Li Shangyin is another poet after Li and Du Fu in the late Tang Dynasty. As the most representative poet in the late Tang Dynasty, he inherited and developed the theory of "good luck" which runs through his poetry creation, and then formed his unique poetic style of "Shen Bo Li Jue" and "Affectionate Mianmiao". The poetic theory of the poet "Ji Xing" is intensively discussed in Fan Nan Wen Ji, such as Sacrificing Lang Ju Qi (Fan Nan Wen Ji, Volume III), Shang (Fan Nan Wen Ji, Volume VIII), Book of Scholars with Tao (Fan Nan Wen Ji, Volume VIII) and Xie Dong, among which "Sacrificing Lang Ju"
Fuyuan and Huang Bei are used for embroidery, and Qingyue is a musician's wonder. Considering the combination of yuan and machine, customs clearance is tired, and it falls to the beginning of the four seasons and swims in Liuyi. Before stealing, after stealing, take charge of the department, Baitai will serve the banquet, and Xiong Fu will take care of it. The style is "wind" and "coquettish", which is accompanied by nature, moving is old, and shocking is the beauty of dividing water. Discussion and thinking is not the first meaning, and the last article is polishing. Light recorded music, Taoist fantasy poet. The situation belongs to writing work, and it is the most ambitious. Since Liu Maozhao's tracking, Yang's voice has left a legacy, and there is no sound. Although there are different systems in ancient and modern times, law and Lu are the same. Since my dynasty, this method has been particularly prosperous. Are caught in coincidence, rarity or both. Pillow stone gargle, still in a solitary sentence; Climb the scale, insert wings, before the articles of arrogance and extravagance. Li and Du complained about being stabbed, while Song Zeqi was even more depressed. As for grasping the selfless ruler and erecting the unpredictable door wall, since the gods are not entrusted, can it be decided by the husband? Fu Wei, Sir, is stronger than others. He is big enough to make the same room and try his best to enrich me. I wonder who can afford it, scholar. A Bi star doesn't work, he is well informed. However, I heard the elder's theory early, and I begged the poet's ending. Xiang Yan is in a low position, grateful for her bosom friend, sincere congratulations and no letter from calligraphy. On the other hand, Zhong Jiashi is indeed far ahead among the students, with the style of Zhu Sizhi, ranking among the merchants. Only respect virtue and wish to bathe in the afterglow. Don't celebrate swearing, get up and sing oratorios. Smelling snow in the snow is a shame to ten thousand people; The yellow gate of bhikkhuri is not eight meters. Dare to respect, but fear. His poem is in a few words, please seal it as a farewell poem.
It can be seen that Li Shangyin clearly put forward the view that "the wind is flourishing" is not limited to the political and religious content of "satirizing beauty", and discussed "Bi Xing" from the perspective of poetic art, emphasizing the function and role of "Bi Xing" as an artistic technique, which is a powerful refutation of the ideological content of the realistic poetic theory represented by Bai Juyi in the middle Tang Dynasty. On the one hand, the poet affirmed that poetry must have realistic value content, "the light transmits music and records, and the Tao revitalizes the poet." The situation belongs to the merits of words, and the ambition is the most "; Oppose excessive pursuit of formalism, "everything falls into coincidence, rarity or material combination" and "articles that precede arrogance and extravagance". "Push li, du hatred thorn,", Song Zeqi very depressed ". On the other hand, it emphasizes the independent artistic value of "Bi Xing" as a poetic expression, that is, "it is not the first meaning of discussion and thinking, but ultimately a polished article", and holds that "a certain Bi Xing is not a work, but a learned one"; Oppose paying too much attention to the content of poetry and losing its basic aesthetic value. "Push li and du fu, mostly hatred. The poet advocates combining the allegory of "Bi Xing" with euphemism and twists and turns, that is, "Blaming your grandson for being a grass and being more beautiful than a gentleman" (Xie Hedong Shi Qi), "Chu Yu is affectionate" (Zi Yin Ji Tong She) and "Joey can't be careless" (Wanderer).
Second, Li Shangyin's Poetry and the Style of Ji Xing
Li Shangyin's poetic style is often called "divine wave" (from the preface to Zhu Zhu's notes). "Beautiful" generally refers to the modification of words and gorgeous language, put aside first. Shen Bo is most easily associated with Du Fu's poetic style. In fact, the formation of Li Shangyin's "Shenbo" style was also influenced by Du Fu. Cai Kuanfu's poem in Song Dynasty said: "Wang also liked to call Yishan's poem in his later years, thinking that Yishan was the only person in Tang Dynasty who studied Lao Du." Xue Xue, a member of A Qing Dynasty, also said: "Li Yuxi is impeccable. You know, there are Shaoling, followed by Yuxi, and no one else advocates it. Only Tang Wei. " Shen Deqian's "On Poetry Volume" says: "A mountain is close to the body, and many achievements are better than satire. Many of them used the topic to hug, but they were changed by the times and had to hide. More than a dozen chapters in history have won the integration of Ling Du. " The so-called "deep knowledge" mainly means that poetry has profound ideological content, that is, profound, heavy, profound and long. The formation of this style is closely related to the special political environment and psychological characteristics of the poet. Throughout his life, the poet was trapped in the political whirlpool of the struggle between Niu and Li, seeking survival in the cracks. On the one hand, he has the political ideal and ambition to rule the country and the world, on the other hand, his personal fate is poor and his life is down and out. On the one hand, I hope to do something, on the other hand, I am timid, introverted, sensitive and depressed. These make the poet's positive political emotions intertwined with negative personal psychological factors, which is difficult to dispel in his mind. The spiritual temperament, sense of social responsibility and cowardice of the literati who have the courage to undertake the historical mission struggle with each other and have their ups and downs, so it is difficult to show them thoroughly, vividly and directly in his poems. Therefore, when they create poetry works that criticize social reality, they often rely on the technique of "Bi Xing" to pin their own theme ideas. Poetry is obscure and tortuous, with different meanings, showing a style of "emphasizing knowledge" Zhu and others said, "Those who are not proud of being friends of the monarch and the minister often express their distant feelings and deeply hate to practice, so as to make them loyal, resentful, bored and lingering." After the Tang Dynasty came to Taihe, eunuchs were violent, party disasters spread, Yishan became a pawn, and his reputation was ruined. If he is in danger, he can't talk. If he thinks hard, he can't talk about it. "(Preface to Li Yishan's Poems) brilliantly explains the poetic creation process in which the poet expresses contradictory and complicated feelings in a tortuous way and endows profound ideological content. Mr. Fu Gengsheng said: "What is inconvenient to say in Du Fu's poems has to be entrusted; "The depth of sustenance leads to the formation of' depressed' style" (Du Fu's poetics on' depressed' style and compatible sustenance). Similarly, "Shen Bo" is a poetic style formed by Li Shangyin's complex social feelings and subjective spiritual experience, which is difficult to express and can only be expressed in the way of "comparison and sustenance". Take a large number of poems sung by poets as an example. Fu Hou, Chen Hougong, Southern Dynasties, Wu Gong, Northern Qi Dynasty, Mawei Po, etc. often use the technique of satirizing the present, borrowing the past and learning from the present, which is subtle and tactful. However, the ideological content expressed is aimed at the eunuch's authoritarian power and the town's separatist regime in the late Tang Dynasty. In the Qing Dynasty, Ye Xie commented on Li Shangyin's poem "The Original Poem", saying: "If the algae are too gorgeous, they will be hidden in the line of sight" (Zhao Wei), revealing the profound and implicit characteristics of Li Shangyin's poem "Jixing". For example, Sui Palace satirizes the historical facts of the emperor's extravagance, which is not discussed in the poem, but only describes the luxurious scene of the emperor's trip, and Selected Poems of Li Shangyin evaluates its "elegant and beautiful style contains deep feelings". Behind such a colorful and poetic picture of the emperor's parade, there is a poet's sharp satire on Tang Wuzong's decadent rule. Another example is Jia Sheng, in which the poet narrates the details of the dialogue between Wendi and Jia Yi, and "Mo Wen and Shu Ren ask ghosts and gods", criticizing the absurd behavior of the rulers who are obsessed with seeking immortality and neglect state affairs. The soothing and beautiful words contain angry and spicy sarcasm. Another example is "Han Gong Ci", in which the poet connects the two unrelated allusions of the bronze statue of Emperor Wu of the Han Dynasty and diabetes, so as to expose the vanity of seeking immortality and accuse the rulers of not paying attention to talents. Two interesting allusions, connected by imagination across time and space, faintly flashed with the attack irony of swords and shadows. Another example is "Duke Wu", in which the poet refers to the decline of the State of Wu with the words "sunset" and "Shui Piao flowers out of the city", secretly expressing his worries about the future and destiny of the country, and expressing his deep meaning with a small view. Another example is "Dragon Pool", in which the poet describes the banquet held by Emperor Xuanzong of the Tang Dynasty-"The banquet in the middle of the night is always in the palace, and Xue Wang is intoxicated, and Wang wakes up", alluding to his filthy behavior of occupying his daughter-in-law, debauchery and decay, which is really the pen of yin and yang.
The expression of "deep affection and tenderness" in Liu Xizai's Introduction to Art is a summary of Li Shangyin's poetic style. The so-called "deep affection" refers to the poet's deep affection in poetry; "Mianmiao" refers to the multiple meanings of beauty and obscurity in poetry and the aesthetic realm with rich connotation. Poets attach great importance to the development of poetic artistic conception through "comparison and sustenance", which A Qing and Luo Song summed up as "the meaning of a mountain is profound and touching" (full of poems). In the Qing Dynasty, He Chao said, "There are twists and turns, and the colors are full of emotions" ("Poems of Li Yishan, Secretary of Yimen Reading"), and Ye Xie said, "... Beauty lies in infinite meaning, beauty lies in subtle thinking, quietness lies in unspeakable, and it means incomprehensibility; The meaning here is another, leaving the image without a clue, never talking about it but with poor ideas, attracting people into a trance ... "(The original poem) Both of them pointed out the implicit aesthetic value of Li Shangyin's poems. The implicit and euphemistic artistic beauty of Li Shangyin's poems is reflected in the artistic characteristics of "deep affection" in specific poetry creation.
First, the embodiment of "affectionate" artistic style in realistic "Jixing" poems. A large number of political lyric poems and epics created by Li Shangyin all contain "happiness". These works not only have social value, but also contain profound aesthetic value. For example, in Fuping Shaohou, the poet carved, rendered and set off the luxurious life of Shaohou with gorgeous rhetoric-"Don't accept gold bullets and throw them outside the forest, but cherish the silver bed at the wellhead." The colorful trees turn into pearls, and the embroidered sandalwood belongs to the jade carving on the pillow. "The whole poem satirizes modern people, refers to the present by referring to the past, satirizes the extravagant life of Tang Jingzong and some wealthy nobles at that time, and points the critical edge to the highest feudal ruler. In addition, the satire also reveals the critical satire and helplessness of Tang Jingzong's dissolute life, and his poems are full of deep, euphemistic and sad feelings. This is not only related to the poet's personal melancholy temperament and aesthetic taste, but also reflects the aesthetic atmosphere and spirit of the times in the late Tang Dynasty. In particular, the first sentence of the poem "Seven countries and three sides have no worries" and the last sentence "Mochow", "No worries" and "Mochow" echoed from beginning to end, making a pun and satirizing the absurd behavior of the dying king, but it remains the same, which can be said to have far-reaching influence. The whole poem is a mixture of ancient and modern allusions, and the distance between historical facts and reality creates a dense and subtle situation, which is memorable. Another example is Longchi, Wugong, Jia Sheng, Ma Gui, Meng Ze and Sui Gong. All of them skillfully use various rhetorical devices such as comparison, rhetorical questions, allusions, etc., and express the ideological content of entrustment implicitly or explicitly, directly or tactfully, and carefully refine typical scenes, full of emotion, irony and profound thoughts.
Second, poetry pursues the beauty of artistic conception. Li Shangyin's poems are not only some poems that directly criticize reality, but also a large number of poems that express the poet's inner world and subjective emotional experience. These poems often entrust the poet's life ideal, perfect personality and philosophical thinking, which can best reflect the artistic realm of the poet's "misty poetry". Such as poems describing objects, poems describing women, love poems, etc. The emotions entrusted by these poems are a complete subjective spiritual experience, which is mixed with complex social emotions and multiple contradictory psychological factors. It is also a reflection on the overall picture of culture, life and philosophy, and there is a more flexible and free scale and space between the signifier and the signified. To a great extent, it got rid of the practical utility and narrowness of China's traditional cultural model with political ethics as its core, and rose to a broader and deeper aesthetic realm. Ge's Yun Zai (Volume 2) says: Yang Yi's Poem on the Mountain is rich in meaning, smooth in interpretation and endless in interest, which makes scholars know less about the same kind, and it is like washing their stomachs. Poetry is a symbol of the soul, a poet's own sense of life experience, and a pure subjective mentality and life experience. Taking the poet's poems about objects as an example, the poet often uses the artistic thinking of "Bi Xing" to touch the scene and inspire people to forge ahead. The poet and I look at things together and observe ourselves through the natural scenery. "Everything is my color" (Wang Guowei's "Words on Earth"), because things cause endless associations, and natural changes cause poets to sing and create. For example, in Cicada, the poet uses cicada as a metaphor to express his sadness, beautiful personality ideal and thinking about life. In poetry, the scenery is used to express feelings, and the heart is used to imitate things. There is love in the scene or there is a scene in the scene, and the scene is harmonious and natural. The "implication" of the poem is not poured out, but wanted to be revealed, hidden, spoken and rested. The lines between the lines give people a deep shock and strong touch. Another example is "Singing Willow", "Falling Flowers" and "Wandering". Every sentence is a scene, and every sentence is a feeling. The contrast between things and me becomes the unity of things and me. There is no distance between heart and things. I am the thing, the thing is me, and the thing has been integrated with my life. There is almost no trace of sustenance in the whole poem, and the realism and utilitarianism of the poem completely disappear and completely enter the ideal aesthetic state. The relationship between image and meaning, mind and things has reached a seamless level. The poet's spirit is detached from the natural world, and his poems present a profound and implicit artistic conception of "deep affection".
Third, "Bi Xing Pin" in Untitled Poetry
It is generally believed that Li Shangyin's poems have the characteristics of aestheticism, which is mainly reflected in the "untitled poems" with the highest achievement and the most personal representation. There are fourteen poems written by Li Shangyin with the title "Untitled". They are untitled (stealing a mirror at the age of eight), untitled (photographing Liang Chu's feelings) and untitled two (stars last night; I heard "Nagato" and "Four Untitled Poems" (that is empty talk; Southeast; Affectionate spring night; Where to pay tribute to Zheng), Untitled (brief encounter), Untitled (the fairy of the son-in-law), Untitled two songs (; Heavy sorrow), "Untitled" (near the famous Ahou), "Untitled" (haunted by the white road). Literary critics of past dynasties have been arguing endlessly about what "untitled poems" place on. In the Ming Dynasty, Yang Ji's Untitled Poems and Li Yishan Shang Yin's Untitled Poems of Li Yishan were both entrusted to ministers who did not forget your wishes but were deeply pregnant with talents. "(Ming Yang Ji's Mei 'an Collection, Volume 94, Series 3) This is the origin of the theory of sustenance in the study of untitled poems, which has a far-reaching impact on later generations. In the Ming and Qing Dynasties, Qian He inherited this saying, "Li Shangyin wrote five poems entitled Untitled, which have different body and meaning, so it is difficult to put forward a proposition, so it is called untitled" (Volume 3 of Four Poems in Ming Dynasty); "The favour bestows trust, which hides mystery and comparison" [preface to Qian (the source of Buddhism) in Qing Dynasty]; "Self-help untitled poets, or they are all fables, or they are endowed with skills, each with its own prejudice and determination. I read the complete works carefully, and I know that there are many people who have sustenance, but few people who have sex directly. Mixing together is very confusing. " (Notes on Poems Born in Yuxi by Feng Hao in Qing Dynasty, Volume I) Another Qing Qufu, Poems Born in Yuxi, wrote: "Every poem has no self-order, but it is a contract poem, which is pinned between a monarch, a minister, a friend and a husband and wife, or it is unknown whether it is true or not ... If you have to force that person to explain, the author will never talk to anyone, and the interpreter will ask who started from the Nine Origins. ("Poetry Born in Yuxi" Volume 7) and said: "Every poem has its sustenance, the knower and the unknowable. For example,' fighting between the sun and the moon in the frost' and' eventually leaving the king to be angry and restraining the teacher' are based on understanding and belong to general talks. This is well known. If Jinse, Untitled and Yushan are men and women who admire Yue Ci and know that they have their sustenance, it is necessary to ask anyone to be honest. Today, as far as poetry is concerned, I dare not set foot in it. "(Poems on Life in Yuxi: An Example) This statement is more pertinent than the previous one, and more in line with Li Shangyin's creative practice of" untitled poems ". Liu and Yu Shucheng, two contemporary scholars, believe that some of Li Shangyin's untitled poems "have obvious traces of sustenance and convey clear information", some "seem to have traces of sustenance, most of which are very similar to pure love poems" and some "are obviously erotic works". The above comments all think that Li Shangyin's Untitled Poetry uses the technique of "auspicious star", which has profound implications, but what does this implication point to? No conclusion, no argument. We might as well start with the characteristics of Li Shangyin's poems and find out the reasons why "untitled poems" are difficult to understand. At the same time, we can also see the changes and development of "auspicious stars" in poetry practice since the late Tang Dynasty. The reason why Li Shangyin's Untitled Poem is difficult to pin down is actually because of the ambiguity of the poem, which can best reflect the poet's poetic style of "deep beauty" and "deep feeling".
First, Untitled Poetry deepens the basic connotation of "good luck".
Throughout the ages, Jinse has always been regarded as an "untitled poem" with the most ambiguous meaning. "I don't know why my Jinse has fifty strings, and each string is a flower-like interval, which is the interval of youth." Untitled Poetry expresses the poet's emotion for no reason, and there are so many complicated and even inexplicable psychological factors in the emotion that even the poet himself can't accurately describe and shape it, and it is difficult to establish a central idea of sustenance, so it is named Untitled. These feelings that come from "no reason" are not without reason. They are the result of the interaction between the political and social environment in which the poet is acquired and his innate personality characteristics, and become the conscious emotional expression of the poet in a subtle way. Every time they appear in the poet's "untitled poems", they become an unconscious, unconscious and unpredictable illusion over time. Li Shangyin's poems pay attention to the expression of subjective feelings and spiritual world, and his artistic thinking mode is deeply influenced by the theory of "poetic sentiment". The poet himself said: "When people observe the show of the five elements and prepare for the seven emotions, they must have the spirit of chanting and communication. Therefore, yin is sad and yang is comfortable, and its way is different; There are thousands of sources of grief and indignation. " This emotion originated from "unprovoked" fully embodies the poet's own aesthetic experience, and sometimes it has no special political connotation, and it is not "comparison" and "sustenance" in traditional poetry teaching in the general sense. However, the world has to rely on the fable of beautiful thorns to attach its meaning, which has triggered an endless debate on the ambiguity of Li Shangyin's Untitled Poem. At the same time, this kind of "unprovoked" has no beginning and no end, which implies the aesthetic significance of "incoherent speech". The poet's most intimate, delicate and subtle personal feelings are all reflected and refracted through the "untitled" entrusted to him. What the poet experiences in his poems is his personal aesthetic experience and personal observation of the aesthetic world. This aesthetic artistic conception is unique and subjective, and often presents the hazy beauty between solvable and unsolvable.
It should be pointed out that the poet's personal feelings "inspired" by "untitled poems" are complex, which does not exclude the rational idea and moral connotation that Confucian poetry teaching has always run through. Li Shangyin's political environment and interpersonal relationship, especially the self-reflection inevitably caused by falling into the party struggle and becoming a victim of the party struggle, completely exist. Therefore, what is shown in the technique of "auspicious star" is the balance between "grandeur" and "beauty" It is generally believed that the aesthetics of Li's poems tend to be "beautiful", which can better reflect the poet's subtle emotional experience. Therefore, when poets choose the images of "Bixing" or "Entrust", they always start with flowers, plants, fish and insects. However, these trivial images often exceed the value borne by the individual in the poet's works, and this emotional experience obviously carries the Confucian moral and ethical norms and profound social connotation. In other words, the aesthetic judgment of Confucian poetry teaching is dependent on the poet's personality and emotion. Li Shangyin had the ambition of "returning to heaven and earth", but because "the phoenix nest is separated from the west", he could not be reused by the court and could not display his ambition and talent. This is not caused by Li Shangyin's personal misfortune, but by the environment of the whole era. After the Anshi Rebellion, literati felt powerless to return to heaven, so they entered the art world one after another, so literature prevailed in the middle and late Tang Dynasty. In this artistic world, the poet has doubts about the "beauty" of traditional poetry teaching, so his "untitled poetry" is confused, and his elusive self-awareness and personal emotional experience are getting stronger and stronger.
Untitled is untitled, which itself contains elusive hazy beauty. The poet hovered between the knowable and the unknowable, and never named these fourteen poems. The world said it had something to put, but it never understood what it put, and even the poet himself may not be able to make it clear. This represents the change of the poet's aesthetic concept, that is, the pursuit of ambiguous beauty of poetry, that is, the pursuit of "pure" poetry art. These "untitled poems" are all works under the guidance of the author's artistic thinking. Mr. Liang Qichao said: "I don't care what a mountain poem such as Jinse, Bi Cheng and Notre Dame Temple says ... but I think it is beautiful and gives me a fresh pleasure in reading. It should be noted that beauty is multifaceted and contains mystery. If we still recognize the value of beauty, we can't erase this literature lightly. " (The emotion expressed by China's rhyme) These "untitled poems" use the aesthetic feeling of "Bi Xing" to create a vague artistic conception. Poets in the middle and late Tang Dynasty, represented by Untitled, expanded the "sustenance" content of Ji Xing's poems from the macro social level to the micro spiritual world. There is a strong sense of self in poetry, and the subjective creative tendency makes the theoretical connotation of Ji Xing shift from emphasizing the practical value of poetry teaching to personal aesthetic photos, and there is a changing trend.
Second, Untitled Poem developed the technique of "comparison".
Li Shangyin's artistic technique of "Bi Xing" originated from Qu Yuan's metaphor of vanilla beauty. When commenting on Li Shangyin's poems, poets of past dynasties often evaluate the artistic technique of "Bi Xing". For example, Lin Changyi's Poem of Shooting the Eagle Tower in the Qing Dynasty: "There are poems outside the poem, which are profound and far-reaching. Quiet and beautiful, opened a hole in the poet. " Lu Kun once wrote Li Yishan's Interpretation of Poetry: "Since the Six Dynasties, there have been many aspects of poetry, and one mountain still exists." Untitled Poetry uses a lot of figurative techniques, such as metaphor, personification, imagination, association, image symbol and so on, which is implicit, implicit and profound. Too much emphasis on "Bi Xing" makes "Untitled Poetry" more difficult to understand, but in a sense, it has also achieved the poetic style of "Shen Bo Li Jue" and "Affectionate Mianmiao". Li Shangyin's figurative technique has a strong subjective color, which is the poet's personal emotional experience, branded with the poet's personalized mark and represents the poet's unique aesthetic pursuit. It is precisely because of the individualization of "untitled poems" that Mr. Chen Bohai said: "The poet (Li Shangyin) has created a new form of metaphor, which is to convey some subtle life experiences and inner feelings through the artistic image of poetry." The poet's "metaphor" technique is full of irony, affection and subtle contrast, creating a subtle and euphemistic artistic conception.
Li Shangyin's exploration of the technique of "Bi Xing" lies in the art of image symbol, and fourteen "untitled poems" have image symbols in almost every capital. Due to the influence of the poet's complex psychological structure and subjective aesthetic experience, the image of "untitled poem" presents a high degree of personalization and obscurity. When a poet chooses a metaphor, he does not proceed from the objective characteristics of the metaphor itself, but actively endows the external image with subjective feelings. In other words, the poetic image is not taken from the outside, but from the poet's heart. It can be said that these images were completely hidden by Li Shang. For example, there are many female images in untitled poems, such as untitled poems (stealing a mirror at the age of eight), untitled poems (photographing Liang Chu's feelings), untitled poems No.1 (phoenix tail fragrance), untitled poems No.4 (where to mourn Zheng) and so on. The author uses the heroine as a metaphor to give the characters some feelings. Li Shangyin wrote a woman to be married in an untitled poem, a girl who stole a mirror at the age of eight and fell in love and never married, two untitled poems wrote a sister-in-law who stayed up all night, and four untitled poems wrote "an old woman from her master". In previous poems about thinking about women, the images of married women are more common, while women in boudoir are less like poets. These artistic images appear repeatedly in Untitled Poetry, which is intriguing. The characters' feelings expressed in the poem are also different from those in general poems about thinking about women's parting feelings, but focus on revealing inner loss and persistence in not giving up pursuit in disappointment. There are also figures symbolizing the poet's perfect personality and ideal life, such as Untitled (Empty Talk) and Untitled (Southeast of Sasa), in which the poet immortalized and enriched the objects of love and deeply branded Li Shangyin's perfect and idealized personality. There are immortal sepals with unknown origin and no trace to be found, and there are also rich and powerful Jia and Jia. The characters he created are all covered with a mysterious coat, which seems to have nothing to do with the characters in real life, but in fact, the poet expresses his deep pursuit of ideal life through this unrealistic and perfect image, and deliberately creates a poetic artistic realm.
Another feature of image symbols in Untitled by Li Shangyin is obscurity. The image ontology is extremely hidden and fuzzy, and there is an obvious sense of distance between symbols and ontology. On the surface, it is irrelevant, but in fact it can stimulate readers' rich association and imagination and produce more than enough aesthetic significance. Take Untitled (Jinse) as an example. On the surface, the "Jinse" in the poem seems to be a symbol that has no logical connection with Zhuang Sheng's dream butterfly, longing for the emperor to think of Shu, pearl tears and jade smoke, but it contains four allusions: Zhuang Sheng's dream butterfly, longing for the emperor's cuckoo, a shark's tears and lantian jade smoke. The first three allusions are common in classical poetry, but their meanings are extremely unstable in different contexts. For example, Zhuang Zhou's Dream Butterfly may indicate that life is like a dream and things are changeable, which can be interpreted as a self-sufficient life realm; Du Yu, the king of Shu, turned into a cuckoo after his death, which can not only express the sadness of homesickness, but also be used to lament the death of Si people. The story of sharks crying for pearls can be used to lament the preciousness of pearls and the hatred of pearls left in the sea. The fuzziness of the car itself and the obvious difference between the car and the ontology make the later generations have different solutions to these two conjectures. The four allusions formed an intriguing combination of images, but what combined the four images together was not the logical connection, but the sentimental and melancholy mood expressed by the poet. At the beginning of the poem, "for no reason" and "thinking of China" set off a sentimental and nostalgic mood. After the four allusions, they end with "harmony with a moment that should last forever, and unconsciously come and go" and begin with cooperation, so that these allusions focus on the significance of "thinking about China". The four allusions connecting them are the image "channels" set by the poet, suggesting that the above allusions are all symbols of their own feelings. The images used to imply in Li Shangyin's poems are very rich, both realistic and fictional. Poets often form a symbolic world through the images and atmosphere of natural scenery, implying the author's thoughts and feelings, full of metaphorical symbols and hazy and sentimental colors, thus making his poems more profound and ethereal.
Four. conclusion
This chapter selects six most representative poets in the Tang Dynasty, and starts with their poetics, artistic style and specific poetry creation, focusing on revealing the influence of the theory of "good luck" on the formation of poets' poetic style in the Tang Dynasty and their relationship. The formation of Li Bai and Li He's poetic style is closely related to their emphasis on association and imagination in artistic thinking. It can be said that Li Bai and Li He's bold and rich association, imagination and image symbols are the development of the artistic techniques of "Jixing" and "Bixing" and push the art of "Jixing" to a new height. Bai Juyi's realistic poetics theory and Du Mu's poetry creation practice further deepen the social realistic value connotation of Ji Xing. Li Shangyin's poetry creation, especially "untitled poems", on the one hand deepened the connotation value of "good luck" and on the other hand further developed the art of "Bi Xing". Du Fu's "gloomy and frustrated" poetic style pays attention to the unity of ideology and expressiveness, which is consistent with the theory of "good luck" and the artistic technique of "comparison", which endows profound ideology in essence. Li Shangyin's combination of the connotation value and artistic expression of Ji Xing (the theory of Ji Xing and the poet's poetry creation in this chapter and the theme of Tang poetry in the second chapter) is a basic summary of the overall style and characteristics of Tang poetry.