Zhu Yizun Jie Pei Ling
Ten years of sharpening his sword, making friends in Wuling, and shed all his tears in his life. When I get older, I write lyrics, half of which is hate spread in the air. How many times have I surrounded Yan Chai and Cicada on the temples?
If you don’t learn from Qin Qi, you don’t learn from Huang Jiu, you’ll have to rely on Xinsheng Yutian. Traveling around the world, and ordering songs and banquets to make people famous, it is expected that the title of a marquis will grow old without distinction!
In the study of the history of poetry, there is no lack of such a scene that should be vigilant: for some famous works by famous writers, it seems that the attention is already high, and the problems that need to be solved seem to have been concluded, and it is no longer possible There is doubt. However, if you press it carefully, you will realize that there are still many people who have diaphragm and ears, and few people who have true understanding. And it just so happens that the former has a huge market and is even popular among the people, so the poet's good intentions often come to nothing. This article is a good example.
This article is a collection of Zhu's masterpieces. Even if there are few selections and words, they are all included. Looking at the explanations of various scholars, it is not difficult to find that the basic point of view of most commentators is that it is a declarative masterpiece that Zhu followed Jiang Zhang's "clearing" style of poetry, and even called it "when people are emptied, their words are even emptier" ( See "Appreciative Dictionary of Poems of the Jin, Yuan, Ming and Qing Dynasties" by Xu Yongzhang, Nanjing University Press, 1989 edition, page 709). On the surface, this is very logical: Zhang Yan proposed the concept of "emptiness" - Zhu Yizun advocated the concept of "emptiness and elegance" - Zhu made it clear in this article that he admired Zhang Yan, so this article is " A typical example of "empty". But is this article really "empty"? The author thinks there is still room for doubt.
The first question that needs to be resolved is: What is "clearing"? This important category of the stylistic theory of words was proposed by Zhang Yan in "Etymology": "Words should be empty, not substantial. When empty, they are quaint and steep, while when substantial, they are condensed and obscure. Jiang Baishi's words are like solitary clouds flying in the wild, leaving and leaving. There is no trace; Wu Mengchuang's poems are like a seven-treasure tower, dazzling the eyes, and can be torn apart without fragments." Obviously, the word "empty" here appears as a corresponding concept to "substance", and refers to a fresh and ethereal aesthetic trend that goes against the dense "Dream Window Ci" of Zhizhi. To put it simply, it is "clean but not greasy, without color, appearing to be official and spiritual, and empty and spiritual" (Fang Zhifan et al., "History of Chinese Poetry Criticism", China Social Sciences Press, 1994 edition, page 98). However, if we carefully examine it in conjunction with the ancient literary theory tradition, the word "empty" not only refers to literary style in one direction, but also contains the definition and evaluation of personal character. "Qing" means not contaminated by the worldly world, showing an aloof and rebellious attitude towards life in the face of the chaos of the world. "Empty" is not only the meaning of "empty spirit", it also means indifference to the complex world, or even complete indifference. Using this to measure the works and character of Jiang Kui, Zhang Yan’s model, it would be appropriate to call it like “a solitary cloud flying in the wild, leaving no trace behind.”
If the above explanation of "empty" is generally good, this will be one of the prerequisites for us to distinguish whether Zhu Zhuyun's word is "empty" or not. Another prerequisite is to clearly identify the approximate year of creation of the word. Among Zhu's five collections of words, this word appears in "Jianghu Zaijiu Collection" compiled in the eleventh year of Kangxi (1672), so the "collection" of "self-inscribed words collection" in the title does not refer to his collection of words. All, but only refers to "Jianghu Zaijiu Collection". Yi Zun was forty-four years old that year. Some people call this article a work written by Yi Zun in his later years. The timing error will inevitably lead to deviations in understanding. This analysis is crucial for us to grasp the meaning of the whole word.
The first three sentences of the poem "Ten years of sharpening the sword, making friends in the Five Tombs, and all the tears in my life" begin with a generous and sad description of the bitter experiences in the first half of my life. Yi Zun was born in the second year of Chongzhen in the Ming Dynasty (1629). Jiashen Ming died at the age of 16. The following year, he returned to Anjiao with a poor family and married Feng Zhending. . In the seventh or eighth year of Shunzhi, he went to Shanyin to take over brothers Wei Geng, Qilisun and Bansun (known as Qi Wu and Qi Liu in the world), plotting to cause trouble, but he lived in hiding in Yongjia. In the 13th year of Shunzhi (1656), Cao Rong, a senior from his hometown, traveled south to Lingbiao, out of the clouds in the north, and then across the sea, visiting Beijing and Jinan, and making friends with talented people all over the world. After ten years of sharpening his sword, This is a summary description of this extraordinary period of his life. However, Zhu Ming's vow to restore the world failed, and in addition to winning the false reputation of "the three major commoners in the south of the Yangtze River", he could only "live in the four corners of the country, mostly hanging out with kite people, drunkards and drunkards... short clothes and dusty clothes, living in the north wind, rain and snow" Time" (Zhu Yizun's "Preface to Red Salt Words", "Bao Shuting Collection", four essential editions, the same below). With such a lofty and profound ideal and such a melancholy life, how could the poet not sing out the sad voice of "all the tears in his life"?
From this point of view, the first three sentences set a tone that is not "empty" for the whole article with a melancholy sense of life experience. The rest of the text is "I fill in the lyrics as I grow old, and half of them are filled with hatred." "Zeng Wei, Yan Chai, Chan on the temples" is not an expression of suave and suave mood. On the contrary, we can find circumstantial evidence and supplements for her bumpy circumstances from the seemingly Qingqian words. "Composing lyrics in old age" is a helpless choice for those who have not yet achieved success, and half of them are "air language" praised by Faxiu. Doesn't this mean that he used "wine woman" to express his heartache? The poet declares that he has never had the life experience of "nesting against the red and the green". In fact, it is also a statement that among the poems that come out in various fragrant and beautiful appearances, "there are different ambitions and intentions" (Zhu Yizun, "Preface to the Yuefu Supplement"), and this one We can already get a glimpse of this "will" from the previous article.
The first film talks about life experience and the motivation behind the creation of words. As the film progresses, the author’s role models come to mind.
The problem is that if this "role model" is only based on artistic patriarchy and does not contain personality and spiritual elements, he should choose Bai Shi, whom he most respects as "Jiang Kui is the best at ci" (Zhu Yizun's "Preface to Ci by Black Die Zhai") The Taoist standard is "not learning from Qin Qi, not learning from Huang Jiu, but relying on Xinsheng and Baishi." But this is not the case. He took Zhang Yan, who "can be praised by the old immortal Baishi", as the target of his imitation. This choice was of course quite painstaking. The reason was that Zhu and Zhang Yan had many similarities. Both of them are "born in Zhejiang", and Zhang Yuzhu is one of the "ancestral sages of the village"; Zhang Yanshi is a famous Lin'an clan, the sixth generation Zujun was granted the title of King Xun, and was a famous "Zhongxing" general. Even his great-grandfather Tan was still known as a flower garden. Jia Jiangnan, and his wonderful interpretation of the music, he sang with Jiang Kui, and his father Shu also said that he should do it in the lyrics; Zhufu Zengguzuo was the minister of household affairs in the Guangzong Dynasty and the bachelor of Wuyingdian, and he was a famous official of the generation. His biological father Maoshu His father, Maohui, and his uncles, such as Maoyao, Maochen, Maozhen, Maoshi, Maozhao, etc., were all distinguished officials in Jiangnan Wenyuan, so they were both descendants of Guijie and had a scholarly family. Zhang Yan was born in the Song Dynasty. Called the remnants, they resisted the foreign tribes that took over with force. They embraced empty madness and indulged themselves in drinking. This was completely consistent with the Zhu family's experience and embrace at that time. This was the third reason. It is precisely because of this kind of external and internal multi-level comparison that Tamada, not Shiraishi, can be said to be the model. Therefore, rather than seeing it as a self-confession of a scholar of poetry, it is more appropriate to regard it as an expression of pure and pure ambition.
However, Zhu Yuan is very steady and cautious, which is an important aspect of his character's "elegance" that is shaped by many factors. He was somewhat apprehensive and timid about the above-mentioned self-confession of aspirations and interests that could be understood in a flash and could be called "straightforward". Therefore, at the end of the conclusion, he exalts common sentiments among literati such as "Singing Banquet Red Pink" and "Female Marquis without distinction". This is actually a kind of "dilution" of the sharp points in the previous text, or a layer of "protective color" . He certainly hopes that the world will regard this as a "clearing" type of work that expresses feelings and aspirations to avoid disasters. Isn't it true that Zhu Zhuyun is playing into Zhu Zhuyun's hands by calling this "empty" without realizing it?
To sum up, the whole poem is sad and angry, with the potential to turn inward, and the melancholy feeling is clearly visible. No matter from the aesthetic characteristics or from the personality and spirit, there is no "wild clouds flying alone, leaving no trace." "The "clearing" style. To appreciate this word, this understanding is crucial and therefore particularly worthy of analysis.