Generally speaking, Yu Xin's literary creation can be divided into two periods, with his 42-year-old mission to the Western Wei Dynasty as the boundary. In the early Liang dynasty, his works were mostly palace-style, with light colors and rich beauty of rhetoric. After the Northern Dynasties' imprisonment, poetry and Fu both expressed a lot of homesickness and sadness about life experience, and their styles also changed into vigorous sadness. So Du Fu said: "Yu Xin's articles are older and more mature, and Ling Yunjian's brushwork is vertical and horizontal." ("The play is six quatrains")
Most of Yu Xin's works in the Liang Dynasty were destroyed by the war, and few of them survived, and they were basically works of harmony. Among them, "Wind and Panjiang" and "Wind and Mountain Pool" have more sentences about scenery. After the song "the lotus wind scares the birds, and the bridge shadows gather fish." The sunset is full of mountains, and the clouds bring rain. " The observation and description are very detailed, which is very similar to Xiaogang's poems. Gong Wei's six-character poem "Dancing Mei Niang" was probably written in the Southern Dynasties:
Look at the mirror in front of the visitor and smile at yourself. The eyebrows are thick and straight, and the forehead is yellowish. I only doubt that the fallen flowers will leave and the spring breeze will not come back. Teenagers only have fun, and drinking will cripple them!
The poem describes the pity of the girl who loves beauty for her youth. Although it contains sad emotions, it is still lively and lively.
In Yu Xin's early poems, there are seven existing poems, such as Spring, Duizhu and Dangzi, some of which are incomplete. These poems belong to the category of court literature, and their contents are nothing more than womanhood or lovesickness. They are short in length, gorgeous in language and pay attention to the beauty of syllables. Among them, "Spring Fu" is the most concrete and expressive. This article describes the beauty of spring and women's spring outing, with extremely bright colors. Seven-character poems are often used at the beginning and end of fu, which has a strong musical effect. For example, the last paragraph:
On the third day, Qushui flowed to Hejin, and in the evening, the river was full. A water bearer flows under the tree, and a water bearer crosses the sand head. Thin shirt sleeves, beaded scarf. Go one step further, don't go back until you are drunk. The shadow in the pool is better than the mirror, and the clothes in the room are not as fragrant as the flowers.
Like a dancer, it is also a nostalgia for the short and happy time of life. This combination of poetry and fu and even the inseparable tendency of poetry and fu have also been inherited by later generations, such as the early Tang Dynasty, Luo and later. Generally speaking, Yu Xin's early poems and poems have made considerable achievements in language skills, but the life they reflect is too narrow and lacks great passion.
Although Yu Xin's later works are called "maturity", his early style has not been abandoned. His poems, which sang with the dignitaries of the Northern Dynasties, are still elegant and full of erotic elements. In addition, there are twenty-five "painted screens", which are also exquisite. Poems with inscriptions and postscript were extremely rare before, so this group of poems has something to pay attention to in the development of theme. Poetry is characterized by being good at using landscape poetry and combining the content and imagination of the picture, which is neither divorced from the picture nor full of natural interest. This inspired future generations to often accompany poems on paintings to expand the atmosphere of appreciation.
But in Yu Xin's later works, the most important thing is his self-expression and nostalgia for the motherland, which is very different from before. Yu Xin's character is neither bold nor good at self-liberation. The worries of national subjugation, travel and moral remorse are always in his heart, but he can't find any way out. He often just masturbates in comfort, only to get deeper and deeper. The so-called "love entanglements lead to countless meetings, and there is no reason to gather ideas" (Chen Ruoming's "Selected Ancient Poems of Caijitang"), which makes the emotions in the poem seem extremely heavy. Twenty-seven poems "Zhun Yong Huai" are the representatives of this kind of poems.
Cowpea is not used to it and has no plan. Don't say that the class is profound, it should be ten thousand. Ke Yan thinks of Liao water, and Qin people look at the dragon head. Advocates are forced to hire, and the value of protons still exists. Self-pity and wisdom are exhausted, which hurts the years and hurts the autumn. ("Quasi-Forever" Part III)
Yu Xin is just a brilliant writer, but he is misplaced by fate. He must bear the pain caused by this "dislocation". This is the connotation of this poem.
Shake the autumn to be angry, grieve and complain, cry for the lake and the bamboo, and cry for the rotten city. When the sky dies, it will be angry, and the day will be sad. The rainbow shines on the base, and the starry night falls on the camp. Chu songs hate songs, and the south wind dies. A glass of wine in front of me. Who talks about names after death? (XI of Zhun Yong Huai)
This song mourns the fall of Liang, which is extremely painful and helpless and can only be attributed to "God's will".
Thinking about Wan Huhou, I suddenly felt sad at midnight. The piano is played all over the room, and books are all over the bed. Although dreaming of butterflies is decided by non-Zhuang Zhou. The waning moon is like the first moon, and the new autumn is like the old autumn. Tears rolled down her eyes and fireflies floated into the flames. Lotte knows how to live. When can you stop worrying? (18 of "Quasi-Forever")
It's a pity that this song, though talented, is useless to the country. He wants to learn from Zhuangzi's broad-mindedness, but he can't, so his troubles are endless. The words "waning moon" and "new autumn" describe boredom and despair day after day. It seems simple, but in fact the police are extraordinary. The combination of "tears" is also exquisite and abnormal.
Twenty-seven pieces of Zhun Yong Huai are mostly works with true and profound feelings, refined language and strong expressive force. Rhetoric techniques in Southern Dynasties literature, especially the means of temperament, allusion and antithesis, have been widely used and perfected here. In Yu Xin's later poems, there are still many five-character quatrains, which are obviously higher than those of contemporary poets in terms of quantity and attainments.
Guan Yu Road is far away, but there are few messengers in Jinling. I shed a thousand tears and opened a book for you, Wan Li. ("Send Wang Lin")
Guanyang people are thousands of miles away, and no one goes south. Only the geese by the river fly south in autumn. (Farewell to Zhou Shangshu)
The stone shadow is separated from the water, and the mountain clouds are half around the peak. If you think of Zhongshan store, you will know that wine in spring is strong. (shanzhai)
The quatrains evolved from folk songs by literati in the Southern Dynasties are mainly more refined and meaningful. The desolate and profound artistic conception in the first two poems mentioned above was rarely achieved before. The third song is also beautiful and interesting. It can be said that Yu Xin has made great contributions to the development of the Five Wonders.
Yu Xin's later fu also changed a lot. The most famous work is Jiangnan Fu. Before fu, order was a unique parallel prose, which explained the reasons of fu and summarized the whole idea. The language was beautiful and the artistic conception was desolate, which was a masterpiece in itself.
Twilight is far away, what is the world! When the general left, the tree fell; The strong man does not return, and the cold wind is bleak. Jingbi's column was bullied by Liancheng; The book is horizontal, and the bead board is uncertain. Zhong Yi, a gentleman, entered the prison of Nanguan; Pedestrians in Ji Sun stop at Xihe Pavilion. First broke the land of Shen; Cai's tears are all gone, plus blood. Diaoyutai moving willow is not the hope of Yutong; Huating crane, the river bridge can smell!
This section expresses his grief and indignation at being detained by the Western Wei Dynasty. The first two sentences turned the life experience into a sigh, which was extremely sad. The following repeated allusions, with a series of historical stories of characters and their own experiences and feelings, have a profound lyrical effect.
The text of the Preface to Jiangnan is mainly composed of four or six sentences, which is a format gradually formed in parallel prose. After entering the Tang Dynasty, it became stereotyped writing, so later generations also called this kind of parallel prose "Wen". The strength of this style is its strong sense of rhythm, but it is not well written and easy to appear dull. Yu Xin's writing style is good at scheduling changes, flexible sentence patterns, and good at using function words to connect sentences, showing strong structural ability. Like "Sun Ce takes the world as three points, and all talents are a brigade; Ji Xiang used Jiangdong children, only 8,000. So it is to split mountains and rivers and slaughter the world. Have millions of righteous teachers ever rolled up their armor and cut it down like grass? " There are loose sentences in the middle of the antithesis, which can be used freely.
The text of "Jiangnan Fu" takes its own experience as a clue to describe the rise and fall of the Liang Dynasty, which is epic. The system is grand, with many clues and deep feelings, and it integrates narration, discussion and lyricism, which is rare in ancient Fu. The author paid close attention to the Liang Dynasty, but also severely criticized the political chaos in the Liang Dynasty and the selfish jealousy of Emperor Yuan and the imperial clan. After the Syrian invasion of Jiangling, the people were plundered, especially painful and touched:
Water poison Qin Jing, the mountain is high. Ten miles and five miles, roadside pavilion. Hunger follows the sting of swallows, and darkness chases fireflies. Qin's water is black, turn off the mud. The ice disk disintegrated, and the wind flew and the electricity dispersed. Thousands of miles away, it's a mess. Snow is black as sand, and ice is horizontal as shore. Whenever you go to L.A., you will see RoyceWong who has left home. Smelling the water of the dragon water, I can't help crying and sighing the mountain. Kuang Fujun is in Jiaohe, my concubine is in Qingbo, Shi Wangfu is far away, and Shan Wangzi is far away.
There are a lot of allusions in the text and preface of Jiangnan Fu. Being good at using old classics is Yu Xin's recognized specialty. This not only shows his erudition and intelligence. Every short sentence with allusions provides rich historical associations, thus forming a very heavy article style. But it also makes the article difficult to understand, and it is inevitable that there are also blunt places. It means there are advantages and disadvantages, not one. Xiao Yuan Fu, Dead Tree Fu, Sorrow-Leaving Fu, Bamboo Stick Fu, etc. It is a lyrical ci and fu created by Yu Xin in his later period. Among them, Ode to the Dead Tree describes symbolically that all kinds of trees can't keep their natural life due to human reasons, especially the disasters caused by being loved, and emphatically expresses the sadness that noble literati can't save themselves in troubled times, which is quite philosophical and profound. However, it is particularly difficult to understand when there are a lot of allusions in symbolic writing. Fu, on the other hand, pays more attention to the description of scenery to express the yearning for seclusion, so the words are clearer and clearer, and it is the best in all articles. Landscape sentences such as "Tung tree dew, willow downwind", "Birds are idle, flowers are always on holiday" and "One inch and two inches of fish, three poles and two poles of bamboo" are all exquisite and natural styles, which show the author's talent.
Yu Xin can be said to be a master of literature in the Southern and Northern Dynasties. With intelligent qualifications, he accumulated high literary attainments in Liang in the heyday of literature in the Southern Dynasties and came to the north. He enriched the content of his creation with painful life experiences, and accepted some factors of northern culture to a certain extent, thus forming his own characteristics. His parallel prose and parallel prose can be compared with Bao Zhao, representing the highest achievements of parallel prose and parallel prose in the Southern and Northern Dynasties. However, his poems initially integrated the poetic styles of the North and the South, which had an important influence on Tang poetry. In the Ming Dynasty, Zhang Pu wrote an inscription in Yuzishan Collection, which included famous artists from the Han, Wei and Six Dynasties 133 people:
Also called Yu's poems "fresh" and "mature". These six words are difficult for both poets and Zi Shan to prepare. Yutai Qionglou is difficult to reach. ..... Hu Ling wrote history, accusing it of being "lascivious", "frivolous" and "a sinner of ci and fu". In the Tang Dynasty, I went to Xu and Yu recently, but my writing was poor. I set a good example, but I dared to destroy it. I almost walked out of the taboo. I found an axe first.
"Hu Ling writes history" refers to the derogatory comments on Yu Xin by Zhou Shu and Linghu Defen in Tang Dynasty. Some scholars in the Tang Dynasty made unreasonable criticisms on the whole literature of Wei, Jin, Southern and Northern Dynasties. The reason is very complicated, so I won't care about it here. Here, Zhang Pu does not regard "lewdness" as a crime of literature, and also points out that "articles written by the Tang people have recently gone to Xu and Yu", which is really insightful.