Qin Guan (1049-1100), also known as Shaoyou and Taixu, also known as Huaihai Jushi, also known as Hangou Jushi; one of the "Four Scholars of Sumen". Han nationality, from Gaoyou, Yangzhou (now part of Jiangsu). He was a writer and poet of the Northern Song Dynasty.
Chinese name: Qin Guan
Alias: Qin Shaoyou, Qin Taixu, Huaihai layman
Nationality: China
Birthplace: China Jiangsu
Date of birth: 1049
Date of death: 1100
Occupation: Literary graceful poet, scholar and doctor of Taixue
Main achievements: A famous lyricist of the graceful school in the late Northern Song Dynasty
Exquisite craftsmanship, fine music, harmony, beauty and emotion
Representative works: "Huaihai Collection"; Magpie Bridge Immortal
< p>Important event: Jinshi in the middle of 1085Famous saying: If love lasts for a long time, how can we stay together day and night
Contents
Character introduction< /p>
Characters’ biographies
Life experiences in adolescence
Third examination and the third exam
Official period
Demotion period
p>
A review of the art of policy analysis
Close to reality, not empty talk
Introduce the past to prove the present, and make thorough reasoning
Tightly structured and well-organized
p>
Exhibition and parallelism, full of energy and spirit
Qin Guan’s marriage
Qin Guan’s works
Literary contributions
Throughout the ages Literati's evaluation of Qin Guan
Representative poems
Other poems
A review of Qin Guan's poetry
Representative poems
Part of the article
Qinhuaihai Temple
Character profile
Character biography
Life experience in adolescence
< p>The Third Examination and the First TimeThe Official Period
The Demotion Period
A Review of the Art of Policy Theory
Close to reality, not empty talk
p>Introduction to the past to prove the present, thorough reasoning
Tight structure and neat organization
Layout and comparison, full of energy and spirit
Qin Guan's marriage< /p>
Qin Guan’s works
Literary contributions
Evaluations of Qin Guan by literati in the past dynasties
Representative poems and other poems are Qin Guan’s poems< /p>
Summary of some articles on representative poems Qinhuaihai Temple Expand Edit Character introduction in this paragraph
Qin Guan (1049-1100), whose courtesy name is Shaoyou and Taixu, is also known as Huaihai Jushi. Side profile of Qin Guan, a native of Gaoyou, Yangzhou (now Gaoyou County, Jiangsu)
[1]. The poet of the Northern Song Dynasty, together with Huang Tingjian, Zhang Lei and Chao Buzhi, is known as the "Four Scholars of the Su School". In the eighth year of Yuanfeng (1085), he was a Jinshi. At first, he was the chief administrator of Dinghai and professor of Caizhou. In the early years of Yuanyou, Su Shi recommended him as the secretary of the provincial government and the editor of the Academy of National History. During Zhezong's time, the "New Party" was in power, and he was demoted to supervise the state wine tax. He moved to Chenzhou, took charge of Hengzhou, then moved to Leizhou, and died in Tengzhou. His prose is good at discussion, and "History of the Song Dynasty" rated him as "elegant and thoughtful". His poems are good at lyricism. Ao Taosun's "Poetry Commentary" said: "Qin Shao's travels are like a girl's spring outing, but she ends up being graceful and weak." He is a famous graceful poet in the late Northern Song Dynasty. Most of his poems describe the love between men and women and express the sadness of frustrated career. , the writing is skillful and precise, the melody is harmonious, and the emotion and charm are both winning. Representative works include "Magpie Bridge Immortal" (Xianyun Nongqiao), "Looking at the Sea Tide" (Mei Ying Shudan), "Man Ting Fang" (Mountain Wiping Clouds), etc. In "The Immortal of Magpie Bridge", "If love lasts for a long time, how can we live together day and night!" is known as a famous line that "turns decay into magic" (see "Selected Poems of Polygonum Garden"). In "Man Ting Fang", "Outside the setting sun, the jackdaws are counting, and the running water surrounds the isolated village" is called "naturally good words" ("Neng Gai Zhai Man Lu" quoted Chao Bu's words). Zhang Yan's "Etymology" said: "The structure of Qin Shaoyou's poems is elegant, the spirit is not weak, the beauty is continuous and the pulse is continuous, the chewing is dry, and the taste is known over time." For details of his life, see Volume 444 of "History of the Song Dynasty". There is "Huaihai Collection".
Edit the biographies of this paragraph
Qin Guan was a Jinshi in the eighth year of Yuanfeng (1085), Shenzong of the Song Dynasty. He once served as a doctor of Taixue (that is, an instructor at a national university), secretary of the provincial government, and editor of the Academy of National History. Politically, he leaned towards the old party. During Zhezong's time, the "new party" was in power. He was demoted to supervise the state liquor tax. He moved to Chenzhou, where he was in charge of Hengzhou, and then to Leizhou, where he died in Tengzhou. Together with Huang Tingjian, Chao Buzhi and Zhang Lei, he was known as the "Four Scholars of the Su School" and was highly appreciated by Su Shi.
Qin Guan was bold and free-spirited by nature, overflowing with his writing. He lost his father at the age of fifteen and studied classics, history and military books since he was a child. In the eighth year of Yuanfeng reign of Emperor Shenzong (1085), he was a Jinshi. He was initially appointed as Master Hai of Qin Guan Tomb and Professor Caizhou. At the beginning of the Yuan Dynasty (1086), Su Shi recommended him to be the secretary of the provincial government and the editor of the Academy of National History, where he pre-edited the "Records of Shenzong". Shao Shengchu (1094) took the Yuanyou party membership and served as the general magistrate of Hangzhou. He was also demoted to Chuzhou, Chenzhou, Hengzhou, Leizhou and other places. After Huizong ascended the throne, Qin Guan was appointed Fu Xuandelang, and later died in Tengzhou on his way back to the north. In the eleventh year of Xining (1078), he wrote "Ode to Huang Lou", and Su Shi praised him as "having the talents of Qu and Song Dynasty". In the seventh year of Yuanfeng (1084), after Qin Guan compiled ten volumes of poems and essays by himself, Su Shi wrote a book for it and recommended it to Wang Anshi. Wang Anshi said that he "had the influence of Bao and Xie Qingxin". Because Qin Guan repeatedly received guidance from famous teachers, often competed with his colleagues, and was gifted with talents, his literary achievements were impressive. At the age of 20, he wrote "Fushanyan Ode". At the age of 24, he wrote "Ride Alone to See a Capture", which is highly regarded by the world. His prose is good at discussion, and "History of the Song Dynasty" rated him as "elegant and thoughtful". His poems are good at lyricism. Ao Taosun's "Poetry Commentary" said: "Qin Shao's travels are like a girl's spring outing, but she ends up hurt and weak.". He is a famous poet of the graceful school in the late Northern Song Dynasty. Most of his poems describe the love between men and women and express the sadness of frustrated career. His writing is skillful and precise, the melody is harmonious, and he has both emotional and rhyme. He has always been highly praised for his poems. However, his words are euphemistic and his words are often sad. dark. Some works are weak in style. Representative works include "Magpie Bridge Immortal" (Xianyun Nongqiao), "Looking at the Sea Tide" (Mei Ying Shudan), "Man Ting Fang" (Mountain Wiping Clouds), etc. In "The Immortal of Magpie Bridge", "If love lasts for a long time, how can we live together day and night!" is known as a famous line that "turns decay into magic" (see "Selected Poems of Polygonum Garden"). "Outside the setting sun, jackdaws are counting, and water is flowing around the isolated village" in "Man Ting Fang" is called "naturally good words" ("Neng Gai Zhai Man Lu" quoted Chao Bu's words). Zhang Yan's "Etymology" said: "The structure of Qin Shaoyou's poems is elegant, the spirit is not weak, the pulse is continuous in the beauty, the chewing is dry, and the taste is known over time." For details of his life, see Volume 4 of "History of the Song Dynasty". He is the author of 40 volumes of "Huaihai Collection", "Huaihai Ci" (also known as "Huaihai layman's long and short sentences"), "Encouragement to Good Records", and "Nilvji". He also compiled "Yangzhou Poems" and "Gaoyou Poems". His "Sericulture Book" is the earliest extant monograph on sericulture in my country. He is also good at calligraphy. He studies Zhong and Wang in regular script. His appearance is charming and cute. His cursive script has the flavor of the Eastern Jin Dynasty. He is a student of Zhen and Xing. In the fourth year of Jianyan (1130), the Southern Song Dynasty court posthumously awarded Qin Guan the title of "Bachelor of Zhilong Tuge". Gaoyou Cultural Tour Platform, Qin Guan Reading Platform, stone carvings of "Qin Postal Postal", Yangzhou Yunshan Pictures, and "Huaidong No. 1 View" stone carvings have been preserved to this day. Later generations called him "Huaihai Gong".
Edit this paragraph of life experience
Youth period
From the first year of Huangyou to the seventh year of Yuanfeng (1049-1084), Qin Guan spent most of his time in office. He worked and studied at home in his hometown of Gaoyou, preparing for the imperial examination. However, he often traveled between Wu and Chu in the south of the Yangtze River, wandering in the mountains and waters. During this period, Qin Guan visited two main places: one was in the ninth year of Xining, Shenzong (1076), when Qin Guan and Sun Xin visited the Qin Guan Reading Hall. Huijiyuan in Liyang. Bathing in hot springs, visiting Longdong Mountain, and going to Wujiang River to visit Xiang Yu’s tomb, it’s a wonderful sight of mountains and rivers. During this trip, I collected thirty poems and wrote a piece of "Tangquan Fu" to record my whereabouts. The second was in the second year of Shenzong Yuanfeng (1079). Qin Guan went to Yuezhou to visit his relatives. It happened that Su Shi moved from Xuzhou to Huzhou, so he took Su Shi's official ship and went south together, passing through Wuxi, visiting Huishan, and then passing through Wuxing and stopping at the Guanyin Temple in the west. , visit various temples. After the Dragon Boat Festival, I bid farewell to Su Shi and went to Vietnam. In the Mid-Autumn Festival of August, I traveled to Longjing with Master Shen Liazi and Master Biancai. Later, I visited Jianhu Lake and visited Yu Temple with the governor Cheng Gongpi. They got along very well. Until the end of the year, when I was urged to return home by letters from home, Qin Guan was reluctant to leave. Returning by boat to the north, I also wrote the famous "Man Ting Fang" (Mountain Wisdom of Clouds) to describe this separation, revealing the beauty and reluctance during this period of wandering.
Passing the third grade in the third examination
It is the dream of all scholars to be good at learning and then become an official. The same is true for Qin Guan. He hopes to become an official through the imperial examination. However, Qin Guan’s imperial examination path However, he suffered repeated setbacks. In the first year of Shenzong Yuanfeng (1078), Qin Guan participated in the imperial examination for the first time. He was full of expectations but failed. So he immediately "retired to Gaoyou, but Dumen failed." , amusing himself with poems and books" ("Zhi Guan Ming"), it can be seen that this failure was a big blow to him; in the fourth year of Shenzong Yuanfeng (1081), Qin Guan took the imperial examination again, but still lost his name in Sunshan. The successive failures in the imperial examination made Qin Guan's mood became even more melancholy, and he recognized the social reality that "customs are more important than Confucianism, and talents are shameful if they are not officials" ("Xie Ji Di Qi"), so he had to change his attitude, learn the literature of the time, and contribute to the people of the time. Poems and essays, hoping to be recommended, finally took the third imperial examination in the eighth year of Shenzong Yuanfeng (1084), and successfully passed the Jinshi examination, embarking on his career as an official.
The Official Period
From the eighth year of Yuanfeng of Shenzong to the first year of Shaosheng of Zhezong (1085-1094), factionalism was a major political problem in the Northern Song Dynasty, and it was also a source of unease for the court. The great chaos arose. When Qin Guan became an official, it coincided with the increasingly fierce factional fighting in the Northern Song Dynasty. Qin Guan was also involuntarily involved in this political whirlpool and could not extricate himself. In the eighth year of Yuanfeng, Qin Guan entered Qin Guan's tomb
After becoming a scholar, he was awarded the title of Professor Caizhou before taking up his post, except for Dinghai. Because he was close to Su Shi, he was regarded as an old party member, and the party disputes began. The persecution never ceased. In the second year of Yuanyou, Su Shi and Xian Yuqian were recommended to the court as virtuous and upright, so they went to Beijing to take the exam. However, they were falsely accused of unfounded charges and were not allowed to take the exam. In the fifth year of Yuanyou, they advised the official Zhu Guangting to impeach him. He was dismissed as a doctor of Taixue because of his "primary title of "Bo Tu" and his evil deeds. In the sixth year of Yuanyou, he was dismissed from the post of Zhengzi because Jia Yi slandered him for "indiscretion". Qin Guan was demoted one after another, which made Qin Guan suffer a great blow and became discouraged about politics. There is an intention to retire. In the eighth year of Yuanyou, Qin Guan was granted the title of Zuo Xuande Lang. He was also appointed as secretary of the province and editor of the National Academy of Sciences. He studied the historical facts of Emperor Shenzong and was favored. Within a few months, he was promoted one after another. This was the most important period of Qin Guan's official career. A time of smooth scenery. Not long after he became an official, the Empress Dowager Gao passed away in the ninth year of Yuanyou. Zhe Zong came to power, and members of the new party returned to the court one after another. The old party was demoted one by one, and Qin Guan's career of relegation began.
Relegation Period
From the first year of Shaosheng to the third year of Yuanfu (1094-1100), in the ninth year of Yuanyou, the Empress Dowager Gao Shi passed away, Zhezong came into power, and the political situation changed. , the members of the old party were demoted from Beijing, and Qin Guan was not immune and began his arduous journey of demotion. Qin Guan was first demoted to the post of general magistrate of Hangzhou because Liu Zheng, the imperial censor, accused him of tampering with the transaction to increase losses and slander the late emperor when he was rewriting the "Records of Shenzong". On the way to Hangzhou, he was demoted to Chuzhou as a wine tax supervisor. When he was serving in Chuzhou, Qin Guan studied Buddhism to relieve his depression, often talked about Zen with monks in Buddhist temples, and copied Buddhist scriptures for the monks. His poem "Qianqiu Sui" expressed his deep emotion and sorrow when recalling the happy gathering that year. The melancholy of last year turned to sadness: Outside the sand by the water, the spring cold in the city retreated. The shadows of flowers are chaotic and the sound of orioles is broken. The wine cups are floating around, and the clothes are loose when we say goodbye. No one can be seen, the blue clouds and dusk are facing each other in the sky. Recalling the gathering in the West Pond in the past, the egrets and herons flew together. Hand in hand, who is here today? The clear dreams fade away by the sun, and the beauty in the mirror changes. Spring is gone, and there are thousands of red flowers and sorrow like the sea. Helplessly, the villain set up a trap and falsely accused Qin Guan of writing Buddhist books, and was convicted for it. "The Biography of Wenyuan in the History of the Song Dynasty" says: "The envoy looked forward to the wind and waited for the fault. If he got nothing, he would be guilty of paying homage and writing a Buddhist book, so he would move to Chenzhou with a reduced rank." Reduction in rank is the removal of all official titles, which is the most serious punishment for scholar-bureaucrats. When he was relegated to the Southern Wilderness, Qin Guan was in a sad mood and already despaired. He wrote the poem "Treading on the Shasha". Although the direct expression of "Qianqiu Sui" was replaced by Bixing, there were no words such as "Sorrow is like the sea". Deep in his heart, But it's still frustrating. Among them, "the tower is lost in the fog, the moon is lost in the river, and the Taoyuan is nowhere to be found" is the best portrayal of Qin Guan at this time. The first film creates a melancholy realm of late spring, and the three lines at the beginning, "The tower is lost in the fog, the moon is lost in the river, and the peach garden is nowhere to be found", with the words "lost", "lost" and "nothing" in succession, reveals the Huang Su's "Selected Poems of Polygonum Garden" believes that the feeling of uncertainty in the poet's heart is: "When the fog is lost and the moon is lost, it is always portrayed by slander." It can be said that it is deeply rooted in his heart. As Wang Guowei said, from "sadness" to "sadness", he sensitively pointed out the decline of his inner emotions and spiritual realm. When Qin Guanfu arrived in Chenzhou, he immediately moved to Hengzhou for management. In the ninth year of Yuanfu, he moved to Leizhou for management. He saw that he was getting further and further away from the capital and could not return to his hometown for a long time. Qin Guanfu wrote in his "Elegy to Himself": My hometown is thousands of miles away, and my wife Tianyi Away, the lonely soul dare not return, and the anxiety is still here. ... A strange misfortune happens once and then it ends.
This poem expresses the misery in the heart, how can one not feel sad. In the third year of Yuanfu (AD 1100), Zhezong died and Huizong ascended the throne. He came to the throne to the Queen Mother. The political situation changed and many ministers moved inland. Qin Guan also ordered Xuandelang to be restored and returned to Hengzhou. When he arrived in Tengzhou, he traveled to Guangzhou. In Huating, he asked for water and wanted to drink. When the water arrived, he smiled and died, ending his rough life. Zhang Wenqian once wrote "Essay on Commemoration of Qin Shaoyou": "Wow! The official title is not the correct one, and the years are not as good as the next birthday. There are worries and troubles in the world, and I am scolded. I am wandering in the miasma sea, and my soldiers and servants are desolate." This is what Qin Guan lived in his life. The best portrayal, every sentence is heart-wrenching. The fate of a generation of literati was so bumpy and tortuous, and they died in a foreign land in the end, which makes future generations infinitely emotional.
Edit this paragraph Policy Discussion Art
Overview
Qin Shaoyou is an important writer in the literary history of the Northern Song Dynasty. However, for a long time, when people talk about Qin Shaoyou, It is customary to always associate him with Wanyuan Ci, but his poems are rarely mentioned, and his essays are even less discussed. In fact, among all the existing works of Qin Shaoyou, there are only more than 100 poems in three volumes, more than 430 poems in 14 volumes, and more than 250 articles in 30 volumes. Combined, the length of poems and articles is far greater than that of Qin Shaoyou. Several times more than words. Of course, when evaluating a writer's achievements, one cannot only look at the quantity of works without looking at the quality. Although some writers only have one (Qin Guan Memorial Hall) work in existence, their impact is huge and they play an important role in the history of literature. The position is unshakable. Nonetheless, in order to evaluate Qin Shaoyou's contribution and status in the history of literature historically and objectively, if we only focus on his lyrics and ignore his poems and prose, especially his strategies, it will not only be biased, but also fail to give a complete evaluation. Qin Shaoyou.
Close to reality, not empty talk
Qin Shaoyou has 50 policy essays, including 30 advanced strategies and 20 advanced essays. A careful analysis of the content of these policy papers shows that most of these articles were closely related to the social reality at that time and were less empty talk by scholars. On the one hand, this is related to the requirements of the academic writing at that time, and on the other hand, it is also related to the encouragement and guidance of his master Su Dongpo. Su Dongpo was one of the Eight Great Masters of the Tang and Song Dynasties, and his prose writing achievements were quite high. His encouragement and advice were of course based on experience.
Quoting the past to prove the present, and reasoning thoroughly
Policy theory is a unique literary style in ancient times, equivalent to modern political essays. It is the opinions and opinions on state affairs and government affairs proposed by ministers to the king. suggestion. It is mainly intended to be read by emperors, so the writing should not be long and general. The length should be short, the arguments should be clear, the arguments should be sufficient, and the reasoning should be thorough. We should not only pay attention to discussing one thing at a time, explaining things in simple terms, but also pay attention to speaking in a reasonable, well-founded and orderly manner. Looking at the policies written by Qin Shaoyou, we basically meet the above requirements, especially in terms of citing the past to prove the present and making thorough reasoning.
Tight structure and orderly organization
In the fourth year of Xining, Song Shenzong adopted Wang Anshi’s suggestion and reformed the imperial examination law. Discuss strategies and test scholars." In order to be selected, Qin Shaoyou put a lot of effort into the writing of policy theory, and he even paid more attention to the writing of policy theory than poetry. He once said, "There is no need to write a good article when writing a poem. It only relies on intelligence and skill. If it is an essay, it cannot be the same as Japanese." Because of this, Qin Shaoyou pays great attention to the layout of his essays, no matter how long or short they are. Pay attention to changes in structure and organization.
Presentation and parallelism are full of vitality
The prose of hundreds of scholars in the pre-Qin Dynasty and the prose of the eight great masters of the Tang and Song Dynasties mostly paid attention to the use of "whole sentences" to develop and parallelize, making people read I felt a surge of momentum coming towards my face, which was very shocking. In the process of reading a large number of classic prose, Qin Shaoyou has a deep understanding of how to use arrangement and parallelism in prose. In addition, when he was a teenager, he also wrote "Fushanyan Ode", "Huanglou Ode", "Tangquan Ode" and "Guo Ziyi Riding Alone to See Qin Guan's Calligraphy". Works
Ode", "He Yuanming's Return", etc., especially the "Ode to Huanglou" written to commemorate Su Dongpo's success in fighting floods in Xuzhou, was highly appreciated by Su Dongpo, who considered this fu " The eloquent words are a mixture of modern and ancient, and some of them contain the Song Dynasty style." He applied the familiar layout and comparison used in the poem to the policy analysis, which made the article more vivid and complete. To sum up, Qin Shaoyou's policy is lofty and far-sighted, thorough in reasoning, strict in organization, and sharp in writing. It has a unique artistic tension that can be summed up in one sentence: "The words are elegant and ancient, and the affairs are well prepared but high in intention." In fact, the evaluation of Qin Shaoyou's policy theory is very high, both in ancient and modern times. "Neng Gaizhai Man Lu" by Wu Zeng of the Song Dynasty: "...as for the argumentative words, today they are given to Shaoyou, Chao, Zhang, and Wuji...".
Su Dongpo's "Notes on the Punishment of Crimes" by Liang Zhangran of the Qing Dynasty: "Qin Guan studied literature from his ministers since he was young. His words are brilliant and his comments are sharp. His ministers really love and respect him." Liang Zhangran of the Qing Dynasty wrote "New Words on Menlu": " ... Shaoyou's literary works in the Western Han Dynasty were quite hard-working and not very subtle, but compared to Dongpo's, he looked at the ocean and sighed, but he was also in a class of his own. "Zhu Dongrun, a famous modern scholar, said:" I especially like to read the thirty chapters of Jin Ce, and see what I have learned, and what I have learned about the election and the law of war are profound and profound, and they are not secular words."
< p>Edit this paragraph Qin Guan’s marriageQin Guan’s first wife is named Xu Wenmei, not the legendary Su Xiaomei. This is what he explained in an article he wrote for his father-in-law. His father-in-law was a wealthy businessman named Xu in Gaoyou. Because he had some money, he donated his official position as a bookkeeper and gave birth to three daughters named Xu Wenmei, Xu Wenying and Xu Wenrou. Qin Guan said at the end of the article "Xu Jun's Book of Travels": "Xu Jun and his three daughters sighed and said: The son should study, and the daughter must marry a scholar. I have a beautiful wife with literature, just like his ambition." About his wife, this is the point. It was just a name, and it was not mentioned at all in Qin Guan's poems. Xu Wenmei was probably not the woman Qin Guan loved. According to some statistics, about a quarter of the more than 400 poems handed down by Qin Guanliu are "love poems", and most of the protagonists are brothel singers. Qian Zhongshu said in the preface of "Selected Poems of the Song Dynasty" that Qin Guan's poems are "blatantly smuggled love". "Ruxi Yuyincong Hua" quotes "Yiyuan Orpiment" to talk about a romantic incident of Qin Guan. When Qin Guan was in Shaoxing, he was received by the local highest official, the prefect, and stayed at the high-end hotel Queqiaoxian
Penglai Pavilion. One day, I fell in love with a singing girl at the banquet, so I wrote "Fu Ting Fang". The first sentence is "The mountain is covered with faint clouds", and later it is "Ecstasy. At this moment, the sachet is secretly untied, and the Luo belt is lightly divided." If you win a brothel, you will survive in name only." This word is widely circulated. Su Shi once jokingly called Qin Guan "the scholar of Qin who wipes the mountains and wipes the clouds." Jiang Yikui of the Ming Dynasty revealed Qin Guan's other two erotic affairs in "Yao Shan Tang Wai Ji". "Qin Shaoyou was in Caizhou and was very close to the prostitute Lou Wan named Dongyu." He wrote a poem "Water Dragon Song" specifically for his lover, and also took pains to write Lou Dongyu's name into it, "The small building connects the garden with the sky." ”, “Jade Pei Ding Dong Farewell Queen” are mysteries. And "The heavy gate under the flowers, the deep alley beside the willows, I can't bear to look back. I thought about it passionately, but the bright moon at that time still shined on people" refers to the scene of their tryst. Qin Guan also had a lover named Tao Xin'er. He once gave this famous prostitute a song "Nan Ge Zi". The last sentence of "A crescent moon in the sky brings three stars" is Tao Xin'er's "heart". "A riddle of the characters. Isn’t it a bit “wasteful” to spend all your talents on prostitutes? So Huang Tingjian couldn't stand it, and wrote a poem to advise him. There was a sentence in it, "Talent is hard to come by, ambition is broad, but careful." Qin was very unhappy when he saw it. Traditional appreciation of poetry, when analyzing Qin Guan, always characterizes it as writing about "the love story of a geisha, while incorporating his own sense of life experience", but this is not suitable for interpreting all of Qin Guan's love poems. Take his classic line "If love lasts for a long time, how can we live together day and night", for example, it does not involve any sense of frustration in his career. On the contrary, if we look at his dissolute emotional experience, we can boldly assume that this is just an excuse for Qin Shaoyou to comfort an infatuated woman, or a beautiful excuse to get rid of an old relationship.
Edit this section of Qin Guan's works
Volume 17 of Chen Zhensun's "Explanation of Zhizhai Shulu" records 40 volumes of "Huaihai Collection", 6 volumes of "Houji", and "Long and Short Sentences" 3 volumes; Volume 21 records 1 volume of "Huaihai Ci". "Huaihai Collection" has the Yingming version of "Four Parts Series" and the "Four Parts Bei Yao" version. The "Huaihai Ci" edition of "Baijia Ci" engraved in Changsha of the Southern Song Dynasty is no longer visible. What survives today is one volume of "Huaihai Ci", which is included in the publication of "Sixty Famous Writers of the Song Dynasty". There are also three volumes of "Huaihai Jushi Long and Short Sentences", including the Yingming version of "Sibu Congkan", Zhu Zumou's "Village Series", the Song version photocopied by Peking Library, the Song school version copied by Ye Gongchuo, and the "Sumen Four Scholars" edited by Long Yusheng "Ci" book.
Edit this paragraph's literary contribution
Huang Tingjian believes that Qin Guan's poetry just expresses his thoughts and does everything naturally, without deliberately conceiving or painstakingly managing it. This is quite similar to Li Bai's poem "Clear Water" When the hibiscus comes out, it will naturally be carved and decorated." ("After the chaos, Tianenliu Yelang recalled the old travel book and presented it to Jiangxia Wei Prefecture Liangzai"). In fact, it is not that Qin Guan does not pay attention to the meticulousness and sophistication of his diction, he just does not show excessive artificial traces and does not show his work in a clear and smooth manner.
His "poems are like words" and "poems are like small words" ("Wang Zhifang's Poetry Talk" quoted in Volume 42 of Hu Zai's "Tiaoxi Yuyincong Hua Collected Works"), if you use related books instead
According to Li Qingzhao's "Ci Lun", "Qin is dedicated to emotion, but rarely to the truth." Looking at Huaihai's Ci, most of it is controlled by pure emotion and willfulness, "like a flower in bud, so its power is not very visible", "It is meant to be approachable, so those who exert force will not reach it" (Zhou Ji's "Jiecunzhai Lunci Miscellaneous Works") , is a true portrayal of my life experience; these have gone beyond the tradition established by Yihuajian Ci to entertain people and value beauty, fragrance and softness. They are intended to entertain oneself with expressions, identify with the poetic path of "romantic ambition", and make a level of progress. Returned without waiting. Therefore, Feng Xu's "Hao'an Lun Ci" says: "Shaoyou, with his extraordinary talents, was already with Shengliu, and he was incomparable; but once he was banished to the southern wilderness, he suddenly lost his spiritual treasure. Therefore, the poems he wrote conveyed his life experience, which is elegant and elegant. Feelings, while drinking and under flowers, are deep; but the resentment is not chaotic, and the feelings are inherited from "Daya". In the past, Zhang Tianru said about Xiangru's poems: "Others' poems, poems." Talent; Changqing, gift of heart. "The words of Shaoyou are also the words of others; the words of Shaoyou are derived from the heart and cannot be passed down." , Qi Qing's quiet beauty is astonishing to the latter, how about the evil below? "He also said: "Huaihai and Xiaoshan are really sad people in ancient times. Their simple words are all meaningful, please pray for them. "The two poets of the Song Dynasty are really very similar." Perhaps, in this specific sense, it can be said that the mainstream artistic spirit of Qin Guan's poetry and Li Bai's poetry are consistent, so there is no need to overestimate the specific aspects of them. There is a significant difference in the artistic style between the melancholy and the elegant and bold. It goes without saying that the artistic spirit of Qin Guanci is multi-layered and diversified. Let’s talk about the mainstream part now, but it does not mean that it can be summarized as a whole. On the other hand, the formation and maturity of this artistic spirit , has also gone through his entire creative life, and there is a process of constant change and development, always showing a dynamic and flowing shape. If the above are placed in the broader perspective of the history of Ci and even literary history, we may be able to understand its meaning and value orientation more clearly and comprehensively. In some specific circumstances, Qin Guan, that is, "The scholars of Qin Lang in Huaihai will embrace all kinds of worries throughout their lives" (Lou Yao's "Inscriptions and Postscripts of Huang Taishi Shu Shaoyou Haikang's Poems"), such as the third type made when recalling the past and relegating Types of words have relegated the original traditional values ??of drinking, entertainment and singing to a very inferior or even irrelevant behind-the-scenes position. On the other hand, he was ordered to assume the role of poetry in expressing emotions in classical poetic theory, and thus became a specific materialized form of his own subjective state of mind, in order to satisfy his realistic spiritual needs of lamenting the tragedy of fate and venting the sorrows of life. . Here, Qin Guan directly incorporates the shortcomings of individual life into his poems, and there is no need to resort to the usual patterns of separation and resentment, or to use excuses to achieve a subtle and graceful appearance. As for the upper part, he usually just borrows it to increase the capacity and flexibility of the words, so that while retaining its mainstream nature and charm, he can also add a bit of deep and leisurely meaning, which is especially empty and full of meaning. Far away. Therefore, together with Zhou Bangyan, he has always been praised as the "authentic poet" (the first volume of "Ci Jie" was written in Volume 3). "Most of the Ci poems of the Northern Song Dynasty, Zhou and Qin, are all very dull and melancholy. But Shaoyou Tuo Xing is particularly good. Deep, beautiful and large-scale, there are similarities and differences between Zhou and Qin" (Volume 1 of "Bai Yuzhai Ci Hua"). His artistic spirit has influenced many later poets, such as Li Qingzhao, Jiang Baishi, Zhou Zhi, Wang Yisun, Zhang Yan, etc. in the Song Dynasty. To a certain extent, they identify and return to the path of poetry, and even gradually evolve into long and short poems. They are more and more superior to each other in terms of diction and style, and are more devoted to the purpose of "entertaining oneself". Although they have different styles and appearances based on their own talents and ideas, they may even become relatively independent tribes. But overall, it has transformed, updated, or to a greater extent developed and expanded the traditional art schools in Huajian and the Southern Tang Dynasty, so that they are constantly flourishing and full of vitality, and will not tend to become dull and dull. ——During this period, Qin Guan must give a full evaluation.
Edit this paragraph about the evaluation of Qin Guan by literati of the past dynasties
Su Shi of the Song Dynasty commented on the couplets of Qin Guan and Liu Yong: "The mountains wipe the clouds and the Qin bachelor; the dew flowers reflect the Liu Tuntian." Bust of Qin Guan
[2] Su Shi Dongpo of the Song Dynasty loved the last two sentences of the poem (The Chenjiang River is fortunate to have circled Chenshan Mountain, why did it flow down to Xiaoxiang!), saying: "I have been traveling for a long time, although How can one redeem him?" Su Shi of the Song Dynasty said: "He has the talents of Qu and Song." Wang Anshi of the Song Dynasty said: "His poems are fresh and charming, similar to those of Bao and Xie.
" Song Dynasty Li Qingzhao's "Ci Lun": "Specializes in emotion, but rarely in reality. For example, a beautiful woman from a poor family, although extremely beautiful and elegant, lacks wealth and nobility. "Three Hundred Song Poems": "Euphemistic and subtle, elegant and light." "Chen Tingzhuo's "Bai Yuzhai Ci Hua": "Most of the poems in Shaoyou's "Man Ting Fang" were written later. "Qin Shaoyou is the one who is the master, and he will lead the way." The distant ancestors Wen and Wei took the spirit but not the appearance, and their poems were completely changed. However, if you change without losing its integrity, the people who discuss it will not be sick of the change, but will realize that you have to change. "Shaoyou's poems express his life experience, leisurely feelings and sentiments." "Others' words are their talents; those who have traveled less are their heart." It is acquired within and cannot be passed on. " Zhang Yan's "Etymology": "The structure is elegant, the spirit is not weak, the beauty is continuous, the taste is clear after chewing. "Sun Jing's "Preface to the Poems of the Old Man of Zhupo": "Su Dongpo's words are better than words, Liu Qiqing's emotions are better than emotions, and the only one who is better at both words and emotions is Qin Shaoyou. " Zhang Lei: " Most of the articles in the world were written by the poor, so those who became writers in the future liked to write for the poor. Qin Zi said that he had no worries but was a worried person. This is almost impossible! Jin Yuanhaowen's "On Poetry Quatrains" commented on Qin Guan's poems: "The affectionate peony contains spring tears, and the powerless rose lies on the late branch." When I picked up the verse about the stone of the retreating mountain, I realized that it was a poem about a girl. " Li Tiaoyuan's "Yucun Ci Hua": "The first pearl is the top poet of the Song Dynasty. "Liu Xizai's "Art Introduction" of the Qing Dynasty: "Shaoyou's Ci has been studied by Xiao Yan, but Youqu has surpassed it. " (Xiao Yan refers to Yan Jidao) Qing Dynasty Zhou Ji's "Jie Cun Need Lun Ci Miscellaneous Works" once quoted the comments of predecessors on Qin Ci: "Shao You is trying to be approachable, so those who work hard will not reach it. "Zhou Ji's "Selected Poems from the Four Scholars of the Song Dynasty": "Incorporating the sense of life experience into erotic feelings is another method. "Shaoyou is the most gentle and mellow, while the less halal ones are spicy." The meaning of "Shaoyou" is to be subtle, like the first child of a flower, so there is less emphasis on writing. " Lou Jing thought: "Huaihai's poetry has a high quality, just like red plum blossoms. It can win with rhyme, but it doesn't have such a smell when it is pure. " Feng Xu, a lyricist in the Qing Dynasty: " His simple words are full of flavor, and his simple words are all meaningful. "General Catalog of Sikuquanshu": "But the lyrics are both emotional and rhyming, superior to Su Huang." " Wang Guowei of the Qing Dynasty commented on Qin Guan and Zhou Bangyan and said: "Although Shaoyou writes erotic words, he will eventually have character and beautify the way, which is the difference between a lady and a provocateur. " Wang Guowei of the Qing Dynasty's "Human Words": "The mood of Shaoyou's poems is the most poignant. When it comes to "It's cold in spring when the lonely house is closed, and the sun is setting in the evening with the sound of cuckoos", it becomes sad and poignant. " Feng Xu commented on Qin Guan's poems: "Shaoyou's poems reflect his life experience, are elegant and sentimental, drink with flowers under the flowers, and go deeper and deeper, but the resentment is not chaotic, and it is quietly the legacy of Xiaoya. After the master, there is only one person. ” He also said: “Others’ words are their talents. It’s my heart to travel less. It is acquired within and cannot be passed on. "----"Hao'an's Theory of Ci" Qin Guan's Ci is really the poet's Ci. Feng Xu's comment is just right. Wang Shizhen of the Qing Dynasty said: The Qinhuai Sea is not seen in the romantic world, and the world is lonely for five hundred years.