Who is the chisel in this poem? For the time being, teach quietness to be clear and turbid.
Han songs refer to the folk songs of Han Yuefu.
Wei refers to Jian 'an poems. Poetry, an elegant ode to the Book of Songs, consists of ten articles in one volume, which is called "poetry" and later refers to poetry.
The clear water and muddy water of Jinghe River and Weihe River are clear water and muddy water when they meet, which means clear water and muddy water.
This is the first poem in Yuan Haowen's Thirty Poems on Poetry, which shows his motivation, purpose and standard of writing this group of poems on poetry. Yuan Haowen takes the elegant tradition of The Book of Songs as the "body" and thinks that Han Yuefu and Jian 'an literature are the continuation of this tradition. In view of some drawbacks in the poetry circles of Song and Jin Dynasties, the prevalence of "pseudo-style" and the confusion of the poetry tradition in Han and Wei Dynasties, Yuan Haowen took it as his duty to "carve a hand in poetry". He wanted to deeply review the history of poetry creation, distinguish the true from the false, and make it clear, so as to clarify the development of poetry.
2
Cao Liu roars in the wind, and there are no two males in the four seas.
Unfortunately, Liu Yueshi did not teach in Zhi Heng Jian 'an Middle School.
This poem embodies the beauty of Yuan Haowen's admiration for Jian 'an poets. He first recommended Cao Zhi and Serina Liu, one of the seven sons of Jian 'an, as the "two outstanding poets" in the poem, and compared their poetic styles with the image of "sitting on a roaring tiger and generating wind". Cao and Liu are outstanding representatives of Jian 'an style. Zhong Rong commented that Cao Zhi's poems "originated from the national style, with lofty character, elegant words, elegant feelings and resentment, and stood out from the crowd", and Serina Liu "originated from ancient poems. It's amazing, dynamic and colorful, true bone first frost, and high wind customs. " The praise to Cao Liu is actually a praise to the fine tradition of Jian 'an literature, which is rich in content, generous and vigorous, and beautiful in style.
Liu Kun, a poet in the Western Jin Dynasty, is known as "elegant, vigorous and full of charm" (Literary Mind and Carving Dragons: Talented Tales), "strong words but fearful feelings" (Literary Mind and Carving Dragons: Style), and has the spirit of "clearing away" (poetry). Yuan Haowen introduced Liu Kun precisely because his generous and tragic artistic style is comparable to that of Jian 'an philosophers.
three
Jin has a lot of love, but he still lacks pot songs.
If Fengyun doesn't hate Zhang Hua so much, what about Wen Li's new voice?
Ye: Yecheng was the base camp of Cao Cao in the late Eastern Han Dynasty and the actual political and cultural center in the Jian 'an era. With Cao Shi and his son as the core and scholars such as Jian 'an Qizi as the periphery, the Summer Night Literature Group was formed. It is the center of Jian 'an literature.
Yuan Haowen thinks that many poets in the Western Jin Dynasty inherited the style of Jian 'an, and the influence of Jian 'an style is still relatively great ("Hu Ge still lacks deep feelings"), but there are also poems of "many children love partly cloudy" (Zhong Rong commented on Zhang Hua's poems). Jian 'an style is the poetic style affirmed by Yuan Haowen, so he took Zhang Hua as an example and thought that although Zhang Hua was famous for his beautiful poems and elegant words, he lacked the boldness. As for Wen and Li Shangyin in the late Tang Dynasty, they are more affectionate and graceful in style. The sentence "Nairuohe" shows Yuan Haowen's dissatisfaction with the vigorous style of writing and his understanding of the development of the vigorous style of poetry.
four
Tao Yuanming's language is plain, natural and natural, abandoning the applied fiber, revealing the true beauty of simplicity and making reading always new.
Tao Yuanming himself is an ancient man, but that doesn't prevent him from still being a A Jin dynasty man.
This poem is Yuan Haowen's evaluation of Tao Yuanming, a poet in Jin Dynasty. Out of disgust at the pretentious poetic style at that time, Yuan Haowen commented on Tao Yuanming, a poet in the Jin Dynasty. The first two sentences said, "A word is natural and eternal, and extravagant." Yuan Haowen advocates that Tao Yuanming's poems are naturally free from artificial traces, fresh and pure without the disadvantages of carving. Tao Yuanming's poems are natural and simple, without lead, fat and powder, with a unique sense of truth and eternal charm of truth, which is the highest realm of Yuan Haowen's favorite poems. For example, Tao Yuanming's drinking, picking chrysanthemums under the hedge, leisurely seeing Nanshan and returning to the countryside all reflect Tao Yuanming's life purport and artistic characteristics of advocating nature.
The sentence "Looking at the emperor from the south window in the daytime does not harm Tao Yuanming, who is from A Jin" shows that although Tao Yuanming lies high in the south window and yearns for the ancient times, he is not detached, and still reflects the reality of the Jin Dynasty with natural and simple writing. This view profoundly points out that the connection between Tao Yuanming and the reality of the Jin Dynasty is not divorced from reality.
five
What can level a piece of land?
Who wins if Lao Ruan is not crazy? Go out and laugh.
This poem is a comment on Ruan Ji, a poet in the early Western Jin Dynasty. Ruan Ji lived in the era of Wei and Jin dynasties. The Sima family slaughtered dissidents and formed a terrible political situation. Ruan Ji has the ambition to help the world, but she is dissatisfied with Sima's rule. She escaped persecution by drinking and pretending to be broad-minded and did many shocking things. The world thinks Ruan Ji is crazy and stupid. But Yuan Haowen knew that Ruan Ji was "not crazy", saw the "lump" in Ruan Ji's heart, and realized the true feelings ("high feelings") in Ruan Ji's poems. Yuan Haowen thinks that Ruan Ji's poems are flowing like the Yangtze River, and his spirit is far from everything, which is the expression of his noble feelings and injustice in his chest. This shows that Yuan Haowen realized that writing poems must have true feelings, which reflected his praise for Ruan Ji's wild character and affirmed his subtle twists and turns and profound style under the rule of darkness.
six
Heart painting is always distorted, and the article would rather see people again.
Lofty feelings, eternal leisure happiness, strive for the trust of Anren, and respect the dust!
This quatrain criticizes and satirizes the duality of Pan Yue's life and poetry by commenting on Pan Yue, a poet of Taikang in the Western Jin Dynasty. Yuan Haowen, starting from describing poetry, despises poetry to write lies and insincere works. Pan Yue's works depict himself as an inferior, selfless and noble person. He was once famous for a while and was told through the ages. However, in fact, he is an impetuous, greedy and shameless villain who flatters the powerful. Therefore, Yuan Haowen thinks that Yang Xiong's "painting the heart with the heart" is unreliable and will be "distorted", that is, insincerity and inconsistency between words and deeds. To know a person, we should not only look at his words, but also look at whether his words and deeds are consistent and whether his heart is consistent.
The so-called "speaking from the heart" and "writing people's words" cannot be absolute, because people's thoughts and feelings are complex, full of contradictions, developing and changing, and sometimes they have illusions. In this way, we must be good at analyzing complex contradictions and identifying illusions in order to get a correct understanding. In the history of poetry, the phenomenon of disunity between poetry and people is not unique to Pan Yue, but his criticism of Yuan Haowen is profound.
seven
The elegy of generosity never spreads, and the vault is natural.
Zhongzhou has always been heroic and went to Chilechuan in Yinshan.
This poem comments on the northern dynasty folk song "Chile Song". Song of Chile depicts the vast, magnificent, peaceful and stable grassland scenery, and its style is bold and vigorous. Yuan Haowen attaches great importance to folk songs. In the first two sentences, he affirmed and praised the generosity, grandeur and far-reaching momentum of this folk song, and suggested that it should be natural rather than carved.
The last two issues show the influence of Central Plains culture on the culture of northern minority areas. Chile was originally the name of a nomadic people in the north, living in Chilechuan (now the north of Shanxi). Yuan Haowen believes that it is the artistic works that the generosity and heroism of the Central Plains are passed on to the ethnic minorities in Yinshan Mountain. The Song of Chile shows the mutual influence and infiltration of China's national cultures.
eight
Shen Song traversed the field of calligraphy, and Qi Liang did not fail at the beginning of romance.
On merit, if you are equal to Wu, you are proud of gold.
This poem is a comment on Shen Quanqi and Song He, poets in the early Tang Dynasty. Poetry in the early Tang Dynasty is basically a continuation of formalism literature in the Southern Dynasties. Palace poems are full of poetry and exquisite writing. Shen Quanqi and Song summarized the creative experience of regular poems since the Six Dynasties, and created the form of regular poems, which was famous for a while and was of great significance to the development of modern poems in the Tang Dynasty. Yuan Haowen affirmed their contribution and influence ("crossing the field of calligraphy"), but also criticized them for still not getting rid of Qi Liang's poetic style in poetry creation.
Yuan Haowen thought that Chen Ziang was the first poet to open up the atmosphere in the Tang Dynasty. Chen Ziang returned to elegance, advocated the Han and Wei styles and followed the Jian 'an tradition. With his own poetry theory and creative practice, he finally cleared up the influence of Qi and Liang in the early Tang Dynasty and ushered in the climax of poetry creation in the prosperous Tang Dynasty, which was famous for its style and atmosphere. His theory of "good luck" and "Feng Gu" became the theoretical weapon for later generations to oppose the soft poetic style of formalism. Therefore, Yuan Haowen fully affirmed Chen Ziang's historical achievements, compared his innovative writing style with Fan Li's pingwu career, and thought that he should also cast a statue of Chen Ziang to show his contribution.
nine
It's a waste of time to boast about the concept, but Lu Wen still hates being redundant with Pan.
As long as the heart communicates, it is difficult to turn over.
Fei Guanguan: Fei, thank you very much. Browse, read
Difficulty: (read the fourth sound), disaster
This poem is a criticism of Lu Ji. Lu Ji and Pan Yue were famous representatives in the Western Jin Dynasty. Shi Shuo Xin Yu Literature: "Sun Xing Gong Yun said,' Pan Wen is shallow and clean, Lu Wen is deep and boring'" Yuan Haowen thinks that "Lu Wen still hates Pan Yu", and writing poems will increase readers' reading burden if they strive for beauty and length. Since poetry conveys true feelings, we should not say anything more, not too much and too long, and there is no need to flaunt it. This also reflects that Yuan Haowen attaches importance to the true feelings of poetry and opposes gorgeous forms.
10
Parallelism is a special way, the fence is so small.
Shaoling has its own honesty, and it is known to fight for it.
Pat just ...
Shaoling, Tian Baozhong and Du Fu lived in Chang 'an for nearly ten years, and lived in Shaoling (the tomb of Emperor Xuan Di of Han Dynasty) near Ling Du, so they are called Shaoling.
Short, the word yuan Zhen.
This poem is Yuan Haowen's re-comment on Yuan Zhen's comment on Du Fu. In his epitaph to Du Fu, Yuan Zhen particularly emphasized Du Fu's long poem "Paving the beginning and end of prose, contrasting the melody", and thought that Li Bai could not even reach his door wall in this respect. In fact, Du Fu has made great efforts in the art of poetic language. He said, "I am afraid I will never stop worrying about the beautiful words of human nature." . Du Fu's poetic style is rigorous and steady, especially in his later years, his long lines are more detailed, and "the poetic style is getting thinner in the evening". This is an advantage, but on the other hand, it will also have side effects of being too elaborate. For example, at the end of the Song Dynasty, Jiangxi Poetry School also took Du Fu as the Sect, but focused on the formal skills of refining words and making sentences in Du Fu's poems, ignoring the most valuable things in Du Fu's poems, namely, rich and profound social content, progressive thoughts and profound realistic spirit of worrying about the country and the people, as well as the diversified styles and artistic achievements of Du Fu's poems. Therefore, Yuan Haowen's criticism of Yuan Zhen is of practical significance.
Du Fu's long poems in his later years are skillful, but not the best part. Yuan Haowen thinks that Du Fu's parallelism and ostentation is just a technique. Yuan Zhen praised this technique too much and regarded "luxury" as an insurmountable barrier, which was a mistake of regarding Ying as Lian Bicheng. This also reflects Yuan Haowen's opposition to overemphasizing the duality of temperament and paying attention to the social reality of poetry.
1 1
Feeling truth in the eyes is not true, but groping in the dark.
How many people come to Chang 'an to draw a picture of Qinchuan?
This poem criticizes the simulated style of writing that lacks realistic experience (such as Kunxi style and Jiangxi poetry school), and points out that the source of poetry (literature) creation is objective reality, and the true feelings must come from the poet's real life feelings. Yuan Haowen believes that literary works are not fictional in the writer's mind, but the reflection of objective reality in his mind. Only when Du Like's Fu of "Going to Chang 'an" has actual contact and experience with the objective description object, can we stimulate inner feelings and write ecstasy poems. If we blindly "grope in the dark" and copy the works of our predecessors, it will never be possible to truly describe the physical objects in the poem ("never true"). In this way, Yuan Haowen clearly drew a clear line between the true and false poets in Du Fu and the filmmakers of Du Fu's poems.
12
The king's longing for spring is crying in the cuckoo, and the beauty Jin Se complains about the years.
Poets always love Quincy, but hate that no one writes about Jian Zheng.
This poem is a comment on Li Shangyin, a poet in the Tang Dynasty. Li Shangyin was a famous poet in the late Tang Dynasty. His time, family background and life experience contributed to his sentimental and introverted personality and mentality in many ways. Apart from some realistic political poems, his lyric poems (including love poems) are often beautiful in artistic conception, and he is good at using vague and tortuous ways such as metaphor, symbol, allusions and hints to turn the hazy image of the spiritual world into the image of a trance-like poem, showing ambiguous characteristics. Yuan Haowen quoted the poems in Jinse precisely because Jinse was obscure in meaning, numerous lawsuits and diverse in explanations, which seemed difficult to convince the public. In this poem, Yuan Haowen expresses his deep yearning for Li Shangyin's poems, and at the same time expresses his intractable regret and ironic criticism.
13 There is a smooth road to ancient prose. Who is like Lu Yuchuan?
True books don't enter people's eyes today, and children teach ghosts to draw.
This poem is a criticism of Lutong's poetic style of pursuing adventure. In the mid-Tang Dynasty, Han Meng's poetic school was the main one who pursued the adventurous poetic style. The main characteristics of Han Yu's poetic style are deep danger and eccentricity, and he likes to pursue strange things. He is good at capturing and expressing unusual scenery; Expand rich and strange imagination, whimsy, and create incredible images; Take prose as poetry, use strange words, make strange sentences, gamble on dangerous rhymes, avoid familiarity and live, because it is difficult to see and think skillfully. Han Meng's school of poetry created a generation of poetic style, which made outstanding contributions to opposing tradition and innovation, but it also inevitably flowed into another kind of formalism that was difficult, patchy and skillful. Influenced by Han Yu, Lutong's poems are too curious and bizarre. Yuan Haowen denied this poetic style and thought that this kind of creation was a "ghost painting symbol".
The fourteenth song
The supply of goods is different, and the mountains and forests can't get cheap clothes.
Hua Xin with heavy investment, but was bent in the eye.
This poem criticizes the phenomenon of attaching importance to the poems of hermits in the mountains and despising the poems of Taige officials. Fang Hui's Sui advocates "high standards", that is, the so-called rough pride and narcissism of ancient intellectuals. He thinks that Taige officials are full of brains, respectable, fame and fortune, full of benevolence, righteousness, courtesy and wisdom, showing off theories and carving sentences to deceive the world and steal fame. They often emphasize Jianghu Taoism or use it as an excuse. Yuan Haowen questioned this phenomenon by questioning the allusions of Hua Xin throwing gold in The Romance of the Three Kingdoms.
The fifteenth song
At the bottom of the pen, the milky way fell for nine days, and it never languished in front of the mountain.
In the world, treating Lu Lian is a waste of scholars.
This poem is a tribute to Li Bai's poetry and talent. Li Bai and Du Fu were both great romantic poets in the prosperous Tang Dynasty. Li Bai's poem "I want to fall from the sky" is magnificent, passionate, fluent and natural in language and heroic and elegant in poetic style; Du Fu's poetic style is "gloomy and frustrated". Du Fu had a great influence on later generations of Han Yu, Meng Jiao and Jiangxi poetry schools in terms of poetic meter, refined words and strange rise, but also had some drawbacks. Yuan Haowen advocates vigorous and natural style and opposes deliberate carving and bitter singing. Therefore, Yuan Haowen here "always painstakingly wrote poems for the past" and "snubbed" Du Fu to set off the Milky Way in Li Bai's works in one go. On the other hand, Yuan Haowen thinks that Li Bai is not only an outstanding literary talent, but also a figure like Lu Zhonglian. He cares about reality and has political talent. He traveled around the country without being an official to solve the problem.