Su Zimei (1) uninhibited, good for drinking. At Uncle Du Qigong's house, I study at the rate of [13] a barrel every night. The public is deeply suspicious, making children (4) a secret (5). I heard that when I read Zhang Hanliang's Biography, I learned that "Liang and the guest attacked the Emperor of Qin and got on the bus by mistake [6]. [6] I stroked my palm and said," Sorry, I missed it! "Then take a swig of white wine. He read it once and said, "Good", "The first minister will treat your majesty from Pi, and I will give it to you today", and he said, "It's hard to do this!" Hold up another big cup. When the public heard this, they all laughed and said, "There are too many fights with such wine." (from Yanbei Magazine)
1. Su Zimei: Su Shunqin, a poet in the Song Dynasty, has beautiful words.
2. Foreign uncle: father-in-law.
3. Rate (lǜ): standard.
4. Children: the younger generation in the family.
5. Take a look.
6. Auxiliary car: the car that the emperor followed when he went out.
7. Qi: So, just.
8. Records set out from Xiapi (pρ) and stayed in the court: it refers to the experience that Sean got the art of war in Xiapi and then met Liu Bang in Liu Xian County. On, refers to Liu Bang.
9. good: like, love
10. Smell: Listen.
1 1. Fu: Pat.
12. Grant: Here you are.
1 3. Take away and use
14. in: in
translate
Su Zimei is free and likes to drink. When he was in the home of his father-in-law, Du Qigong, he read every day (he drank while reading) and was limited to drinking a bucket. Du Qigong was deeply suspicious and sent his younger generation to secretly inspect. I'm listening to Amy reading A History of Two Rivers in Zhang Han. When he read that Sean and the assassin attacked Qin Shihuang, the big iron cone thrown by the assassin only hit Qin Shihuang's auxiliary car (this paragraph). He suddenly clapped his hands and said, "What a pity! Missed it. " So he drank a large glass of wine I also saw Sean say, "I met the emperor in Chenliu after Xiapi uprising, and God gave me to your majesty." (Su Zimei) struck the table again and said, "It's hard to meet the monarch and the minister." Have another big glass (of wine). Du Qigong laughed and said, "It's not too much to drink like this."
Drinking with books is not only an elegant expression of the ancients' drinking without forgetting their knowledge, but also a manifestation of the ancients' bold and simple style of drinking without extravagance. Su Shunqin's drinking with books is a much-told story for later generations, which has a great influence on later generations. Lu You used to drink with books. He wrote in the poem "Swallow's Wings and Xiakou Drink": "Please enjoy drinking and write a book on the case. Although the cloud is in the river, why not return to the forest? " Qu Dajun, a scholar in Qing Dynasty, also wrote a poem entitled "A glass of wine for a leaf of Lisao". Bao Ting, who served as an assistant minister in the Ministry of Rites in the late Qing Dynasty, also wrote a poem: "Li Sao is rarely liked, and it has been tepid for a long time. Absolutely better than food and wine. " The more you read and drink, the more extravagant you are, and the wine is empty. "
Su Shunqin (1008 ~ 1048) is beautiful. A native of Tongshan, Zizhou (now Sichuan), Kaifeng. Scholars and poets in song dynasty. In his early years, he advocated ancient prose with his brother Shunyuan. 27-year-old, a scholar, served as a judge in Dali and a captain in Jixian County. After being dismissed from office, he lived in Suzhou and served as Canglang Pavilion to suit himself. There is Sue's collection. See History of the Song Dynasty, Volume 442. It is unrestrained and easy to drink.
Author: Lu Youren Yuan (about AD 133), supplemented by Wu Jun, whose date of birth and death is unknown, lived in Shunchu area. My father is a cloth dealer, and Youren studies hard alone. He studied a lot of books, worked for Han Li for eight minutes, and his five-character poems were particularly long. Yu Ji and Ke Jiu Si recommended it, but it was not used. At the age of 48, he died of illness. You Ren was born in North China, and his works are numerous, including The Past of Wuzhong, Lyrics, History of Inks, History of Ink, History of India, North China Magazine, Draft of Qi Juxuan, etc.
On the understanding of the political function of poetry, it is consistent with Mei. He said in Preface to Poems on Stone: "Poetry is great when it exists." The so-called "great event" means that poetry can reflect "the love of wind and religion and the change of customs" If the rulers have a system of "collecting poems", they can "relax their affairs" and achieve "long-term stability". Therefore, he criticized the literary atmosphere of "winning with flowers" and strongly praised Mu Xiu and others for "learning from the ancient road", and Shi's poems could "alert the public". Moreover, as mentioned above, he also put forward a rather extreme opinion that "literary life is also harmful to morality". In fact, Su's personality tends to be bold and open, without the taste of Taoism. His ideas have an important relationship with his desire to make progress in his career.
As a poet who is concerned about current politics and eager to make a difference, Su Shunqin's poems often touch on some serious practical problems. His gyeongju defeat describes the defeat of the Song Dynasty and Xixia War, and bitterly criticizes the lax border defense measures of the imperial court and the incompetence of the generals. "Drought in Wuyue Mountains" wrote that on the one hand, famine caused "the dead to accumulate on the road", on the other hand, in order to cope with the war with Xixia, the government still ruthlessly searched for food and drove Ding Zhuang's labor to the battlefield, resulting in "three Ding and two Ding died, and the survivors also lacked food". Finally, "Hu was stuck in the mud, which was a long-term worry. The phrase "long wind and dark clouds, relying on tears to dream" expressed his inner pain; "Love in the south of the city is forever uncle" also wrote about the tragic situation of the people due to famine: "Seven or eight out of ten people died when the road was crossed. Dogs lick bones and black kites lick skins. " In contrast, he denounced the incompetence and shamelessness of the powerful people by saying that "the high position hates Liang Rou, and the sitting theory confuses Yun Ni".
He is often sharper and more straightforward than Mei in reflecting the disadvantages of the times and exposing social contradictions. On the one hand, this is due to personality, on the other hand, it is also related to Su Shunqin's unfortunate experience. He is a man with strong self-esteem, but he is always excluded or even framed, so he feels that he can't do his due duty for the society, and he personally feels very depressed. These two emotions combine and reinforce each other. The last paragraph of "The Feeling of Being an Uncle Forever in the South of the City" says: "I'm hungry now. I have to think again: I can't control myself. What should I do?" I am full of anger and anger, and I can't be together. "The implication is that if you can master power, you can save the people; Helpless to take care of themselves, so I am particularly angry. In some poems, he even directly vented his personal dissatisfaction, such as "Going to Drink":
Husband is neither rich nor young, Hu Yan fled the world! In 2008, I haven't fulfilled my ambition. I have tried to test words in cases. Sometimes you can't worry, and you will lose the peace in your stomach. The attendants came to Taihang Mountain, where the wine was as clear as the sky. Long song burst into tears and drank a bucket of heart. My road is not as good as wine, and my sorrow and sorrow are like rot. I don't know how to read a hundred cars, but I want to go home with Liu Lingwu!
This kind of poetry is frank and passionate, although it is not as high as Li Bai's spirit after all, but it is also slightly close to Li Bai's style. According to the legend in the History of Song Dynasty, Su Shunqin was "angry with songs and poems, and his style of writing was bold and often amazing". Among the poets in the Northern Song Dynasty, he really has the flavor of the Tang Dynasty. Therefore, although his theoretical expression is pedantic, his poems are quite lively because of his emotional exposure, rather than a Taoist face.
In the language art of poetry, Su Shunqin, like Mei, tried to break the mature and outdated poetry mode with new images and new syntax. In his poems, you can often see plain sentences, unfamiliar words and strange images.
However, due to different strengths, there are still obvious differences in poetic styles, as Ouyang Xiu commented in "Poems on June 1st": "Yu Sheng and Zi Mei are both famous, but the poetic styles of the two schools are different. The beauty of children is magnificent, and surprisingly, it is beyond the horizon; Saint is implicit, with profound leisure as its meaning. They are extremely long, although a good theorist cannot be good or bad. " The previous "drinking wine" is an example. Let's take "Songjiang Long Bridge has no clear view of fishing" as an example:
At dawn to the east, the fishing boat reflected the distance. The white smoke on the road is faint and the moon sets, and the ridge head is burned with rare stars. Sing without touching the dragon's sleep, and get up the net without smelling the fish and turtles. I'm really not on a business trip. I'm going to go with you.
Some special words and images in this poem can also be found in Mei's poems. The whole poem is bold and unrestrained, and the weather is open, which is hard to find in Mei's poems. On the other hand, Mei's poems are subtle, profound, subtle and delicate, which is also lacking. The most obvious weakness of his poems is that sometimes he only pays attention to the catharsis of feelings, ignoring the scrutiny of emotional expression and the internal tension of language, making them rough and even endless.
But there are also some small poems, written by Su Shunqin, which are quite exquisite, such as "Boating Calf in Huaizhong":
Weeds are green in the spring shade, and sometimes there are flowers and trees. At night, under the lonely boat ancient temple, Sichuan is full of wind and rain.
The second sentence is a bit prosaic, but it uses the word "time" to make the scene move, as if in a piece of green grass, flowers and trees jump into the eye from time to time. "Quiet" and "bright" are unique in describing flowers, emphasizing psychological feelings and vision. The rhyme of the whole poem is close to that of Tang poetry, but it is more quiet and delicate, and its meaning is more flowing and tortuous. Another example is "Summer Meaning":
In summer, the courtyard is deep and clear, and pomegranate flowers are full of curtains. The shade is all over the ground, it is already noon, and I dream of warblers.
It is also small, chic and full of fun. Instead of parallel images, the line of sight in the poem is constantly changing: first, the deep yard, then a bright pomegranate tree through the bamboo curtain, then the summer scene in the middle of the sky and under the drooping shade, and finally a wandering warbler wakes up the master's dream and the silence during the nap. The rhythm of poetry is formed through the process of the poet's inner experience, and the vein texture is very fine, which is a feature of Song poetry.