Ancient poetry after Zongyuan failed to participate in the "Yongzhen Innovation", he was demoted to Shaozhou secretariat in September and "Daoism demoted to Yongzhou Sima", and arrived in Yongzhou in

Ancient poetry after Zongyuan failed to participate in the "Yongzhen Innovation", he was demoted to Shaozhou secretariat in September and "Daoism demoted to Yongzhou Sima", and arrived in Yongzhou in November. This is undoubtedly a heavy blow to the 33-year-old reformers who are in their prime. In the first month of the first year of Yuanhe (86), Ling Zhun, one of the eight Sima, died of anger, and Liu's mother Lu died less than half a year after coming to Yongzhou. Liu's residence was caught in a fire, which really brought national worries, family disasters and physical worries together. The political snowstorm made him "isolated" and angry and sentimental, which was the key to the conception of Jiang Xue. Jiang Xue is only 2 words: "a hundred mountains and no bird, a thousand paths without a footprint. A little boat, a bamboo cloak, an old man fishing in the cold river-snow. " It's all common words and sentences, simple and plain. However, it is these common words and sentences that outline a lonely fishing map in the cold river with open artistic conception and cold air, which renders a desolate atmosphere and causes a lonely and unyielding mood, which contains profound connotations. At first glance, this poem seems to be "snow scene in Yongjiang township", which is about the working people. In fact, it is a political lyric poem. The fisherman's image of fighting against cold and snow is entrusted with the poet's ideals and ambitions, reflecting the poet's own shadow. First of all, the first two sentences use the words "Qian Shan" and "Wanjing" to describe the mountains and roads, which means the vast background. Looking around, all the mountains can't see the shadow of birds, and there are no traces of pedestrians on every path. The hills in the south are in an extremely quiet and silent background, and it seems that the world is dominated by snow and ice. This reminds us of the great man Mao Zedong's "Northland scenery, thousands of miles frozen, Wan Li snow drifting". Poets use "birds fly away" and "people disappear" to render the vastness of heaven and earth and set off the cold weather. The last two sentences are like close-ups in a movie, with the focus on a boat and a fisherman in a Dai Li hat, fishing on the snow-covered river. Using "loneliness" and "independence" to describe a fisherman's lofty aloof, regardless of the ice and snow, he is not afraid of the cold, and he concentrates on fishing, which seems to be inviolable. Fishermen don't just catch fish, but "cold river snow" "Cold River Snow" is like a stroke of genius, which organically connects "River" and "Snow", and the combination of reality and reality makes the whole picture seamless. At the same time, it beautifies the image of the fisherman and embodies the spirit of struggle not to succumb to the harsh environment. In terms of writing, it highlights the fisherman who resolutely fishes with the static background and the cold and dead picture; The cold against the hot and chilly environment reflects the poet's childlike feelings of fighting against the harsh political climate, and his inner world is warm and full of yearning. Poetry is beyond expression. At present, the academic circles have made an in-depth discussion on the artistic conception of Jiang Xue, and there are four representative viewpoints. Mr. Wu Xiaoru believes that "the poet's subjective intention is to write the fisherman's spiritual world quietly". "The old fisherman was not afraid of the cold weather and the heavy snow, forgot everything and devoted himself to fishing. Although he was lonely in form, his personality seemed lofty and aloof, even a little awe-inspiring. This illumined and beautified fisherman image is actually the sustenance and portrayal of Liu Zongyuan's own thoughts and feelings "(Dictionary of Appreciation of Tang Poetry). First, it can be called "lofty and aloof theory". Lu Xia thinks: "Jiang Xue, a work in Yongzhou period, although it is just four sentences, is a swan song of" taking everything from man to environment ",which deeply embodies the author's thought of worshipping Confucianism and Buddhism and the Zen mechanism interest formed by it" ("From <: Jiang Xue > Look at Liu Zongyuan's Confucianism and Buddhism. Chen Qiongguang also thinks: "The landscape poem that truly represents Liu Zongyuan's Zen and Yue level should be pushed to Jiang Xue", "In Qian Shan and Wanjing, the birds are extinct, and so are the people. What does a lonely boat and a lonely man" fish alone "under Jiang Xue? It is really intriguing. What he' fished' was emotional flavor, and what he' fished' was Zen interest, which is a poetic interpretation of' Zen emptiness' by the poet "(Analysis on the Penetration of Buddhism in Liu Zongyuan's Poems). Secondly, it can be called "Buddhism and Zen". Japanese scholar Tetsuhiko Tozaki analyzed: "Although it was made because of the snow scene near Chaoyangyan, Yongzhou, the first two sentences' ... birds fly away. ..... The disappearance of people' implies the defeat of Yongzhen's innovation and the exile of comrades, which is not like the description of the scene and the current life situation in the poem. " "This poem is a reflection of the past and gives birth to confidence. The snow mentioned in the poem is actually a hint of political criticism to the popular readers at that time" ("I read Liu Zongyuan's Poem Jiang Xue"). Third, it can be called "political criticism". When analyzing the artistic method of Jiang Xue, Mr. Lin Xingzhai pointed out: "The first thing is to choose images with stereotyped meanings. ..... Since' Qu Yuan set free and swam in Jiangtan' met the first documented fisherman, the fisherman has exactly become a symbol of' settling down and expanding' "("Peach Blossom Garden of the Extraordinary Mind "). Inspired by this, I think Qu Yuan said in The Fisherman: "The whole world is turbid, and everyone is drunk and I wake up alone", and Liu also wrote a poem "Infinitely living people send me to wake up alone, and pity and loneliness go to the Changting", which shows that he is a fisherman who is "drunk and I wake up alone". What needs to be added is that the fisherman who fished in the snow also implied the meaning of fishing in Yan Ziling in the Han Dynasty, and Liu Zongyuan once placed a glimmer of hope in Chun Li, Tang Xianzong-he could also use himself as Han Guangwu used Yan Ziling. This can be confirmed by a series of letters written by Liu calling for help. For example, Chen Qing-qi, the Shangshu of Zhao Zongru in Guangzhou, Meng Rong's Letter to Xu Jingzhao, and Yang Jingzhao's Letter, etc., hoping to "be a man again" and return to the court. Although he was in Yongzhou, he "cared for the landscape, entrusted it to the world, and always interacted with the landscape", but he still hoped to get the opportunity to serve the country in order to realize the ideals of "assisting the time and things" and "serving the country safely". This is his long-cherished wish of "singing and fishing", and it is a heart that beats in the ice and snow. Fourthly, it can be called "the theory of hope citation". After reading Bohong Xu's A New Interpretation of Liu Zongyuan's Poem Jiang Xue, he thinks that Jiang Xue implicitly uses the allusion of "Jiang Taigong fishing", and compares "fisherman fishing alone" with "Jiang Taigong fishing" according to Historical Records of Qi Taigong Family, and thinks that there are many coincidences between the two: "The fisherman in A and Liu's poems and what the Taigong did. B,' Dai Li' and' poverty' coincide. C,' Weng' and' old age' coincide. Ding, the social environment in which they engage in fishing is similar. " Therefore, it is believed that "the fisherman's image is the self-symbol of Liu Zongyuan's personality" and "more importantly, it entrusts the poet's thoughts and feelings that he hopes others will quote him to get rid of embarrassment and soak up the spring breeze of the Lord as early as Jiang Taigong to realize his political ideal and ambition of" prospering Yao and Shun, and benefiting Anyuan ". This analysis is detailed and unique, which can be used as a supplement to this statement. It stands to reason that the study of Jiang Xue's poem can come to an end. However, when we look back, we still have some unfinished words. Jiang Xue, written in the second year of Yuanhe, is a work in the early period of banishment. At this time, Liuzi lived in longxing temple, and her mentality was very contradictory, with a sense of loss, guilt and anxiety. He wants to seek sustenance from Buddhism, express his depression during his travels, and look forward to returning to Chang 'an's hometown. As for the snow scene near Chaoyangyan, it is a speculation of Yongzhou scholars, just like the setting of Chaoyangyan in Fisherman, and there is no conclusion yet. Is Jiang Xue realistic or freehand? I'm afraid it's mainly based on freehand brushwork, supplemented by realism, which is the foreshadowing and carrier, and freehand brushwork is the theme and the spirit. Predecessors commented that "Liu Zi was the only person in the Tang Dynasty who got a deep knowledge of Sao", and Liu inspired himself with Qu Yuan's spirit, and wrote "Seventy Rhymes of Visiting Nanting Night" in the third year of Yuanhe (88): "Go to the landscape and sing" Li Sao "with emotion". There are also several references to fishermen in this poem, such as "Myanmar Mu Drum"? Weng, Xiao Yong feeds its bad ",drum? Weng refers to a fisherman paddling. "The Fisherman of the Songs of the South": "The fisherman said,' A saint does not dwell on things, but can pass through the world. The world is muddy, why not spit out its mud and raise its waves? Everyone is drunk, why not feed them and sip them? Why think deeply and hold high, and let yourself be? " ..... The fisherman smiled and went away. "I can't help admiring the fisherman who paddles. He sings and sings, and he can drink and eat distiller's grains with others. "Panxi welcomes the rest of the base, and Acheng is connected with the old city." Panxi: a tributary of the Weihe River. According to legend, Jiang Ziya Fishing Place. Acheng: Epang Palace. So the address is in the west of Chang 'an County, Shaanxi Province. The meaning of the poem is that the houses in my hometown are close to the homestead left by Jiang Taigong, and also connected with the original ditch city of Epang Palace. At the end of Yuan He's four-year book "Reward Lou Xiucai for Giving Huainan a Gift", he said: "You should only swim in the west, but you should be lonely, but you should be grateful." Xijian refers to Yuxi, which means: "In the future, I will fish alone by the Yuxi in the west of this city to relieve my sadness. This is mutually confirmed with the self-report: in Yongzhou, "... digging ditches and ponds, arts and trees, singing and fishing, and looking at the sky and day, which is suitable." (The Second Book with Yang Hui) At this time, Liu Zi's mind has adapted to the environment of Yongzhou, and the fisherman's mind tends to be peaceful. The poem "Fisherman" was written in the seventh year of Yuanhe (812), and it was a work in the late period of banishment. In the indifferent and elegant picture scroll, the landscape green is bright and beautiful, and the emotional appeal is plain and leisurely. At the end, the white clouds chasing each other on the rocks are deliberately pointed out, which vaguely conveys the poet's lonely high school accompanied by loneliness. To sum up, as a poem expressing the mystery of the soul, it is often a complex of various emotions, which is not single, but three-dimensional. The fisherman's image in the poem Jiang Xue is a treasure of art and the embodiment of the poet's personality, showing a diversified mentality: lonely, lofty and stubborn, cold and piercing, passionate, disappointed and full of hope, both "sexual and wild, can't be destroyed" and looking forward to being quoted. For thousands of years, she has been amazing and controversial, showing the charm and immortality of art!