Origin: Zi Qi, an ancient poem by Lu You, a poet in the Southern Song Dynasty.
Original poem:
I am a beginner in poetry, but I want to draw. In middle age, you begin to realize that there is less, and then you catch a glimpse of grandeur.
Strange things happen occasionally, such as washing a raging wrasse with a stone. Counting the walls of Du Li, I often hate not understanding them.
Bai Yuan leans against the door, while Wen Lizhen is self-defeating. It's a pen-end tripod, not samadhi.
Poetry is one of the six arts, so why use money? If you want to study poetry, you must work outside it.
Translation:
When I first learned to write poetry, I only pursued gorgeous words. I didn't realize it until I was in middle age, and I gradually got a glimpse of the grandeur of the kingdom of poetry.
Strange sentences are written occasionally, just like rocks washed away by turbulence. Li Bai and Du Fu are like high walls, and I often hate myself for not knowing them well.
Later, Yuan Zhen and Bai Juyi had to rely on the door, not to mention Wen and Li Shangyin. It was really self-deprecating. Even if it is a masterpiece, it has not reached the realm of samadhi
Poetry is one of the six arts. Where is the fun? If you really want to learn to write poetry, the effort to write poetry lies in the experience outside poetry.
Extended data
This is a poem written by Lu You to his son Lu Ti in Shaoxing today. Yes 1208 (the first year of Jiading in Southern Song Dynasty). He is 84 years old and is about to leave this world. Therefore, it is no harm to regard this poem as a literary will of the poet.
Lu You believes that the quality of a writer's works is determined by his experience, his experience, his viewpoint and his understanding. Of course, his "kung fu outside poetry" is not only these, but also metaphysical things such as his intelligence, his education, his ethics and his spirit, which are also the "kung fu" for a poet to write good poems. However, Lu You emphasized the writer's cognitive ability to the objective world, and advocated that the real kung fu outside poetry should be obtained from the writer's practice, explored from things, sensed from flesh and blood, and tempered from experience.
Lu Fangweng's theory of "outside poetry" is 100% intended to be inside poetry. Only his skill of leaving poems is solid and sufficient, so his poems are immortal in the history of literature.