Gui Zhuang wrote "Poems of Falling Flowers" in his Poems of Hengxuan, and made a preface for it:
The fallen petal poem is called the Second Song Dynasty. By the time they succeeded, Mr. Shen had written 30 fallen petal poems. At the same time, Lv Taichang, Wen Daizhao, Xu Digong and Tang Jieyuan all had harmony pens, accounting for 10 poems. Then Shen and Lin Shan sang dozens of poems, which were also extremely poor and vying for beauty. Later, some authors were almost at a loss, but they were all in the prime of life. I wasn't born, but I'm valuable. I am not a guest, I often think of glitz and wildness; Being in the south of the Yangtze River, there is still a feeling that the trees are falling apart. As a result, the wind and wood are all painful, the calyx is all sad, and Lan Zhi has no species. At first, it was flying, and sometimes tears splashed; Wan Lin, such as sweeping, is infinitely sad! Therefore, it is difficult to describe all kinds of amorous feelings, and the purpose of the predecessor is also extremely difficult. As for emotional emails, they are not owned by the public. If you have no intention of learning to walk, you dare to drive together, express your feelings through the scenery, and stop when you are tired. (The first volume of Gui Zhuang's Collection of Poems by Heng Xuan, photocopied by Shanghai Ancient Books Publishing House on 20 14)
For Guizhuang, falling flowers are the withering of beauty and the end of heroes. As a adherent of the Ming Dynasty, Gui Zhuang lived in troubled times and had an ill-fated life experience. Chanting the fallen flowers is actually angry at the life experience of the adherents, touching the scene and hurting the world. The beauty of absolute beauty is gone forever, and "rain" and "follow the wind" are like the overturning of Jiangshan Tower in the Ming Dynasty, which is desolate and sad. As Mr. Meicun said, "Beautiful and elegant, the purpose of sustenance, the purpose of preparation" is the most pertinent evaluation of Gui Zhuang's flower-viewing poems, and it is also the hope of returning to the tradition of poetry and Sao after a long imitation of ancient poems in Ming Dynasty. But as he wrote, "the rain falls on the moss, and the tears splash and stick with the wind." Water breeds jade, and Xiao creates new things. The original paintings in the museum have been moved many times, and the Green Tree Village has passed, and the rest is still fragrant, and Gankun is still fragrant. "In songs and poems, we can see the aboveboard spirit of adherents.
Chen Qubing once wrote: "Mr. Gong Xuan's collection is an unknown view. Yesterday, Xu Zui, who was in office, said that there was only one place in Kunshan, and only one person asked about it. I will invite an old friend from Zhangzhou to take a trip to Huangshan and go out for a walk. I wonder if there will be any gains today. And my friend's gold, lost on the net, has quite an article. I examined the stump and restored my biography. Absolutely like the well described by Sima Qian, I can't help it. In the injury of wandering tail, it is beyond words, and it is also true to words. Mr. Gai regards the old adherents as his dutiful son. It should meet this ambition, but it should be remembered by Coulee. Especially if you come to the south to show off the artificial beauty? It means that he misses his hometown, is attached to rivers and mountains, and has different scenery. Therefore, my husband is so wordy and arrogant. The chapter "Jane Xi" says:' There are hazelnuts in the mountains and dragons in the mountains. Who wants to? Western beauty. Yes, sir. Sven got it. It's sunny at noon and books are placed in the mountains. "(zhang yi's Complete Works of Chen Qubing 1 Volume)
Adherence to the moral beliefs of the adherents of the Ming Dynasty is reflected in the deformation and construction of the poet's subjective consciousness to the outside world. The world in his works has a very strong subjective color, which embodies the contradiction between his inner heart and his time. As far as the composition of poetic images and the poet's handling of the relationship between mind and matter are concerned, adherents of the Ming Dynasty rarely linger on looking for nature from the perspective of nature to appreciate the industry of all things, so they rarely try to describe things with a purely objective attitude.
The flowers and wine in Gui Zhuang's poems are similar to the vanilla beauty in Qu Yuan's Li Sao, and their affection, friendship and patriotism are comparable to Qu Yuan's Li Sao.
Because there are too many worries about national subjugation, Guizhuang wants to forget the memory of national subjugation through Shang Huashi's aesthetic pleasure. "Put all the wine and paper on the table, cut the lights and talk about past self-pity!" ! There are only flowers left in the world, and thousands of trees are in spring. "The old country is sad for autumn, and the new dynasty is difficult to serve. The only constant is the beauty of flowers. Since there is no hope of restoring the country and we cannot realize our ambitions, we can only forget the sad past in the beauty of nature. Gui Zhuang had to express his feelings for mountains and rivers, but in fact, in the poet's mind, the image of falling flowers is a kind of homesickness, and Gui Zhuang used poetry to express his worries. Poets and literati have their own "Tao", that is, people who are not lonely in feelings and sounds, and there are also sad sentences in their poems. High-class banquet, mourning for the wounded, missing the old country, etc. They are all traditional poems. Poets rely on poetic context, and "leaving this world" means no poetry. As a adherent, Gui Zhuang wrote about the scenery of enjoying flowers, and experienced infinite grief in his heart. After that, he saw that there was no hope of rejuvenating the country, but he returned to nature and surpassed the world. At the time of great disasters and small disasters, the poet expressed his ambition by things, compared the subjugation of the country with loyalty to the people, and expressed his deep condolences to the loyalty of the country and the people. The reason why Gui Zhuang's fallen petal poems can surpass ancient times is that they are not only imitating the state of falling petal, but integrating the character of adherents into the beauty of falling petal and the moral integrity of loyal people into the mourning of falling petal. This combines the beauty of masculinity with the beauty of femininity, and makes the poem gain a double aesthetic temperament, which is both sad and tearful, cyclical and intriguing.
After the great changes in Shen Jia, the scenes chosen by Gui Zhuang's poems are mostly gloomy colors and bleak images. For example:
The guests walked towards the lights and candles, and Shan Gui screamed at the bedside. ("Travel")
When Chao came to class, he began to say, Rehmannia glutinosa is everywhere this autumn. ("Miscellaneous feelings")
In Gui Zhuang's view, "the old country cannot bear to look back on the bright moon". During the Ming and Qing Dynasties, although the natural phenology was always new, it was a remnant mountain. Therefore, in the choice of poetic scenery, attention is generally focused on gloomy, lonely, bleak, sinister and terrible material conditions, such as bitter rain, chilly wind, cold lamp, clear autumn, sunset, empty garden, residual chrysanthemum, cold mountain and Shan Gui, which can show Gui Zhuang's yearning for his native land.
Among his poems, what he appreciates most is Tang poetry. He once wrote Bai Juyi's poems, and there are more than 20 poems under one topic. He and Bai Juyi pursue the simplicity of scenery in their poems, and they are no different.
However, due to the background of Gui Zhuang. Most of the scenery he describes is bleak, and in this poetic style, he has placed his good memories and thoughts on his old country. There are more than 90 flowers-chanting poems in Gui Zhuang's poems. Such as plum blossoms, chrysanthemums, camellias, peonies, begonia, peach blossoms and fallen flowers, are all the objects of his poems, which constitute a major feature of Gui Zhuang's poems. The reason is naturally related to Guizhuang being a painter and loving flowers. But as far as poetic imagery is concerned, the flowers in Gui Zhuang's works are not purely natural things, but are endowed with the poet's feelings and rich connotations of the times. He wrote that Gu Mei "is not the wind will crush the stone, but Yuan Lai is lazy and Ji Kang", which is simply the case of the master. Chanting peach blossoms, "Today's Taoyuan is born, and there is no place to avoid winning Qin", which is intended to satirize the times and praise the fallen flowers, but also full of tears.
Zhu, the chronicler of Gui Zhuang, recorded the adherents of past dynasties in order to point out that Zhu's original intention was different from that of saints. In the history of scholars, "seclusion" is a tradition, which greatly expands the living space of scholars, and with the help of generation replacement, cultural problems are greatly highlighted. Adherents regard the Han culture as their own life words. Therefore, the use of strong contrast in poetry to aggravate the angry psychology is also a common description method in Gui Zhuang, such as:
When you leave, go after the prosperous things, and the poor look at the rich flowers. ("A boat goes east to find peony")
The "poor * * *" and "rich" flowers are forcibly twisted together, and the huge psychological conflict and contrast have strengthened the strong emotional experience of the adherents after their national subjugation. "White hair in Yuan Dynasty is unfair, and spring breeze seems to be a secular thing" (combing white hair in Spring Festival). Adding the original images of "white hair" and "spring breeze" to "justice" and "secularity" that express the bleak situation and helplessness in life makes people feel novel and realize the sadness of Gui Zhuang's loss of ambition and poverty. (Li Xuan's "Group Characteristics of the Poems of Adherents in the Early Qing Dynasty", the seventh series of "Studies on China's Poetry")
Gui Zhuang's self-evaluation of fallen petal poems can be interpreted as an account of the memory of adherents, but it is not difficult to perceive his moral and aesthetic self-confidence. Zhu also believes that characters may present another kind of beauty besides disasters: "... those who are naturally brittle are firm, those who are moist are dry, those who are depressed are rich, those who are flashy gather and have gorgeous knots." Duck feet are maple leaves, flowers are frost flowers, and red leaves are green and colorful. Cold people and people watching are dazzling-this is suitable for the spectacular world. How can you get this if your skin is cold and cold? " All the people who quoted and commented on the poems of adherents said, "It means that people are right-handed, and Suzhou is the first, but when they sigh, their voices become feathers, like the wind." Those who don't know think that poetry is unique, and those who know think that people send poetry. " (Volume 6 of Pavilion Collection, Mr. Lu Piyun's Money Table). At that time, and even later readers, there were many people who could read the poems of adherents.
Guizhuang thinks that chanting poems is the most difficult to write. A good chanting poem can not only fully express the content of singing, but also make the author feel the author's true temperament, that is, integrate the author's personality temperament into the content of singing. The fallen flowers that he chanted in his fallen flowers poems are perfectly integrated with his noble personality, faithful integrity and deep and sincere feelings. Gui Zhuang's personality and integrity endow poetry with elegant and refined style.
(Author: Chinese Department of Sias College, Zhengzhou University)