Jia Dao's Li Sao Ji and Li Shangyin's If you don't meet a hermit's guest, there will be two kinds of failures (I)
China ancient literature catches eagles.
Being a hermit seems to have become a very fashionable trend in the Tang Dynasty. It is equivalent to seclusion in the mountains if you can't get out of the official; Have a career turnover, live in seclusion in the mountains, and take retreat as progress; There are even people like Tao Yuanming, who are lofty and refined, live in seclusion in the mountains and live a life of idle clouds and wild cranes. The latter hermit is the envy of many poets who stick to secular life. Therefore, in the Tang Dynasty, many poets visited celebrities and hermits, leaving an absent eccle se note and naturally sighing as a poem. Such as "Spring outing", "I can't find Lu Hongxian's home" and "Missing the Hermit on the Western Hills". Jia Dao's suicide note in the middle Tang Dynasty and Li Shangyin's Hermit Can Only Become Two Skills (I) in the late Tang Dynasty are such masterpieces. We recorded two poems:
A note to an absentee "Hermit's visitors will never meet twice" (I)
Jia Dao Li Shangyin
When I asked your students, under a pine tree, autumn water soaked wild leaves,
"My teacher," he replied, "went to collect medicine". In my dream, I feel a little sparse.
But in any corner of the mountain, cicada leaves turn yellow,
How can I tell through these clouds? . A holly tree didn't come back.
Jia Dao is a branch of China-Korea Meng in the Middle Tang Poetry School. Jia Dao, who is famous for his cold, thin, strange and bitter poetic style, actually has a poem as clear as words. Li Shangyin is a famous poet in the late Tang Dynasty. He is beautiful and delicate, with deep feelings, and his poems are characterized by ethereal words. The objects of both poems are hermits, and the search results are unexpected. Both poems express their feelings with the help of images, which not only admire the reclusive style of those who are skilled in the mountains and forests, but also secretly reveal lofty and elegant customs like hermits, with both form and spirit, blending things with me. In this artistic conception of emptiness and reality, truth and falsehood, regularity and strangeness, they wrote two images of subject and object with simple and ancient diluted sentences. The two poems express similar themes with different images. This paper compares the similarities and differences of their images:
First, the images in Jia Dao's poems are sparse, while those in Li Shangyin's poems are dense.
There are only two words "pine" and "cloud" in Jia's poems, and the images in Li's poems are autumn water, wild leaves, dreams, mysterious cicadas, yellow leaves and holly. Sparseness gives people unlimited space for daydreaming, and poets take it in their leisure time. Only with the two images of "pine" and "cloud" can poetry have the artistic conception of rushing away and coming out of the dust. It is secretive and thoughtful, and the string of landscape images such as "water", "leaf", "dream", "cicada", "leaf" and "tree" embodies the poet's feelings, and there is a slight hesitation in the poem, which produces a dense and beautiful feeling.
Second, Jia Dao's poems are light in color, while Li Shangyin's poems are strong in color.
The two poets described the living environment of hermits in unison, setting off the spiritual outlook of hermits who come and go without a trace and stand out from the crowd. There is not a word of one color in Jia's poems. Looking closely, the color comes from the word, the pine is green, and the cloud is white. This color is harmonious and natural, simple and indifferent, which is consistent with the image and identity of a hermit. Looking at the pines and cypresses in the green hills, the white clouds are faint, and thinking of the Lord is on the side of the mountain, how can a poet not "look at the peak and rest, and look at the valley after things." (1) sigh? This situation makes people feel at ease. From this artistic conception, we feel the poet's seclusion when expressing his feelings for mountains and rivers.
Shi Li uses bright words. Those who show colors, such as "yellow" and "green", are colorful, forming a strong visual impact; those who hide colors, such as "water", "dream" and "porch", are cold in autumn water, while dreams are like watching flowers through fog, and the porch is black and red, and various colors are mixed together, jumping and turbulent, forming a picture with unique charm and beautiful artistic conception. Through this picture, we touched the sad soul of the poet wandering between today and tomorrow, reality and fantasy, and the contradiction between joining the WTO and being born.
Thirdly, the imagery of Jia Dao's poems is new to Chen Zhong, and the imagery of Li Shangyin's poems is familiar in life.
The two poems use images to create a special environment and atmosphere, and they do not express their feelings, but their feelings are euphemistic and tortuous and penetrate deeply. The ancients said, "One pine and one bamboo are true friends, and the birds and flowers are good brothers." (Xin Qiji's "Partridge Sky") We are known as "a good bird and a strange grass to match loyalty, and a bad bird and a smelly thing to compare; Practice, beauty is close to the monarch, and Fu Fei and his wife are good examples; Yi Long and his wife are gentlemen, and Yun Ni thinks they are villains. " (2) In the cultural tradition, pine trees and clouds are often symbols of noble morality, and they often symbolize the lofty and detached sentiments of hermits. This cultural tradition can be traced back to Tao Hongjing, a hermit in the Qi and Liang Dynasties. He once said to Emperor Gaudi, "What's in the mountains? There are many white clouds on the ridge, so I can only be complacent, but I can't bear to give it to you. " Therefore, the white clouds on the mountain are a symbol of the hermit's residence and a symbol of lofty demeanor. Here are a few examples:
What is the gift from the king of Xizhuang? Chai Mukong has locked Song Jun .. (Du Fu's Dongshan Cottage in Cui Shi)
Castle peak on the city is like a house, and the owner flows into the west.
After years of writing books behind closed doors, pines are old dragons. (Wang Wei's Spring Tour with Pei Di in Coco, Li Xinchang).
Your beautiful grass, moistened by rain, is next to your window, which is the music of your pine tree. (Qiu is a "recluse after missing on the Western Hills")
After a while, the clouds fell low on the quiet lake, and the grass closed the lazy door. A pine tree that has become greener because of rain, a stream that originated from the mountain source. (Liu Changqing's "Nanxi Seeking a Taoist")
The water is unfathomable, and the lonely cloud lives in seclusion. The sun shines on the pine forest and be your true friend. (Chang Jian's Retreat in Wang Changlin)
It can be seen that "pine" and "cloud" are familiar positive images of poets, but poets can see new things in Chen, praise the hermit's character with pine trees, and express their life sighs without trace. The poet's shallow words "song" and "cloud" constitute a tasteful and sparse artistic conception, reaching a new realm of great skill, gratitude for carving and shallow affection.
Li's poems have profound images and strong symbolic meanings. "Autumn Water" and "Yellow Leaves" point to the season of visiting hermits. Looking at the wild hut in the distance, it seems so cold and lonely; Look closely at the falling yellow leaves, so bleak and scattered. In this case, why don't people think of "Song Yu is sad about autumn"? "Sad autumn for gas also! The bleak vegetation shakes down and becomes weak. " (Song Yu's "Nine Debates"), sentimental feelings are faintly overflowing. The latest grotesque can be described as a dream. Generally, poets often use concrete things to compare abstract principles, but Li Shangyin leans in the opposite direction. Just like the famous saying "flying flowers are as light as a dream, and the drizzle is as fine as sorrow" in Qin Guan's ci of later generations, the abstract "dream" is used as a metaphor for concrete "flying flowers" and the abstract "sorrow" is used as a metaphor for concrete "drizzle", thus producing a defamiliarization effect. "Dreams come and go, dreams come and go, and their shapes are blurred. In this dislocation of time and space, the artistic conception becomes hazy, and the poet has a deep yearning for them, like Zhuang Zhou turning into a butterfly; Visiting the entrance of seclusion seems to be a spiritual exchange with it. Perhaps the sad cicada song shocked the poet's warm memories at this time, and the poet's mood fell into the sentimental fog of sad autumn and self-pity. The poet "failed in his great talent, but he never opened his arms in his life." (Cui Jue's "Crying Li Shangyin (II)") Facing the bleak autumn scenery, he is like a litter of dead branches in the cold wind, and he is down and out, sighing that his mood in his later years is intertwined in the scene before him. The poet seems to have something to trust, but it is difficult to refer to reality; There seems to be a hint, but it is elusive. This vague and complicated emotion quietly overflows, extends and expands, so that with the yellow leaves falling one after another, cicadas whimper and swallow spread to the vast land and space. The vigorous image of "a tree of holly" sweeps away the cold and sentimental feeling, making the eyes "green" feel vigorous and profound, and "a tree" looks so quiet and straight against the vast space. This scene not only shows the spiritual outlook of the hermit, but also shows the arrogance and injustice of the poet's dissatisfaction with reality. Poets interweave these familiar and unfamiliar images into a deep and hazy artistic conception, which conveys people's unclear but can trigger * * *. The use of images can be said to be derived from the familiarity of life.
Dai Shulun, a poet in the Tang Dynasty, said: "The beauty of poets, such as the warmth of Lantian and the abundance of jade, is beyond our reach." The images in Li Jia's two poems each have a clear and hazy beautiful artistic conception. If the feelings are far away, you can appreciate the artistic beauty of "Lantian is warm and fertile" and "near but not floating, far and inexhaustible".
Precautions:
① Wu Jun: A Letter to Zhu, editor-in-chief, Selected Works of China Literature in Past Dynasties, Volume II, page 459, Shanghai Ancient Books Publishing House, June 2003.
② Wang Yi: Preface to Li Sao, Chapters and Sentences of Chu Ci.
③ A Dictionary of Appreciation of Tang Poetry, p. 687, Shanghai Dictionary Publishing House, 2004.
④ Si Kongtu: On Poetry with Li Sheng