(2) Skillfully prancing and jumping. Li Shangyin is good at weaving unrelated facts into couplets skillfully, crossing time and space, and showing causality through comparison, which has thought-provoking artistic power. For example, in "Ma Wei" (Part II), the neck couplet "Today, the six armies are stationed in Malaysia, and at that time, they laugh at cows on Tanabata", which is very flexible in pen use and greatly leaps in time and space.
(3) ingenious innovation. Yishan's use of allusions is often innovative and has amazing artistic effects. For example, "If you don't boast that this place is divided into the world, Xu Fei needs half makeup" (Southern Dynasties). The story of "Xu Fei's Half Makeup" originally only reflected the disharmony between the emperor and the princess and lacked social significance. The author creatively used it, skillfully linked "half-face makeup" with "dividing the world" and satirized the decadent and groggy feudal rulers with acrimony, which not only changed things, but also made his thoughts profound. Yishan's allusion also pays attention to the integration of meaning, emotion, events and allusions into images, which are expressed as "new words" and called "new use of familiar things" (Tell the Essence of Poetry). For example, "harmony with people on the tomb of the true mother" and "the tiger hill goes down to the sword pool to send tourists to lament the death of Sichuan". That is to say, the word "lost Sichuan" comes from the familiar thing "the deceased is like a husband, who stays up day and night", and the so-called "new words" also omit many words, which can describe the semantics as a strong feeling that time is wasting and life is getting old.
(4), clever in vivid image, three-dimensional sense. For example, "Seven Laws of Sui Palace": "His Ziquan Palace has been occupied by clouds, just as he wants to take the whole Yangzhou as his own. If the imperial seal had not been seized by Tang Taizu, he would have set sail long ago. Fireflies are gone now, leaving the weathered grassland, but they are still perched by weeping willow crows at dusk. If he met something underground, why didn't the later Emperor Chen ask "backyard flowers"? " Zhuan Xu said in an imaginary tone: If the imperial seal had not fallen into the hands of Li Yuan, Yang Guang would not have been satisfied with swimming in Jiangdu, and his brocade sail would have floated to the horizon! The tail couplet took advantage of the fact that they met Chen in a dream, but they didn't answer questions and had endless aftertaste. It not only highlights Yang-ti's lewd and reckless character, but also vividly expresses the poet's ridicule of the king who perished, and the image of the satirist and satirist is vividly on the paper.
Take the lead and have no questions, and place your hopes on it.
Throughout Li Shangyin's poems, we will find that he especially likes to use the words "you" and "nothing" to compare poems. Such as "Chu Yu is affectionate, Zhang Bin's illness is indisputable" (Zizhou sings to send her to her roommate), "Flowers must be rogue, Purple Butterfly and Huang Feng are affectionate" (February 2), "Although I don't have the wings of Cai Feng, I feel the voice of Kirin" (Untitled two songs), "Is there a dragon worry about losing water? No eagle and high autumn! " ("heavy feelings"). Through the contrast between "being" and "nothing", we can reach a state of being out of nothing, which seems to be nothing, and create a Zen meaning of "doing nothing everywhere". For example, Untitled said that "time was long before I met her, but it was longer than we were apart, and the east wind started and a hundred flowers blossomed". Its beauty lies in: first, setting the background for lovers to say goodbye, which is in late spring and March, and the spring breeze is continuous (the east wind is weak); Second, empathize with the scenery, spring flowers wither, leaves fall (flowers still exist), thus making the parting of lovers more specific and creating a sad atmosphere for their feelings; Third, it implies and symbolizes that this situation has disappeared like spring, and it will never come back, like a hundred flowers dying, and it will never bloom again.
Li Shangyin inherited and developed the artistic tradition of ancient poetry. What best embodies this feature is the cloud in "Ode to an Epic": "For three hundred years, we have the same dream. Where is the dragon card in Zhongshan? " The poet completely denied the majestic momentum of Jinling with a powerful rhetorical question. "Three Hundred Years" is really a wake-up call. It seems that "Dragon Pan" is nowhere to be found. Then, in the Six Dynasties, could the declining post-Tang regime be spared? The poet seems to sigh for the ancients, but in fact he is worried for the present. Compared with Du Mu's "Four hundred and eighty halls in the southern dynasties, how many towers are misty and rainy", it can be described as the same strain. The depth of sustenance can be seen. Li Shangyin eulogized history or pretended that the previous emperors were noble to refer to similar figures in reality. For example, in "Fu Hou", although "Fu Hou" is a disguised figure, Xu Fengyuan, an announcer in Qing Dynasty, is quite convinced according to the fact that he was a teenager who succeeded to the throne, was extravagant in hunting and feasting, and every time Emperor Wu claimed to be Fu Pinghou's family. Or borrow money in a new way through the discussion of historians.
As Mr. Huang Shizhong summed up the cloud, "Shang Yin's poems express feelings with things, and things are also people; Borrowing history is both ancient and present; It is also common to describe the world with immortals. Things and people, ancient and modern, Taoism and vulgarity, or isomorphic correspondence, or metaphorical suggestion, or figurative symbol, meaning one thing, meaning another thing, so it contains many hidden meanings. " There seems to be nothing trustworthy in the poet's pen. Every withered lotus and defeated willow, dangerous building and clear pool, bees and butterflies flying, cicadas singing and warblers singing can be entrusted; Previous stories, myths and legends, and historical traces often become opportunities for poets to lament when they are hurt. Shang Yin's poems, with their wide selection of materials, deep sustenance and hidden ideas, are always beyond the reach of future generations. Mr. Huang Shizhong talked about
Li Shangyin once said, "Bixing is an important means of Li Shangyin's poems containing hidden meanings". It is Li Shangyin's clever use of metaphor that creates many excellent images in his poems. Mr Wang Zelong believes that metaphor is an important form of poetic imagery thinking. Li Shangyin is one of the poets who are good at using this way of thinking. Every time I feel, I will be very happy, and then I will feel and think. For example, "with the shadow of dusk in my heart, I drove forward in the Leyou tombs. The setting sun is infinitely beautiful, buried by the coming night (Le Garden Scenic Area), touching things and expressing feelings, melting the feelings of home and country, the pain of life experience and the sigh of time passing. The combination of scene and philosophy is thought-provoking.
When talking about Li Shangyin's seven poems, the predecessors once said that "the expression is deep and elegant, but it can be empty for a hundred generations". This writing method of expressing more general and abstract emotional content through the overall artistic image is a major feature of New Year's Day poetry and a development of Li Shangyin's traditional method of expressing interest by contrast.
Subtle and gentle, clever in conception
Li Shangyin's poems are lyrical and beautiful, and he seldom expresses his feelings directly. Instead, he is particularly committed to understanding meaning gracefully, adopting subtle and tortuous ways, often with heavy emotional settings, and showing deep and hazy performance. Such as "Frost Moon": "There is no cicada at the beginning, and a hundred feet of high water meets the sky. The young woman Su E is cold-resistant, and she fights frost in the middle of the month. " With the author's keen sensibility, this poem unfolds ethereal reverie and creates a profound and implicit artistic conception. This kind of artistic conception is very layered: the clear autumn sky, frost moon and water are the same natural scenes, which is a layer of artistic conception; The god of frost and moon strives for beauty, which is another artistic conception; The poet yearns for the spirit of "cold tolerance" and tries his posture in a quiet and cold environment, which is another artistic conception. These images, such as Frost Moon and Water Meets the Sky, are beautiful, as thin as mist, hazy and confused in artistic conception, overlapping in artistic conception, and poetic and picturesque.
The reason why Li Shangyin can express his poems tactfully lies in his usual artistic techniques, such as being near and far, touching the scene, turning over and falling off the horse, and throwing away the distant spirit. Li Shangyin's poems are rarely purely sentimental or purely scenic. From one sentence to another, sad words are often followed by scenery words. Li Shangyin's poems are less straightforward and more affectionate and graceful. Although chanting history and recalling ancient poems reveal sarcasm and leave no room for it, they are very subtle and euphemistic in artistic expression. Some of his farewell poems are often meaningful and chewy, because they have profound meanings and emphasize beautiful songs.