There are many talented people all over the country, and their poems and popularity will last for hundreds of years. -Zhao Yi's On Poetry
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On Poetry
Zhao Yi
Du Li's poems are widely read,
So far, this is not new.
There are talents in Jiangshan.
They have been coquettish for hundreds of years.
Du Li: refers to the great poets Li Bai and Du Fu in the Tang Dynasty (here refers to Da Du Li, Xiao Du Li refers to Li Shangyin and Du Mu. )
Talented people come forth in large numbers: the country produces talented people from generation to generation. Talented people, talented people.
Coquettish: refers to the "national style" in The Book of Songs and Qu Yuan's Li Sao. Later, the poem that controlled poetry writing was called "Sao". This refers to the lofty status and far-reaching influence of "gifted scholars" who have made achievements in literature.
The poems of Li Bai and Du Fu were sung by thousands of people.
It doesn't feel new now.
There are many talented poets in this country from generation to generation.
Their poems, articles and fame will be circulated for hundreds of years.
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Taking Li Bai's and Du Fu's poems as examples, this paper explains the first two sentences of the poem: "Du Li's poems are widely circulated and are not new so far." The poems of Li Bai and Du Fu have been passed down through the ages, and no one can compare them. However, even such a great poem is still not new. It can be seen that "talented people come forth in large numbers, each leading the way for hundreds of years", and affectionate people appear from generation to generation in the country, and their respective influences are only a few hundred years. The author believes that poetry should keep pace with the times, and poets should be innovative in their creation, not deliberately imitating, but following in the footsteps of the ancients.
The first and second sentences point out that even great poets like Li Bai and Du Fu have historical limitations in their poems. The third and fourth sentences call for innovative consciousness, hoping that poetry writing should have the spirit of the times and personality characteristics, be bold and innovative, and oppose conformism. The world often uses this poem to praise talented people, or to show that a new generation replaces the old, or to show that the rise of a new generation is like rolling the Yangtze River, which is unstoppable.
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This poem embodies the author's idea that the most important thing in poetry creation is innovation. He believes that poetry develops with the times, and poets also demand new changes when creating. Not only are the works of the ancients the best, but every era has its own style of poets. Write that future generations inherit predecessors. Although the language of this poem is straightforward, it has profound implications. "Jiangshan has talented people and has been leading the way for a hundred years." One sentence tells the theme and center of literary creation with the changes of the times.
Zhao Yi's poems advocate innovation and oppose mechanical mode. He reviewed the achievements of poets Li Bai and Du Fu. From the perspective of historical development, each era has its leading figures, and it is not necessary to follow the ancients. Poetry should also keep pace with the times.
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Coquettish: refers to the lofty status and far-reaching influence of "gifted scholars" who have made achievements in literature.
In the history of China literature, "Sao" is as famous as "Guo Feng" who represents the Book of Songs and "Li Sao" who represents the Songs of Chu. "Sao" tradition is two fine traditions of China ancient poetry developed under the influence of The Book of Songs and Songs of the South, namely "Feng" poetry tradition represented by The Book of Songs and "Sao" poetry tradition represented by Li Sao.
The so-called "wind" poetry tradition is the realistic spirit handed down from generation to generation. The basic principle of realism is to reproduce life according to the actual style of life, express the author's thoughts and feelings through a true, concrete and vivid description of life, and reflect the essence or some aspects of social life. The folk songs in Guo Feng and the political allegorical poems of the literati in Qing Dynasty in Er Ya embody this realistic spirit. In content, they face up to reality, describe reality, expose reality and criticize reality; In terms of artistic expression, they are good at using simple writing, concise language and clever metaphors to create real, natural and vivid images, and to paint a kind and touching picture of life to express their feelings and reflect reality. This is the main feature of Feng's poetic tradition, that is, the realistic poetic tradition. The realistic spirit of the tradition of "Feng" poetry in later literature mainly includes: Yuefu folk songs in Han Dynasty, literati poems in Jian 'an Cao Wei era, folk songs in Northern Dynasty, Du Fu's "Poetry History" works in Tang Dynasty, the "New Yuefu Movement" advocated by Bai Juyi in mid-Tang Dynasty, Bai Juyi's poems represented by Wang Yucheng in Song Dynasty and Yuan Haowen's poems in Jin and Yuan Dynasties. Although Guan Hanqing's zaju in Yuan Dynasty and Cao Xueqin's novel A Dream of Red Mansions in Qing Dynasty are not poems, they also inherit the fine tradition of realistic literature.
The so-called "Sao" poetry tradition is a creative method of positive romanticism full of passion and fantasy. The principle of positive romanticism is to "strive to strengthen man's will to survive and arouse his inner resistance to reality and all its oppression". The poet Qu Yuan's long political lyric poem Li Sao embodies the creative spirit of this positive romanticism. This is manifested in the ideological content and artistic techniques of Li Sao. In content, Li Sao shows Qu Yuan's progressive ideal and his unremitting pursuit of this ideal. This is the essence of positive romanticism. In terms of artistic techniques, on the one hand, Qu Yuan used rich mythological materials to form a strange mythological world through free fantasy, so as to express the poet's inner contradictions and conflicts, his pursuit of heaven and earth and his unswerving patriotic feelings; On the other hand, he used the metaphor of developing folk songs to create a world of "vanilla beauty" to symbolize that his struggle with the decadent and dark forces of Chu was a struggle between truth, goodness and beauty and falsehood, ugliness and ugliness. On the basis of real life, Li Sao expresses the author's persistent pursuit of progressive ideals with rich fantasy and enthusiasm, which is also the main feature of Sao's poetic tradition, that is, the literary tradition of positive romanticism. This positive romantic literary tradition has also been passed down from generation to generation. Jia Yi, a poet in Han Dynasty, Cao Zhi in Jian 'an era, Ruan Ji in Zhengshi period, Zuo Si in Jin and Six Dynasties, Bao Zhao, Li Bai in prosperous Tang Dynasty, Li He in mid-Tang Dynasty, and even the uninhibited ci school represented by Su Shi and Xin Qiji in Song Dynasty, and novelists Wu Cheng'en and Pu Songling in Ming and Qing Dynasties all inherited and developed this fine tradition to varying degrees.
This refers to the lofty status and far-reaching influence of "gifted scholars" who have made achievements in literature.
Wit: refers to a talented poet.