... As an activity of human mind, confession is self-examination and self-condemnation and denial after reflection, which reflects people's inner desire for self-transcendence. " In our opinion, apart from this "sacred religious complex", the consciousness of repentance in Li Yu's poems is more self-reflection and remorse and denial after reflection.
Since Buddhism was introduced into China in the Eastern Han Dynasty, it has gradually become an important part of religion in China. It advocates all physical and mental love, that is, a kind of "fraternity" between people and things, advocates positive kindness, brings patience and sympathy to all sentient beings, is kind and friendly, does not hold personal grudges, does not care about worldly things, that is, should have extensive sympathy and goodwill to care for others. Li Bian, the leader in the early stage of Southern Tang Dynasty, and Li Jing, the leader in the middle stage, liked this pagoda, but Li, the leader in the later stage, was deeply influenced by Buddhism and spared no expense to support Buddhism and build temples. According to the eighteen volumes of Lu You's Biography of the Southern Tang Dynasty, "When the last emperor, there were more than ten Buddhist temples built in the palace, and the rest of the money was used to support people, and Taoist priests were monks. Ten thousand monks came to the capital. " Ma Ling's Book of Southern Tang Dynasty (Volume 5) also records that at the age of 34, he ordered the construction of Buddhist temples in China and set up temples for monks and nuns in the Forbidden City to gather more disciples. After (big week), wear a monk's hat, wear a cassock, chant Buddhist scripture, and kneel down to become a tumor. Therefore, there are thousands of monks and nuns in Jiankang city, and they are given rice and silk. It can be seen how close the relationship between the late Lord and Buddhism is. There are two main reasons why the ancestors were so superstitious about Buddha and Tu: First, they were deeply influenced by the family environment. The Southern Tang Dynasty believed in Buddhism from its ancestors, including Yumu Zhongshi, who was also superstitious about Buddhism. The late Lord turned a deaf ear and had no reason to believe. Secondly, judging from the experience of the late Lord, although he was "born in the palace and grew up in the hands of women", he lived a carefree life as a royal aristocrat in his childhood. However, because of his gentle and cowardly personality and sensitive and fragile mind, he witnessed the changes of the court, and suffered from the deep grief of losing his wife and children in the later period, especially in the Southern Tang Dynasty, and he was powerless, which also contributed to his inner self to some extent. The teachings of Buddhism just catered to his inner needs. So the more convinced he is, the more he regrets his actions, and the more he needs to talk and review his mistakes. However, after being captured into the Song Dynasty, from the emperor to the prisoner, there was no longer the joy of "singing a clear song, temporarily leading the cherry to break", and there was no longer the enjoyment of "adding fragrance to the golden stove and wrinkling the red brocade lichen step by step". Even the basic right to live as an ordinary person has been lost. After peeling off the emperor's glorious coat, as an ordinary "human" with flesh and blood and secular desires, he naturally yearned for freedom and hoped to safeguard people's basic dignity and personality. However, the extremely humiliating title of "disobedience" hung over his head all the time, and he had to fight tenaciously in the text to express his nostalgia for his motherland, his regrets for this world, and his regrets for his actions and omissions. So there was "forty years of home country, three thousand miles of mountains and rivers." ..... was listed as a minister, and he was killed by the waist. The most hasty day was to resign from the temple, and there was a farewell song in the teaching workshop, crying for Gong E's sadness and regret; With the sadness that "the jade fence should still be there, but Zhu Yan changed it". On the way to the Song Dynasty, he also wrote seven bleak words: "Hometown in the north and south of the Yangtze River, thirty years of dreams." So much so that he wrote in a letter to the people in Jinling Old Palace: "I only have Lacrimosa every day." He also issued such a sigh: "I regret killing Pan You and Li Ping."
The kingdom of the Southern Tang Dynasty was annihilated in a blink of an eye, and the people of the Southern Tang Dynasty were trampled by the Song Dynasty. According to historical records, before the late Lord entered the Song Dynasty, he suggested to the Song Dynasty not to slaughter Jinling people, but all this was in vain. Thus, the mourning for the destruction of the country, the guilt borne by the people in the southern Tang Dynasty and the regret for killing the minister in vain once again penetrated into his inner world. He finally understood that "Yushu Qiongzhi is a smoke cloud, and it knows the battle several times." It is conceivable how bitter, regretful and helpless Li Houzhu was at that time. Fortunately, he temporarily got a little spiritual balance and comfort from calligraphy and painting, poetry and Buddhism, and found a short piece.
The Diamond Sutra says: "Everything has its own way, like a dream, like dew, like electricity, and so it should be." And Li Yu has "the past has become empty, just like a dream." (Midnight Song) He really understands secular life. What needs to be pointed out here is that there is no obvious separation between bitterness and sorrow, repentance and sorrow in Li Yu's poems, but more mutual infiltration between his poems, which embodies the poet's unique understanding of life and complex emotional world. For example, for "flowers in the forest are in a hurry!" In a word, its connotation should not be interpreted singly.
three
We know that life experience and the bitterness of the soul can often inspire people to reflect deeply and carefully on the causes of suffering, thus inspiring people to strive to build an oasis of a better life; Worry and repentance tend to purify people's minds, and eventually tend to be pure and noble, and they can always be alert to their weaknesses and mistakes and move forward towards a brighter and more meaningful life path. Therefore, I want to say, whether it's emperors and princes, or dressed for the people, whether it's grief or sorrow, whether it's repentance or mourning, if we can always remember history and not forget yesterday, then we can condense into a powerful national soul. The development and progress of human society is promoted by such suffering and tempering. Perhaps this is the ultimate significance of studying the bitterness, anxiety and repentance consciousness in Li Yu's ci.
Of course, we also know that Li Yu, the queen of the Southern Tang Dynasty, has made great achievements in the field of art, especially in his ci works, but we should also see that Li Yu, as the emperor of the Southern Tang Dynasty, is an abnormal loser after all. Although the demise of the Southern Tang Dynasty was the general trend in terms of the objective situation at that time, his negative attitude of avoiding the world inevitably accelerated the demise of the Southern Tang Dynasty to some extent. Therefore, when we see the positive significance of sorrow, repentance and grief, we can't ignore its negative effects. We should advocate a healthy and rational life and treat life with a vibrant mental state.