Lin Geng's Comprehensive Theory of Tang Poetry has always admired me. As far as academic value is concerned, A Comprehensive Review of Tang Poetry is one of the most important poetry research works in the 20th century. Many arguments, such as the summary of the weather in the prosperous Tang Dynasty, the relationship between the weather in the prosperous Tang Dynasty and Jian 'an style, the rise and fall of poetry, the poeticization of the language of Tang poetry, the position of ancient poetry, metrical poetry and quatrains in the climax of Tang poetry, and Li Bai's sense of service, were first put forward by Mr. Lin Geng. Even today, despite the discussion of Tang poetry researchers, as far as the style is concerned, the poetic heart, enthusiasm and youthful vitality in its exquisite words are easy for any one. There are many talented researchers in poetry research, but few can inject the characteristics of a poet into their own knowledge and write beautiful academic articles for readers to learn and change their feelings. Mr. Lin Geng, who is both a poet and a scholar, can be said to be an outstanding representative of poetry research.
Analytical Poetry: Fresh Perception and Timely Expression
Mr Lin Geng's analysis of poetry is usually concise. For a good poem, Mr. Lin often needs only one or two sentences to explain its advantages and quickly grasp the essence of the poem. For example, for Meng Haoran's "Spring Dawn", Mr. Lin said: "A fresh sense of rain washed away the faint sadness of falling flowers!" Regarding Wang Wei's "Sending Shen Zifu to the East of the River", he said: "Everywhere is vibrant spring scenery, everywhere is bright green, which turns into air and drizzle, which constitutes the overall atmosphere of Wang Wei's poems." Such an incisive conclusion can be seen everywhere in A Comprehensive Review of Tang Poetry, and readers can often appreciate the essence and brilliance of a poem through one or two sentences by Mr. Lin.
When Mr. Lin Geng writes poems, he pays attention to "capturing the most direct feelings in life with the most primitive language". When Mr. Wang read a poem, he also talked about a fresh feeling: "Fresh is an indescribable feeling for it (Tang poetry), as if every time I pass this poem, I feel that I am re-understanding the world." This kind of capture and sensitivity to novelty is exactly the characteristic of the poet's comment on poetry. Mr. Lin likes cyan and green. Mr. Lin Geng has a unique view on green and green in his works, such as green and green, green lac, grass by the green river, green field show in the Spring Festival Evening, and grass turns green again in spring, but what about you, my friend Prince? Wait. For example, when talking about "Qingqingziyan, you are in my heart", it is impossible to make a proper and reasonable explanation for "Qingqingziyan" from the beginning of Mao Zhuan. Mr. Lin said, "Ji Zi is a love song. ..... green represents a simple color. Eternity and tranquility of youth make all flowing changes stay and depend on it ... We praise a person's' youth', we call that gratifying time' youth', and in all the beautiful things, we will last forever in an instant, but for that beloved person, so we praise him for saying' green child' and' green self-admiration', so why do we really wear green collar clothes and blue ones? This explanation of "not asking for a solution" is full of beautiful human feelings and poetry in harmony. In fact, there are many gaps in the study of poetry, especially in the understanding of ancient poetry with less direct materials, which need to be filled by researchers. To make a clear, accurate and beautiful solution, we should not only have the talent of scholars, but also have direct feelings, wonderful understanding and imagination. Mr Lin Geng is unique in that he can tell a poem with the poet's understanding and endow this poem thousands of years ago with youthful feelings. Such a wonderful place can be seen everywhere in the comprehensive theory of Tang poetry. As Mr. Ge said: "Mr. Lin studies Tang poetry, ... and is good at applying his unique artistic sensitivity with poetic temperament to the concrete analysis of his works." This kind of analysis can often penetrate deep artistic philosophy, which makes readers taste it again and again, but still feels endless aftertaste. "
Mr. Lin tells poems with the poet's intuition and temperament, and does not arbitrarily add his own subjective imagination to his poems, but implies a thorough understanding and flexible grasp of artistic laws, which can be used like a gazelle. Mr. Lin said, "Under the hedge of chrysanthemum picking, you can see Nanshan leisurely." He said: "Nanshan is a common sight in Tao Yuanming's life. But today's Nanshan is not waiting to be seen. Suddenly, you face each other as if it were the first time, so there is a different world. " On this basis, Mr. Lin analyzed several Tang poems as evidence. For example, "when the song ends, the peak on the river is green", but "the mountain is already there, and it is also green. But it seems that as soon as the music is over, this mountain peak is in front of you, which makes people feel particularly green. " Another example is "the smoke disappears at sunrise, and no one is seen, only the creak of his oars is in the green of mountains and rivers", which means "the mountains and rivers were originally green, ... but in this" It is a sound ",this green seems to appear in our feelings for the first time, and it is unusually green." Another example is "notice that when the song ends, all four strings make a sound, just like tearing silk." The east ship was silent, and the west ship was silent. We saw the white autumn moon entering the river. It was "all around were immersed in music, and suddenly the pipa stopped, only to find a bright moon rippling in the heart of the waves. At this time, the impression is the freshest." In fact, these discourses imply a principle that art "defamiliarizes" daily life and restores people's freshness, and vividly and aptly explains the artistic effect brought by the leap of poetic language. It is precisely because of the unique grasp and understanding of the artistic law that Mr. Lin's poems are so smart and clear, which combines the poet's look with the scholar's talent and knowledge.
In the 20th century, those who talk about poetry with the talent of poets should learn from Yiduo and Mr. Lin Geng. In the creation of new poems, Mr. Wen can be said to be Mr. Lin's teacher, but in the study of ancient poems, the author thinks Mr. Wen is better. Similarly, it pays attention to the poet's wonderful understanding and spirituality in poetry, so Wen Yiduo, who is brilliant and eye-catching, inevitably has excessive play and subjective assumptions in his poetry. For example, both Mr Wen and Mr Lin talked about Meng Haoran. Teacher Wen said beautifully: "Poetry is really a poem when Meng Haoran can't see it. No, it's more accurate than Meng Haoran's poem. In the eyes of many others, poetry is the essence of human beings. In Meng Haoran's view, poetry is not only the dross of human nature, but also the surplus of human beings. " Beauty is beauty, but it is a bit mysterious. And Mr. Lin Geng's exposition is like this: "Most of Meng Haoran's poems take seclusion as the theme and five laws as the genre, and a cautious style often gives people a deeper sense of loneliness. His coldness is sometimes even strong. ..... Meng Haoran's style has injected deep injustice into the quiet surface. " It can be described as clear and simple. In particular, Mr. Wang said: "We look at the green trees surrounding your village and the light blue peripheral mountains": "Through the appearance of green hills and the embrace of green trees, how kind we will feel to this village, as if we should have known them long ago." He speaks poetically, but not casually. It can be seen that the poet's personal exertion of poetry is limited, and Mr. Lin Geng can be said to unify wisdom and poetry in his analysis of poetry.
Exploring the law: bold conclusions and rational reasoning
Mr. Wang has made outstanding contributions to exploring the laws of poetry, which is first reflected in Mr. Lin's unique and incisive views on poetry with the talent of a poet. For example, on the issue of poetic language, Mr. Lin has a keen poetic thinking, which makes words that we easily ignore particularly interesting. For example, "the grass turns green again in spring, but ah, my friend prince, what about you?" And another essay, "Spring grass is greener every year, but ah, my friend Prince, what about you? Mr. Lin thinks next year is better. "Obviously, the word' Ming' here is intentional, while Tang poetry is naive, so it is only between intentional and unintentional. Next year is obviously the coming year, but I have a bright feeling inadvertently, which is an inexhaustible place in the poem. ..... and the word' year after year' used to be a feeling of running water. Li Shangyin's poem "Every year, there is a blue sky and a milky way, can there be a golden wind dew" is about time, but the word "Ming" seems to be against time. Years and months flow like water, but the word' Ming' makes it appear with a feeling of seeing in the eye. This is the charm of poetic language, as if spring grass would be green and transparent. "This argument is obviously bold, but it clarifies an aesthetic principle, that is, poetic language should be able to increase the richness of poetry by means of expression and suggestion. From specific words to universal artistic laws, it is more concentrated and vivid in the article "Talking about' Muye'". With his familiarity with classical poetry and superhuman sensitivity, Mr. Wang saw the phenomenon that there were more "leaves" in poetry, and found two important characteristics from the successive inheritance of the image of "leaves": first, it was accurately used in an autumn defoliation season written by Qu Yuan, which reminded people of a simple trunk, as if it contained a defoliation factor; Second, the "wood" has a slight yellow feeling, so the "wood leaf" will remind people of the falling slightly yellow leaves and bring the breath of the whole clear autumn. Mr. Lin also compared it to "the rain lights up the yellow leaves and the lights shine on the white heads." In the rain, the yellow leaves can't feel dry, so they lose their meaning. Besides, due to the rain, their yellow color is yellower than that of konoha. Therefore, konoha belongs to the wind, not to the rain, and is a typical clear autumn character. At the same time, compared with another image "falling wood" in the poem, the "leaf" of Konoha has a lingering side, which is the unity of "wood" and "leaf", "the interweaving of sparse and dense, a distant and affectionate beautiful image." This paper expresses the suggestibility of poetic language in a thoughtful way. Mr. Lin said: "This suggestibility is like the shadow of a concept, which is often hidden behind the concept. If we don't pay attention, we won't notice its existence. Sensitive and cultured poets are trying to understand all the potential forces in language images and interweave these potential forces with the meanings in concepts, thus becoming colorful words; It affects us unconsciously. It is infectious and inspiring here, and it is also here. " This passage brilliantly expounds the dual functions of expressive and suggestive poetry language. The most valuable thing is that Mr. Lin can explain the artistic principles clearly, simply and vividly with a specific word, word or poem.
Elaborating the law of art from specific points also focuses on Mr. Lin's discussion on the vitality and new essence of poetry. Mr. Lin believes that the content of poetry is originally taken from the most sensitive things in life, but sensitive things will become commonplace over time, so new sensitive things and new feelings related to them are the pursuit of poetry. These new things and new feelings lead to the constant changes in the original nature of poetry. Mr. Lin is keenly aware that all poems are written with music, the piano is written more in five words, and the flute is more like a bosom friend in seven words. For another example, poets since Jian 'an are all good at writing "wind", such as "I hate Taiwan on a high platform", "Humayi is in the north wind", "It's windy in the daytime" and "The wind is strong and mournful", and so on, all of which have become good sentences at hand. On the eve of the Sui and Tang Dynasties, there appeared "the night rain drops empty steps, the dawn lights are dark out of the room" and "the river is dark with rain, and the waves are white with wind", and the rain in the poem just emerged. It was not until Wang Changling's poem "Entering Wu on a Cold Rainy Night, Fujian Alone" that rain had a place in the poem. Since then, although the poetry of the wind has not diminished, the new feeling of rain has become stronger and stronger, and "rain" has become a new element of poetry. Another example is writing about the sun. Since the Wei and Jin Dynasties, the sunset has been called "daytime", and it was not until Wang Zhihuan's "Mountains cover the daytime, and the sea drains the golden river" came to an end that it was gradually called "sunset". Later, "sunset" became a new element in the poem. Teacher Lin gave many examples to prove that not everyone was a genius in the Tang Dynasty, but poets came forth in large numbers, precisely because the new elements of poetry were discovered the most at that time, and these elements were all used to things in life at that time. The climax of the Tang Dynasty as a poetic country is also inseparable from the continuous discovery of many new elements by people in the Six Dynasties. In the Song Dynasty, everything was inherited by the Tang people, and the original quality of poetry was too ready-made, but it was messed up and could not be displayed. The vitality of poetry comes from the new essence that reflects new things and new feelings. "Poetry is the call of life, so that all people who lack life can get the source of life and awaken the feeling of life in all the most boring places. ..... How will we keep the vitality of this poem, and how will we pursue the new essence? This is another era of poetry. " From this perspective, Mr. Lin made a comprehensive investigation on the rise and fall of poetry. On the one hand, he explained the close relationship between poetry vitality and poetry and its new quality with the poet's understanding, on the other hand, he outlined the literary law of the interaction between poetry essence and poetry development with the scholar's thinking, which provided a meaningful perspective for poetry research, and the explained law benefited the later scholars a lot.
Application materials: full of poetry and rigorous quotation.
Lin Geng's interpretation of Wang Zhihuan's "Liangzhou Ci" fully proves Lin Geng's combination of poetic and rational materials. Regarding the first sentence of this poem, "The Yellow River is far above the white clouds", there have always been many sayings: How can Liangzhou see the Yellow River? How can the Yellow River go far? Therefore, there have been some variants such as "Yellow sand goes straight to white clouds" and "Yellow River goes straight to white clouds". Mr. Lin first pointed out the shortcomings of these variants from the realm of poetry. If the yellow sand reaches the level of "straight on the white clouds", then the white clouds will inevitably become Huang Yun, and the yellow sand and white clouds are not unified in image; And "the Yellow River goes straight up" is not so much a river as a waterfall. Mr. Lin further pointed out that "the Yellow River is far above the white clouds" is not as unreasonable as people think, and explained the reason and beauty of this poem from two aspects: poetry and textual research.
Mr. Lin believes that to understand the sentence "The Yellow River is far above the white clouds", we must start with the last two sentences "Why do strong flutes complain about willows, but only Yumenguan". Teacher Lin said three things: first, it refers to the "broken song", which was originally a song to express travelers' feelings of parting, and this song was played on the Hu Di, which naturally had a strong exotic atmosphere. Second, this piece of music is always closely related to the spring breeze. Another poem by Wang Zhihuan, Farewell, said: "Willow is an easterly tree, and green trees sandwich the royal river. I have been trying to climb recently because I have walked more. " It can be seen that willows are inseparable from spring. Youth is happy, parting is bitter, and willow has both, becoming a complex emotional interweaving. Wang Wei's "Cheng Wei Qu" just made use of this contradiction and wrote rich thoughts and feelings. Third, the tune of "Folding Willow" has a historical relationship. Willow is a native of the Central Plains, so is the so-called "I used to be a willow" and "the grass by the green river and the willow in the gloomy garden". However, in the Northern Dynasties, when ethnic minorities entered the Central Plains, they sang "Looking at the Jinmeng River in the distance, willows swaying. I am a traitor, and I don't understand China's children's songs. Although in the Tang Dynasty, the border between Hu and Han was far away from Yumenguan, this song still contains complex national feelings and is full of yearning for the spring in the Central Plains. Since "the spring breeze is not enough to cross Yumenguan" and willow is really rare as an "easterly tree", why should we blow the sadness of willow in Hu Di's music? This is the poet's naive question. The poem is about Liangzhou, and it has not yet reached Yumenguan, and the emotional appeal of the frontier fortress is already very strong. If you imagine Yumenguan from here, the more you feel far away from the motherland, the more you miss the local land. This is a more rare and cherished feeling. When there are no willows, the willows in the flute will become beautiful memories. This is a miracle in language. It is said that "the spring breeze is nothing but Yumenguan", but Yumenguan quietly reveals the news of spring. " The Yellow River Far Above the White Clouds is a process from far to near, which is close to a clear sketch. It is this fresh and clear feeling and distant yearning in the poem that constitutes the image of "Spring in the Frontier", which makes a good reversal for "the spring breeze is just the Yumenguan Gate", so Yumenguan Gate is no longer desolate but beautiful. Therefore, the clarity of "The Yellow River is far above the white clouds" is obviously better than the obscurity of "The Yellow River is directly above the white clouds" and the rigor of "The Yellow River is directly above the white clouds", which is more in line with the clear and distant feeling of the frontier spring in the poem.
From the perspective of textual research, Mr. Lin wrote another article "Talking about Liangzhou", which proved that Liangzhou was originally a widely circulated place name, not just Liangzhou City, based on the records in the Book of the Later Han Dynasty and the Book of the Tang Dynasty and the frontier poems written by the Tang people in Liangzhou area as evidence. There is nothing unreasonable about the appearance of "Yellow River" in Liangzhou Ci. Mr. Lin has a keen eye for the use of materials. He can get extraordinary ideas from ordinary materials that are not uncommon. It is precisely because he can turn the poet's sensitivity into the understanding of scholars, and control the poet's intuition with the talent and rigor of scholars. Therefore, Mr. Lin's interpretation of Liangzhou Ci is not only a poetic interpretation, but also the result of making full use of many poetic materials since the Book of Songs, or the crystallization of rigorous textual research by using a large number of historical books.
The comprehensive theory of Tang poetry not only has unparalleled academic value, but also is widely praised for its author's unique poet charm. When Mr. Lin Geng talks about poetry, he always explores the beauty of ancient poetry with a fresh and keen poet's feelings, and his writing style is beautiful, which can be called the reappearance of fresh and clear poetic style. Mr Lin Geng often said, "I am a poet first, then a scholar". Perhaps it is this orientation that makes The Comprehensive Theory of Tang Poetry, as the representative work of poets' comments on poetry, become an insurmountable peak in poetry research.