Features:
Joe bounced and galloped freely. Li Shangyin is good at weaving unrelated facts into couplets skillfully, crossing time and space, and showing causality through comparison, which has thought-provoking artistic power. For example, in "Ma Wei" (Part II), the neck couplet "Today, the six armies are stationed in Malaysia, and at that time, they laugh at cows on Tanabata", which is very flexible in pen use and greatly leaps in time and space.
Take the lead and have no questions, and place your hopes on it.
Throughout Li Shangyin's poems, we will find that he especially likes to use the words "you" and "nothing" to compare poems. Such as "Chu Yu is affectionate, Zhang Bin's illness is indisputable" (Zizhou sings to send her to her roommate), "Flowers must be rogue, Purple Butterfly and Huang Feng are affectionate" (February 2), "Although I don't have the wings of Cai Feng, I feel the voice of Kirin" (Untitled two songs), "Is there a dragon worry about losing water? No eagle and high autumn! " ("heavy feelings"). Through the contrast between "being" and "nothing", we can reach a state of being out of nothing, which seems to be nothing, and create a Zen meaning of "doing nothing everywhere". For example, Untitled said that "time was long before I met her, but it was longer than we were apart, and the east wind started and a hundred flowers blossomed". Its beauty lies in: first, setting the background for lovers to say goodbye, which is in late spring and March, and the spring breeze is continuous (the east wind is weak); Second, empathize with the scenery, spring flowers wither, leaves fall (flowers still exist), thus making the parting of lovers more specific and creating a sad atmosphere for their feelings; Third, it implies and symbolizes that this situation has disappeared like spring, and it will never come back, like a hundred flowers dying, and it will never bloom again.
Li Shangyin inherited and developed the artistic tradition of ancient poetry. What best embodies this feature is the cloud in Ode to an Epic: "For three hundred years, I shared the same dream. Where is the dragon card in Zhongshan? " The poet completely denied the majestic momentum of Jinling with a powerful rhetorical question. "Three Hundred Years" is really a wake-up call. It seems that "Dragon Pan" is nowhere to be found. Then, in the Six Dynasties, could the declining post-Tang regime be spared? The poet seems to sigh for the ancients, but in fact he is worried for the present. Compared with Du Mu's "Four hundred and eighty halls in the southern dynasties, how many towers are misty and rainy", it can be described as the same strain. The depth of sustenance can be seen. Li Shangyin eulogized history or pretended that the previous emperors were noble to refer to similar figures in reality. For example, in "Fu Hou", although "Fu Hou" is a disguised figure, Xu Fengyuan, an announcer in Qing Dynasty, is quite convinced according to the fact that he was a teenager who succeeded to the throne, was extravagant in hunting and feasting, and every time Emperor Wu claimed to be Fu Pinghou's family. Or borrow money in a new way through the discussion of historians.
Subtle and gentle, clever in conception
Li Shangyin's poems are lyrical and beautiful, and he seldom expresses his feelings directly. Instead, he is particularly committed to understanding meaning gracefully, adopting subtle and tortuous ways, often with heavy emotional settings, and showing deep and hazy performance. Such as "Frost Moon": "There is no cicada at the beginning, and a hundred feet of high water meets the sky. The young woman Su E is cold-resistant, and she fights frost in the middle of the month. " With the author's keen sensibility, this poem unfolds ethereal reverie and creates a profound and implicit artistic conception. This kind of artistic conception is very layered: the clear autumn sky, frost moon and water are the same natural scenes, which is a layer of artistic conception; The god of frost and moon strives for beauty, which is another artistic conception; The poet yearns for the spirit of "cold tolerance" and tries his posture in a quiet and cold environment, which is another artistic conception. These images, such as Frost Moon and Water Meets the Sky, are beautiful, as thin as mist, hazy and confused in artistic conception, overlapping in artistic conception, and poetic and picturesque.