Of the 599 volumes of Complete Tang Poetry, only 45 were written by Yu Teng. When it comes to the poetry circle in the late Tang Dynasty, he was valued by people in his vacillation, but he was a poet with remarkable realistic creation characteristics. His works are unpretentious, lively and straightforward, obviously influenced by Yuefu in Han and Wei Dynasties and Zhang Ji, Wang Jian and Bai Juyi in the middle Tang Dynasty, and formed a school of poetry in the late Tang Dynasty with Cao Ye and Liu Jia. In the Ming Dynasty, Hu Zhenheng's "Tang Yin Gui Qian" said that the poet "originated from Meng Dongye, washed and stripped to pure and true, and unconsciously merged into one", and his poems were "full of pleasant sentences, comparable to clapping hands". In his works, poems reflecting social reality and people's livelihood account for half of the country, which is more weighty than poets of the same genre such as Cao Ye.
Representative works include Bitterness and Yin Shin, Tian Weng Tan, Longtou Water, etc. Today, I handed down Yu Lang as a volume. Life stories can be found in the book of the New Tang Dynasty (Volume 72), Chronicle of Tang Poetry (Volume 61) and Biography of Tang Cai (Volume 8). Modern Liang and Mao Shuiqing both have notes about it.
Enjoy the ancient banquet, Fan Penglai, and return to Mozi by bus.
Heavy door set shuma, speech banquet gold Zhang Zhai.
Yan e offers wine, and weak is weak.
Ten families have calluses, and one has Feng Chai.
Overlooking the tall building, the sunshine is Luo Qi.
Laugh at people with negative salaries, but don't trust China.
Distinguish and appreciate
Ancient Qu Yan is one of the representative works of Mi language. The title of this poem is "Ancient Banquet", which is really a thorn in the side of the times. By attacking the extravagant life of the rich and powerful, he expressed the poet's indignation at the ruler's wanton squandering of the people's blood and sweat and infinite sympathy for the people's sufferings.
The first four sentences of this poem are written that the monarch and ministers of the imperial court do not care about the affairs of the imperial court. They left the palace in a hurry and hurried to the luxurious banquet, where they welcomed guests and gathered friends, suggesting that these powerful people were gluttons. The middle four sentences, with close-up and contrast, describe the charming posture and clothes of the "service personnel" at the banquet. Such a banquet does not write about the luxury of the guest and the host, but only writes about beautiful women like clouds, which shows the dissolute luxury of its participants; Instead of writing the gorgeous dress of the banquet, just write "Yan E", and one Feng Chai can make a "ten-handed calluses", which is enough to imply the huge capital consumed by a banquet. The last four sentences describe the extreme class differences between the diners upstairs and the working class downstairs. The word "smile" vividly depicts the abomination and disgust of rulers who are born in high buildings and are insensitive and indifferent to the sufferings of the people.
This poem uses the method of contrast to shape the image, which makes the image stand out. Among them, there are dark ratios, such as "shouting horses at the door", while the people hope to compare cattle and horses with "negative salary"; There is a bright ratio, such as Yan E's Low Intensity, the phoenix golden hairpin shines brightly, and "ten households have calluses" reaches "one phoenix hairpin", and there is another example, Luo Qi upstairs, and the "negative wage earners" downstairs, like Bai Juyi's "a bunch of dark flowers, ten households are blessed".
Hard work on the plow makes you hungry.
The woman who threw the shuttle under the window was hand-woven and naked.
I want to be Mo Mu.
Laughing it off is worthless, and the country is naturally fat.
Distinguish and appreciate
This sentence shows the hunger and cold of the lower class, and the last four sentences show the waste of the upper class; The contrast between the two profoundly reflects the unreasonable phenomenon in feudal society. Contrastive techniques are used in the whole poem. Not only do the upper and lower parts make a clear general comparison between the lower and upper parts, but the upper and lower parts use different special contrastive techniques to show the lower and upper parts concretely. The first half uses "reasoning contrast" and the second half uses "transformation contrast".
The first four sentences say that men who plow in the fields should have food and be full, but they are actually hungry; Women who throw weaving under the window should have clothes and warm clothes, but in fact they are freezing.
Reason should be like this, but reality is just the opposite, and reason and reality form a strong contrast; This truth is not directly expressed. Only by writing out the conditions, reasoning by the readers, and then comparing with the actual situation, can it be called "reasoning comparison". In this contrast, readers will sigh at unreasonable phenomena, convincing people with reason and feeling with emotion, which is quite artistic.
Reasoning and comparison have long been a tradition. "Huai Nan Zi said Xun Lin" said: "The butcher is rich in soup, the coachman goes, the Potter is short of pots, the craftsman is narrow and can't use it, and the user refuses to do it." This includes comparison of reasoning.
This technique is widely used in poetry, such as Meng Jiao's Weaving Girl Poem, How to Weave Jiangsu and Anhui and Wear Blue Rope, and Du Xunhe's Silkworm Girl, "Silkworm tired every year, ramie wrapped around your ass", all of which show that users refuse to do it and may not be able to use it. Zhang Yu's Silkworm Girl said, "I went to the city yesterday and came back with tears in my eyes. Luo Weigai is not a silkworm farmer. " This poem has always been very popular. The reason why it is so thought-provoking is that it adopts the reasoning and comparison method of convincing people with reason and moving people with emotion. This method is often used to show the unreasonable phenomena in daily life. This method is used to show the irrationality of food and clothing in hard songs. The last four sentences say, I hope that all the beautiful women in Yanzhao will become ugly and virtuous Mo Mu; Then, their laughter, it is impossible to be so valuable, and there will be no extravagant smile.
This is good for the country and the family, and everything will be fine. In ancient times, it is said that Yan and Zhao (in today's Hebei Province) gave birth to beautiful women. Here, beautiful women are rich in clothes and jade, and every smile is precious, which typically shows the luxury of upper-class life; The poet was very dissatisfied with this phenomenon, so he imagined that one day, the beauty produced by Yan and Zhao would be transformed into the concubine of the Yellow Emperor:
Beauty turns into ugliness, immorality into virtue, and laughter is worth a thousand dollars. By that time, the phenomenon that the rich are extravagant and the poor are well-fed may be expected to change. Poets gallop in imagination, changing from the realistic realm to the ideal realm. Cleverly make the two realms in sharp contrast, which can be called "transformation contrast"
The poet deliberately formed this transformation contrast through romantic imagination, so as to criticize the corruption of the upper class.
Transformation contrast is also a traditional contrast technique, and "vicissitudes" is a natural transformation contrast, which is often used to explain the contrast between ancient and modern personnel transformation; Li Bai's "Climbing Nanjing to Phoenix Terrace" is a direct manifestation of the personnel transformation between ancient and modern times: "Flowers and plants in the Wu Palace" become "secluded paths" and "golden clothes" become "ancient hills", which is also a transformation contrast. Through the transformation of imagination, this poem constitutes a transformation contrast, which makes the displayed image stand out in the artistic effect and makes the emotional exclamation expressed have strong artistic appeal.
The woman in the pond smells the fish in the pond and doesn't know the depth of the sea;
I've heard of Mulberry Girl, but I don't know Hua Tangyin.
The window of poverty is a bitter machine, while the rich man is a pestle.
Heaven and clear eyes only teach Artemisia.
I cherish the baby's appearance, including Han E's voice.
Pearl jade is invisible, so there is no luxury.
I'm Zhao, Man Jin.
Distinguish and appreciate
The beginning of this poem is full of folk songs. The poem compares "pond fish" to "mulberry girl" and "sea water" to "Huatang", which shows that it is natural and appropriate for poor mulberry girls not to understand the life of rich people. Folk songs are often repeated. "I smell" and "I don't know" in the poem overlap twice, and the syllables are beautiful, which naturally shows the author's sympathy.
In the five or six sentences, the word "bitter machine" is buckled by the word "Miss Sang" and the word "pestle anvil" is buckled by the word "Flower Hall Drink", which forms a sharp contrast and exposes the completely different living conditions of rich children and Miss Sang. "Machine expression" is a knitting tool. "pestle", a tool for smashing clothes. The "bitterness" of the "bitter machine" reflects the hard scene of Sangxia's daughter's "cock crows into the machine and can't rest at night" (Peacock flies southeast), but all the fruits of Sangxia's labor are deprived by the rich. The word "Ming" of "Ming pestle anvil" not only vividly expresses the sound of smashing clothes, but also implies that rich people don't raise silkworms or weave. But all over Luo Qi, clothes to wear. This is a true portrayal of feudal society. In the late Tang Dynasty, the government declined, the national strength declined, and taxes became heavier and heavier. Working people work hard all the year round and are deprived of food and clothing, while wealthy families "collect silk like a mountain" (Bai Juyi's Heavy Tax) and "spit cups" (Zheng Ao's Injury to Farmers). The contrast between "bitter machine" and "singing pestle anvil" profoundly reflects this evil social reality.
The following is a discussion through images. The author lamented that Sangxia's daughter was born with bright eyes, but because of poverty, she could only see the hairpins made of wild Artemisia and could not see the exquisite hair binding tools. The word "Ming" is wonderful, which highlights the naive, lively and smart expression of Mulberry Girl. The turning point of "teaching only" points out that working women can't enjoy the fruits of their labor-exquisite handicrafts, and have only seen rough ornaments in their lives.
Then, with the metaphor of the two images of "Yuewa" (Xi Stone) and "Han E", she assumed "double bright eyes", which was called "just a pity" above "Yuewa" and "Han E", regretting that Sangxia's daughter had the appearance of a stone, but she lived in seclusion in the wild; Han E's voice, but unknown. "Unfortunately" shows the writer's infinite sigh and helplessness in vain.
Literally, there is nothing difficult about this sentence, "the perfect combination of pearls and pearls, not seeing the sun."
The word "Sui" is very important, which closely links the two negative words "Wu" and "Wu" and runs through the context, so as to show that Sangxia's daughter has a pure and pure heart, which is caused by "perfect harmony".
The last two sentences take care of "Huatang" and "rich family", which is in contrast to the daughter of Sangxia, and this is the focus of the whole poem. Zhao, the empress of Emperor Cheng of Han Dynasty, was arrogant and extravagant. As verbs, "bun full of gold" and "hairpin" indicate that Zhao's bun is covered with gold ornaments. Where did these decorations come from? Isn't the beauty "two clouds wear several village taxes" (Fu Guiqu by Zheng Ao) squeezed out from the working people who are absolutely "mulberry girls" in Qian Qian? It is inconvenient for the author to explain the contemporary era, so he calls himself "Zhao". Ji Yun thought that the ancients regarded poetry as poetry, and they didn't criticize it in vain, but just "made a difference". "The girl in the middle" is like this.