His ancestral home is Pingchang (now northeast of Linyi, Shandong). He lives in Luoyang (now Henan). When his father Ting Jun was a lieutenant in Kunshan County, he was born in the suburbs. Meng Jiao lived in poverty in his early years and traveled to Hubei, Hunan and Guangxi. When Zhang Jianfeng was guarding Zhenyuan Xuzhou, the suburbs went to pay homage. At the age of 46 (45), he began to enter the Jinshi, and there is a poem "After the Senior High School Entrance Examination": "There was no limit to boasting in the past, but now there is no limit to debauchery; Spring breeze is proud of horseshoe disease, and you can see Chang 'an flowers all in one day. ".Then return to the east and go to Bianzhou (now Kaifeng, Henan) and Yuezhou (now Shaoxing, Zhejiang). In the seventeenth year of Zhenyuan (80 1), he served as Liyang Wei. I often took pleasure in writing poems when I was in office. If I can't write poetry, I won't go out. Therefore, I am called a "poetry prisoner". I don't care about Cao, and I was fined half a salary. At the beginning of the Yuan Dynasty, Henan people Yin and Zheng Yuqing tried their best to help them compete for land and water transportation in Henan and settled in Luoyang. At the age of 60, his mother died. Zheng Yuqing guarded the apricot garden and acted as a staff officer, trying to evaluate things. Jiao was invited to Ganxiang (now Lingbao, Henan), and Yuanhe died of sudden illness in nine years. Meng Jiao's friend Han Yu and others raised 100 yuan for his camp burial, and Zheng Yuqing sent someone to give 300 yuan "permanent support for the widow". Zhang Ji married Mr Yao Zhen privately.
In the Tang Dynasty, people thought that Meng's poems were a kind of "Yuanhe style", "Yuanhe has fallen" and "learning is too exciting for Meng Jiao" (supplemented by Li Zhao's Tang Shi). At the end of the Tang Dynasty, Zhang Wei wrote a picture of the poet's subject and object, and regarded it as a "lonely and bitter owner". Song Dynasty poets Mei and Xie Ao, Qing Dynasty poets Hu Tianyou, Jiang Kun and Xu Chengyao were all influenced by him. After Han Yu and Li Guan, there are also some related works, such as Xiu, Huang Tingjian, Fei Zhou, Pan Deyu, Liu Xizai, Chen Yan, Qian Zhenqian and Xia Jingguan. There are Su Shi, Wei Tai, Yan Yu, Yuan Haowen and Wang Kaiyun who hold derogatory views. Both he and Jia Dao are famous for their bitter songs. Su Shi called it "thinness on an isolated island" (Yu Wen in Sacrifice to Liu Zi), and later commentators took Meng Jiao and Jia Dao as the representatives of bitter poets. Yuan Haowen even ridiculed him as a "poet prisoner" ("Thirty Poems"). The current Biography of Meng Dongye's Poems is 10, which was compiled and published by the Northern Song Dynasty. Huang Pilie Shu in the Northern Song Dynasty is no longer visible. Lv Xinyuan's shadow copy of the chicken bone pavilion in Song Dynasty belongs to Japan today. There are two popular books: Ji Gu Library Book and Xiaomin Zhu Mo Book. Four series of Ming Hong in Ye Tibetan were photocopied in Hangzhou. 1959, People's Literature Publishing House published Hua Chen's Revision of Meng Dongye's Poems, with Meng Jiao's chronicle and memorial collection. Annotations include Chen Yanjie's Meng Dongye's Poems and Xia Jingguan's Selected Poems and Comments on Meng Jiao. For deeds, please refer to Mr. Han Yu's Epitaph, Biographies of the Old and New Books of the Tang Dynasty, Chronicle of Mr. Meng Dongye in Xia Jingguan and Chronicle of Tang Meng Jiao in Huachen.
Meng Jiao wrote the most ancient poems: short stories and five ancient poems. Some of these poems reflect the reality and expose the crimes of the buffer region, such as for women, for emotion, fighting for one side, hurting spring and so on. Some people care about people's sufferings and resent the inequality between the rich and the poor, such as "Weaving Maid Poems" and "Singing to People in Cold Regions". Some show the deep affection of flesh and blood, such as wandering, making love, apricot mourning and so on. Some of them describe landscapes, such as The Banquet between Ruzhou Nantan and Lv Zhongcheng, Youkou and Wang Waiya's Twenty-one Liuxi, Shilaishi, Hanxi, Seeing Your Majesty off to the Tiantai, Aixia and Visiting Zhong Nanshan. Some people write about their frustrated official career and attack the style of downplaying the world, such as Lodi, Li Yangqiu Ji, being injured and choosing friends. While others complain about their poverty and lament their old illnesses, such as autumn, lamenting life and old hatreds. However, poems such as "going out is an obstacle, who wants the world to be wide" ("To Cui Chunliang") reflect the hardships of the world and also show the author's extreme state of mind. The artistic style of Meng Shi's poems is either longer than simple description, without using words and allusions, and the language is plain and unpretentious while avoiding mediocrity and simplicity; Or think hard and carve miracles. These two styles of poetry have many excellent works with profound thoughts and novel words. But some poems are too stiff and dry, lacking natural taste. He is as famous as Jia Dao, and both of them are famous for their bitter songs. Zhang Wei, a poet in the Tang Dynasty, called his poems "lonely" and Su Shi called them "cold country and thin country". Later, some commentators called Meng and Jia representatives of bitter poets. Today's biography of Meng Dongye's poems is 10. People's Literature Publishing House published Hua Chen's Revision of Meng Dongye's Poems. Xia Jingguan and Hua both have their own chronicles. Geng Jie was a poor man all his life, and his poems described the sufferings of the people and the cruel world. Language abstains from mediocrity and pursues a thin, hard and eccentric style.
Poetic Style People once called Meng Jiao and Han Yu "Han Meng Poetic School", mainly because they were curious about the past and wrote more classical poems. But Meng Jiao's works are mostly short sentences and five-word old sayings, and the language is carved but not gorgeous. He is good at combining strangeness with Gu Zhuo, such as Han Yu's so-called "hard words, appropriate words" ("Recommended Scholars"). And Han Yu's seven-character ancient style is the most distinctive, magnificent and magnificent. Their poems are full of strength, but Han Yu's strength is unrestrained, while Meng Jiao's strength is restrained. He learned more about the tradition of five-character ancient poems in the Han, Wei and Six Dynasties. As Li Ao said, "Suburb is a five-character poem, and since the Southern Dynasties, Li (Ling), Su (Wu) and Jian 'an scholars have been able to be both men and women" (Book of Zhang Servant Shooting Xuzhou). Therefore, compared with Dali and Zhenyuan poets, he is closer to the character of Han and Wei dynasties; Compared with Han Yu and Li He after him, he retained more traces of Dali and Zhenyuan's poetic style.
This does not mean that Meng Jiao just blindly imitated the poetic style of the Han, Wei and Six Dynasties. While studying the art of ancient poetry, he also has his own distinctive characteristics.
From the content point of view, Meng Jiao's poems are beyond the narrow range of themes in Dali and Zhenyuan periods. Of course, the main theme of his poems is the resentment of the middle and lower literati against poverty and hardship, which is determined by his repeated trials and tribulations, hard career and the loss of children in middle age. But he can still see some broader social life through his personal destiny and reflect these lives with poetry. Some of them expose and criticize the ugly phenomena in social interpersonal relationships, while others sharply reveal the inequality between the rich and the poor. For example, The Poem of the Weaver Girl describes the abnormal phenomenon of the Weaver Girl's "how to weave a quilt and wear a blue silk dress" by comparing it with "the frost blows through the wall and the pain can't escape". He often has profound psychological experience in writing such poems. For example, the phrase "A cold man would rather be a moth and burn him to death" in Folk Songs of Cold People is beyond the reach of ordinary people who describe people's sufferings. It should be said that after Du Fu, Meng Jiao once again profoundly exposed the contradiction between the rich and the poor and the disparity between bitterness and happiness in society with his poems. There are also some poems by Meng Jiao, which describe the ordinary love of human relations, such as the love between husband and wife in love, the love between father and son in Apricot Wounds, and the love between mother and son in Wandering Son. These themes have long been ignored by poets. Among them, Ode to a Wanderer is a sincere, profound and touching poem:
The mother used the needle and thread in her hand to make clothes for her long-distance son. Before leaving, I had a stitch for fear that my son would come back late and his clothes would be damaged. Who can say that a filial child like the weak can repay his mother's love like the sunshine in spring?
In terms of artistic techniques, Meng Jiao's poems have a new feature, which Dali and Zhenyuan's poems do not have, and which has never existed before. That is the danger and difficulty mentioned in Han Yu's Epitaph of Mr. Yao Zhen. On the one hand, it is related to his deliberate job search and hard thinking, on the other hand, it is related to his depressed mood and depression. In Interpretation of Night Feeling, he said that he "reads at night and talks about ghosts and gods. How not to be idle, the heart is the enemy. " To write poetry hard, we must deliberately seek new words and expressions, and use strange words and cold images that are rare in past poems; And psychological depression, uneven, makes his pursuit of new language performance with cold astringent, desolate, withered color and meaning, so as to as far as possible the inner sadness and sorrow carved into the bone, shocking, such as:
The old worm sounds like iron, and the beast is surprised by the solitary jade robe (the twelfth of "Fifteen Poems of Autumn");
Sick bones can be chewed, and sour groans can also be written. You are so thin, you follow the west (the same as the fifth);
Coody Leng's dream was shattered, and the cold wind combed his bones. Ill words are printed on the table, and the intestines turn to worry (ibid. 2);
After twists and turns, it did turn around. Black grass and iron hair, white hair and ice money (the fourth of Ten Stones);
Wash your eyes hard, and the angry water will disturb the rest of the turbulence (ibid., tenth).
In these poems, he carefully selected penetrating verbs such as "Hui", "Comb", "Seal" and "Brush", as well as verbs such as "cold wind", "old bug", "iron hair", "surging water", "black grass" and "ice". Meng Jiao's poetic style has always been widely evaluated. For example, Han Yu and Li Ao praised him, but later generations, such as Yuan Haowen, called him a "poetry prisoner" (Thirty Poems), and Su Shi compared his poems to "empty claws" with hard shells and tasteless chewing (reading Meng Jiao's poems). But to be fair, the linguistic originality of Meng Jiao's poems is undeniable. Xu Yi, a poet in the Song Dynasty, said that he "can tie facts together, which is the most difficult thing to do", that is, he expressed his appreciation for his ability to transform the form of objective things into self-expression with powerful language, which is really not easy.
Of course, Meng Jiao also had simple, natural and fluent poems, but these poems were not very eye-catching at that time (although poems such as Ode to a Wandering Son were widely recited in later generations), but the poems of the above styles showed the new changes and new features of poetry creation in the Yuan and Mongolian periods in content and language.
Curious and dangerous poetic style has been further developed in Han Yu's hands and has become a trend.
There are more than 500 poems by Meng, of which short stories and five ancient poems are the most, and there are no metrical poems. In art, I am not conformist, or I am good at drawing lines without allusions and words. My language is simple and clear, but I try to avoid mediocrity and simplicity. Or "hook the chapter and stab the sentence, pinch the stomach and kidney" ("Epitaph"), thinking about its difficulties and carving its risks; As Han Yu said, "backward scale and clever words" (Answer to Meng Jiao) swept away the weak poetic style since Dali. Some of these poems reflect the reality of the times and expose the evils of the buffer region, such as Complaining for Women, Feeling for Feelings, Killing People Out of the Border, Wounding Spring, etc. Some people care about people's lives and resent the inequality between the rich and the poor, such as "Weaving Maid Poems" and "Singing to People in Cold Regions". Some show the deep affection of flesh and blood, such as wandering, making love, apricot mourning and so on. Some of them describe landscapes, such as The Banquet between Ruzhou Nantan and Lv Zhongcheng, Youkou and Wang Waiya's Twenty-one Liuxi, Shilaishi, Hanxi, Seeing Your Majesty off to the Tiantai, Aixia and Visiting Zhong Nanshan. Although the contents of social life are different, they all have profound thoughts and novel language, which embodies the characteristics of Meng's poems. Some works, such as Autumn, are depressed. Poems such as "Going out is an obstacle, who is the width of the world" ("To Cui Chunliang") reflect the hardships of the world and show a narrow state of mind.
Meng Jiao's short story Little Meng Jiao skillfully defeated the imperial envoys.
In the Tang Dynasty, there was a gifted scholar named Meng Jiao in Wu Kang County. This Meng Jiao was born in a humble background, but he studied hard and achieved outstanding results.
One winter, an imperial envoy came to Wu Kang County to learn about the people's feelings. Grandfather County hosted a banquet in honor of an imperial envoy. Just as the magistrate raised his glass and said "please", an imperial adult Guang Chen nodded to entertain him, and Meng Jiao Jr. came in wearing tattered green clothes. County grandfather looked very unhappy. He stared and shouted, "Go, go, there are little beggars. I am really honored. "
Meng Jiao Jr. angrily replied: "The poor in the family are uneven, and there are immortals in three places off the ground."
"ouch! Little beggar, don't talk, I'll test you. I'll connect online. If you're right, you can eat here. If you can't get it right, I will sentence you to a private court and break your dog's leg. " The imperial minister said strangely.
"Please." Xiao Mengjiao is not afraid at all.
Seeing that the other person is a child, the imperial envoy shook his head and said, "The little frog is dressed in green."
Little Meng Jiao saw that an imperial envoy was wearing a red embroidered robe and there was a burnt crab on the table. After a moment of meditation, he said to himself, "This big crab is wearing a red robe."
The imperial envoy was as angry as a sieve when he heard this. But he said to the county magistrate, "Give the boy a seat, give him something to eat, and I will confront him again."
The old imperial envoy left three cups of old wine and swaggered away again. He glanced sideways at Xiao Meng Jiao and said in a strange voice, "The kitten is looking for food."
Meng Jiao looked at the imperial envoys like a greedy dog gnawing at bones, and looked at the flattering county grandfather. He thought to himself, you corrupt officials angrily replied, "Rats steal imperial grain."
Hearing this, the imperial envoys and the county grandfather were dumbfounded and broke out in a cold sweat. It turned out that they were eating money for disaster relief, so they had to have a guilty conscience.
Appreciation of wandering poets' works
The mother used the needle and thread in her hand to make clothes for her long-distance son.
Before leaving, I had a stitch for fear that my son would come back late and his clothes would be damaged.
Who can say that a filial child like the weak can repay his mother's love like the sunshine in spring?
Jieai
The heart is dying, and the affair is deep.
I once wanted to leave, and I tied my skirt a thousand times.
I will stick to my ambition alone, and I will return to my will early.
It is better to tie your heart than to tie your clothes.
Sit and settle, and settle for a hundred years.
After obtaining a government degree,
The previous filth was not enough to brag, but now there is no end to debauchery. In the spring breeze, this proud horse runs at the speed of two beats. I visited all the sights of Chang 'an gracefully in one day.
Lienvcao
The branches and leaves of the male martial arts spread for the rest of my life, and two pairs of mandarin ducks and waterfowl died together.
If a sincere girl only loves her husband in her life, she will live faithfully like them.
What kind of stormy waves can annoy a soul like water in an eternal well? .
To annotate ...
① Indus: It is said that Indus is a male tree and Tung is a female tree. In fact, the phoenix tree is monoecious.
Martyrdom: follow death.
Brief analysis
This is a poem praising a chaste woman.
The phoenix tree grows old together, and the mandarin duck dies, which is a metaphor for a chaste woman's martyrdom. At the same time, comparing with the ancient well water, praising women's chastity and not marrying. The content of this poem may be pinned on this, expressing the poet's character of sticking to integrity and refusing to go along with the powerful. However, as far as the whole poem is concerned, from the title to the content, everything is for a clear theme. As far as poetry is concerned, we can't rock the boat. Therefore, we can't help but say that it maintains feudal ethics, belongs to feudal dross and should be criticized.
"Suburban Island" phonetic notation: Jiāo d?o
Meng Jiao and Jia Dao, poets in the middle Tang Dynasty. Meng Jiao, 28 years older than Jia Dao, is a senior poet in Jia Dao. However, they are all unfortunate, with humble positions, poor life and bitter songs.
Meng Jiao's "Poetry is empty all his life, but he doesn't feel bald" ("Send Lu Langzhong Pavilion"); Jia Dao's "A day without poetry, the source of the heart is like a waste well" and "Play as a friend" are said to have "two sentences for three years, one song with two tears" (Wei Tai's "Poetry of Han Shu"). They are also Han Yu's poetry friends. Han Yu also appreciated their poems, saying that Meng Jiao's poems were "tough and appropriate" ("Recommended Scholars") and Jia Dao's poems were "treacherous and poor, often dull" ("Send the teacher to john young"), but they paid more attention to the suburbs than to the islands. The suburbs and islands occasionally exchanged poems, which was different at that time. At the end of the Tang Dynasty, Zhang Wei listed Meng Jiao as a "lonely victim" and Jia Dao as one of the people of Jin and Qi Tang. In the Song Dynasty, Ouyang Xiu started with two people at the same time, saying that "Meng Jiao and Jia Dao's disciples are all sad" (after Shu Mei Manuscript), and Su Shi said that he was "thin on an isolated island" (offering sacrifices to Liu Wen). The two schools of poetry are both "singular" and "sad", which are refined in language creation and do not use words in online drawing, which is the similarity of * * * *. However, Meng Jiao's poems are mainly five ancient poems, and they are not rhythmic poems; Jia Dao's poems are mainly composed of five laws, but less archaic; Meng Jiao has a wide range of observations on social life, deep feelings, and works that care about the state and people's livelihood; Jia Dao, on the other hand, is narrow-minded, indifferent to the world, lonely and gloomy, which is the difference. Pan Deyu believes that "the suburban island is also called, the island is not a suburban horse, and people call it cold and thin, and the suburbs are not cold" (Yang Shi Hua). This theory is very representative. However, Jia Dao's influence was greater than Meng Jiao's: the late Tang Dynasty and the Five Dynasties were called "Jia Dao Times" (Jia Dao, Wen Yiduo), the "Nine Monks" and "Four Spirits" in the Song Dynasty, the "Jingling School" in the Ming Dynasty, and the "Zhejiang School" in the Qing Dynasty, which became a school after Jia Dao; Only a few poets learn from Meng Jiao.