Who knows what Liu Yuxi's poems are?

Liu Yuxi's poetic style Liu Yuxi and his poetic style are quite unique. He is resolute and full of heroism. During his years in exile, he really felt heavy psychological pain and sang a lamentation for lonely ministers. But he never despairs, and always beats the soul of a fighter; He wrote several poems, such as Yuan He Ten Years Lang invited Beijing Opera as a gift to a gentleman who looks at flowers, revisiting Xuanduguan Jueju, White Snake, Chrysanthemum Mosquito Ballad, Flying a kite, Hua Tuo Lun, and so on, which repeatedly satirized and attacked his political enemies, causing repeated political repression and blows, but such repression and blows aroused his stronger anger. He said, "I'm from Shandong, and I've felt a lot in my life" (Zhu Qiao Meets the Zen Master). This kind of "emotion" not only increases the charm of his poems, but also greatly enriches the depth and intensity of his poems. Liu Yuxi's poems, whether short or long, are mostly simple, lively and handsome, with the wisdom of a philosopher and the sincere feelings of a poet, full of artistic tension and heroic momentum. Such as "the north wind mourns the old horse, and the autumn frost moves the birds." ..... because of the sense of decline, Ann can arouse the heart "(the second part of" Learning Ruan Gong's Three Poems ")," Ma Si changed grass and fists, carving Qingyun sleep. Poems such as "Heaven and earth can be swept away, helping the monarch to be healthy" ("Beginning to smell the autumn wind") are written with high spirits and intense style, which has a power to rise and fall and prosper the people. As for his seven-character quatrains, they are also unique, such as: "Mo Tao's slanderers are as deep as waves, and Mo Yanke is as heavy as sand." Although the effort is hard, it still needs a lot of sand to nugget. "("Nine Poems of Langtaosha ",the eighth)" Plum blossoms play the strong flute in Saibei, and Guishushan poems Huainan. Please don't play the previous songs, listen to the new version of Yang Liuzhi. "Poetically, these two works are concise and easy to understand, but through one layer, we will experience a spirit of contempt for suffering, independence, meeting and surpassing suffering, a rushing vitality, an optimistic spirit of abandoning the past and facing the future, and a firm and noble personality connotation. Another example is his famous "Autumn Ci": Since ancient times, autumn has been sad and lonely, and I say autumn is not as good as spring. There is no one in the clear sky in Wan Li, and a crane, Ling Yunfei, has aroused my meditation on the blue sky. The whole poem opposes the traditional view of mourning for autumn, praises autumn, gives autumn a power to guide life, and shows the poet's infinite yearning for the realm of freedom. The chest is extremely high and the bone strength is very strong. Liu Yuxi lived in Jiaxing with his father in his early years and often went to Xing Wu to visit Jiao Ran and Che Ling, famous Zen monks and poets in the south of the Yangtze River. According to his "Collected Works of Che Masters", at that time, he "wrote inkstones and accompanied poems, all of which were called obedience". This early experience has a great influence on later poetry creation. So, what are the poetic ideas of Jiao Ran and Che Ling? Jiao Ran has a poetic style, paying special attention to two aspects. First, he advocated hard thinking and asked poets to return to nature after carefully honing their words. He believes that this nature is the ultimate of poetry; Secondly, it attaches great importance to the realm of profound meaning and lofty charm of poetry, and holds that "high context means high poetry, while biased context means easy poetry." And this "realm", that is, the artistic conception comes from the mood of the creative subject, and "true thinking is in the shadow, floating thinking is in the shadow" (Answering Yu Xiao Shu Winter Night), that is, the poet's subjective mood and aesthetic concept are the most important. Che Ling has no poetic theory handed down from ancient times, but according to Quan Deyu's Preface to Send Master Che Ling from Lushan to Wozhou, he "has no trace of words, so his words are easy to speak, and he can't think without leaving the natural environment ... knowing that his heart is quiet and quiet"; He also said that he often "brushed the square robe, took a canoe, looked back in the mirror, got a quiet sentence, and then went deep into the empty silence and washed it with sorrow." It can be seen that Che Ling also attaches importance to winning ethereal and profound artistic conception through silent observation of the subject, and language also pursues nature. On the one hand, these opinions are influenced by the poetic style of Dali and Zhenyuan, and pay attention to the tempering of words without revealing traces. On the other hand, they come from the Buddhist concept of attaching importance to "heart", that is, subjective experience and feeling. Liu Yuxi was deeply convinced of Buddhism, from which he got samadhi. Many years later, he also said that people who write poems should "understand everything in a few words, and sit down and admire all kinds of scenery" (Wuling Ji of Eastern History). The former sentence refers to the conciseness and implication of language, and the latter sentence refers to the observation and meditation of the subject. Therefore, on the one hand, he attaches importance to making the poetic language exquisite and natural through tempering and polishing, and opposes the use of uncommon words. He put forward that "if you want to use uncommon words to write poetry, you must have a place ... If the younger generation wants to learn poetry, it must be well-founded and not lead the way" ("Liu Bin Jia Luhua"); On the other hand, he attaches great importance to the observation and meditation of the subject. He once said in "Preface to Poems in Jiangling after Autumn": If you can leave your desire, you will be empty and enter the scene; There must be a leak when entering, it is shaped by words. ..... Because of the situation, it is clear; Words are chosen by wisdom, so the essence is beautiful. Determination is the reflection and wisdom to eliminate distractions, and it is the acquisition of inspiration. Poems written in this way can contain richer connotations and deeper artistic conception. Therefore, most of Liu Yuxi's poems are natural and fluent, concise and refreshing, and at the same time have an open and open sense of time and space. For example, his famous phrase "Fang Lin's new leaves urge the morning night, and the waves before the flowing water let the waves behind" ("Three gentlemen and one poet all have deep contributions"), "Qian Fan on the side of sinking boat, Wan Muchun before the sick tree" ("Enjoy Lotte as the first Yangzhou") are all his reflections on history and life. This kind of feeling appears in the poem in the form of image, which not only broadens the horizon, but also has an overtime span, showing the blending of history, reality and future here. Liu Yuxi's epic is highly respected. With concise language and carefully selected images, these poems express his deep thoughts after reading all the vicissitudes of life, which contain deep feelings, such as missing the old days of Xipaotai Mountain, Wuyi Lane, Stone Town and the Temple of Shu Xianwang. When Wang Jun's ships set out from Yizhou, the position of the prince of Wu disappeared. The long Zhang Qian chain sank to the bottom of the river, and a flag was lowered on the stone wall. How many sad past in life, the mountains still remain cold. Since then, the world has belonged to one another, and rushes are whistling in the old base. ("Missing in the Old Times of Xipaotai Mountain") Weeds are blooming beside Zhuque Bridge, and the sunset is setting at the corner of Wuyi Lane. Swallows under the eaves of Wang Dao and Xie An have now flown into the homes of ordinary people. ("Wuyi Lane") The former one is the feeling of the poet standing on the Mount Cisse overlooking. In his mind, there is a sharp contrast between eternity and transience: Qian Fan's competitive development and the sinking of rivers with chains, whether fighting to control chaos or splitting and unifying, all these are only fleeting compared with the silent nature. The latter song is transformed into the historical change of ordinary people's homes through the old traces of Xie Wang, which shows the common sigh in people's hearts: all prosperity and nobility will be washed away by time. Liu Yuxi's landscape poems have also changed the narrow-minded and bleak style of Dali and Zhenyuan poets, but they often write a kind of half-empty and half-solid open scene of beyond space's real distance, such as "underwater mountains are like snow, and the grass on the bridge is like smoke" ("The fable shows that Lotte and Niu Xianggong drink in Nanzhuang"), "The weeds are lush, the gossamer is dazzling, and Luotian is dazzling. Another example is Wang Dongting: the lake is full of moonlight, and there is no wind mirror on the pool surface. Looking at Dongting from a distance, there is a green snail in the silver plate. In this quiet and ethereal landscape, the poet's subjective feelings are integrated, which constitutes a quiet and peaceful atmosphere. However, although Liu Yuxi said that "if he can leave his desire, his heart will be empty", he actively participated in Yongzhen's innovation, in fact, he still had to realize his life ideal in society; His personality is also stubborn, so despite the influence of Buddhism, he is not as satisfied and decadent as Bai Juyi in the later period, but often shows a high-spirited spirit in his poems. For example, one of the two poems in Autumn Poems: "Autumn has been sad and lonely since ancient times, and I say autumn wins spring. When a crane in a clear sky flies among the clouds, it brings poetry to Bixiao. " "Climb the Lingsi Tower with Lotte": "It is not difficult to carry each other step by step, and the nine clouds lean against the railing. Suddenly, I laughed for a long time, and the tourists looked up. "There is a kind of high-spirited power. Liu Yuxi's poetry is clear because of its implicit and deep connotation, open and generous realm and lofty and upward emotion. In addition, we should also mention some poems he wrote under the influence of folk songs. Jiao Ran, Che Ling and others lived in Wudi, where folk songs prevailed. In Zen's view, folk songs are straightforward, natural, lively and simple, which is the ultimate language, so they also learn the characteristics of folk songs to write poems, which undoubtedly has a certain influence on Liu Yuxi. Liu Yuxi has been demoted to the south for many times, which is also a place where folk songs are popular, so Liu Yuxi often collects folk songs and learns its style to create poems, such as Egret: Egret, the highest case. Sweaters are thrown in the new snow, birds are screaming and lonely. Sleeping alone in Ainny, standing on the gurgling stones for a long time. There is no cloud in front of the mountain, flying into the distant blue. Poetry is a metaphor for their feeling of loneliness, but it has a faint folk style. There are also some works that completely imitate folk songs, such as Zhi Zhu's Ci, Yang Liuzhi's Ci, Climbing the Embankment, Ta's Ci, etc., which are simple and natural, fresh and lovely, and exude the rich flavor of life like folk songs. The following two songs are particularly vivid: Watching the Smoke Waves in the South of the Yangtze River and Watching the Nightwalker. Peach leaves are lyrical and bamboo branches are resentful, and the water is infinite. (No.2 of "Going to the Embankment") The river is green and the songs on the shore are bursting. Sunrise in the east and rain in the west, the road is sunny. (One of Zhi Zhu's two songs)