Suddenly, I feel that the ancient poems of the Han Dynasty are closer to modern natural life, close to the vernacular, and natural!
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Nineteen Ancient Poems is an important symbol of Yuefu ancient poems, and its author is anonymous. The language of Nineteen Ancient Poems is vivid and true, without gorgeous decoration. Let's take a look at the relevant information about the influence of Nineteen Ancient Poems on later generations.
Literary Analysis of Nineteen Ancient Poems
Nineteen Ancient Poems is a remarkable symbol of the humanization of Yuefu ancient poems. At the end of the Han Dynasty, the literati attached importance to the value of individual existence, which made them establish a broader and deeper emotional connection with their social environment and natural environment. In the past, things related to external affairs, such as the worship of the ancestral temples of emperors and princes, the martial arts of wenzhi, hunting and entertainment, and even the palaces in the capital, once dominated the theme field of literature, giving way to the source of poets' real life and spiritual life, friendship and love, and even streets and fields, phenology and solar terms, literary themes, styles and techniques have undergone tremendous changes.
The influence of Nineteen Ancient Poems on later generations
Nineteen Ancient Poems occupies an important position in the development of five-character poems and is also of great significance in the history of China's poems. Its theme, content and expression techniques have been imitated by later generations, almost forming a model. His artistic style also influenced the creation and criticism of later poems. To sum up, Nineteen Ancient Poems established its position in the history of China's poetry in the following four aspects:
First, it inherited the fine tradition since the Book of Songs and prepared for the emergence of Jian 'an poetic style.
Secondly, it is an important turning point in the transition and prosperity of Chinese poetry from Han folk literature to literati creation.
Thirdly, it developed five-character ancient poetry into an independent system.
Fourthly, it laid a solid foundation for the further development of five-character poetry. Its appearance marks the maturity of literati's five-character poems. Its brand-new poetic form and superb artistic skills have laid a solid foundation for the development of five-character poetry and exerted a far-reaching influence on the development history of Chinese poetry in China.
Emotional expression of nineteen ancient poems
? Things always have two sides, because the relationship between emotion and talent is a major contradiction in the history of poetry after the Middle Ages, and Nineteen Ancient Poems perfectly handles this contradiction. Therefore, whenever the formalistic poetic style rises in later generations, progressive poets always take Nineteen Ancient Poems as their own banner together with Poems, Sao and Han Yuefu, and the main role of Nineteen Ancient Poems in the history of poetry is positive. However, because the author of Nineteen Poems has a certain distance from the working people, the social life it reflects is not broad enough, and its poetic landscape is mainly implicit. Therefore, when later generations appeared in the history of thought, they all pointed to reality and were sharp; Or carry forward vigorous works and schools in style, some conservative poets and critics have raised the banner of Nineteen Ancient Poems as their weapons against these new things in the poetry world. Some works of Nineteen Ancient Poems show the idea of pursuing wealth and eating, drinking and enjoying in time. In addition, the author is angry with reality and often confronts it with decadence and debauchery, which also falls under the pretext of some escapist poets in later generations.
The influence of Nineteen Ancient Poems on later philosophical poems
-Take Tao Yuanming's poems as an example.
Nineteen Ancient Poems is a model of China's ancient five-character poems, which is very artistic and favored by later scholars. The research results on its form, theme, language skills and expression style are also extensive, and most of them focus on its aesthetic style and influence, but there is little academic research on its thoughts, especially philosophical poetry creation. However, previous studies on philosophical poems and Tao Yuanming's poetic style have been very extensive. But on the whole, Nineteen Ancient Poems is not often associated with philosophical poems or even Tao Yuanming's poems, which needs further discussion.
China's classical poetics has the language of "reasoning in poetry", but it has no name of creative philosophy. The word "philosophical poetry" originated in the west. In Aristotle's Poetics, the theory that "writing poetry is more philosophical than writing history" has become the source of later philosophical poetry theory. There are also broad and narrow meanings of philosophical poetry: in a narrow sense, it refers to poetic philosophy that explains philosophical thoughts; In a broad sense, it means' poetry contains philosophy, which is not purely an expression of emotion, but also collectively referred to as philosophical poetry'. At present, people mostly use' philosophical poetry' in a broad sense rather than a narrow sense, that is, it is not limited to pure philosophical thoughts. Any poem that aims at understanding, is not purely lyrical, shows some wisdom and understanding of the universe and personal life, and can give people wisdom to enlighten and teach the sea' can be called philosophical poetry. Throughout the history of literature, the pre-Qin dynasty was the beginning, the Wei and Jin dynasties were the prosperity, the Tang dynasty was the development, and the Song dynasty was the peak. China's ancient philosophical poems have their own style of oriental wisdom-if we say that' words express Tao, poems express ambition, and words are bound by emotion', good ancient philosophical poems often explain philosophy with wonderful pen, and' what is recited is put into the poem', which is true and rational rather than rigid. There is also "rational interest"-"rational interest", which emphasizes the unity of philosophy and poetic interest, and the combination of visualization and epiphany. In addition, we can't simply equate philosophical poems with philosophical poems about metaphysics, Confucianism and Taoism. Summarizing the previous studies, it can be roughly divided into three categories: wisdom poems, teaching poems and philosophical poems. Wisdom poetry is the summary of the poet's experience and wisdom in practice, and it is the poet's perception of life. People usually refer to this kind of philosophical poems. Belinsky once said, "We acknowledge the existence of teaching poems", and its artistry lies in that "they come from exuberant and ardent inspiration, not from rigid and indifferent reason". Philosophical poetry, that is, poetry with the main content of expounding philosophical thoughts, is a poetic philosophy, which is closely related to the ideological trend of the times and is the product of the poet's spiritual reflection. Metaphysical poetry in Wei and Jin Dynasties, Buddhist poetry in Sui and Tang Dynasties and Taoist poetry in Song and Ming Dynasties are the three most influential schools of philosophical poetry.
The coquettish poetry has died, and the' ancient poetry' has started. Nineteen Ancient Poems was developed on the basis of the gradual maturity of Han folk songs, which opened the door to the consciousness and independence of ancient literature. At the end of the Han Dynasty, social politics was dark and thoughts were turbulent. Scholars are deeply confused because of hopeless achievements, and turn their eyes from fame to self-concern. Nineteen Ancient Poems profoundly reproduces the pain and awakening, disillusionment and sinking of literati, and reflects their pursuit and exploration of the meaning of life. Life consciousness and sentimentalism all reflect the literati's thinking about life, life and their inner world, among which there is a simple but not simple philosophical connotation, which gave birth to the emergence and development of later philosophical poems.
In ancient China, from the Western Han Dynasty to the Eastern Jin Dynasty, there were many people. From the very beginning, it combined Laozi, Zhuangzi, Zhouyi, Confucianism, Buddhism and Taoism, and metaphysics prevailed. Metaphysical poetry in the Eastern Jin Dynasty, as a branch of philosophical poetry, often uses abstract language in the process of reasoning, which is boring, often' things are controlled by things, reasoning is accepted and bound', and it is generally ignorant, and all of them become rigid' philosophical poems'. However, the emergence of Tao Yuanming's philosophical poems is unique, which conforms to the aforementioned standard of "good philosophical poems"-"interest in reason", which Huang Wenhuan called "deep feeling" (the interpretation of Tao poems) and Wang Fuzhi called "true poems" (the selection of ancient poems), and it has both profound speculation and unique artistic charm, and has been injected into the poetry circles of the Eastern Jin Dynasty. To some extent, Tao Yuanming's poems are metaphysical and philosophical in pastoral, historical and other external forms. Taking Tao Yuanming's philosophical poems as the research object, this paper analyzes the influence of Nineteen Ancient Poems on later philosophical poems.
1. Content theme
1. Life consciousness in worrying about life
During the great ideological change at the end of the Han Dynasty, the subject consciousness was awakened, and literary themes related to nomadic hunting and religious sacrifices gradually gave way to themes such as the source of retirement, friendship and love, and life feelings closely related to the literati's reality and spiritual life, conveying the poet's delicate and keen inner feelings. The feelings about the brevity and impermanence of life are repeated with strong feelings in' ancient poems'. "Life is suddenly like sending, and life is not solid." (Drive to the East Gate)' Change at four o'clock, how fast a year is!' ("Dongcheng is tall and long")' Poplar rustling, pine and cypress are wide' ("Open to the East Gate") ... The rotation of the four seasons means the loss of time and life, and there is a sense of death and anxiety about life in the sadness of the Spring and Autumn Period, which shows the literati's strong sense of life in the late Eastern Han Dynasty.
On this basis, Tao Yuanming developed a natural philosophy of "maximizing longitudinal waves". Tao first inherited the Ancient Poem, The Sun and the Moon Take on a New Face (Miscellaneous Poem II) and Top Gun (Reading The Classic of Mountains and Seas), which showed his grief and indignation over the passage of time, short life and hard-earned ambition. Furthermore, he skillfully reconciled Confucianism, Buddhism and Taoism, and made a breakthrough in his own development:' A teacher has a legacy, but he is not poor.' On the other hand, he regards life as a part of nature.' I am very happy to be naturalized. I don't worry about things other than life, and I don't need to force myself to go out. There is no dust and sundries in the room, and the empty room has more leisure (the first part of Return to Garden House). "There is real meaning in it, and I have forgotten what I want to say (the first part of Drinking)." Life seems illusory and will eventually be empty (the first part of Return to Garden House). I have fully understood life naively. I don't like or fear surfing. Do what you should do, don't care too much' ("Poetry of Shadows"), people will die if they live, regardless of the gains and losses of honor and disgrace. " If you don't come back in the prime of life, it will be difficult to get up in the morning. Comfort in time, time waits for no one' (the first part of miscellaneous poems) shows the feeling of eating, drinking and grasping the present. What Tao shows is the life consciousness of facing life and death calmly and freely.
2. The tragic color in sentimentalism
The collapse of the ruling ideology at the end of the Han Dynasty and the deformity of the social form are reflected in poetry, which is a painful and confused sigh of literati. The core content of Nineteen Ancient Poems is to express the sadness of life. Whether it's the shadow of death symbolized by countless graves and rustling poplars, or the feeling that a wanderer misses his wife, or' the days are short and the nights are long, why not travel by candlelight? Happy and timely. Why can't you stay here? (Born less than 100) The way of "eat, drink and be merry in time" that China people clamored for liberation contains deep loneliness and sorrow, and "casts a layer of tragic meaning on life consciousness". The sentimental sentiment it laid has a far-reaching influence on later literature. From Jian 'an to Jin and Song Dynasties, from the middle and lower classes to the royal family and nobles, it spread in a considerable period of time and space and became the typical tone of the whole era.
Shi Tao continued his consciousness of death and anxiety about life in Nineteen Ancient Poems. Obsessed with his own ambition, humble and poor, the struggle between ideal and reality created his tragic feelings. Facing the poverty of hunger and cold:' Hungry in midsummer, sleepless in cold nights. Thinking about cock crow at night, I want to move out in the morning. "("Complaining Poems and Chu Telling Master Pang's Book Deng Zhizhong "), Tao Yuanming's" No shame for the tiller, no money, no illness ",always endures the hardships of life and resolves the tragedy of life. On this basis, Tao's poems pay attention to thinking about self-life, and pay attention to the existence of life flowing with time. "Decadent autumn has passed, and hentai is exposed", hurting spring and mourning autumn, "nothing since ancient times", and only "muddy wine from Tao" ('September 9, has been unitary). In the face of life and death,' the soul is scattered and empty.' "Where there is life, there must be death, and sooner or later there must be death." (Elegy for Me), confusion is followed by epiphany. Life is short and there is nothing but death. In the face of material and spiritual difficulties, there is anger, followed by disappointment, loneliness, autumn wind, dead leaves, mourning cicadas ... sadness comes from it, and sentimental sentiment is not uncommon, while Tao Yuanming goes further, forgetting his worries through wine and expressing his feelings through nature. Facing death is rational and calm, so it can be said that' Tao Yuanming provides another way for literati to face difficulties, and to be good by sticking to the Tao.
2. Artistic features-natural and exquisite
Nineteen Ancient Poems is a literary creation based on ballads. Its language is natural and simple, rich in generalization, frank and true in emotion, and boldly expresses its inner world. Just like' who wants to stay, who thinks in the distance' ("Picking hibiscus on the River"), how vivid and affectionate. Liu Xie's "Wen Xin Diao Long" once said that "Ancient Poetry" is the "crown of five words", and Zhong Rong's "Poetry" also gave a high evaluation: "Yi Li, Wen Wen, is far away from sorrow and soul-stirring, which can almost be described by one word." Shallow words and deep feelings have a great influence on the development of later literature.
Shi Tao inherited and developed the style of "ancient poetry". Nature is the most distinctive artistic feature of Tao's poems. Tao Yuanming creatively used a lot of natural sketching techniques, such as' Land to the tiller, reading my book' and' Drinking spring wine and picking my garden vegetables'. (Reading Shan Hai Jing (I)) and so on, in a few words, a landscape picture full of pastoral scenery, working life and seclusion is outlined in an understatement, showing its indifferent ambition, harmony and nature, sincerity and simplicity, and showing peaceful and diluted interest. The innovative development and high level of Tao's poetry lies in its "quality and reality, wealth and reality", seemingly ordinary but surprising language, seemingly simple behind which is the high refinement of language, the use of overlapping words in "Warm People's Village", "Smoke in Yiyi Market" (Part I) and "The sun and the moon cast people, and the people's aspirations cannot be won". There is also a sentence from Yuan Haowen:' A word is natural and eternal, and luxury comes to an end.
3. Situational performance-blending scenes and being rational.
Another feature of Nineteen Ancient Poems is that it integrates feelings into scenery, and it is good at setting off and expressing feelings by writing scenery. Looking around, the east wind shakes a hundred herbs' ("Return to the Car"),' Between water and water, there is no words. (All the way to the Altair), it's really euphemistic and touching, and the scene is difficult to tell. As Ye Youming said, Nineteen Ancient Poems is the beginning of the development of China's poetry from "expressing ambition" to "fatalism". It has reached the realm of' seeing things with me, everything is my color', which has a far-reaching impact on future generations.
All scenery words are sentimental words, and Wang Guowei takes Tao's "Picking Chrysanthemums under the East Hedge" as a typical representative of the realm of selflessness. "If you stay in a cage for a long time, you will return to nature" (Part I of Home to Garden). The seclusion of Nanshan, the joy of the countryside, the leisure and leisure, and the return to nature can be described as "true feelings, feelings can be seen, the scenery is not empty, the scenery is natural" and "the scenery is in harmony with the feelings, and the feelings are born with the scenery". On this basis, Tao poetry is a model of the trinity of emotion, scenery and reason. Picking chrysanthemums under the east fence, you can see Nanshan leisurely.'' There is a real meaning in it, and I forgot what I wanted to say'' (Drinking, Part V). If you meet Nanshan after drinking, you will forget both things and me, and the harmony between man and nature shows its natural philosophy. China's philosophical poems began to change in essence, from straightforward style to lyrical style. Description and lyricism are accompanied by explanation and discussion, which are both situational and interesting. They give people profound enlightenment on the basis of strong situational appeal, and they are permeated with strong feelings of life in discussion and reasoning. Therefore, Yuan Xingpei said: "Tao's poems originated from scenery, emotion and reason. This is also the fundamental sign that it is different from ordinary metaphysical poems.
To sum up, the rise of nineteen ancient poems at the end of the Han Dynasty broke the tradition of "expressing ambition with poems" and was one of the ancestors of "poetic sentiment". It introduced the theme of human beings into the literature of Han Dynasty for the first time, and established the consciousness and independence of literature. It embodies the awakening of life consciousness, strong sense of hardship and natural implicit, sad and elegant aesthetic style, which has a far-reaching impact on later poetry creation and even literary aesthetics. In particular, it gave birth to the development and prosperity of philosophical poetry in later generations.
Taking Tao Yuanming, a master, as an example, the artistic features of Nineteen Ancient Poems, such as life consciousness, sentimental color, natural sincerity and emotional blending, have had a profound impact on his philosophical poems. On this basis, Tao's poems have made new developments, such as natural philosophy, making strange remarks and being full of rational interest. For example, Chen Yi once commented in the Book of Songs:' There is loyalty in the heart, leisure in the heart, true feelings and true feelings, which are almost the same as those in the Nineteen Poems, but the breath is slower. With its precision, there is no trace of axe chisel, and it also shows the inside and outside of Nineteen Ancient Poems. The charm of all the families in the prosperous Tang Dynasty came from this. As a potential type of poetry, his philosophical poems seldom talk about reason, but talk about emotion, which is very infectious and speculative. Guo Yuheng said in the History of Ancient Chinese Literature that the combination of philosophy and poetry, that is, the philosophization of poetry, can be truly realized in Tao poetry. Liang also said, "Tao Yuanming may be the only successful philosophical poet in China. '
In addition, Ruan Ji's philosophical poems full of loneliness, Xie Lingyun's metaphysical landscape poems and Su Shi's philosophical poems full of rational interest all have deep or shallow cultural origins with Nineteen Ancient Poems, so I won't repeat them here.