According to the arrangement and research of Liu and Yu Shucheng, there are 594 poems handed down from ancient times by Li Shangyin, of which 38 1 basically determines the writing time, and 2 13 cannot be classified as a specific year. In addition, there are more than a dozen poems suspected to be Li Shangyin's, but the evidence is insufficient. Judging from the theme of chanting, Li Shangyin's poems can be mainly divided into several categories:
Politics and History-Wing Huai, as an intellectual who cares about politics, Li Shangyin wrote a lot of poems in this field, and about 100 poems have been handed down. Among them, Bai Yun in the Western Suburb, Shi Dong Sui and Two Feelings are more important works. Li Shangyin's early political poems were mostly based on Chen's current situation, and their harsh tone of grief and indignation and sense of self-expectation reflected his mentality at that time. In poems about political and social contents, it is a feature of Li Shangyin's poems to borrow historical themes to reflect his views on contemporary society. Fu Hou, two poems of Northern Qi Dynasty, Mao Ling, etc. It is a representative.
Expressing feelings and praising things, Li Shangyin had a bumpy career and his ambition could not be realized.
Li Shangyin used poetry to relieve his depression and anxiety. Ding An Tie Tower, In Spring, Happy Garden and Du Gongbu in the Middle of Shu are the most popular songs. It is worth noting that many seven-character poems in this kind of works are considered as important successors of Du Fu's poetic style.
Emotional poetry, including most untitled poems, is the most distinctive part of Li Shangyin's poems and the most concerned part of later generations. Jinse, Poems of Yantai Mountain, Three Poems by Bi Cheng, Return to the Temple of Our Lady, etc. , has always maintained a style similar to untitled poetry. Five Willow Branches, Sending Friends to the North on a Rainy Night, Mourning for the Past and Going East, Three Passes of Snow, etc. It embodies the artistic conception of another style of Li Shangyin's emotional poems.
Entertainment and communication, among Li Shangyin's poems used for communication, several poems addressed to Hu Ling Mao (rewarding a vacancy, a letter to the secretary of your fox, rewarding a doctor, sending a bachelor's degree, dreaming of a bachelor's degree, and Hu Ling Scheeren said that he and your fox staged a play in the moon last night) are particularly eye-catching, in order to show that he and your fox are together.
Li Shangyin's poems have distinctive and unique artistic style, beautiful words and profound meanings. Some poems can be interpreted in many ways, while others are obscure.
Untitled poems in novels are necessary. 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." The criticism is that he sometimes uses too many allusions to make people unable to understand his poems. Mr. Lu Xun once said: "Yu Xi was born with clear pronunciation and beautiful sentences. How dare he compare with others? I am dissatisfied with too many allusions." In addition, Li Shangyin's poems are gorgeous and good at describing and expressing subtle feelings.
At present, popular poetry collections are often marked as untitled poems (five laws, endless appreciation of friends, seven-line poems, long eyebrow painting, Shouyang princess, waiting for Lang to come, and repeating songs outdoors). After textual research by Feng Hao and Ji Yun, it is believed that most of them are untitled poems due to edition problems. Some researchers (such as Liu Yang) think that some poems with titles in Li Shangyin's poetry collections should also belong to the category of untitled poems, because the titles of these poems are often taken from the first few words of the poems (such as Yesterday and The Sun shines). ), or the poem has nothing to do with the content itself (for example, for you, a piece of music, 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 Bi Cheng's three poems Jinse with A Dream of Red Mansions.
Compared with untitled poems, Li Shangyin's poems such as Yushan are similar in style and artistic conception, and they all express a subtle and complicated feeling through obscure brushstrokes. 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 summed up the previous annotation work on untitled poems in Notes on Yu Xi Sheng Poems, from which we can see that there are great differences among different schools: "It is either fable or endowing untitled poems with their own strengths. 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. " Few people talk about Li Shangyin's writing achievements other than poetry. 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. Old Tang book? Biography of Wen Yuan said that Li Shangyin was "particularly good at funeral". 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, which is considered to be the reason why he likes to use allusions in his poems.
His poems reflect his thoughts, and his basic thoughts on human nature basically belong to Confucianism, but he takes a fancy to practicality 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." Criticism [8] thinks that he sometimes uses too many allusions and makes obscure mistakes, which makes people unable to understand his poems. Mr. Lu Xun once said: "Yu Xi was born with clear pronunciation and beautiful sentences. How dare he compare with others? I am dissatisfied with too many allusions." (Letter to Yang Jiyun in February 1934)
In addition, Li Shangyin's poems are gorgeous and good at describing and expressing subtle feelings.
Some people think that although the social significance of Li Shangyin's poems is not as good as that of Li Bai, Du Fu and Bai Juyi, Li Shangyin is the most influential poet in later generations, because there are more people who like Li Shangyin's poems than Du Li and Bai Juyi. Among the 300 Tang poems edited by Sun Zhu in Qing Dynasty, Li Shangyin has 22 poems, ranking fourth after Du Fu (38 poems), Wang Wei (29 poems) and Li Bai (27 poems). This anthology of Tang poems is a household name in China, from which we can see Li Shangyin's great influence on ordinary people.
In the late Tang Dynasty, Han Wo, Wu Rong, Tang and others began to consciously learn Li Shangyin's poetic style. In the Song Dynasty, more poets studied Li Shangyin. According to Ye Xie, "There were seven unique poets in the Song Dynasty, probably/kloc-0 studied Du Fu in 1967 and/kloc-0 studied Li Shangyin in 1934." (Original Poetry) In the early years of the Northern Song Dynasty, Yang Yi, Qian and other clansmen, Li Shangyin, often sang in harmony with each other, pursuing gorgeous rhetoric and neat antithesis, and published a collection of Kunxi Appreciation, which was called Titi. It was quite influential at that time. In addition, Wang Anshi also spoke highly of Li Shangyin, thinking that some of his poems were "unbearable for Lao Du" (Cai Kuanfu's poems). Wang Anshi's own poetic style is also obviously influenced by Li Shangyin.
Poets in the Ming Dynasty were all influenced by Li Shangyin from The First Seven Sons to Qian and Wu. People who like to write erotic poems in Qing Dynasty specialize in Li Shangyin's untitled poems, such as Wang Yanhong's Doubt Clouds and Rain. Romantic poetry in the novels of Yuanyang Butterfly School in the Republic of China was also influenced by him.