The first is the anger caused by the contradiction between his urgent desire to "rectify Gankun" and the cold reality that the motherland is still closed, broken and useless. Previous representative works in this field can be taken as examples:
In autumn, the south is empty and desolate, the river flows with the sky, and autumn is even more boundless. Seeing the mountains in the distance will only cause me sadness and resentment at the end of the country. These mountains are like a hairpin and a spiral coil on a woman's head. The sun in the west leans against this floor, and geese are barking in the distant sky. I am wandering in the south of the Yangtze River, homesick for a wanderer. I saw Wu Gou and made a column, but no one would attend. Don't say that bass is not as good as silver carp. The west wind is gone, and Ji Ying hasn't come back yet? People like Xu Si who only buy land for themselves should be ashamed to see Liu Bei who is brilliant and complete in these two aspects. Unfortunately, time passes like running water. I'm really worried about the country's ups and downs. As Huan Wen said, the trees have grown so much! Red scarf and green sleeves, heroic tears, who calls?
Xin Qiji wrote many words about climbing mountains and getting close to water and gathering friends. Whenever he is thousands of miles away or sent to meet him, there is always an uncontrollable feeling of grief and indignation. He has clearly expressed his grief and indignation: "It's not that his grief is hard to calm down, but that he has provoked other hatred" ("The Brother who sent the flowers gives you a drink"). The so-called "other haters" are actually "haters who have no attitude towards the residual water and green hills". These two poems, Shui Long Yin and Chu Qian Tian Dora, are "wanderers in the south of the Yangtze River" moved by the magnificent autumn scenery in Tianshui, and were originally confessions of the resentful feelings of the strong men in the Central Plains. The whole word confides in mountains and rivers, and Wu Gou holds the air; As time goes by, melancholy and depression are accompanied by top gun. A patriot's expectation of not being depressed and doing nothing is beyond words.
If the emotion expressed in Shui Long Yin is still relatively soothing, then with the passage of time and the ups and downs of fate, the sadness in Xin Qiji's later poems becomes more and more intense and sharp. This can be used as an example of his reconciliation with Chen Liang, who is also a progressive thinker. In the 16th year (1 189), Xin and Chen met in E Lake. After Chen's resignation, Xin Qiji reposted "He Xinlang" many times, and the lyrics aroused a resentment of Yu Bo. For example, in the second song, it reads: "The blood salt car is unattended, and a thousand miles of bones are harvested." Rivers and roads cannot be cut off. I pity you most for dancing in the clouds and saying,' People's hearts are as iron as death'. Look at the test hand mending the sky crack. "There is both the pain of the status quo and the mutual encouragement of' mending the sky'.
Although Xin Qiji's ci is full of Xiao Sa's declining mood in the face of the severe situation, from the overall appearance, his keynote is persistent pursuit of career. Even if it seems to be lamenting, in fact, what is beating inside is the passion and a childlike heart with "white hair and self-pity as iron" (Ding Feng). His "broken array, giving Zhuang Ci to Chen Tongfu" can be said to be a typical indication of this, and the word cloud:
Drunk in the dream of watching the sword under the oil lamp, dreaming back to the old days of the military camp, a horn sounded. Give the roast beef to the men and the band will play northern songs. This is a military parade on the battlefield in autumn. Horses run like Ma Delu, bows and arrows fly like thunder. It is a good idea for the emperor to complete the great cause of recovering the lost land of the country and gain a good reputation from generation to generation. Poor hair has become a white-haired man!
This is a sad song of sharp conflict between ideal and reality. The poet wrote the ideal realm with the "dream" in the middle eight sentences, just like a magnificent and energetic picture of Soldiers on the Battlefield. The more I wrote the grandeur and enthusiasm of the ideal, the more I showed the loneliness of drowning my sorrows and watching the sword (which should be the sword that made meritorious deeds on the battlefield), and the more I saw the sadness of "poverty and white happening". This "pity" is naturally a powerful attack on power and a deep sorrow for your situation. But this kind of sadness is not depression, not decline. Because although this kind of sadness comes from the high-spirited realm, it has not given up the yearning for the ideal realm of "Riverside Red Flag on Qingming Festival, Riding the Moon for a Thousand Times" ("Water Tune Song Tou"). Otherwise, he doesn't have to "watch the sword while drunk", let alone "feel pity". Can he really not be a "happy man on the court" as some commentators said?
Although sad, but still persistent, this should be the value of Xin Qiji's ci. This is why in Jia Xuan's long and short sentences, there are repeated memories and dreams of the past, that is, "When you are strong, you can ride across the river with a big flag" ("Partridge Sky") and "When you are young, you can ride a mink-haired horse" ("Shuidiao Song Tou"). This is the time when he still hopes and expects to realize his ideal in the midst of intractable contradictions and depression: "Look at the sideburns, try to return the flowers to the date and count them again" ("Zhu Yingtai Near"); This is why he often "makes a pillow sound in the middle of the night, and I don't know if he can do it at the bottom of Qingxi" ("Nangezi Sitting in a Mountain Residence at Night"), and his heart is so excited that he can't sleep. Even when I was asleep, I "traveled all over Jiangnan and Jiangbei" ("Man Jiang Hong"), "I was wandering consciously, I came back, sat right, vaguely on the river bank" ("Whistle"). His heart can not be separated from the front line of Jianghuai and the Great Central Plains for a moment!
"When burying a horse, swear to yourself that moths are not heavy" ("Man Jiang Hong"), Xin Qiji encouraged himself with such an oath in painful conflicts. The reality is sad, how can we give up our ideals lightly? This is the "Qi" in the poem Linjiang Xian, a patriotic poet. In his poem, he used rocks as a metaphor for "the hillside is white".
Secondly, the patriotic spirit of Xin Qiji's ci poetry is also reflected in his rectification of Gan Kun's "master of talents" and his reverence for heroes who have contributed to the cause of reunification in history.
There are many nostalgic works in Jiaxuan's ci, and the works that are not nostalgic often lead to a series of ancient people through classics. The latter, if viewed from the technique alone, is really like "dropping a schoolbag". In fact, although Xin Qiji does have the shortcomings of piling up allusions in some chapters, most of his works recalling the past or using allusions are purely based on the wine of the ancients to pour out the "thunder" in his chest. He cherished the memory of people who were interested in reunification, from Dayu to Sun Quan and Emperor Wu of Song, because such talents were needed in real life. To miss the ancients is to call on the present, hoping that such a hero can "mend the sky." Here, I just want to take two words as examples to explain briefly. One is "raw tea seeds, topic Jingkou county dust table pavilion":
The achievements of Dayu's flood control were passed on to him. How hard he worked this year! He made fish swim into the abyss, and people settled on flat soil. The red sun sets in the west and the white waves go east. I'm not looking at Jinshan, but commemorating Yuda.
Xin Qiji built the world he yearned for with a few simple strokes; I long for and admire such a wise master as Dayu, to rebuild the mountains and rivers and relieve the suffering of the people hanging upside down. Patriotism and loving the people should be consistent. From the perspective of Song Dynasty, the "worry" in The Son of Tea is a situation in which the poet prayed for "governance". In this way, it is just around the corner for people to return to their places, gather manpower, restore the Central Plains and unify the world.
Another example is the famous "Yongyu Le Jing Kougu Beiting Nostalgia":
It is difficult to find a hero like Sun Quan after the history of the country. The dance floor was still there, but the heroes had already gone with the passage of time. The setting sun shines on the grassland covered with grass and trees. People say that this was once the place where Emperor Wu of Song lived. Think back to that year: Jin Ge is an iron horse, swallowing Wan Li like a tiger. However, Li Liu Yi Long, the son of Liu Wang Yilong, was a great success and made a swift northern expedition. Instead, he made the Northern Wei Emperor Wu Tuoba fly south and returned to the north bank of the Yangtze River, which was severely hit by his opponent. I have been back to the south for forty-three years, and I still remember the war scenes in Yangzhou. Looking back, there was a crow club drum under the beaver temple. Who can ask: Lian Po is too old to eat?
This poem is praised as the first masterpiece of Xin Ci by Ci critics, because it embodies the sad and unrestrained style of Jia Xuan's Ci. In terms of techniques, it is also a masterpiece of Xin Ci. It is good at reasoning with allusions and lyricism, and integrates political theory with lyricism. When writing this poem, Xin Qiji was a 66-year-old man with white hair, blowing in the wind, and Xiao was called to the front to prepare for the war. How does the poet feel when he returns to his hometown where he punished traitors and resisted stubborn enemies 43 years ago? Years have passed and personnel have changed several times, but the "ancestral temple" of the invaders-the beaver temple of Buddhism-is still full of incense-which is a heavy whip to beggars and beggars. Facing the Lishui Mountain in Jingkou and the mountains and rivers in Wan Li in the north, I can't help but think of Sun Quan, a great hero in Zhenjiang, and Liu Yulai, a Song Wudi in the Southern Dynasties. "Can't find a hero", nostalgia is actually hurting the present. It was a small court that looked back at the divided large territory with a mirror and lived in peace for a long time. Ci not only uses the past to satirize the present, but also draws lessons from the past-"Yuan Jia Cao Cao". More importantly, it uses the past to illustrate the present and Lian Po to clarify its ambition. But whether it is satirizing the present, learning from the present or comparing the present, the core of coherence is to seek an ideal situation of great unity.
In Xin Ci, it can be clearly seen that the ancient poet revered Liu Bang, a kind of "sword refers to Sanqin, the king is proud, and returned to the East after World War I" ("Magnolia Slow"). He praised Liu Daye for helping him, "adding coolness, moving lofty sentiments, and giving six strange reasons"; He admired and missed Li Guang, who was brave and good at fighting. He worshipped Zhu Gekongming, who devoted himself to supporting Shu Han ... It was through these ancient wise men and ministers that Xin Qiji expressed his patriotic feelings.
Thirdly, the patriotic spirit of Xin Ci is manifested in the allegory and exposure of stealing banquets by monarch and ministers in the Southern Song Dynasty.
"Who asked: Leiwa kettle, even the yellow bell is dumb?" ("Water") This is grief and anger turned into anger, which was the anger that the voice of justice in the main battle could not be aroused at that time, and the voice of peace fluctuated.
He mentioned "Yi Fu" many times, taking Wang Yan, who lived in the south of the Yangtze River in the Eastern Jin Dynasty, as an example to talk about the country's mistakes, criticizing the powerful officials who are now in power for "bowing their heads and surrendering" and "being too old to make any noise". For example, "Look up at China's way of dressing and sell broken bones in the daytime. Sigh that everyone is clear! " (He Xinlang) "How many people really know how to cross the river from the south? Chang 'an elders, the scenery of the new pavilion, are as poor as ever. People of Yi Fu, China has sunk to the bottom of the sea. How many times have you turned around! " (Shui Longyin) ...
As for the popular word "touching fish", "you can eliminate several storms and come back in a hurry in spring", and its word "You don't dance, you don't see it, Yuhuan Yan is dusty?" Leisure is the hardest. Don't lean on the hedge, the sun goes down, and the flowers are bright. " The villain's performance is particularly obvious when the country is in power and the state affairs are in decline. "In the Southern Song Dynasty, Luo Dajing's" He Lin Yu Lu "has recorded the reaction of Zhao Shuo and his son who were" quite unhappy "at the sight of this word. In addition, words such as "Jiang Shenzi smells cicada frog play", "Millennium tune", "An Zheting" and "Niannujiao" (burning hands, turning around, Chang 'an unlimited guests) are all ugly works that satirize Guan Hai's disaster to the country and the people.
To sum up, Jia Xuan's poem "Don't cry but cry blood" ("He Xin Lang Bie Mao Family Twelve Brothers") is indeed the crystallization of patriotic poet's enthusiasm. Although Xin's patriotism and loyalty to the monarch are still difficult to separate, just like other literati in feudal times. But this does not prevent us from learning something valuable from it. As far as the development history of Ci is concerned, the fact that Ci is getting better and better (4) and the influence of Xin Ci on Liu Guo, Liu Kezhuang, Chen Renjie, Liu Chenweng and others in the middle and late Southern Song Dynasty are enough to illustrate his immortal achievements. This kind of influence, or what constitutes the core of a part of speech, is the "qi" of Xin Qiji's ci, the kind of unswerving patriotic feelings.
(1) Zhao Shankuo's "Man Jiang Hong Xin Shuai Birthday". ② Dai Fugu's Shiping Ci: Song Ci, p. 2309. ③ See Deng Guangming's Chronicle of Xinjiaxuan on page 139. ④ Dai Fugu's Shiping Ci: Song Ci, p. 2309.