In traditional Chinese poetry, poems with the title "Untitled" are often marked.
Although this type of untitled poem was originally meant to be untitled because the author could not think of a good title, But most of the time the author does it intentionally. No title is better than a title. The reason why "Untitled" is used as the title is because the author is inconvenient or does not want to directly use the title to reveal the theme of the poem.
To be specific, , in poetry, those whose meaning in the poem is inconvenient or do not want to be made clear, and whose title cannot summarize the complex mood, are collectively called untitled poems. This includes those titled with the word "untitled" and those whose titles are excerpts of lines from the poem (title Obviously it is not a summary or expression of the poem's purpose, but only as a symbolic representation) and those that seem to have a title but are actually untitled (the poem's purpose is vague, the inspiration is difficult to understand, and although there is a title, it cannot be clearly stated).
This is the case. Untitled poems often express the author's unspeakable pain, inexplicable emotions, bitter feelings, persistent pursuits, etc.
Although such untitled poems have no title, the main theme of the chapter can be clearly expressed in the text. It is more artistically appealing than writing a title.
Untitled poems include five-character untitled poems, six-character untitled poems, seven-character untitled poems, etc.
The most famous untitled poem is that of Li Shangyin Untitled poem.
In the history of ancient Chinese poetry, Lu Lun wrote a seven-rhyme poem "Untitled" before Li Shangyin, and Li Deyu, who was slightly earlier than Li Shangyin, wrote a five-character poem "Untitled", both of which are sentimental. Encountering the same kind. Untitled poems with the theme of love between men and women began with Li Shangyin. Therefore, in a sense, untitled poems are Li Shangyin’s unique creation.
Ancient ballads were all oral. The creation was originally untitled, but was later recorded in various classics by literati. It can be said that "The Book of Songs" is essentially a collection of untitled poems. "Nineteen Ancient Poems" of the Han Dynasty was not written by one person. It was first compiled by Xiao Tong of the Liang Dynasty. In "Selected Works", they are collectively referred to as "ancient poems". Later generations used the first sentence as the title and knew that it was originally an untitled poem. The Yuefu poems of the Han Dynasty are mostly named after the first sentence or the number of the first sentence in the poem, which is actually untitled, such as "War in the South of the City" "You're Thinking", "Shangxie", "Jiangnan", "Pinglingdong" and other Yuefu folk songs. Since then, from the ancient style of Han and Wei Dynasties to the Tang style, literati either followed the ancient Yuefu inscriptions or created new Yuefu inscriptions, and many Yuefu poems were written. Untitled.
The earliest person to compose poems with propositions was Qu Yuan. The original biography of "Historical Records" states that he "composed "Li Sao" because of his sorrow and meditation... and wrote the poem "Huaisha"." The interpretation of the meaning of the title of "Li Sao" shows that it is the original title of the poet. In the late Han Dynasty, Jian'an poets began to prepare a large number of poem titles, and the meaning of the title also became more obvious from Qu Yuan's subtle. By Tao Yuanming, the phenomenon of unifying the title and preface appeared, such as " "Written on the first day of the fifth lunar month and written by Master Dai", "Written by Xin Chou on his night trip to Jiangling on leave in the seventh month of the year", "Poetry of Resentment in Chu Diao Shows Master Pang's Book and Deng Zhizhong"; "" Entering Huazigang is the third valley of Mayuan" and so on, show the tendency of unifying titles and notes. After that, long and complex titles became popular. In the Liang Dynasty, Renfang's "Gift to Guo Tonglu, leaving Xikou to see Yu Yu has not arrived yet" Guo still entered the village to maintain the boat for a long time, Guo Shengfangzhi" was regarded by Shen Deqian as "this is the style of the long title"]. The proposition of Tang poetry has developed on the basis of inheriting the tradition of the Wei, Jin, Southern and Northern Dynasties. Its manifestations include the preface and title of the title. The number of annotations combined into one is increasing, and long titles are common. It is not uncommon for Bai Juyi's poems to contain more words than verses. For example, the three quatrains about magnolias written in Chungju have a total of 84 words, but the title of the poem has 107 words, which is nothing more than a prose; First, when composing Yuefu poems, either "to allude to the ancient inscriptions, to stimulate the beauty of the events", or "to make them all famous poems, no need to rely on them", the actual untitled ancient Yuefu poems were changed into titled ones, and real life was used as the subject matter. , compose a poem according to the title.
The creation of a poem title from scratch is the inevitable development of poetry from the initial oral creation by the people to the creation of literati, and it is the progress of literature. From being complex to being complex, the meaning of the title is changing from hidden to explicit, which is the result of the increasingly popularization of poetry creation. This tendency of propositions is conducive to the popularization of poetry, but at the same time it has some losses. It leads to poetry creation becoming simple and the purpose of poetry is explicit. And less implicit. Therefore, most of the creative poets and critics of the past dynasties objected to writing poems that were too "titled". Su Shi believed that "this poem must be written to compose poetry, and it must not be a known poet." In the Qing Dynasty, Yuan Mei was a master of spirituality, and he highly praised it. Untitled poems like "Poetry" 300 and "Nineteen Ancient Poems" are written casually and are not restricted by titles. He believes that "untitled poems are the sound of nature" and "untitled poetry is chemical engineering" [8], Wang Guowei said "Poetry has a title, but the poem dies; words have a title, but the ci dies." Although it is too extreme, it aims to denounce the shortcomings of self-limitation by title and encourage creativity.
Li Shangyin's untitled poems are in terms of proposition. , far away from the pre-Qin Dynasty, close to Shi Yuefu, it can be said that the essence of it, inheriting its charm, is the return of untitled poetry. Of course, there are differences between the two. The "untitled" in "The Book of Songs", Yuefu, and ancient poems is the form of the poem's proposition. The poetic meaning of Li Shangyin's untitled poem is obvious, and Li Shangyin's "untitled" not only has the "vacancy" of the title, but also the euphemism of the poem's purpose. This is the unique feature of Li Shangyin's untitled poem, and it is also a major development of the untitled tradition.< /p>
Li Shangyin used his famous "untitled" poems to express his talent without being limited to one topic, or to express his feelings about his own lack of ambition and misfortune, or to describe the true love of men and women and their persistent longing for each other in separation and isolation. The language is dense, exquisite and implicit, and the words are short and have a long meaning. This is his creation that does not admire the trend of "poems must be propositions" in poetry creation, breaks away from the popular customs, and uses simplicity to control the complexity. It is also the path of propositions in ancient poetry, which is reflected in the Book of Songs of the Pre-Qin Dynasty. 》, a lingering echo of the "untitled" style of Han Dynasty Yuefu and ancient poetry.