Yuan Mei
Don't sing the song of everlasting regret, the world also has its own galaxy.
In Shihao Village, the husband and wife say goodbye and shed more tears than in the Palace of Eternal Life.
The story of sadness and joy between Li Longji, Emperor Xuanzong of the Tang Dynasty, and Yang Yuhuan, the imperial concubine, has aroused many literati's poetic thinking. Bai Juyi's famous Song of Eternal Sorrow not only reveals the political tragedy caused by Tang Xuanzong's love for Yang Guifei, but also expresses sympathy for their love tragedy. But Yuan Mei's poems are unconventional and innovative. He put the love tragedy of Li and Yang in the tragic experience of civilians, and emphasized that the suffering of civilians was far from comparable to that of imperial concubine. Song of Eternal Sorrow and Li Shihao are both well-known poems, and their creation background is the Anshi Rebellion. On the one hand, they take the life of the emperor as the theme, on the other hand, they take the experience of the people as the theme, which just constitutes a sharp contrast.
When you take the bait, you get a stream of fish, which is more than enough to lie in the shade.
Naturally, mice are too poor to be ashamed of their bodies.
Lin Hejing seems to think that mice don't come to his house because his family is poor, but he doesn't directly admit that it is the cat that catches mice. This may be an act of posturing when writing poetry, but it is not. But he didn't blame the cat for lying in the shade of flowers when he was full, which just shows that he really knows the role of raising cats. But some people say that he used cats to mock corrupt officials.
Lin Bu (968- 1028) was born in Qiantang (now Hangzhou, Zhejiang). When I was young, I was sick and never married an official. Roaming in Jianghuai area in his early years. About forty years old, he lives in seclusion in the lonely mountain of West Lake in Hangzhou. It is said that he has not been to that city for more than 20 years. He grows plums and keeps cranes as companions. He is called "Mei Wife Crane". At that time, the reputation was greatly enhanced, and literati rushed to make friends. Song Zhenzong heard his name, gave him food and silk, and ordered local officials to ask him more questions. He died of "He Jingfu" and was called "He Jingfu" by the world, and was buried in the lonely mountain of West Lake. In the Southern Song Dynasty, a shrine was built in his residence to commemorate it, and it became a custom every time Hangzhou people and Tomb-Sweeping Day went to play. Today, Hejing Temple is still an important tourist attraction of the West Lake.
In Song Dynasty, Lin Bu's poems were as famous as his seclusion. In the early Song Dynasty, the poetry world inherited the legacy of the late Tang Dynasty and the Five Dynasties, and there was still a huge lineup of mountain poets, some of which were monk poems, the so-called "poetry monks"; The other part is a hermit, represented by Lin Bu and Ye Wei. Lin Bu's poems, apart from some entertaining and question-answering works, mainly praise seclusion, showing a far-vulgar and leisurely interest. As he said in the preface to the poem "Six Poems of Deep Living in a Mixed Glory", there are many "quietness is better than the foot of the mountain, and a few parties are idle". In art, he is good at describing lakes and mountains with small but fine brushstrokes. His writing style is light, interesting and lofty, which was praised by people at that time. Fan Zhongyan, Mei, Ouyang Xiu, Su Shi and others all praised his reclusive style or poetic style.
Cao Ye the official hamster.
As big as a bucket,
Don't leave when you see someone opening a warehouse.
Athletes have no food and people go hungry.
Who put the court in your mouth?
As the title suggests, this poem is about a mouse in an official warehouse. "Historical Records" Sima Qian's Biography of Lisi has such a record: "Lisi is a scholar of Chu State. When I was young, I was a small official in the county. I was terrified to see that the rat food in the toilet of the official residence was unclean and close to the dog. As soon as you enter the warehouse, you can see the mice in the warehouse, eating millet and living under the big guard, and you can't see the worries of people and dogs. So Lisnai sighed:' Man's virtue is like a mouse, in his own ears.' "This" official hamster "obviously got some inspiration from here.
The first two sentences of the poem seem dull and slightly exaggerated, but they vividly outline the characteristics and habits of the official hamster that are different from ordinary mice. As we all know, mice have always been known as "small" and "timid". They stay up all night and run when they see people, so there is a saying that "big beasts are not afraid of tigers and small beasts are not afraid of rats". However, official hamsters are unusual: they are not only "big"-"as big as a bucket"; And "brave"-"don't leave when you see someone opening a warehouse." How can an official hamster do this? The poet doesn't say much about this, but it is not difficult for readers to understand that "big" is the result of eating a full stomach and accumulating millet; Courage means that no one will punish them, so don't run when you see someone.
The third sentence was suddenly written from "mouse" to "human": "Athletes have no food and people are starving." The rats in the official warehouse are fat and big, but the soldiers guarding the border in front and the people working hard all the year round in the rear are still starving! Through strong contrast, the poet immediately showed the readers shocking contradictions. Faced with the social reality that such a person is not as good as a mouse, the fourth question blurts out: Who sacrifices the grain in the official warehouse to the mouse mouth day after day?
At this point, the metaphorical meaning of this poem is very clear. The official hamster is a metaphor for corrupt officials who only know how to suck the blood and sweat of the people; And these two-legged "rats" swallowed not only food, but people's paste plundered from the people. What makes people particularly indignant is that the official hamster can hide behind his back after doing so many bad things. Who is this backstage? "Who put Chaochao in your mouth?" The poet insisted on asking questions, which were endless. The word "who" is beautifully written and makes people think deeply. It consciously guides readers to explore the root of this unreasonable phenomenon and points the finger at the supreme ruler. The theme is very clear.
This kind of writing, which takes rats as a metaphor and satirizes exploiters, existed as early as in the Book of Songs. However, in Storytelling, the poet repeatedly yearns for the nonexistent "heaven", "country" and "suburb", while Guan Hamster can face the reality directly and guide people to explore the root of suffering, which is more intense emotionally. This is a development.
Literally, this poem seems to expose the mismanagement of the official warehouse and savor it carefully, but every sentence is a condemnation of corrupt officials. The poet uses folk spoken language, but the metaphor is appropriate and the words are simple and profound. He has a "barrel" as a granary container to compare the hypertrophy of the official hamster, which not only highlights the image, but also points out the greed of the mouse. The "mouse" in the last sentence is also called "Jun", which is highly respected and respected by people. Ironically, it profoundly exposed this dark society where right and wrong are reversed.
Teenagers work hard all their lives, so don't be lazy with time —— Don Du Xunhe's My Brother and Nephew's Book Hall.
The original poem is a seven-tone poem. These two sentences are a warning to my brother and nephew-studying hard in adolescence will lay the foundation for a lifelong career. Don't be lazy at all, don't waste good time. Poetry is an exhortation to future generations, with sincere feelings and profound intentions.
Du Xunhe (846-907), whose real name is Jiuhuashan, was born in the late Tang Dynasty (now shitai county).
When Du was a teenager, he dropped out of school because of his poor family, went to Jiuhua Mountain to show Lin Leimeng, boarded a monastery, and studied hard in the mountains, claiming to be "the poet of rivers and lakes, the poorest in the world." When I was young, I couldn't pass the exam. It was not until 46 years old in the second year of Dashun (89 1) that he was admitted to the Jinshi (eighth place). At that time, the political situation was turbulent, and he returned to his hometown to live in seclusion before becoming an official. After entering the Southern Tang Dynasty, he was awarded a bachelor's degree in Hanlin. Knowing the patent, he soon died of illness.
Xun He is brilliant and has an endless career, but he is famous in the poetry world and good at palace ci. For a long time, in the embrace of Jiuhua Mountain, there are many poems chanting the face of Jiuhua Mountain, which have distinct colors of the times. The book Jiuhua's Old Residence in Autumn was written by a guest living in a foreign country, revealing the feelings of abandoning his official position and retiring to Jiuhua and the pain of being in a foreign land. Poems such as The Feeling of Returning to Jiuhua from Jiangxi, The Village with a Title to Live in and The Widow in the Mountain reveal the gloom of social politics, the cruelty of cruel officials, the struggle of warlords and the struggle of the people, and reflect the sufferings and aspirations of the people, which is a true portrayal of social life at that time.
Du Xunhe was a famous realistic poet in the late Tang Dynasty. He advocates that poetry should inherit the elegant tradition and oppose glitz. His poems are simple and natural, simple and clear, fresh and elegant. He is the author of Tang Feng Ji (volume 10), three of which are included in the whole Tang poetry.
Author: Cui Hu years: Tang Dynasty
On this day last year, in this door,
Peach blossoms set each other off in red.
People don't know where to go,
Peach blossoms are still smiling in the spring breeze.
This is a lyric poem with sincere feelings. At the end of Cuihu Jinshi, Tomb-Sweeping Day traveled alone in Nanzhuang, a suburb of Chang 'an, and walked to the front of a farmer's house with peach blossoms. A beautiful girl came out and received him warmly, leaving an unforgettable impression on the other side. When Tomb-Sweeping Day came back the next year, the door was closed and the girl didn't know where she was. Only peach blossoms are still in full bloom against the spring breeze, which makes people feel melancholy.
There is a legendary skill in this poem: "Cuihu ... raised the scholar to the lower place. On Qingming Day, he traveled alone to the south of the city, where he got a manor and an acre of palace, but the flowers and trees were crowded and lonely. After a long time, a woman peeked through the door and asked, "Who is it?" With the surname:' I am looking for spring alone, and I want to drink wine.' The woman arrived with a glass of water, opened the door, made the bed and sat down, standing by Momo Xie Ke alone, but unusually thick and coquetry, unable to do anything. Cui used words to pick, wrong, and it took a long time to notice. Cui resigned and delivered it to the door. If he is at a loss, Cui also hopes to return. Never come back again. And next year's Qingming, suddenly remembered, can't help but look for it. The door wall is the same, but I locked it because the poem is on the left door ... "(Tang Mengbang's Poetry and Love).
It is doubtful whether you really have this "skill". Perhaps it is to have a poem first and then apply it to the above "skills". But two things seem to be certain: first, this poem has a plot; Second, the above "skills" help to understand this poem.
There are two scenes in the four poems that are the same and reflect each other. Scene 1: Seeking for Spring and Meeting Beauty-"On this day last year, in this door, people's faces and peaches set each other off." If we really believe in this kind of thing, we should admit that the poet really captured the most beautiful and moving scene "Peach Blossoms set each other off in red" in the whole process of "seeking beauty in spring", which not only set a beautiful background for the "Peach Blossom-like" face, but also set off the girl's radiant face, implicitly expressing the poet's infatuation and emotion, as well as the scene of mutual affection and lack of communication. Through this most touching scene, readers can be inspired to imagine many beautiful things before and after. At this point, Bai Meng's "poetic art" may be exactly what he did, especially in his later operas (such as Peach Blossom).
The second scene: find again. It is also the season of spring, and it is also the gateway for flowers and trees to bloom and peach blossoms to hide. However, the "human face" that adds luster to all this has gone nowhere, and only a peach blossom in front of the door is still smiling in the spring breeze. The association of spring breeze peach blossom laughter comes from "peach blossom and human face reflect red" Today last year, the girl I met unexpectedly under Taoke must be smiling and affectionate; Today's peach blossom, with a sad face and the same smile, can evoke better memories of the past and the feeling that the good times are not always there. What else can it do? The word "return" contains infinite disappointment.
In fact, the whole poem takes "human face" and "peach blossom" as the running clues, and through the comparison between "last year" and "today", the poet's feelings caused by these two different experiences are expressed in a tortuous way. Contrast and thinking play an extremely important role in this poem. Because it is written in the memory of the beautiful things that have been lost, the memory is particularly precious, beautiful and full of feelings, which is a vivid description of "peach blossoms set each other off"; It is precisely because of such beautiful memories that I feel particularly disappointed to lose something beautiful, so I have the feeling that "people don't know where to go, but peach blossoms still smile proudly in the spring breeze".
Although this poem has some plots, legendary skills and even drama, it is not a narrative poem, but a lyric poem. "Skill" may contribute to its wide spread, but its typical significance lies in describing a certain life experience, rather than telling a story that people are interested in. Readers may not have met stories in similar skill poems, but they may have had such a life experience: they accidentally and inadvertently met something beautiful, but when they deliberately pursued it, they could never get it back. This may be one of the reasons why this poem has maintained its enduring artistic vitality.
"Seeking Beauty in Spring" and "Seeking Nothing Again" can be written as narrative poems. The author didn't write it like this, but it just shows that Tang people are more accustomed to feeling the events in life with the eyes and feelings of lyric poets.