Poetry achievement
Li Shangyin is generally regarded as the most outstanding poet in the late Tang Dynasty. His poetic style is deeply influenced by Li He, and his syntax, composition and structure are all influenced by Du Fu and Han Yu. Many critics believe that he is second only to Du Fu, Li Bai and Wang Wei among the outstanding poets in the Tang Dynasty. As far as the uniqueness of poetic style is concerned, he is not inferior to any poet. However, there are relatively many allusions, which are obscure. Those who appreciate Li Shangyin's poems and those who criticize him are all aimed at his distinctive personal style. Many poets in later generations imitated Li Shangyin's style, but none of them were recognized. According to Liu and Yu Shucheng's collating research, there are 594 poems handed down from ancient times by Li Shangyin, 16 poems written outside Tibet, 4 poems recorded in Chen's Complete Tang Poetry Supplement and 6 14 poems saved by * *, but some poems are obviously wrong. Among them, 38 1 song basically determines the writing time, and 2 13 songs cannot be classified into specific years. In addition, there are more than a dozen poems suspected to be Li Shangyin's, but the evidence is insufficient.
Judging from the theme of chanting, Li Shangyin's poems can be mainly divided into several categories:
Politics and reciting history. As an intellectual who cares about politics, Li Shangyin wrote a lot of poems in this field, and about 100 poems have been handed down. Among them, Bai Yun in the Western Suburb, Shi Dong Sui and Two Feelings are more important works. Li Shangyin's early political poems were mostly based on Chen's current situation, and their harsh tone of grief and indignation and sense of self-expectation reflected his mentality at that time. In poems about political and social contents, it is a feature of Li Shangyin's poems to borrow historical themes to reflect his views on contemporary society. Fu Hou, two poems of Northern Qi Dynasty, Mao Ling, etc. It is a representative.
Express one's feelings and recite things. Li Shangyin's career was bumpy all his life, and his ambition could not be realized, so he used poetry to dispel his depression and anxiety. Ding An Tie Tower, In Spring, Happy Garden and Du Gongbu in the Middle of Shu are the most popular songs. It is worth noting that many seven-character poems in this kind of works are considered as important successors of Du Fu's poetic style.
Emotional poetry. The works that chant inner feelings, including most untitled poems, are the most distinctive parts of Li Shangyin's poems, and they are also the most concerned parts of later generations. Jinse, Poems of Yantai Mountain, Three Poems by Bi Cheng, Return to the Temple of Our Lady, etc. , has always maintained a style similar to untitled poetry. Five Willow Branches, Sending Friends to the North on a Rainy Night, Mourning for the Past and Going East, Three Passes of Snow, etc. It embodies the artistic conception of another style of Li Shangyin's emotional poems.
Socializing and communicating. Among Li Shangyin's poems used for communication, several poems addressed to Hu Ling Mao (seeing off to fill a vacancy, sending a message to Secretary Ling Huchong, paying for a doctor, sending him to be a bachelor, dreaming of being a bachelor, and Hu Ling Scheeren saying that the drama on the moon last night was a gift) are particularly eye-catching, which provides an explanation for his relationship with Hu Ling Mao. Li's poems absorbed the strengths of predecessors, inherited the seven laws of Du Fu's "depression and frustration", integrated the magnificence and richness of Qi Liang's poems, and imitated the ghosts and fantasies of Li He's poems, forming his affectionate, lingering, sad and delicate style. Shi Li is also good at using allusions and appropriate historical analogies to express hidden and unspeakable meanings. Li Shangyin's poem "Return to the East" inspires people. After reading the poem, we can see that Li Shangyin's returning to his hometown to ask for a teacher to learn from the immortal is just an excuse. The so-called study of Taoism is only to relieve one's inner injustice and lament one's fate, but also to face all kinds of decadent indignation in the political affairs and lament the declining Tang Dynasty.
Dong Huan
I don't know my talent, but I dreamed of taking the Hua Zhi test when I was ten years old.
Autumn wind moved to Huang Yun at dusk and went back to Yang Yunsong to find an old teacher.
Note: Zheng Banqiao likes this song Dong Huan written by Li Shangyin in the Tang Dynasty very much, and often presents it to relatives and friends with its unique "Banqiao style". Therefore, he later mistakenly thought that Li Shangyin's "Dong Huan" was written by Zheng Banqiao, and it has been included in Zheng Banqiao's Poems, "Five Poems" and other books. The author of the poem "Going East" is Li Shangyin!
Poetic style
Li Shangyin's poems reflect his thoughts. His basic thought about human beings basically belongs to Confucianism, but he is practical and has a certain critical spirit to Confucianism. He believes that it is not necessary to take Confucius as a teacher and "forbearance" as the holy thing. He also has Buddhism and Taoism, advocating "nature" as his ancestor.
Li Shangyin's poems have a distinctive and unique artistic style, beautiful words and profound meanings. Some poems can be interpreted in many ways, while others are obscure. There are about 600 existing poems, especially untitled poems, the most prominent of which is his love poems. Li Shangyin is good at writing seven laws and five-character laws, and there are also many excellent works in seven-character poems. Ye Xie, a poet in the Qing Dynasty, commented on Li Shangyin's Seven Musts in his original poem as "affectionate entrustment, tactfully worded, but unparalleled in a hundred generations."
His metrical poems inherit Du Fu's tradition in technique, and some of his works are similar to Du Fu's in style. Similar to Du Fu, Li Shangyin's The Book of Songs often uses allusions, which is more profound and difficult to understand than Du Fu's allusions, and every sentence often uses allusions. He is unique in the use of allusions, likes to use various symbols and metaphors, and sometimes he doesn't know what the purpose is when he reads complete poems. The meaning of allusions themselves is often not what Li Shangyin wants to express in his poems. For example, "Chang 'e", some people intuitively think it is a work praising Chang 'e, Ji Yun thinks it is a work mourning, some people think it is a description of a female Taoist priest, or even a poet's self-report, and there are different opinions.
It is also his style of using allusions that forms his unique poetic style. According to Huang Jian's note "Yang Wengong Yuan Tan" in Song Dynasty, every time Li Shangyin wrote a poem, he would consult a large number of books, and the room was littered with stalls, which was compared to "Rex sacrificing fish". Wang Shizhen of the Ming Dynasty also said in a joking tone: "Rex Festival was once held in Ao Yun, and it was a piece of brocade." The criticism is that he sometimes uses too many allusions to make people unable to understand his poems. Mr. Lu Xun once said: "Yu Xi was born with clear pronunciation and beautiful sentences. How dare he compare with others? I am dissatisfied with too many allusions." (Letter to Yang Jiyun in February 1934)
In addition, Li Shangyin's poems are flowery and good at describing and expressing subtle feelings.
Poetry influence
Shi Zhecun believes that although the social significance of Li Shangyin's poems is not as good as that of Li Bai, Du Fu and Bai Juyi, Li Shangyin has the greatest influence on later generations, because there are more people who like Li Shangyin's poems than Li, Du Fu and Bai Juyi. Among the 300 Tang poems edited by Sun Zhu in Qing Dynasty, 32 poems by Li Shangyin were included, second only to Du Fu (38 poems), while 29 poems by Wang Wei and 27 poems by Li Bai were selected. This anthology of Tang poems is a household name in China, from which we can see Li Shangyin's great influence on ordinary people.
In the late Tang Dynasty, Han Wo, Wu Rong, Tang and others began to consciously learn Li Shangyin's poetic style. In the Song Dynasty, more poets studied Li Shangyin. According to Ye Xie, "There were seven unique poets in the Song Dynasty, probably/kloc-0 studied Du Fu in 1967 and/kloc-0 studied Li Shangyin in 1934." (Original Poetry) In the early years of the Northern Song Dynasty, Yang Yi, Qian and other clansmen, Li Shangyin, often sang in harmony with each other, pursuing gorgeous rhetoric and neat antithesis, and published a collection of Kunxi Appreciation, which was called Titi. It was quite influential at that time, but he didn't learn the essence of Li Shangyin's poetry and his achievements were very limited. His influence also disappeared with Ouyang Xiu and others entering the literary world. In addition, Wang Anshi also spoke highly of Li Shangyin, thinking that some of his poems were "unbearable for Lao Du" (Cai Kuanfu's poems). Wang Anshi's own poetic style is also obviously influenced by Li Shangyin.
Poets in the Ming Dynasty were all influenced by Li Shangyin from The First Seven Sons to Qian and Wu. People who like to write erotic poems in the Ming and Qing Dynasties specialize in Li Shangyin's untitled poems, such as Yi Yun Ji and Yi Yu Ji by Wang Yanhong, a poet in the late Ming Dynasty. Romantic poetry in the novels of Yuanyang Butterfly School in the Republic of China was also influenced by him.
Untitled poem
Li Shangyin is famous for his untitled poems. According to the statistics of poems collected in Li Shangyin's Collection of Poems, it can be basically confirmed that there are 15 * * poems named by untitled poets when they are creating:
Untitled (stealing a mirror at the age of eight)
Untitled (according to Liang)
Two Untitled Poems (Stars last night; Wendao Luomen)
Four Untitled Poems (empty talk; Southeast; Affectionate spring night; Where to mourn Zheng)
Untitled (after a brief encounter)
Untitled (immortal son)
"Untitled Two Songs" (Feng Luo; The curtain falls)
Untitled (near the famous Ahou)
Untitled (white roads)
Untitled (Wan Li Storm)
The other five poems (Five Ways: Endless Appreciation of Lovers, Seven Unique Ways: Long Eyebrow Painting, Shouyang Princess, Waiting for Lang Lai, and Outdoor Repetition) are often marked as untitled poems in popular poetry collections, which are considered by Feng Hao, Ji Yun and others to be mostly untitled poems because they have lost their original titles.
Some researchers (such as Liu Yang [14]) think that some poems with titles in Li Shangyin's poetry collections should also belong to the category of untitled poems, because the titles of these poems are often taken from the first sentences of poems (such as Yesterday and Sunrise). ), or the title of the poem has nothing to do with the content itself (for example, for you, a song, etc.). ). However, according to this standard, nearly 100 of Li Shangyin's poems can be classified as untitled poems. So this statement has not been supported by most people.
On the other hand, many people tend to compare poems such as Jinse, Bi Cheng San and Yushan with untitled poems, thinking that they are similar in style and artistic conception, and they all express a subtle and complicated feeling through obscure brushwork. In fact, it is this complicated situation that makes untitled poems attract many researchers, who try to explain the true meaning of these poems. However, no one's comments can explain the meaning of this poem very convincingly.
I feel that Li Shangyin's untitled poems are definitely love poems between men and women, not ordinary feelings between men and women. The Tang people did not have too many constraints on the love between men and women. If Li Shangyin is in contact with an ordinary singer or something, he can say something like "slim waist and light palm". Mu Yun, who was associated with the movie "2046", was finally depressed. He wanted to say it, but there was nowhere to say it. He must dig a tree hole and put his words in it. He guessed that Li Shangyin was mostly in love with a married woman, and the married woman's identity was unusual, and she might even be a noble like the imperial concubine, because everyone would watch the song "Three Songs of Blue City" for a while, which was a metaphor for the heroine. In the Tang Dynasty, the love affair between unmarried men and women, as well as the love affair between bureaucratic talents and dusty women, was more tolerated by the society, such as Yingying Biography and Li Wa Biography, but it was also very dangerous for married women to have an affair with others. For example, in Non-Smoke Biography, Bu had an affair with scholar Lv Xiang and was tied to a post by her husband and beaten to death. Therefore, Li Shangyin's untitled poems can only be regarded as poems associated with beautiful women who are in love with Li Shangyin, and not all of them were written by Li Shangyin. I say this because there is a saying in the poem Untitled: "When you look in the mirror in the morning, you see clouds change, but when you sing in the evening, you dare to be cold in jathyapple." Only a beautiful woman will pay so much attention to the details of the sideburns in the mirror. There was also a beautiful poet named Xue Yuan in the Tang Dynasty, who had a good poem. Her poem is written like this: "If you want to write a painter's pen, you must look in the mirror first." I have lost face, and I gradually feel that my temples are dying. It is easy to draw with tears, but difficult to write with sadness. In case you forget, I'll show you the photos. Just like "seeing the clouds change in the morning mirror, the night song dares to be cold."
Feng Hao summed up the previous annotation work on untitled poems in Notes on Yu Xi Sheng Poems, from which we can see that there are great differences among different schools: "It is either fable or endowing untitled poems with their own strengths. Each has his own prejudices and his own decisions. I read the complete works carefully, and even many people actually have sustenance, and few people are erotic and confused. " .