Who is the poet, Jia Dao?
Under the social and literary background of the late Tang Dynasty, quite a few poets wrote "exotic" poems with a bitter attitude, with Jia Dao (779 ~ 843), Yao He (775? ~855? )。 Jia and Yao's poetry creation began in the Yuan Dynasty and later, but Jia died in Huichang and Yao died in middle age, and entered the late Tang Dynasty. His poems represent one of the most common creative trends in the late Tang Dynasty and have many followers, so it is more reasonable to classify the two poets into the late Tang Dynasty.
The poems of Jia Dao, Yao He and their followers are narrow in content and rarely reflect social problems. Jia Dao wrote that there were frustrations and resentments in scientific research, lamentations about poor and embarrassed life, feelings about tranquility and Buddhism, and contacts with monks and hermits, mostly out of personal life. The theme of Yao He's poems is close to that of Jia Dao, but he writes more trivial daily life scenes. In style, Jia Dao, who had Zen life experience and was influenced by Han Yu and Meng Jiao, had more obscure elements in his poems, while Yao He's official career was relatively smooth and his poetic style was relatively calm and leisurely. Writing about the courtyards of small county offices, Jia Dao said in a poem: "Everything is quiet, and the house is empty. Go back to the official and seal the night key, and take the snake into Gu Tong. " Yao Heshi: "The drum is closed, and the depression is the official heart. Expose the grass in the courtyard, and the firefly shines on the birds in the bamboo. " (Mid-Autumn Festival in the County) Jia Shimiao and the empty court dusk, Yao Shijing. In contrast, it can be seen that Jia's poems are colder and weirder than Yao's.
Jia Dao, Yao He and others also have the same performance in creative attitude, and they are all bitter songs. Legend has it that when Jia Dao was brewing a couplet on Chang 'an Avenue, "Autumn wind blows the Weihe River and leaves are full of Chang 'an", Jing Zhaoyin and Liu Qichu were abrupt; When considering the couplets of "Birds are stationed by the pool and monks knock at the door under the moon", they entrusted Jing and Han Yu. Although the specific plot is not necessarily reliable, Jia Dao and others are really addicted to it. In the late Tang dynasty, a large number of scholars were trapped in the examination room for a long time. Although many people were officials, their status was low and they did nothing. They are a bit like literati in the Dali period, and they need to write poems to get spiritual compensation. Questioners need to train the five laws into their daily lessons. In this way, these scholars who were left out by society put a lot of time and energy into writing poems. We should examine, explore and experience their poverty, embarrassment and idleness from many aspects, and "carve poor words into works" (the first episode of Hu Zai's Tiaoxi Fishing Story) to express their helplessness. Therefore, through the deep excavation and pondering of feelings and scenery, we can see something new in neatness and become a new fashion, which is different from Han Mengqi's adventure and Yuan Bai's fluency.
The bitter poets in the late Tang Dynasty paid insufficient attention to social life, with narrow experience and relatively poor materials for poetry. Their poetic thoughts often do not come out naturally, but are intentional from the beginning. "Don't laugh at the old man's many unique works, and look for poems in the desolate place of Qingshan" (Yao He's Daily Life on the 17th of the week), and "Taking things from outside is elegant, and cutting is more work" (Fang Gan's Gift to the Duke of Li Ying) shows a deliberate search for poems. They abandoned the genre of songs characterized by emotion and grandeur, and put their strength into the near body (especially the five laws). We can see kung fu in rhythm, antithesis and diction, and we can deliberate and temper it calmly. Due to the bitter songs, people in the late Tang Dynasty did create many quatrains. Jia Dao's "Birds lodge in the trees by the pool and monks knock on the moon door" makes the realm more secluded through dynamic and static contrast. "Give it to no one" is associated with "walking alone at the bottom of the pool and counting trees". The above sentence is about people walking by the pool, setting off the figure under the water; Stop and go, rest under the tree again and again. It is conceivable that the realm is quiet and lonely, people are lonely, the body is tired and weak, and the appreciation of the scenery and environment is lingering. Although it is "two sentences and three years", it still bears the hard work. Yao He's poems are a little weaker than Jia Dao's, but they can also be seen in the park. For example, "deer in the mountain with horses, chickens and wild birds" (the first part of "Thirty Poems of Wugong County") wrote the desolate scenery of the mountain county in simple and simple language. It is ingenious and natural in the refining of life materials and the combination of scenery. Besides Jia and Yao, other poets also have some good sentences. Such as: "The tree shakes the dream of a secluded bird, and the firefly leaves a robe" (Liu Deren's Autumn Night in the Monk's Courtyard), "It's even worse to listen to the rain and cold, and to open the door to see the depth of the leaves" (there is no such thing as sending Jia Dao in autumn), "If you don't return empty, you say you want to go" (Zhou He's Chang 'an gives someone away), "The islands are divided into different countries, and the Milky Way is the Milky Way * *. Although these poems are deliberately written, they are still quite neat and alert. There are no allusions and strange words, and good artistic effects have been achieved in seemingly ordinary language.
The shortcomings of Jia and Yao schools are narrow poems and no sentences. Life experience is limited, and poetry can't be separated from piano, chess, monks, cranes, tea, wine, bamboo, stone and other things. The lack of content and the bitterness of a leaf will inevitably hurt vitality, detract from the beauty of poetry and expose the habits of a small family. "Yao and Jia are bound by rules and embarrassed by space" (Preface to Liu Kezhuang Cheng Yuan's Poems). The key reason why they are bound by rules is the lack of profound feelings. Poets in the late Tang Dynasty often worked hard to create some neat sentences, but they were still weak because of their lack of talent. Fang Huiyun said: "In the late Tang Dynasty, it is enough to practice neck couplet and platoon couplet first." ("Ying Kui Fa Jing" Volume XIII) There is a sentence first, and then there is an article, which is inevitably not symmetrical enough and lacks a complete artistic conception.
The mentality of Jia and Yao poets is more in line with some politically incompetent literati in the late feudal dynasty. These literati shifted their interest in life to chanting their daily feelings and singing with their relatives and friends, so Jia Dao, Yao He and others were easily imitated. Not only did many poets imitate Jia and Yao in the Five Dynasties, Yongjia Siling and Jianghu Poets in the Southern Song Dynasty, but patriarchal clan system also became a fashion in the late Tang Dynasty.