Xin Qiji inherited Su Shi's bold style of writing and the fighting tradition of patriotic poets in the early Southern Song Dynasty, and further expanded the subject matter of his writing, almost to the point where no matter what happened or not, no words could be included. In order to give full play to the various functions of lyrics, describing things, recording events, and discussing things, he creatively integrated the advantages of various literary and artistic forms such as poetry, prose, and poetry, enriching the expression techniques and language skills of words, thus forming a complex The unique style of Ci "can stand apart from the cut red and carved green" ("Siku Synopsis"). Xin's unique artistic achievements are first reflected in the creation of majestic and magnificent artistic conception. Determined by Xin Qiji's fighting experience and lofty political ambitions, his poems often express vast scenes, majestic battles, and things with strong characters. He loves the plum blossoms that are not afraid of frost and snow, but does not like the peaches and plums that cannot withstand wind and rain; he loves the upright long pines and the straight and strong bamboos, but does not like the autumn melons and frozen taro that shrink in the cold wind. He wrote that the long sword is "relying on the sky for thousands of miles", that the long bridge is "thousands of feet of clear rainbow" ("Qin Yuanchun" and "Qi Si Bu Zhu"), and even the bonsai of daffodils is "soaking in the mist and waves are spreading over the vast expanse" ("Congratulations to the Bridegroom"). 〉"Ode to Narcissus"). In his imagination, the abrupt and firm green hills were not only charming and lovely, but also galloping, like thousands of horses circling, like a giant rhinoceros rising out of the sea. "Jicuiyan" and "Qinyuanchun" and "Lingshan Qi'an Fu" etc.). In his poems, there are not only "red flags clearing the night, thousands of horses riding on the moon approaching the pass" ("Shui Diao Ge Tou" "Three Mountains Use the Rhyme of Zhao Prime Minister"), "the Han family trained hundreds of thousands, and the fleets towered" ("Shui Diao Ge Tou") In battle scenes such as "The Boat Trip to Yangzhou, Yun with Yang Jiweng and Zhou Xianxian"), even facing the gulls by the water, the wine glass in front of you, and the pine trees blocking the road, you will issue military orders like restraints; see the red and white flowers. , I will also think of the training of female soldiers in the Wu Palace; when I hear the sound of chess outside in the quiet small window, I will also think of the breakthrough of the heavy siege (Note: "Nian Nujiao" "White Peony, and the Rhyme of Fan Kuo": "Yes The flowers are so similar, they look like the first disciple of the Wu Palace, surrounded by red formations. "Also from "Xinheye" (Zaihe Qianyun): "The people in the small window are quiet, and the sound of chess sounds like resolving a heavy siege." These vivid and exaggerated descriptions and imaginations constitute the characteristics of Xin Ci's bold style. Compared with Su Shi, Xin's poems are more vivid and abrupt. Sometimes the pen is full of ink and the momentum is flying. This is an artistic conception that is not found in Su Shi's poems. And because he has been in the period of the North-South division and was often squeezed and attacked by the compromise and capitulation faction, it is impossible for Xin Ci to have the open and free expression of Su Shi. Secondly, it is reflected in the technique of Bixing's sustenance. Since Xin Qiji was a "returned" soldier from the north (Note: The Southern Song Dynasty discriminated against those who returned from the north and called them "reformed people"), his political ambition to restore the Central Plains and unify China was inconsistent with the secret settlement of the small people in the south of the Yangtze River. The imperial court was incompatible with him, and his lonely political position and frequently slandered life experience warned him not to make arbitrary remarks. This forced him to sometimes resort to subtle and tortuous metaphorical techniques to express his indomitable battle. Spirit. This part of the poem sometimes expresses the love between children and the affairs of kings and ministers; in the fragrance and pathos, it reveals an air of uprightness and injustice. It is like a clear spring that surges through a gap in a stream that has been flowing for thousands of miles, or like a flash of lightning when the clouds are thick and there is no rain, revealing the news that this century-old building that is leaning to collapse will collapse in the storm. The following poem "Moyuer", which he wrote when he transferred from Hubei to Hunan, is a more representative work in this regard. It can also eliminate several storms, and spring returns in a hurry. Cherish the spring and fear that the flowers will bloom early, not to mention the countless red flowers. When I live in spring, I see that there is no way to return to the fragrant grass at the end of the world. I complain about the spring without saying a word, but I can only be diligent, draw cobwebs on the eaves, and fly catkins all day long. As for the elder's affairs, the wedding date was planned correctly but wrongly, and some people were jealous of him. Even if you spend thousands of gold to buy a prime minister like a gift, who will complain about this feeling? Don't dance, you will not see the jade ring and the flying swallows are all dust! Idle sorrow is the most painful, don't go and lean on the dangerous fence, the setting sun is shining, and the willows are breaking my heart. The first half of this poem mainly expresses his ambivalent feelings towards the Southern Song Dynasty through the protagonist's cherishment of spring and resentment of spring. In the second half, the jealousy on his eyebrows shows his injustice towards his own experience. "Don't dance. If you don't see the jade ring, the flying swallows will turn into dust." This is a curse on the compromising and surrendering faction in power, saying that one day they will ruin the country and themselves. As for the irony of the dim dynasty in "Small Willows in the Setting Sun", it is even more obvious. "Helin Yulu" says that Xiaozong of Song Dynasty was "very unhappy when he saw this word", which is quite credible. This technique of Xin's poetry inherits the tradition of vanilla beauty in "Li Sao" and at the same time accepts the influence of the graceful poets. Since the author can only place his hope of restoring the Central Plains on the decadent Southern Song Dynasty, while he expresses despair about this dynasty, he cannot help but bring a pessimistic color to the work. When Xin Qiji came to poetry, he began to use a large number of allusions, so some predecessors thought that he "lost his book bag". The so-called "book bag dropping" refers to the misuse of book materials to show off one's knowledge. Some of Xin Qiji's works, such as choosing ancient stories with the same surname as a friend to praise him, or collecting scriptures in their entirety, all reflect this habit of feudal literati. However, it must be noted that most of the allusions used in Xin's poems are to refer to the past and present, as shown in the poems such as "Yong Yu Le" and "Shui Long Yin". This is actually inconsistent with his metaphor and sustenance techniques. There are similarities. The above two aspects of artistic achievements express the writer's patriotic enthusiasm, the sharp contradiction between political ideals and ugly reality, and at the same time form the romantic artistic characteristics of Xin Ci. "Throughout the ages, the writing of Li Sao has not stopped being fragrant to this day" ("Xi Qian Ying" "Xie Zhao Jinchen Fu Wenfu Fu Rong Ci Sees Longevity, Using Rhyme as a Thank You"). In spirit, it is in the same vein as "Li Sao".
Finally, I want to talk about Xin Qiji's ability to control language. The predecessors said that Su Shi used poetry as his lyrics and Xin Qiji used literature as his lyrics. Compared with Su Shi, he not only used the syntax of ancient and modern poetry, but also absorbed prose, parallel prose, and folk spoken language into his lyrics. Regardless of classics, history, Zhuzi, Chuci, Li Du's poems, and Han Liuwen, they are often picked up and used to achieve what Liu Xie said: "Using the old and combining them is as good as coming from his own mouth" ("Wen Xin Diao Long Shi Lei") ) point. For example, in his "Nan Xiang Zi" "Bei Gu Pavilion at the entrance of Dengjing": Wherever you look at Shenzhou, you will see the scenery of Bei Gu Pavilion. How many things have happened in the rise and fall of the ages, and the Yangtze River is endless. When he was young, he had ten thousand pockets of horses, and the war in the southeast has not ended. Who can rival the heroes of the world, Cao Liu? He should be like Sun Zhongmou in giving birth to a son. The first sentence and the last sentence of this poem use Du Shi, and the second sentence uses "Three Kingdoms" to annotate and quote "Wu Li". There is no trace of copying it mechanically. There are many examples like this in Xin Ci. There are many poems in Xin's poems for birthday wishes and farewells, and he also likes to harmonize and repeat rhymes to show off his talents; or he carelessly uses words as a game. Some works are difficult and obscure due to excessive use of allusions or discussions, and lack the charm of poetry. Xin Qiji's words and Lu You's poems were a pair of clarion calls to encourage the people of the Southern Song Dynasty to oppose compromise and surrender and strive for victory in the fight against the Jin Dynasty. They had a great influence at that time. And later, whenever the national crisis was severe, their impact became even greater. Liu Kezhuang in the late Southern Song Dynasty, Yuan Haowen in the late Jin Dynasty, and Liang Qichao in modern times all particularly loved or respected his poetry. This was not only due to personal preferences, but also because the national crisis at the time prompted them to draw spiritual inspiration from these works. the inspiring power.