The so-called "unfairness" mainly refers to people's inner imbalance, emphasizing the performance of inner unfairness. It not only reveals the reasons for creative activities, but also affirms a specific creative psychology, that is, the "uneven" mentality. This preface was specially written for Meng Jiao, who was down and out all his life and had no talent. It goes without saying that Meng Jiao is praised as a "good singer", and so does his tendency to pay more attention to the poor and the sad "singing their misfortunes". Han Yu further pointed out in "A Pure Talk on Singing and Poetry Preface": "The voice of husband and peace is weak, and the voice of sorrow is wonderful; Happy words are hard to write, poor words are easy to be good. It is an article, always in the wilderness; Princes and nobles will be at a loss if they are ambitious and not good at performance. Although the "voice of peace" and "voice of sadness" here can be regarded as "uneven" sounds, the so-called "happy words are difficult to write" does not mean that they cannot be written, and "poor words are easy to write" does not mean that they must be good, but as far as the law of literary creation is concerned, because the former was born in the hands of princes and nobles, its living condition is slippery and it is difficult to show the depth of "singing"; The latter experienced hardships, and the "injustice" caused by the fierce collision between its vitality and resistance easily disturbed the common people and spread for a long time.
Another key point of the theory of "injustice is singing" lies in attaching great importance to the lyric function of poetry. Originally, as a master of poetry and prose, Han Yu paid more attention to prose. He said that he was just a "poet all his life" ("One Harmony and Eighty-two Rhymes"), and clearly thought that his poems only expressed "strange words" ("Prime Minister's Book") compared with his essays on the Six Classics and helping trees to teach Taoism. However, it was precisely because Han Yu did not equate poetry with literature that poetry avoided the fate of becoming a Taoist tool and a political vassal. "Feeling grudges" means "injustice", and "expressing sorrow and entertaining sorrow" means expressing this kind of injustice indefinitely. The so-called "depression in the middle and venting it to the outside" (Preface to Seeing off Meng Dongye) refers to this situation. From this point of view, Han Yu's advocacy of "resentment" is to advocate aesthetic emotional catharsis, especially the catharsis of "gratitude and resentment", which can be said to grasp the lyric material of literature. Another important viewpoint of the school of poetry is that "pen creates nature", which is "pen creates nature" (Guo) in Li He's words. "Pen complements nature" requires both creative poetic thinking and subjective judgment of the object. Meng Jiao praised, "The black electricity flying in his hand is like a mysterious spring gushing out. Everything is in accordance with the words, and the three lights turn ("Send a cursive script to offer people to Lushan Mountain"), which is related to poetry. He believes that "form is confined to dust", but it can "release heaven and earth", and use his heart to cage Kun and seek the method of "everything" (Hanlin Zhang Sheren's Poems). In "To Master Zheng", I said: Heaven and earth are in my arms, and Truls Thorstensen thunders. The article is very small, and I cut the image. Song Yu boasted big sentences, and Li was crazy. If it is not the heart of a saint, what is fate? How bold it is to put heaven and earth in your arms and let me decide as much as possible! Only by exerting creative poetic thinking can the image be "cut", the "should" be created and the image of storm and thunder be born.
Like Meng Jiao, Han Yu also attaches great importance to his mind, courage and subjective judgment of the object. He repeatedly said: "Learning literature is more mysterious and calling Bo Cheng Xiong faster" ("Send a few words to Meng Xingbu in the rain"); "Carving a knife for wisdom" ("Yong Xue gives Zhang Ji"); "When the scale is favorable, the words are clever" (Answer to Meng Jiao). As for the "mystery" in the study of poetry and prose, it is supplemented by "carving" and seeks "wisdom network". The creation of ideas, words and sentences should avoid vulgarity and seek "cleverness", which shows Han Yu's creative orientation. Han Yu also repeatedly stressed that writing should be "self-reliant, not conformist" ("Answer Liu Xin"), be bold and innovative, and "be brave" ("Send the teacher away"). He said: "Since I took a ride, why should I forget nature!" ("Four Lu brothers in Guisimen, Dean of Yunfu, Wang") This is not to "replenish nature", but to declare war on nature. Si Kongtu commented on Han Dynasty: "There are hundreds of songs and poems in Li Han's department. If it is thunderous and galloping between heaven and earth, things are different and people have to be encouraged to breathe." The formation of this style of Korean poetry is closely related to its innovative poetic theory and the cultural trend of thought in the middle Tang Dynasty. Han Meng's poetry school advocates "writing to supplement nature", but it also advocates the beauty of strangeness and strangeness. Han Yu wrote in the poem Diao Zhang Ji: Du Li's article is full of flames ... I want to sharpen my hands when giving it ... I want to have two wings to catch and expel the eight famines. Mental traffic, strange things enter my intestines. The stinger pulled out the whale's teeth and lifted the spoon to taste the syrup.
This poem is quite different from some critics who praised Du Fu and suppressed Li Yu at that time, and gave Li and Du Fu the same high praise. The foothold of this praise lies not in the ideological content of Du Li's poems, but in the unique language, majestic momentum and artistic innovation of his poems. Therefore, the "communication" between Han Yu and Du Li's spirit is "all kinds of strange things enter my intestines", and he wants to track down Du Li, which is also the method he adopts. The so-called "pulling out the whale's teeth" and "thinking about the essence of heaven" have brought their boldness, strength, strangeness of thinking and strangeness of environment to the extreme, and they are completely unconstrained and unconstrained. This is a new aesthetic orientation. Han Yu not only practiced it in his own creative practice, but also used it to examine, evaluate and praise the poems of other poets in the same school. He said that Meng Jiao's poem is "It is better to look at the cave from ancient times to the present and drive away from you like an elephant. Hard words, appropriate force "("recommended "); It is said that Jia Dao's poem is "full of crazy words, but depressed and miserable." . Poor people often make things dull "("Send a teacher to john young "); It is said that Zhang Ji's poem is "an article entertains itself, and a stone hits the sun." "Long Hu Ding, the pen can be carried alone" ("Give Zhang Eighteen Years of Disease"); He said that the poems he wrote with Meng Jiao and others were "alarmist talk, bold talk and approaching the emperor's tomb" ("Drunken Gift to Secretary Zhang"). Its focus is on the greatness of power, the danger of words and the strangeness of environment. Although the above comments are inconsistent with the poet's creative reality, they highlight Han Yu's aesthetic thought; Although Han Yu also noticed the "appropriateness" and "plainness" in his poems, he often ignored the plainness and plainness because he paid attention to the grandeur.
Like Han Yu, most other members of Han Meng's poetry school also have an aesthetic orientation of advocating strangeness and strangeness. For example, Meng Jiao declared that he was "lonely and shy of spring customs" ("Hanlin Zhang Scheeren's Poetry"); Lu Tong said: "I love writing poems recently, and the novelty is quite annoying. Suddenly, the ancient works are vulgar "("Send the master gift with the sunrise "); Liu Cha declared that "Poems are as bold as the sky" ("Ask Yourself") and "There are hundreds of articles thick" ("Answer to Meng Dongye"); Li He is more fascinated by Leng Yan's secluded poetic structure, which is not only "a supplement to nature", but also a master's mind. Although these poets are limited by their own circumstances, their horizons are not wide enough, their materials are narrow, and they mostly work hard on hard songs, resulting in grandeur and strangeness, and their poetic landscape is mostly secluded, but they strongly responded to Han Yu's proposition with their own aesthetic pursuit and creative practice, and strengthened their unique style characteristics. In addition to pursuing the magnificent and bizarre beauty of poetry, Han Meng's poetry school also boldly innovated, integrating prose style and syntax into poetry, integrating narration and discussion, and wrote many excellent works (Chen's On Han Yu, the First Draft of Pavilion). Han Yu is an outstanding representative in this field. As a master of ancient Chinese prose, he is familiar with the rules of ancient Chinese prose, and his unconventional spirit and bold personality make him unaccustomed to the shackles of poetic methods. Therefore, it is a major reason for the formation of his poetic prose culture to use a prose pen with relatively free expression to convey poetry and express lyricism happily. And look at his famous "rock":
The towering and steep rocks, narrow mountain roads like sheep intestines, and the dusk when bats are flying come to this temple. When I climbed the steps of the temple and sat down, there was a field soaked in rain. The rain made the branches and leaves of banana rough and the mountain was more beautiful. Monks told me that the ancient city walls were magnificent, lit by torches and looked sticky. Make my bed and prepare rice soup. The food is rough, but it is enough to fill my stomach. It's late at night, sleep quietly, the white stopped rumbling, the moon climbed the mountain, and the brightness entered the doors and windows. At dawn, I left alone, unable to see the way in and out of the fog, and I groped my way up and down. The mountains are bright red, Jianshui River is green, shiny and watery, and pine and oak trees are densely surrounded and lush. I met a stream on the road, stepped barefoot at the foot of a stone, and the sound of running water blew up my clothes. These things themselves can make life happy. Why should we be bound and hindered by people? . Oh, the selected students are far behind me in my own country. What if I spend my old age here and never go home again? !
The whole poem is lined up, not even a sentence is carved. In chronological order, the poet's travel notes are presented in an orderly narrative way. On the structural arrangement, on the one hand, it touches the scenery with rich colors, on the other hand, it expresses feelings with light strokes, which is natural and clear, a sense of freedom that is completely relaxed from the secular cage, a subjective spirit that breaks away from the shackles of metrical rules and pursues the original beauty of poetry, which is like prose, but very poetic.
Han Yu not only used prose to construct his poems, but also used a lot of prose syntax in his poems, trying to melt the boundary between poems and texts. Five-character poems, such as "Yi Long is a pig" in Fu Chengnan, "a sinner cannot be moved" in Longli, "a weaver" in Xie Ziran, and "it's dark and snowy" in Nanshan; Seven-character poems, such as "I can't be fat", "My son is gone, I want to get rich", "Kunlun drowned in a city prison" and "Although I want to regret my tongue" in Luhun mountain fire, all deliberately use awkward syntax, which makes the language situation and rhythm lag behind the traditional five-character poems and three-character poems. Another example is "Zai Zai Dong Shengxing":
Huaishui is out of Tongbai Mountain, far away in the east, and you can't rest for thousands of miles. On the other side of the water, it is not thousands of miles or hundreds of miles into the Huaihe River. Shouzhou belongs to Anfeng County. When Tang Zhenyuan was in power, Dong Sheng, a county resident, lived in seclusion.
Get rid of the shackles of rhythm, rhythm and symmetry, and completely break the characteristics of fluency, harmony and symmetry of poetry. The form is novel, uncommon and strange, and the tendency of prose is more obvious. Han Yu was a very important writer in the middle Tang Dynasty and ancient China. On the one hand, he has a large number of excellent poems and essays; On the other hand, as a literary leader, he made many friends and helped others, formed a literary group around him and set off an influential wave of new poetry.
There are more than 300 existing poems by Han Yu, the most notable feature of which is the bold and magnificent poetic style. Most of his poems are magnificent and magnificent, which has changed the delicate and inferior phenomenon in poetry since Dali. Secondly, it is his intention to break the traditional expression of poetry, using strange words, making strange sentences, betting on dangerous rhymes, imagining strange things, strange images, strange thoughts and unconventional. Showed an unprecedented style.
Another creation of Han Yu is "taking poetry as a text", that is, introducing materials and techniques that have never been or are not suitable for poetry in the past into poetry. For example, some means of expression, structural methods and language forms of prose are used in poetry; Expand the length of poetry with a huge system like prose; Construct poetry with the layout of Han Fu; Language breaks symmetry, balance, harmony and roundness, making legalized poetry retro and single-line. This has a great influence on later poetry, especially the prose and discussion of Song poetry.
Han Yu's representative works include Nanshan Poetry Talk, Deer Soul Mountain Fire, Rocks, Mid-Autumn Festival Official Zhang, Moving Left to Languan to See Grandnephew, Listening to Clever Teachers Playing the Piano, etc. Meng Jiao and Han Yu are also called "Meng Bi", and their poems are famous for their bitter songs, mostly in five-character style. In art, we pay attention to the creation and refinement of words, and pursue the strangeness and supernormality of our thoughts. It has the dangerous and difficult style of "stabbing sentences and pulling out the stomach and kidney" mentioned in Han Yu's Epitaph of Mr. Yao Zhen.
Meng Jiao was born in poverty, suffered misfortune, and his official career was down and out, so his poems mostly wrote about his poverty and loneliness. Such as poems "Fifteen Autumn Poems" and "Sending Charcoal to Friends"; It is commendable that some poems not only reflect the difficult situation and resentment of middle and lower literati, but also reflect the broader social life through personal fate, such as revealing the inequality between the rich and the poor, the disparity between bitterness and happiness in reality and criticizing the ugly phenomenon in social interpersonal relations. For example, Ode to the People in the Cold Region shows two completely different lives of the poor and the rich families in the cold night, profoundly reveals the deep feelings and despair of the poor, and accuses the extravagant rich with intense emotions. The metaphor is novel and the imagination is amazing.
Meng Jiao also has some well-known works, such as Ode to a Wanderer. The poem expresses the loving mother's love for the wanderer with the details of sewing clothes, which is simple, natural and kind. It is meaningful to compare the relationship between mother and child with sunshine and inch of grass. The whole poem is approachable, fresh and smooth, and shows deep and sincere human feelings in simplicity, so it is recited by people and has the reputation of "Poetry follows the ship at sea".
Jia Dao and Meng Jiao are both famous for their bitter songs. When Su Shi said "a thin suburban island" ("a poem about willow"), he meant that their poems were full of sadness and sadness, and their poetic style was lonely, sad and cramped. This has something to do with his being a commoner, being tried and tested, and being depressed and introverted. There are more than 370 five-character poems, including 300 five-character poems.
Jia Dao's poems mostly show poverty, sadness, loneliness and narrow themes. Most poems are words and sentences, lacking complete ideas, so there are many good sentences and few good articles. There are two lines in the poem "Twilight Covers the Mountain Village": "Strange birds crow in the wilderness, and the setting sun fears pedestrians". Obviously, the road is hard and the journey is sad. There are also heroic works, such as "the legendary swordsman": "After ten years of grinding a sword, the frost blade has never tried. Who is unfair to show you today? " The note left for an absent ecluse, as a poem flowing like water, is one of the better works.
Jia Dao became more and more famous in his later years. His inner depression and abnormal behavior were praised by some poets in the late Tang Dynasty, and the suffering of writing poems was imitated by them. Its influence lasted until the end of the Song Dynasty.
Jia Dao's poetic style is similar to Yao He's, and he is called "Yao Jia". He was awarded the martial arts masterpiece because he was called "Yao Kung Fu". Many poems are sung by others, and a few works reflect current events and people's livelihood. He is good at describing the depression and desolation of barren counties and towns, and his representative works include 30 pieces of Wugong County. Li He is a descendant of the declining royal family, calling himself "the prince and grandson of the Tang Dynasty" and "the first grandson". In this context, Li He thinks highly of himself and is full of romantic ideals. But his family has long since declined, and his family is quite poor. In addition, because my father's name is "Jin Su", which is homophonic with "Jinshi", I can't take the Jinshi exam. His ideals and ambitions were quickly shattered by the ruthless reality, and he experienced more bitterness than ordinary people, and his spirit was always in a state of extreme depression. Melancholy and anger run through most of Li He's poems.
Li Hejin has more than 200 poems, all of which are disgusting. Starting from personal destiny, feeling, experiencing and resisting the oppression of nature and society, and thinking about the most basic and important issues in life, such as human destiny, life and death, are the most important contents of Li He's poems. His poems show deep feelings about life. Sometimes he even pinned his hope of getting rid of pain on the illusory world of ghosts and gods, and expressed his pursuit and anguish in various forms, such as "Dream of Heaven" and "Qiu Lai". These poems often incorporate extremely strong sadness and withdrawn and grotesque personality characteristics.
Li He's poems reflecting current political events are few, but there are also works that expose the cruelty and debauchery of the ruling class and reflect the sufferings of people's livelihood. For example, Song of the Golden Bronze Immortal in Han Dynasty and Hogg expose and criticize the ignorance of rulers' superstitious pursuit of immortality. The Old Lady Picks Jade Songs and Five Satiries (I) reflect the social reality of the disparity between the rich and the poor. Among them, the poet's feelings about reality or his own life experience have also been entrusted to varying degrees. However, due to the limitations of experience, the reality is not deep enough.
Li He's poems are rich in color, fantastic in imagination, cold in artistic conception, unique in conception and full of romanticism. They are unique in the poetry circles in the middle Tang Dynasty, and are called "Dragon Auspicious Style". The theme of his poems is peculiar, based on myths and legends and historical stories, which gallops the imagination and constructs a strange and confusing artistic realm. Even the theme of daily life is quite natural in his works. For example, The Elements of Li Ping warmly praised Li Ping's exquisite piano playing skills, described and rendered the magical artistic charm of music, and was full of romanticism. This is a masterpiece describing music with classical poetry. Wild goose gate is novel in conception and full in image. The author uses rich words and beautiful algae to describe the tense and tragic battle scenes and form colorful pictures, which is really rare in this kind of poems. Through the historical story of Jin Tongxian's moving to Chang 'an, the songs of Jin Tongxian in Han Dynasty expressed the feelings of the rise and fall of Han and Wei Dynasties, and integrated their feelings of social reality and their own life experiences. The poet imagined the sad scene and desolate atmosphere when the bronze man bid farewell to the Han Palace, which was very realistic, novel and romantic. The sentence "If there is love in the sky, it will grow old" is a famous sentence that has been passed down through the ages. The theme of The Old Lady Picking Jade Songs is unique, imaginative and romantic. It closely combines the description of scenery with psychological description, and also embodies Li He's unique artistic style in Leng Yan.
The style of Li He's poems has changed from Leng Yan to illusion, which is mainly reflected in his unique creative thinking, imaginative exaggeration beyond reality, the creation of a large number of illusory images, strange and abrupt words and sentences, and the creative use of rhetorical devices such as synaesthesia and metaphor. Such as Leng Yan's mournful rhetoric with weeping, ghosts, cold and death. Imagine that the cloud is running water in the Tianhe River, so it can also make the sound of running water: "Tianhe returns to the stars at night, and Pu Yin Liu Yun learns underwater sound." The sun is as bright as glass, so it can ring like glass: "xi he knocks on the glass." ("Qin Wang Drinking")
Li He inherited the tradition of Chu Ci, which is called "Sao Miao", and was also influenced by poets such as Bao Zhao, Li Bai and Han Meng. Compared with Han Yu and Meng Jiao, Li He paid more attention to the excavation of inner world and the expression of inner feelings, feelings and even hallucinations, which opened up a new realm for classical poetry. And had a more direct impact on the poetic style of the late Tang Dynasty. But its defects are also obvious, such as narrow content, too depressed mood, single-minded pursuit of strangeness and danger, lack of thinking and so on.