yellow poems have many meanings. One refers to the poems of Huang Tingjian, a poet in Song Dynasty in China, the name of an actor and the poems with unhealthy contents.
Chinese name: Huang Shi
Occupation: Movies Made
Representative Works: Mysterious Records of the Secret Realm
Alias: Huang Tingjian
Introduction
Name: Huang Shi
Career
Movies Made:
Mysterious Records of the Secret Realm (1989) ... But when did the "Huangtingjian body" (also known as "Huanggu body" or "Huangluzhi body") form? This problem is directly related to the definition of the connotation of "Huang Tingjian Style", so it is necessary to explore it in depth. In the Southern Song Dynasty, Wei Liaoweng said in the Preface to the Collected Works of Huang Taishi (Volume 53 of the Collected Works of Mr. Heshan): "There are four public poems in the 3 th year of the year, and their ambitions have been extraordinary, but they are still few. At the beginning of the Yuan Dynasty, I merged with the sages, and I was rich in literature and morality, which was not the same as before. " The implication is that Huang Tingjian's body was formed in the Yuan Dynasty, that is, the middle period mentioned in this paper. This view is very popular, but in fact it is inaccurate.
it was su Shi who first proposed "Huang ting Jian ti". In the year of Yuan _ 2 (187), Su Shi wrote a poem "Send Yang Mengrong". According to Wang's note, Zhao Cigong said, "Mr. Wang calls himself an effective person."
The "self-annotation" in this edition of Su Shi's poems is not entirely attributed to Su Shi himself, but it is definitely true here, because at that time, Huang Tingjian made a rhyme with this poem, entitled "Zi Zhan's Poems are wonderful for a lifetime", which is a funny story in terms of the comparison between Meng Xiao and Fan Zongshi. I'm afraid I won't understand later, so I rhyme it. Zi Zhan's poem says, "My home is Emei, and I am in the same state as my son", which is the rhyme.
If Su Shi didn't say that "Huang Lu zhi ti", Huang Tingjian would never have made something out of nothing. It can be seen that "Huang Tingjian Style" must have been formed before the beginning of Yuan Dynasty. (2) because a person's poetic style is not self-contained, but it will take some time from self-contained to being recognized and imitated by others. However, Huang Tingjian entered the official Bianjing in June of the eighth year of Yuanfeng (185), so the formation of Huang Tingjian's style was impossible after he entered Beijing. In other words, Huang Tingjian's unique poetic style was formed in the early stage.
Let's look at the characteristics of Huang Tingjian in Su Shi's mind from Su Shi's "Seeing Yang Mengrong". Su Shiyun:
My home is Emei, and I am in the same state as my son. Six miles across, * * * drink glass river. Jiangshan does not violate people, and it is full of thousands of windows. However, people in the bitter window are not self-defeating. The child belongs to a small country, and Hong Zhong choked slightly. I'll stay in the jade seat, and I'll be weak and strong. How talented the afterlife is, the name is as good as Huang Tongshuang's. Refused to enter the state capital, the old friend Yu Laopang. Diligence and inquiry, cherish frost eyebrows. Why are you waiting for me to return? I am cold and have a spring jar.
Ji Yun commented that this poem is "good at narrow rhyme" (see Su Shi's Poems, Volume 28). Indeed, this poem leveled the rhyme of "Jiang" with the least words in the rhyme department, and it never entered into other rhymes, obviously because it was difficult to see the clever. In addition, this poem is blunt (such as "not self-defeating", "weak step and abundant shoulder", etc.), trying to avoid rich color and winning with meaning, etc., all of which are not like Su Shi's own style, but rather simple, which shows that these are the characteristics of "Huang Ting Jian Ti" in Su Shi's mind. Huang Tingjian's Harmony Poems are uncompromising to this point, and they emphasize these characteristics even more, thus becoming a famous piece representing the style of Huang's poems. We think that Su and Huang's understanding of "Huang Tingjian Style" is very accurate. Although there are various definitions of "Huang Tingjian Style" in Song Dynasty, its famous people, such as Chen Yan and Xiao Yun, are "fresh and strange, and they are quite ignorant of their predecessors' ways" ("Geng Xi Shi Hua"); Yan Yuyun's "employment is particularly profound" ("Cang Lang Shi Hua Shi Bian"); Liu Kezhuang said, "We will learn from the strengths of hundreds of sentence patterns, study the changes in the system of past dynasties, search for strange books, and read different stories. As an ancient law, we will form our own family, although we can't say a word without a word" (Preface to Jiangxi Poetry School). Their attitudes and comments on Huang's poems are different, but their understanding of the style characteristics of Huang's poems is quite close to that of Su and Huang. After the Song Dynasty, most of the commentators agreed with the Song people's views and did not repeat them one by one.
Now let's illustrate the formation of Huang Tingjian's poetic style with his early creative practice.
From the table in the first section of this article, it can be seen that the proportion of seven laws in early Huang poetry is three times and two times that of the same poem in the middle and late Huang poetry, respectively, which shows that Huang Tingjian attached importance to seven laws in the early period. The situation of Huang Tingjian's seven laws before he was 3 years old is more complicated. First of all, he deliberately sought for novelty. For example, in Qingming Festival and Two Chess Songs Presented to the Public, the two couplets of "A man begging for a concubine is arrogant, and a gentleman is willing to burn to death without being sealed" and "Xiang Dong is willing to die with one eye, and the world can be divided" are unique and extraordinary in choosing words and making sentences. Seeking novelty without stability is the characteristic of doing little. However, at the same time, Huang Tingjian's seven laws also show a mature trend, which mainly has three points: First, the antithesis deliberately gets rid of the concubine and loves the white woman and pursues far-reaching meaning, such as "dancing the sun and removing the leaves is only a hundred miles away, and the base son and the public are young." White hair is born like a seed, and the green hills are easy to sit without money "("The Second Rhyme Pei Zhongmou in the same year "), the meaning of the upper and lower sentences is far from each other, thus enhancing the tension within the poem. Second, the tone is simple, ancient and new, and the color is elegant. For example, in the middle two couplets of "Snow Loving in a New Village", there is no Samsung in bucket handle, and the snow is bright and cold for thousands of miles. Although it is also a common pattern of writing scenes and expressing emotions in one joint, the scene of the scene of the scene is written in a light pen, and the love is even more simple and simple, and it stops at the story, giving people a new feeling. Third, poetry flows in a single line. For example, one of "Guo Mingfu's Two Poems for West Zhai at Yingwei" says: "Being poor is an official career, and it is said that West Zhai is awe-inspiring. Ten thousand volumes of books are suitable for children, and ten years of wood and wind smoke. I don't think about novelty all day, and I want to see how good my husband is. An De has a glass of wine, and the girl's audience is like water. " Although there are four in the quadruple, it is like flowing water and flowing freely. Even in the middle, the two couplets have not been detained because of the confrontation, which is quite meaningful. Because of these properties, Huang Tingjian's seven laws are not only far from Tang poetry, but also different from Wang Anshi and Su Shi, showing a unique artistic pursuit.
After the age of p>3, Huang Tingjian not only continued the above-mentioned artistic pursuit, but also emphasized the cadence of the seven-tone tone to avoid familiarity and survive. "Wang Zhifang's Poems" records: "The valley is called Hong Gui's father's cloud:' What is my nephew's favorite poem?' Father Turtle holds that "the hive opens its own household, and the nest or dream seals the marquis" and "Huang Liu doesn't understand the bright moon, and the green trees give birth to cool autumn for me", thinking that there is no such thing as the Ministry of Industry. Valley cloud:' I got it.' "The two couplets cited by Hong Peng are found in one of the Four Poems on the Star Temple and the Seventeen Poems on the Bian River, both of which were written at the age of 36, which shows that Huang Tingjian fell in love with the poem. As Hong Peng said, Huang Tingjian was inspired by Du Fu when he wrote the seven laws, but only 19 of Du Fu's 159 seven laws were awkward, which can be described as an occasional one, while Huang Tingjian wrote 153 awkward seven laws in his life, accounting for half of the total number of seven laws. Moreover, Huang's poems are much more steep than Du Fu's poems, thus forming a unique tone feature. For example, the third part of "Four Poems on the Temple of Falling Stars": "The falling stars start to build a deep house, and the old man in Longge comes to compose poems. The light rain hides the mountains for a long time, and the Yangtze River sails late. The banquet is fragrant and separated from the world, and no one knows the beauty of painting. Each hive has its own household, and a tea vine is cooked everywhere. " The simplicity and simplicity of the characters complement each other and become the representative work of Huang Shisheng's new thin and hard style.
signs and characteristics
Another sign of the maturity of early Huang poetry is that the structural characteristics of the combination of surface fracture and internal coherence of meaning pulse have been formed. Fang Dongshu, a Qing Dynasty man, pointed out: "The beauty of a valley begins with no reason, then ends with no reason, with a large sum like a rafter and a turning point like a dragon and tiger, sweeping away everything and mentioning only the essential words. Every time I take over Wan Li, I don't belong to it, which is unusual. " (Zhao Wei Zhan Yan, Volume 12) Fang's words specifically refer to the seven ancient poems of Huang, but in fact all the poems of Huang have similar structural characteristics, but they are more prominent in the seven ancient poems and the five ancient poems. There are 132 poems written by * * * in the early yellow poems, accounting for 13% of the total works at that time, which is slightly lower than that in the middle period and much higher than that in the late period. However, as far as artistic attainments are concerned, Huang Tingjian's "Seven Classics" did not reach a high level until the middle and late period. Among the early seven ancient works, there are better works, such as Returning Home to Be Bo's Family (written at the age of 27), Drama to Yan Shen (written at the age of 34), and Several Kinds of Books to Qiu Fourteen (written at the age of 36), etc. Although the words are strange, the composition is relatively straight, that is, Fang Dongshu commented on the last poem, "It is also a smooth narration" ("Zhao Mei Zhan Yan" This is not the case with the Five Ancient Dynasties. For example, the 36-year-old Uncle Yi Zhong sent Xia Junyu to Lingling's main book, the Changlu Temple of the Second Rhyme, and the Great Thunder Mouth, etc., all of which have the characteristics of strange and strict rules and regulations. Here is a poem "Going Home" written at the age of 39:
The sound of winding weft turns nasty, and the field car is cold and unlucky. When I was a child, I planted willows with my hands, which was close to the clouds and rain. Give up the old maid's insurance, and change the old one less. The slaughter is gloomy and gray, and the countryside becomes a bed. Recruit the father's party, and ask the marriage relatives. Returning as a guest, Gu Yingliang groaned. Life is full of water, and everything snow invades the temples. In the dead of night, the wind and frost fall, and the dry leaves form an array. Why is snuff happy? It is a letter. When you are in the New Year, you should be happy and afraid, and your children's teeth want to destroy me. Tie a boat for three hundred miles and dream not an inch.
The first two sentences suddenly introduce a bleak rural winter scene, three or four sentences describe the change of scenery, five or six sentences describe the change of personnel, and seven or eight sentences copy the change of scenery, which seems to be chaotic and disorderly. Even Fang Dongshu, who has always admired the style of Huang poetry, said, "The place is also out of order." ("Zhao Wei Zhan Yan" Volume 1) In fact, if you carefully appreciate it, it is not difficult to find the beauty of its composition. This is what a wanderer who left his hometown for more than 2 years saw and felt when he returned to his hometown: first, he saw the scenery outside the village, then he recognized the trees planted by hand in the past years, then he found the changes in his neighbors, and finally he found that the paths in the fields were not the same. These words not only describe the poet's confused and complicated mood, but also clearly explain the order of rushing back to his hometown and going to the grave. Where is it really "disorder"? Nine or ten sentences about the hospitality of relatives, eleven to fourteen sentences about expressing feelings, and fifteen or sixteen sentences about the scene of the dead of night, which are used to contrast the hustle and bustle of the day. Although poetry keeps turning, the context is extremely clear. The last six sentences have different interpretations: Teacher Cheng Qianfan thinks this is "before writing home", and "in the overall structure, the later events are put in front". (See Selected Poems of Ancient Poetry on page 516) Mr. Chen Yongzheng thinks that this is the poet's yearning for his family who did not return to his hometown together (see Selected Poems of Huang Tingjian on page 89). I think this means that the poet left in a hurry after returning home, thinking of his mother and children who stayed in his hometown when he was berthing a boat "three hundred miles" away from home. Because Huang Tingjian Yuanfeng wrote the poem "Xiao Fang Bian Zhou" when he went to Taihe County from Bianjing in the third year (18): "Hold another 3 mouths and dream of Jiangnan."
however, after he arrived in Deping Town in the seventh year of Yuanfeng (184), he wrote the poem "Leave Wang Lang for a lifetime", but he said: "There is no water in the south of the Yangtze River when the sand blows outside the river. The flesh and blood are often in Wan Li, so why send a voice? I'll come with the simple book, and Gu Ying will be all over. " Ren Yuan's note also quoted him and the governor of Texas as saying: "Guests and officials can't come at home, and the official residence is bleak." It can be seen that the poet took his family with him when he went to Taihe County, but when he went to Deping Town, he did not take his family with him, but left them in his hometown in the south of the Yangtze River. From returning home in a hurry to leaving home in a hurry, the meaning of each layer jumps and changes, but the internal rules are strict and orderly. This poem is entitled "Going Home" instead of "Going Home", which is really worthy of the name. In addition to language innovation, this poem's lines of grass and snakes are grey, and the style of seemingly broken and solid connection reflects the characteristics of Huang's poems. Similar structural features are also reflected in the early works of other poetic styles, for example, Five Poems of Liu Jingwen's Second Rhyme, which was written at the age of 4, and Seven Poems, which was written at the age of 41, are not detailed. To sum up, we think that a unique style of Huang Tingjian has been formed before Huang Tingjian entered the official Bianjing.
Huang Jinkui's poem
Give a footnote to the title first. Huang poetry is not a poem with indecent style as commonly understood, but a poem by Huang Jinkui, a gifted scholar in the south of China; Yellow poetry is not "yellow", and its color is peaceful, neither plain nor bright, giving people a pink warmth.
"Touch the stone/sit in a boat/carry a rainbow/cross the river". Crossing the river by feeling the stones is a common saying. One day, it became familiar and became a famous saying. Now reading in Huang Shi, it seems that famous sayings have returned to the people, which makes people feel another kind of kindness. Because of the addition of boats and rainbows, this image is simple and smart.
"Let's go/out of the fallen leaves/out of the valley of the dead winter/out of all the places where conclusions have been made." The meaning in the poem is easy for most people to figure out. But it is not easy that most people can't write such a sentence. To express similar ideas, people tend to exert themselves as hard as an orator, but in fact, the calmer the tone, the more people hide their reverie.
"Philosophers say/God is supreme/Yes/We put it on the shrine ourselves/Great men say/Great men are great/Yes/We kneel ourselves." The title of this poem is Untitled, but it involves a big topic. A few eight lines, only thirty words, are vivid and profound, which makes many macro articles and even monographs lose their luster.
"The wind has stopped/the rain is whispering slightly/the earthworm is creeping slowly/the new bud is about to break ground." Going back many years, such a sentence is undoubtedly too ordinary and too normal. Today, however, such pen and ink are rare. Because such attention and interest are extravagant.
"Because you know/are more open-minded and tolerant/have/become the grandeur of the climate." This poem praises the sea. In fact, such a reliable and practical philosophy is unknown to the sea and will never be known, but it is practiced day and night. People know it and talk about it all day, but few people really do it.
The poet said that eternity has nothing to do with the length of time. A group of Memories of the Years, with mountain springs, ancient trees, grandmothers and sandals, struck a chord. Today's people are busy and impetuous. How many leisure people can erect a tombstone in their minds to keep memories of sandals, grandmother, childhood and hometown?
Characteristics and keynote
After reading these sentences of Huang Shi, I can't help thinking of my middle school Chinese teacher. The teacher is a poet, who indisputably occupied a place in the poetry circle of Shu more than forty years ago. The teacher wrote that mountains and mountains are not ferocious, that water is not dangerous, and that everyone is not evil. In his poetry garden, there is a little bit of gloom in Gu Xiang, a little bit of loneliness in Yuan Ye, a little bit of kindness in dealing with people, and even a little bit of lingering. In a word, the teacher's poems are far away from selling, shooting from the mountain, centrifugal meter and bed; It is not as inspiring as the folk songs in the Great Leap Forward, nor as suspicious as Liu Shahe's Grass and Trees. Teachers in the "Cultural Revolution", such as frightened birds, were humiliated. At a winter criticism meeting, a pot of cold water was poured into the neck collar, but in the face of abuse and slap, he calmly said, "I can't write a red article, so I have to be a pink poet."
Really, the yellow poem we read today is really true, just like my teacher's poem. Of course, the specific words and contents are difficult to overlap. But put