Li Shangyin (about 8 13-858), a native of western Henan (xi), Fan Nansheng, originally from Hanoi, Huaizhou (now Qinyang, Henan) and originally from Xingyang (now Xingyang, Zhengzhou, Henan). Tang Wenzong was a scholar in the second year (837), and worked as a secretary, a provincial school bookkeeper and a captain of Hongnong.
Li Shangyin was one of the few poets who deliberately pursued the beauty of poetry in the late Tang Dynasty and even the whole Tang Dynasty. Li Shangyin is good at poetry creation, and his parallel prose also has high literary value. Together with Du Mu, it is called "Xiao", and together with Wen, it is called "Wen Li". His poems are novel in conception and beautiful in style, especially some love poems and untitled poems are touching, beautiful and moving, and are widely read. However, some poems are too obscure to be solved, and there is even a saying that "poets always love Quincy and hate that no one writes about Jian Zheng".
Because Li Shangyin was involved in the political whirlpool of "Party struggle between Niu and Li", he was excluded and frustrated all his life. In the fifty-fourth year of Qing Qianlong's reign, Huaiqing County Records recorded that Li Shangyin was buried at the foot of Beishan Mountain in Qingyuan after his death, and his ancestral home was Yongdian, Huaizhou (now Wangzhuang Town, Qinyang Mountain).
Second, Li Shangyin's poetic style:
Li Shangyin's poems reflect his thoughts. His basic thought about human beings basically belongs to Confucianism, but he is practical and has a certain critical spirit to Confucianism. He believes that it is not necessary to take Confucius as a teacher and "forbearance" as the holy thing. He also has Buddhism and Taoism, advocating "nature" as his ancestor.
Li Shangyin's poems have a distinctive and unique artistic style, beautiful words and profound meanings. Some poems can be interpreted in many ways, while others are obscure. Existing contract. A brief introduction about Li Shangyin is as follows:
Li Shangyin (about 8 13-858), a native of western Henan (xi), Fan Nansheng, originally from Hanoi, Huaizhou (now Qinyang, Henan) and originally from Xingyang (now Xingyang, Zhengzhou, Henan). Tang Wenzong was a scholar in the second year (837), and worked as a secretary, a provincial school bookkeeper and a captain of Hongnong.
Li Shangyin was one of the few poets who deliberately pursued the beauty of poetry in the late Tang Dynasty and even the whole Tang Dynasty. Li Shangyin is good at poetry creation, and his parallel prose also has high literary value. Together with Du Mu, it is called "Xiao", and together with Wen, it is called "Wen Li". His poems are novel in conception and beautiful in style, especially some love poems and untitled poems are touching, beautiful and moving, and are widely read. However, some poems are too obscure to be solved, and there is even a saying that "poets always love Quincy and hate that no one writes about Jian Zheng".
Because Li Shangyin was involved in the political whirlpool of "Party struggle between Niu and Li", he was excluded and frustrated all his life. In the fifty-fourth year of Qing Qianlong's reign, Huaiqing County Records recorded that Li Shangyin was buried at the foot of Beishan Mountain in Qingyuan after his death, and his ancestral home was Yongdian, Huaizhou (now Wangzhuang Town, Qinyang Mountain).
Second, Li Shangyin's poetic style:
Li Shangyin's poems reflect his thoughts. His basic thought about human beings basically belongs to Confucianism, but he is practical and has a certain critical spirit to Confucianism. He believes that it is not necessary to take Confucius as a teacher and "forbearance" as the holy thing. He also has Buddhism and Taoism, advocating "nature" as his ancestor.
Li Shangyin's poems have a distinctive and unique artistic style, beautiful words and profound meanings. Some poems can be interpreted in many ways, while others are obscure. There are about 600 existing poems, especially untitled poems, the most prominent of which is his love poems. Li Shangyin is good at writing seven laws and five-character laws, and there are also many excellent works in seven-character poems. Ye Xie, a poet in the Qing Dynasty, commented on Li Shangyin's Seven Musts in his original poem as "affectionate entrustment, tactfully worded, but unparalleled in a hundred generations."
His metrical poems inherit Du Fu's tradition in technique, and some of his works are similar to Du Fu's in style. Similar to Du Fu, Li Shangyin's The Book of Songs often uses allusions, which is more profound and difficult to understand than Du Fu's allusions, and every sentence often uses allusions. He is unique in the use of allusions, likes to use various symbols and metaphors, and sometimes he doesn't know what the purpose is when he reads complete poems. The meaning of allusions themselves is often not what Li Shangyin wants to express in his poems. For example, "Chang 'e", some people intuitively think it is a work praising Chang 'e, Ji Yun thinks it is a work mourning, some people think it is a description of a female Taoist priest, or even a poet's self-report, and there are different opinions.
It is also his style of using allusions that forms his unique poetic style. According to Huang Jian's note "Yang Wengong Yuan Tan" in Song Dynasty, every time Li Shangyin wrote a poem, he would consult a large number of books, and the room was littered with stalls, which was compared to "Rex sacrificing fish". Wang Shizhen of the Ming Dynasty also said in a joking tone: "Rex Festival was once held in Ao Yun, and it was a piece of brocade." ("Parody of Yuan Yi Mountain on Poetry") Criticism
Third, list Li Shangyin's untitled questions:
Li Shangyin is famous for his untitled poems. According to statistics, the poems included in Li Shangyin's Collection of Poems [7] can basically confirm that there are 15 * * poems written by poets with untitled names:
Untitled (stealing a mirror at the age of eight)
Untitled (according to Liang)
Two Untitled Poems (Stars last night; Wendao Luomen)
Four Untitled Poems (empty talk; Southeast; Affectionate spring night; Where to mourn Zheng)
Untitled (after a brief encounter)
Untitled (immortal son)
"Untitled Two Songs" (Feng Luo; The curtain falls)
Untitled (near the famous Ahou)
Untitled (white roads)
Untitled (Wan Li Storm)
2. Li Brief Introduction Shang Yin is a famous poet.
He is good at poetry writing, and his parallel prose also has high literary value. He is one of the most outstanding poets in the late Tang Dynasty. Together with Du Mu, it is called "Xiao", and together with Wen, it is called "Wen Li". Because his poems and essays are similar to the paragraphs and essays of the same period, all three of them rank sixteenth in the family, so they are called "Thirty-six Style". His poems are novel in conception and beautiful in style, especially some love poems and untitled poems are touching, beautiful and moving, and are widely read.
However, some poems are too obscure to be solved, and there is even a saying that "poets always love Quincy and hate that no one writes about Jian Zheng". Caught in the struggle between Niu and Li, I was frustrated all my life.
After his death, he was buried in his hometown of Qinyang (now the junction of Qinyang and Aibo County). His works are included in Li Yishan's poems.
3. Li Shangyin's representative works In different periods, Li Shangyin's writing, apart from poetry, was less discussed. In fact, he was one of the most important parallel prose writers in the late Tang Dynasty. This style pays attention to the antithesis of words and uses a lot of allusions, which is widely used in official documents of the Tang Dynasty. Under the training of Ling Huchu, Li Shangyin became an expert in parallel prose, drafting memorials, letters and other documents for many officials. "Biography of Wen Yuan in Old Tang Dynasty" said that Li Shangyin was "particularly easy to handle funerals". At that time, the parallel prose used in the performance of the text required gorgeous words and accurate expression, so it had high requirements for allusion. Li Shangyin, who is good at writing parallel prose, has developed the habit of using allusions, so this is considered to be the reason why he likes to use allusions in poems [3].
Li Shangyin once compiled his parallel prose works into 20 volumes of Fan Nanjia Collection and 20 volumes of Fan Nanyi Collection, with a total of 832 articles. According to the records in the Book of the New Tang Dynasty and Records of the History and Arts of the Song Dynasty, Li Shangyin's collected works are not only two episodes, but also some others. However, none of these collections have been handed down. At present, there are Zhu, Xu Jiong, Qian Zhenlun, Qian Zhenchang, Zhang Caitian, Cen, Liu and Yu Shucheng who can see Li Shangyin's articles. It has been compiled and verified by books such as Quan, Wen Yuan and Tang. The newly compiled Notes on Li Shangyin's Chronicle (Liu Xueyan and Yu Shucheng, Zhonghua Book Company, 2002) contains 352 articles, most of which are parallel prose, and a few of them are called "ancient prose".
Fan Wenlan spoke highly of Li Shangyin's parallel prose in A Brief History of China, thinking that it would be a pity if all the parallel prose in the Tang Dynasty were lost as long as the Collected Works of Fan Nan was still there.
Li Shangyin is famous for his untitled poems. According to statistics, the poems included in Li Shangyin's Collection of Poems [7] can basically confirm that there are 15 * * poems written by poets with untitled names:
Untitled (looking in the mirror at the age of eight)
Untitled (according to Liang)
Two Untitled Poems (Stars last night; Wendao Luomen)
Four Untitled Poems (empty talk; Southeast; Affectionate spring night; Where to mourn Zheng)
Untitled (after a brief encounter)
Untitled (immortal son)
"Untitled Two Songs" (Feng Luo; The curtain falls)
Untitled (near the famous Ahou)
Untitled (white roads)
Untitled (Wan Li Storm)
The other five poems (Five Laws, Lover's Forever, Seven Poems, Painting with Long Eyebrows, Princess Shouyang, Waiting for Lang Lai, Chanting in the Outdoor) which are often marked as untitled in current poetry collections are considered by Feng Hao, Ji Yun and others to be mostly untitled poems because they have lost their original titles.
Some researchers (such as Liu Yang [9]) think that some poems with questions in Li Shangyin's poetry collection should also belong to the category of untitled poems, on the grounds that the titles of these poems are often based on the first few words in the first sentence of the poem (such as Yesterday, The Sun shines, etc.). ), or the title of the poem has nothing to do with the content itself (for example, for you, a song, etc.). ). However, according to this standard, nearly 100 of Li Shangyin's poems can be classified as untitled poems. So this statement has not been supported by most people.
On the other hand, many people tend to compare poems such as Jinse, Bi Cheng San and Yushan with untitled poems, thinking that they are similar in style and artistic conception, and they all express a subtle and complicated feeling through obscure brushwork. In fact, it is this complicated situation that makes untitled poems attract many researchers, who try to explain the true meaning of these poems. However, no one's comments can explain the meaning of this poem very convincingly.
Feng Hao summarized the previous annotation work on untitled poems in Notes on Poems Born in Yuxi [10], from which we can see that there are great differences among different schools: "Those who solve untitled poems by themselves are either fables or endowed with all the abilities. Each has his own prejudices and his own decisions. I read the complete works carefully, and even many people actually have sustenance, and few people are erotic and confused. "
4. Li Profile Shang Yin (8 13 1—— about 858), whose real name is Yuxi Sheng and Fan Nansheng. Poet in the late Tang Dynasty, his ancestral home was Didao in Longxi (now Lintao County, Gansu Province) and Xingyang (now Zhengzhou, Henan Province).
His poems are of great literary value. Together with Du Mu, he was called "Little Du Li" and Wen was called "Wen Li". Their styles are similar to Duan Hewen of the same period, and both of them rank sixteenth in the family, so they are called "Thirty-six Style". Among the 300 Tang poems, Li Shangyin's poems account for 22, ranking fourth in quantity.
In 1999, Liu Zhongying was transferred back to Beijing. Out of concern, he arranged a promotion position for Li Shangyin. Although the grade is low, the treatment is rich. Li Shangyin worked in this position for two or three years, and then returned to his hometown Xingyang to live in seclusion. In the autumn and winter of the thirteenth year of Dazhong, Li Shangyin died in Xingyang.
Extended data:
Li Shangyin has always believed in Buddhism. He once went up the mountain to stay with monks, lived in a Buddhist temple, and visited the Zen master through Yaoshan, Hunan. In 85 1 year, his wife died, and Li shangyin was deeply hit. Since then, he has become more Buddhist.
He worships the eminent monk and knows the Xuan as a teacher, and intends to carve stones for Buddhist scriptures to practice merit and pray for liberation from Buddhism, even if he gives his life. He lamented that he was floating in the real world, and Buddhism made him reflect on the stupidity of love and hate. Among Li Shangyin's existing poems, 5% are related to Buddhism.
Li Shangyin was entangled in political struggles all his life and suffered a lot of love pains, thus developing a sentimental and depressed character. There is no lack of irony in the works, and most of them rely on historical events, which means mourning the past and hurting the present.
His love poems are skillful, serious but not frivolous, beautiful but not superficial, flowery in rhetoric and good at describing and expressing subtle feelings. Ye Jiaying thinks that Li Yishan's poems are subtle, sensitive and subtle enough to penetrate the reality and go deep into a dreamland belonging to the soul.