Li Shangyin is generally regarded as the most outstanding poet in the late Tang Dynasty. His poetic style is deeply influenced by Li He, and his syntax, composition and structure are all influenced by Du Fu and Han Yu. [6] Many critics believe that among the outstanding poets in the Tang Dynasty, his importance is second only to Du Fu, Li Bai, Wang Wei and others. As far as the uniqueness of poetic style is concerned, he is not inferior to any poet. Those who appreciate Li Shangyin's poems and those who criticize him are all aimed at his distinctive personal style. Many poets in later generations imitated Li Shangyin's style, but none of them were recognized.
According to the arrangement and research of Liu and Yu Shucheng [7], there are 594 poems handed down by Li Shangyin, of which 38 1 basically determines the writing time, and 2 13 cannot be classified as a specific year. In addition, there are more than a dozen poems suspected to be Li Shangyin's, but the evidence is insufficient.
Judging from the theme of chanting, Li Shangyin's poems can be mainly divided into several categories:
Politics and reciting history. As an intellectual who cares about politics, Li Shangyin wrote a lot of poems in this field, and about 100 poems have been handed down. Among them, Bai Yun in the Western Suburb, Shi Dong Sui and Two Feelings are more important works. Li Shangyin's early political poems were mostly based on Chen's current situation, and their harsh tone of grief and indignation and sense of self-expectation reflected his mentality at that time. In poems about political and social contents, it is a feature of Li Shangyin's poems to borrow historical themes to reflect his views on contemporary society. Fu Hou, two poems of Northern Qi Dynasty, Mao Ling, etc. It is a representative.
Express one's feelings and recite things. Li Shangyin's career was bumpy all his life, and his ambition could not be realized, so he used poetry to dispel his depression and anxiety. Ding An Tie Tower, In Spring, Happy Garden and Du Gongbu in the Middle of Shu are the most popular songs. It is worth noting that many seven-character poems in this kind of works are considered as important successors of Du Fu's poetic style.
Emotional poetry. The works that chant inner feelings, including most untitled poems, are the most distinctive parts of Li Shangyin's poems, and they are also the most concerned parts of later generations. Jinse, Poems of Yantai Mountain, Three Poems by Bi Cheng, Return to the Temple of Our Lady, etc. , has always maintained a style similar to untitled poetry. Five Willow Branches, Sending Friends to the North on a Rainy Night, Mourning for the Past and Going East, Three Passes of Snow, etc. It embodies the artistic conception of another style of Li Shangyin's emotional poems.
Socializing and communicating. Among Li Shangyin's poems used for communication, several poems addressed to Hu Ling Mao (seeing off to fill a vacancy, sending a message to Secretary Ling Huchong, paying for a doctor, sending him to be a bachelor, dreaming of being a bachelor, and Hu Ling Scheeren saying that the drama on the moon last night was a gift) are particularly eye-catching, which provides an explanation for his relationship with Hu Ling Mao.
Edit this style of poetry.
Li Shangyin's poems have a distinctive and unique artistic style, beautiful words and profound meanings. Some poems can be interpreted in many ways, while others are obscure. There are about 600 existing poems, especially untitled poems. Li Shangyin is good at writing seven laws and five-character laws, and there are also many excellent works in seven-character poems. Ye Xie, a poet in the Qing Dynasty, commented on Li Shangyin's Seven Musts in his original poem as "affectionate entrustment, tactfully worded, but unparalleled in a hundred generations."
His metrical poems inherit Du Fu's tradition in technique, and some of his works are similar to Du Fu's in style. Similar to Du Fu, Li Shangyin's The Book of Songs often uses allusions, which is more profound and difficult to understand than Du Fu's allusions, and every sentence often uses allusions. He is unique in the use of allusions, likes to use various symbols and metaphors, and sometimes he doesn't know what the purpose is when he reads complete poems. The meaning of allusions themselves is often not what Li Shangyin wants to express in his poems. For example, "Chang 'e", some people intuitively think it is a work praising Chang 'e, Ji Yun thinks it is a work mourning, some people think it is a description of a female Taoist priest, or even a poet's self-report, and there are different opinions.
It is also his style of using allusions that forms his unique poetic style. According to Huang Jian's note "Yang Wengong Yuan Tan" in Song Dynasty, every time Li Shangyin wrote a poem, he would consult a large number of books, and the room was littered with stalls, which was compared to "Rex sacrificing fish". Wang Shizhen of the Ming Dynasty also said in a joking tone: "Rex Festival was once held in Ao Yun, and it was a piece of brocade." Criticism [8] thinks that he sometimes uses too many allusions and makes obscure mistakes, which makes people unable to understand his poems. Mr. Lu Xun once said: "Yu Xi was born with clear pronunciation and beautiful sentences. How dare he compare with others? I am dissatisfied with too many allusions." (Letter to Yang Jiyun in February 1934)
In addition, Li Shangyin's poems are gorgeous and good at describing and expressing subtle feelings.
works
Qu Yuan is a poet, and only from him did China have a writer famous for his literature. He created the style of "Chu Ci" (that is, he created the style of "Ci Fu"), which is known as "a poet in clothes, not a generation". According to Liu Xiang and Liu Xin's collation and Wang Yi's annotation, there are 25 works of Qu Yuan, namely Li Sao 1, Tian Wen 1, Jiu Ge1,Nine Chapters 9 and Travel Far. According to historical records? Qu Yuan, Sima Qian, Biography of Evocation, 1. Some scholars believe that Zhao Da is also the work of Qu Yuan. However, some people suspect that the chapters behind Journey and some chapters in Nine Chapters were not written by Qu Yuan. According to Guo Moruo's textual research, there are 23 Qu Yuan's works handed down. Among them, Nine Songs 1 1, Nine Chapters, Li Sao 1, Tian Wen 1, Evocation 1.
Generally speaking, Li Sao, Tian Wen and Jiu Ge can be regarded as the representatives of three types of Qu Yuan's works. Nine Chapters, Journey, Buju, Fisherman, Evocation of Soul, and Da Zhao can be classified as Li Sao in content and style, and most of them are well documented and meaningful, focusing on expressing the author's inner feelings. Li Sao is a magnificent poem created by Qu Yuan with his own ideals, experiences, pains, enthusiasm and even his whole life. It shines with bright personality and is the focus of all Qu Yuan's creations. Tian Wen is a poem written by Qu Yuan according to myths and legends, which embodies the author's academic attainments and views on history and nature. "Nine Songs" is Qu Yuan's music for offering sacrifices to the gods in Chu. It is full of life breath in the expression of characters' feelings and the description of environmental atmosphere. However, it is the expression of generations or gods, rather than the author's self-lyric, which shows more traces of the literary tradition of southern Chu. Li Sao and Nine Songs constitute the basic style of Qu Yuan's works.
Qu Yuan's works are closely related to myths. Many illusory contents are developed from myths. Qu Yuan is also a poet who pays attention to reality. His works reflect various contradictions in the real society, especially the dark politics of Chu.
The style of Qu Yuan's works is obviously different from the Book of Songs. This is related to the differences in folk customs between the Yangtze River Basin and the Yellow River Basin. At that time, the north had entered the patriarchal society, and Chu still had the legacy of clan society, which was tough and lively, and was not bound by etiquette. Therefore, the expression of love between men and women and patriotism is so straightforward, and the materials used are so rich that everything can run to the bottom of the pen. Write about the love between man and God, crazy people, ancient historical legends, and traveling with ghosts and gods. All gods have ordinary human nature among the people, and God is just a person beyond ordinary people. They make their works look bright, full of emotion and unrestrained. This kind of works shows different characteristics from northern literature.
From the institutional point of view, Qu Yuan's previous poems, whether the Book of Songs or southern folk songs, were mostly short stories, and Qu Yuan developed into a long and huge system. Li Sao alone has more than 2,400 words. In terms of expression techniques, Qu Yuan skillfully combined Fu, Bi and Xing, and made extensive use of the Bi Xing technique of "vanilla beauty" to vividly express abstract morality, consciousness and complex realistic relations.
In terms of language form, Qu Yuan's works have broken through the four-sentence pattern in The Book of Songs, with each sentence ranging from five, six, seven, eight and nine characters, as well as three sentences and cross sentences. Grammar is uneven and flexible. The word "Xi" and function words such as "Zhi", "Yu", "Hu" and "Er" are often used at the end of sentences to coordinate syllables and produce cadence, singing and sighing effects. In a word, his works are very creative from content to form.
Qu Yuan's works had a greater influence after the Chu people established Guanzhong, the capital of the Han Dynasty. With the continuous study and development of Songs of the South, the literature in the north has gradually become Chu. The new five-character poems and seven-character poems are all related to Chu Sao. Fu writers in Han Dynasty were all influenced by Chu Ci. After the Han Dynasty, works of "Shao Sao" appeared in all previous dynasties. The author often uses Qu Yuan's poems to express his own obstacles, and even uses Qu Yuan's experience as a metaphor, which is the direct development of Qu Yuan's literature. In addition, there are poems, songs, lyrics, songs, dramas, Qin lyrics, Daqu, scripts and so on. Take the life story of Qu Yuan as the theme, such as The Portrait of Qu Yuan, Nine Songs, Nine Tweens, etc. It is also difficult to count. Therefore, Lu Xun called Qu Yuan's works "outstanding" and "influenced later articles even more than' 300'" (Outline of China Literature History).
Detailed introduction:
Lisao
Jiuzhang
9 songs
Tian Wen
call
Buju
Introduction:
Li Sao is the most magnificent poem of Qu Yuan, and it is also a long lyric poem in his life. There are no more poems in China's classical literature. The whole poem has 373 sentences and 2477 words. This poem sharply criticized the darkness and corruption of the fatuous royal family, expressed infinite loyalty to the motherland and the people, and at the same time showed his sadness and anguish that his political ideal could not be realized.
Nine Songs is a set of sacrificial songs based on the folk sacrificial songs of Chu when Qu Yuan was exiled to the south of the Yangtze River. There are 1 1 poems in nine songs, which are dedicated to1/kind of gods respectively. These include:
"East Emperor Taiyi" is dedicated to the most noble god.
The King of the Clouds is dedicated to the cloud god.
"Xiang Jun" and "Mrs. Xiang" offered sacrifices to the fragrant water god.
Priestess of Death is a sacrifice to the male god who dominates human life.
"Little Commander" sacrifices the goddess who dominates children's lives.
Dong Jun worships the sun god.
Hebo is a sacrifice to the God of the Yellow River.
Shan Gui is dedicated to the goddess in the mountains.
National mourning mourns and praises the soldiers who died for Chu.
"Ritual Soul" is the hymn of "Nine Songs", that is, the sacrifice is over.
"Nine Chapters" is a group of lyric poems written by Qu Yuan, with one ***9 articles. That is, the ode to the past, the sorrow of her river, the thoughts, the thoughts, the past, the praise of oranges and the sadness return to the air. Mourning is the most profound expression of Qu Yuan's patriotism. Nine Chapters and Li Sao are one kind of works, but the difference is that Li Sao is a comprehensive self-narrative of Qu Yuan's life, and Nine Chapters is a concrete record of his life and a manifestation of his mood. Nine Chapters is the most valuable material to study Qu Yuan's life and thoughts.
Tian Wen is a rare article in the history of China literature. It begins with the word "heaven", and the author puts forward more than 170 questions about heaven, earth, god and man in one breath, which clearly shows the author's exploration of the root of things and indomitable fighting spirit. The whole poem ***374 sentences, 1553 words, is the second long poem in Qu Yuan's works.
Evocation is a superstitious activity in ancient China. During the Warring States Period, this kind of witchcraft religious activity was extremely popular in Chu State. After Chu Huaiwang died of illness in Qin Dynasty, Qu Yuan created this poem with artistic characteristics by using folk customs and artistic forms. In his poems, he gave a thrilling, tragic and terrible description of heaven, earth and all directions, telling his soul not to go anywhere, but to return to his motherland as soon as possible. The soul that Qu Yuan recruited actually recruited the soul of Chu, because Qu Yuan linked his fate with Chu. Whether it is ideological content or artistic technique, evocation plays an important role in the history of China literature.
Edit this famous saying
Mixed peppers and mushrooms are precious, so don't be jealous! (Li Sao)
There is a long way to go in Xiu Yuan, and I will go up and down. (Li Sao)
Take a long breath to hide your tears and mourn the hardships of people's lives. (Li Sao)
For the ideal cherished in my heart, I will not regret it a thousand times. (Li Sao)
Lead the horse, come first, doffer. (Li Sao)
The sun and the moon suddenly don't flood, and the spring and autumn have successively. (Li Sao)
Nine days, I think it's right, but my husband is only spiritual. (Li Sao)
I let the phoenix fly, followed by day and night. (Li Sao)
Colorful and changeable, how can we go for a long time? (Li Sao)
Autumn wind blows gently, and Dongting waves under the leaves. (Nine songs)
At Yuan's place, there are Jia Lan, but I don't think my son dares to speak. (Nine songs)
Lapras wobbled, high pool wobbled. (Nine songs)
Qingyun was dressed in white, holding a long arrow and shooting at Sirius. (Nine songs)
The rest of the place can't see the sky, and the road is dangerous and difficult. (Nine songs)
The wind is rustling and the wood is rustling. I miss my son and I am worried. (Nine songs)
Chunlan Qiuju is endless. (Nine songs)
Why is the belief of the soul straightforward? People's hearts are different from mine! (nine chapters? Thinking)
My heart is depressed and worried, but I will never sigh or increase my injury. (nine chapters? Thinking)
I don't know that the road is straight, and the south refers to the sun, the moon and the stars. (nine chapters? Thinking)
I don't know what the world is like, and people's hearts can't be described by xi. (nine chapters? Huai Sha)
I can't change my mind and follow the custom, so I will end my poverty in sadness. (nine chapters? She Jiang)
I will talk about Tao Dong without worry, and I will be shocked for life. (nine chapters? She Jiang)
If you have an upright heart, how can it hurt to stay away? (nine chapters? She Jiang)
Coexist with heaven and earth, with the sun and moon in Guang Qi. (nine chapters? She Jiang)
The whole world is muddy. I'm alone. Everyone is drunk. I wake up alone. (fisherman)
The water in the surging waves is clear, which can help me get dressed. The water in the surging waves is turbid, which can help my feet. (fisherman)
Twilight lightning, why worry? (JIU ge)
The soul is back! (evocation)
Eyes thousands of miles away, sad sad. (evocation)
Things are unclear: cicadas are important, and thousands of people are light; The yellow bell is destroyed, and the tile thunders; Men are arrogant and wise men are nameless. (Buju)
Edit this world cultural celebrity
Qu Yuan is a poet who loves his motherland. He is consistent with the people of Chu on the issue of loyalty to the motherland and resistance to powerful enemies. Although he failed in politics, a large number of poems he left behind greatly inspired the people of Chu to avenge their motherland. It played a great role in overthrowing the tyrannical Qin Dynasty and reviving Chu State. The development of history not only did not dilute people's nostalgia for Qu Yuan, but expanded Qu Yuan's influence. After World War II, 75 celebrities from 17 countries jointly launched the "World Congress for Defending Peace". 1953, the World Peace Council, which held the World Peace Congress in Moscow, decided to list Qu Yuan as a world cultural celebrity and called on people all over the world to solemnly commemorate him. Qu Yuan's name will remain in the hearts of people all over the world forever. At that time, the new China had just been established. In order to echo the World Congress for Defending Peace and strive for international status, the Ministry of People and Culture of China decided to form a "Qu Yuan Research Group" composed of Guo Moruo, You Guoen, Zheng Zhenduo and Wen, and compiled Qu Yuan's works into a book and published them in the vernacular.