Yan Yu, a poet in the Song Dynasty, wrote a famous comment on the poems in the prosperous Tang Dynasty in Cang Lang Shi Hua Shi Bian: "Poets sing about love. In the heyday of the Tang Dynasty, all people were interested and there was no trace to be found. Therefore, its beauty is thorough and exquisite, and it can't be together, such as the sound in the air, the color in the phase, the moon in the water and the image in the mirror. The explanations of modern masters are various, so words are poems, talents are poems, and arguments are poems. Doesn't the husband work? Not an ancient poem. " In Yan Yu's view, poetry should be ethereal and vague rather than true, implicit and sublime rather than superficial. In other words, "endless words and endless meanings", that is, the pursuit of implicit artistic conception and intriguing charm, are the basic aesthetic characteristics that poetry should have, and poetry in the prosperous Tang Dynasty is a model of this kind of poetry aesthetics. In a sense, this aesthetic pursuit of poetry is mainly based on the fuzziness of poetic language and the multiplicity of meaning. Once the ambiguity and ambiguity are lost in the creation of poetic images and the expression of language, the implicit aesthetic feeling is lost. For example, Yan Yu's criticism of Song people regarding words as poems, learning as poems and discussion as poems all dispelled the ambiguity and ambiguity of poetic language and deviated from the implicit meaning.
As far as Bai Juyi's poetry creation is concerned, superficial and straightforward are its outstanding characteristics. Mr. Qian Zhongshu once said: "Xiangshan reflects the past and the present, and its words are full of vulgarity, which is far from the poet's profound realm, but it has not yet reached it." His writing style is profound and leisurely, but lofty and straightforward, with short form. Compared with the true nature of Shaoling, its realism is heavy and extravagant, and the situation has plummeted. "("Talking about Art Record ") It can be seen that the implicit taste of white poetry is not strong. In this regard, Mr. Luo Zongqiang described it as "practical, vulgar and omnipotent" ("History of Literary Thought in Sui, Tang and Five Dynasties").
In this case, Baishi's self-annotation actually played a role in fueling the situation. Bai Juyi currently has more than 2,700 poems, of which more than 500 are self-annotated, ranging from one to more than ten. Selected Poems of the Tang Dynasty has been circulated so far, and Bai's Selected Poems is the best. These notes are all added by Bai Juyi himself and have been widely recognized by academic circles. The self-annotation of Bai poetry is presented in the form of inscriptions and notes in poetry, covering a wide range, including the writing time of Bai poetry, the people and things related to it, and even the pronunciation of words and the sources of allusions. As explanatory words, these self-notes try to explain the information involved in poetry clearly and implement it, so that readers' little imagination space is further fixed and realistic, which runs counter to the implicit pursuit of poetry aesthetics. There are three typical manifestations.
First, the information provided by the notes and the text is repetitive, which makes the lyrics of the poem redundant. There are many self-reports about time, place and characters involved in Bai's poems, most of which are not closely related to the emotional expression of poems, and some even repeat the contents expressed in poems. For example, the title in Wangjiang Pavilion is "September 8", and there is a sentence at the end of this poem: "The Ming Dynasty is the Double Ninth Festival. Who advised Chrysanthemum Cup?" Even if there is no caption, the writing time can be inferred from the end of the poem, so this caption is purely redundant. Another example is the poem "Injuring Ejina Banner with Liu Langzhong": "Not only the monarch and ministers, but also me, the west wind and the north snow killed the south flowers. I don't know where the moonlit soul goes. What is the first place in Nautilus Island? " The last sentence note: "Ji, Hubei people also." There is no need to say "Eji" in the title of the poem, and there is no need to add a snake-foot note at the end of the poem. Another example is 1 1 the poem "Feeling of First Entering the Gorge":
The top is Mount Wan Ren, and the bottom is a thousand feet of water. Between the two cliffs, there is a wide and narrow reed. The meandering pond is in the middle of the river. The black rock is faint at night, and there is no wind and white waves. A big stone is like a sword and a small stone is like a tooth. One step is not feasible, and the situation is thousands of miles. From Zhou Xia to Zhongzhou, beach risks are one after another, with a distance of 1300 Li.
From the point of view of the poem itself, it describes the obstacles of the road in the canyon from many angles and in all directions. Even without the help of poetry, readers can imagine the scene of rocky beach and the difficulty of the poet's service. After this detailed description, there is obviously no need to add another note to the self-annotation of this poem. This type of annotation occupies a considerable proportion in the self-annotation of Bai poetry. In the Four-Pillar Window, the sentence "Xifu doesn't remember pine, Nangong doesn't remember chrysanthemum" says: "Xifu courtyard has pine, Nangong hall has chrysanthemum." In Zhuchen Village, there are only two surnames in one village, and the marriage lasts forever. Note: Zhu Chencun has only two surnames. Wait, they all fall into this category.
Second, self-annotation and sentence-by-sentence interpretation of poetry, string by string, make poetry equivalent to recorded text, lacking poetic flavor. For example, in his famous poem Song of Yi Yu, the rhetorical devices such as metaphor, exaggeration, imitation and synaesthesia are repeatedly used in the description of song and dance and music, which could have given readers room to imagine and let them enjoy the graceful appearance of Yi Yu's dance. However, Bai Juyi is obviously not satisfied with this. He began with the sentence of "Qing and Di mixed, playing and singing", and commented sentence by sentence, which brought together the beauty and joy of the dance of clothes and feathers, more like a live performance record of the dance of clothes and feathers. Although self-annotation makes our understanding of song and dance more specific and detailed, the original poetic language is dry and tasteless under the digestion of annotation. Another example is the poem "Twenty-four Rhymes" titled "I went to Zhai Jun on business on the 10th, but I didn't go to dinner" and sent a letter to Cui Langzhong, a family member of Jia She in Changzhou, Huzhou, who is still a guest in Wuzhong.
Weibei left his hometown, and Jiangnan defended his land. At the beginning of the journey, the month changed and it has been ten days since I entered the customs. A county is famous all over the world, surrounded by the sea. There are100000 households and 5000 soldiers in the territory. You can take care of yourself less, so why waste your life. Print ribbons with honor and disgrace, and enjoy silk fiber for nothing.
Except Suzhou Zhiyun: "Morality is hidden in oneself, and political power is applied to things; In the male bone, there is a happy environment. "
When you are sick, you must pass through the pulse to prevent the flow from defending your body. It is better to save trouble than to mend it. Cut rules and regulations, disperse orders and taxes. Take this as a service, I dare not do it myself. In hand, Wei Xianpei is in the gentry. Dare to speak vulgar officials, willing to live tired people. Changzhou does not levy yellow tyrants, and Huzhou borrows Kou Xun. Shame of anarchy, three counties in Hebei are adjacent and all have good governance. Sometimes it's a history of squatting. See Tang Shu.
I'm just a neighbor. Patent praise for yellow silk is also beautiful in Changzhou.
Poetry accounts for the white apple.
Mei Cui Xing Wu also.
You can't throw bronze symbols,
Call yourself.
Joan tree thinks there is no reason. The alarm bell rang at night and urged me to report it in the morning. All I know is that I have no time to meet my relatives and guests. Clouds are light and the wind is light to welcome summer, and birds sing through spring. The wheat wind does not fan one by one, and the plum rain varies with the wheel. Mount Wu Si remains the same,
Wuqiu Temple also,
Wang Luyue turned over a new leaf.
The southeast building of the county seat was named after it.
Grass grows idle in the pond, and silk and bamboo waste produce dust. The heat burns the gods, and the dance is taught carefully. I will be very happy when I start working again.
Although this poem is more personal, there is no gap for readers. On the one hand, the context of the poem is clear, on the other hand, the self-annotation of the poem further clarifies the poem. For example, in order to explain the words "I am ashamed of printing ribbons, but I am rewarded with a negative ribbon", Bai did not hesitate to quote his own words besides Suzhou secretariat. Especially in the second half of the poem, most of them appear in the form of annotations. "Through these annotations, the poet's meaning is clear and transparent." But from the reader's point of view, these notes are actually not indispensable, even if there is no white self-note, it will not hinder our understanding of poetry at all. Even if the reader is not familiar with the allusion "Dangjiao", it can obviously be judged as white modesty. Therefore, this kind of self-annotation method, which is similar to the spread of Chinese and Confucian chapters and sentences, has a very obvious tendency to be realistic and do whatever you want. After explaining the supplementary content through self-labeling, it is no different from a letter sent to a friend. In addition to being like a poem in form, the poem itself no longer has the characteristics of "chanting".
Third, annotate poems or allusions, and even record what people are familiar with as allusions. For example, the word ""in the sentence "Hundred Rhymes Return to Southeast" says: "See Chu Ci to make a final peace." The allusion here comes from Qu Yuan's Li Sao. Li Sao is known as the Classic of Li Sao in Wang Yi's Han Shu Chu Ci. It is a classic and the most basic part of the intellectual structure, so readers can't be unfamiliar with it. Moreover, judging from the poems of past dynasties, the "Canon" is frequently used, and people in the Tang Dynasty also quoted it repeatedly. For example, the seventh cloud in Chen Ziang's "Experience" says: "Where the incense Committee is concerned, the clouds are gloomy." Cen Can's "Walking in the Mountains in Late Autumn" said: "The grass was green last night." Even Bai Juyi's own "Jiangzhou has gone to Zhongzhou to Jiangling to show the younger brother's fifty rhymes in the boat" also has the sentence "The sound is still resting, and the toad is broken." And these poems with allusions are not annotated, which shows that they are vulgar and regular. Therefore, as far as the word ""is concerned, no matter the pronunciation or the source, there is no need to make comments. Similarly, in Bai Juyi's poems, people often use the poems of their predecessors and often take notes. For example, it's "50 East Wandering Rhymes" says:
Yu Fang recognized Lanze, but she remembered Pingzhou.
The ancient poem goes: "Lanze is full of fragrant grass." Liu Yun also said: "Tingzhou picks white apples."
Lotus root was painted with red powder and splashed with oil. The scale is poor, and the fishermen's family is wrong. The purple cave hides the fairy cave, and the mysterious spring hides the strange pot. The old crane has high spirits and charming colors.
Big Xie Shiyun: "Sneaky, charming."
The former notes are the ancient poems "Picking the Furong River" and Liu Yun's "Jiangnan Qu", and the latter notes are from Xie Lingyun's "Climbing the Pool upstairs". Among them, "Picking Hibiscus on the River" and "Climbing the Pool and Going Upstairs" are included in the selected works. Liu Yun's Jiangnan Qu was not included in Selected Works, but it had a great influence in the Tang Dynasty and became a household name. For example, Liu Zongyuan's "Reward Yingxiang County, Cao Shi" says: "Unlimited fragrance, you can't pick ping flowers at will." That is to say, take Liu Yun's poems as the password. Bai Juyi's own Five Chapters of Bai Pingzhou also talked about Liu Yun's poems. Therefore, the allusions in the self-annotation of white poems are all classics, which are superfluous to contemporary readers and future generations. Another example is the remark that "the wine is too bright" in The First Summer: "Tao Qianshi said that drinking is often insufficient." In the book "Ode to Huai", there is a note that "wine is better than Tao Qian": "Tao Qian's poem says,' wine is always bitter. "Tao Yuanming, like Xie Lingyun and others, is a former poet who is very familiar with the Tang Dynasty. His image of romantic elegance who is good at drinking and vulgar is deeply rooted in the hearts of the people. Therefore, even if there is no self-annotation of white poetry, readers will not have obstacles in understanding poetry. But Bai Juyi not only took notes, but also repeated similarities in different places. Although he has a clear direction to the allusions in poetry, it is redundant for readers and may affect their reading interest.
Lu Shiyong, an Amin poet, compared the poems of the prosperous Tang Dynasty with those of the mid-Tang Dynasty and said, "China in the mid-Tang Dynasty was kind-hearted, good at carving sufferings, good at differences and good at details. ..... People in the prosperous Tang Dynasty are interested in whether there is. It can be said that places are always inexhaustible, which seems to meet the purpose of the wind. It is also good to know the status of people in the prosperous Tang Dynasty. " The so-called "being good at carving and suffering" here should refer to the flow of "thin suburban islands"; "Good Job" is consistent with the creative styles of Li He, Han Yu and others. As for "good details", it is in line with Bai Juyi's poetic style. This expression is in tune with the so-called "Yuan and Strange Fashion" in Li Zhao's A Supplement to National History, which reflects the new change of poetry from the middle Tang Dynasty to the prosperous Tang Dynasty, and the self-annotation of Bai poetry is one of the manifestations of this new change. Yuan Mei, a poet in A Qing, commented on Yuan Zhen's Poem Self-annotation and said: "Poetry self-annotation, which was not available in the past." In fact, since Yuan Zhen, Du Fu and others have annotated their own poems, but Yuan Zhen and Bai Juyi frequently annotated their own poems, which is really unprecedented. Basically, it can be judged that the self-annotation in Bai's poems was added when he compiled his own collection. For example, a large number of autobiographies and autobiographies involving the author's personal life in songwriting works will be unknown to the author and the object of songwriting. Self-recording is not designed for them, but directly points to ordinary readers. Considering that Bai Juyi's poems were widely sung and even circulated overseas at that time, poetry self-annotation was undoubtedly one of his specific means of "learning from foreigners" and had obvious reader consciousness. Expecting readers to understand their poems more clearly and accurately should be Bai Juyi's original intention of self-annotation. Objectively speaking, a large number of self-annotations in Bai Juyi's poems are conducive to readers and future generations to make an informed interpretation of his works, but the tedious self-annotations in every detail make the poems less poetic and have a counter-effect on readers' acceptance.
The theory of "defamiliarization" put forward by shklovsky, the representative figure of Russian formalist literary criticism, holds that the skill of art lies in making the object strange and increasing the difficulty and time of feeling, because the feeling process itself is an aesthetic purpose and must be extended. Defamiliarization is the opposite of automation. Automation language is a language that is used to it, lacking originality and freshness, and "defamiliarization" is an attempt to break down the barrier of this automation language with fresh language or unfamiliar language and bring readers a novel reading experience. In fact, the literary aesthetic experience revealed by this theory is similar to Yan Yu's statement mentioned in the previous literary theory. "Incoherent words and endless meanings" actually emphasizes the leap of poetic language and the ambiguity created by images to create the effect of blank space, allowing readers to further extend and even strengthen their reading experience through association and sentiment, which is actually a kind of defamiliarization effect. The so-called poetry is also acquired in this strange reading experience. Bai Juyi's self-annotation in poetry hopes to achieve the opposite effect. Through the supplement of self-annotation, poetic language has the same assimilation effect as other language ways in life, becoming a language without associative space and freshness, which directly weakens or limits the expansion of readers' reading experience. It should be said that the evaluation of the vulgarity of Bai Juyi's poems has always been closely related to the readers' reading experience after the defamiliarization effect of white poems disappeared to some extent.
[Fund Project: Research on Self-annotation of Bai Juyi's Poems, supported by the Philosophy and Social Sciences Fund of Jiangsu University, ProjectNo.: 20 14SJB7 15]
(Author: College of Literature, Yancheng Normal University)