Jiangdong dusk cloud. "Rhyme the wind and the forest fall in the moon to get the word" Du Fu's "Night Banquet Zuo's Village" fell in the wind and the forest.
The clothes are clean, and so is the piano. "Holding a candle at night is more important than dreaming to get a dream word." Du Fu's "Three Songs of Qiang Village" Night Candle.
More dreamy. "Hang a pot of jade in the clear autumn to get a pot of characters" Du Fu's "Send Pei Shizhou" Jin Daxu Yu Dong,
Curling jade scales hang in clear autumn. Yu Chu mourned for silence in Yushan Caotang, and used rhyme to take quiet words. Du Fu's "Cui Shi Dongshan Cottage" is like a fish mountain Cottage.
High autumn, refreshing and fresh. "The autumn flower pavilion gets the autumn word, which is close to the rhyme from the autumn period in the sky." Du Fu's Moon is close to the autumn period in the sky.
The moon on the earth is clear. "Yun Lian Jing enjoys the cool" Du "Take prostitutes to enjoy the cool and meet the rain in the evening" Zhu Shen lives in a guest house.
When the lotus is cool. "Liuzi is obtained from the rhyme of Liutang spring water" Yan's "Rewarding Liuyuan to See the Post" Liutang spring water
The sunset in Huawu is late. "How many people in the fishing village rhyme to catch bass?" Du Mu (A Xuhun) Tang's "Send a hermit to Tongjiang" Tongjiang at the foot of Yanling Mountain,
How many people catch bass? "Divide Lantian to breathe their jade into the rhyme of the sun, find out the blue words, sit on the poets who have no ability to be young or old, and pay attention to it." Li Shangyin's "Jinse" men in the Tang Dynasty cried their pearl-like tears under a moon green ocean.
The blue fields breathe their emeralds to the sun. Feng Daotang's Five Dynasties "To Dou Shi" is an old spirit tree.
Five branches of osmanthus. The word "frozen" freezes the cold millet in Lou Yu. Su Shi and Song's "The Wall of the North Terrace after Snow" froze the cold millet in Lou Yu.
Just shake the silver candle to make flowers. Su Shisong's "Drinking with Guests under the Apricot Flowers on a Moonlit Night",
Jiong is like running water, Han Qingping. "Spring grass pond is full of silver, and Han silently turns to the jade plate to get the sound." Su's Mid-Autumn Moon is full of cold clouds.
Han Yin silently turned to the tracts. "With the storm of Chongyang City, the rhyme is full of words." Pan Dalin's "Interrogation" follows the storm of Chongyang City.
There are 22 poems, of which 3 rhymes with the poems of the Han, Wei and Six Dynasties, accounting for less than 14%, 5 rhymes with Tang poetry, accounting for nearly 70%, and 4 rhymes with Song poetry, accounting for about 18%. Among them, Li Bai, Du Fu, Du Mu, Li Shangyin and Feng Dao wrote the most Tang poems in the late Tang and Five Dynasties. For this poem, see the whole Tang poetry. Here, his "Dangui Wuzhifang" is the rhyme, which means auspicious and festive. This time, I tried to write a poem for the prince as a disciple, especially wishing him "climbing Guangxi someday", so I chose this poem as rhyme. Du Fu's poems 10, the rest 1. It's just that Du Fu, the master and poet of Yushan, is the best. But their favorite poems of Du Fu are different from those of Song Dynasty. They don't treat them as "thin and hard" and "plain", but they treat them as "pure and elegant" and "beautiful". Huang Tingjian and Jiangxi Poetry School were naturally excluded from the Song Dynasty. Of the four Song poems, three are Dongpo poems, and the other one was chosen for the Double Ninth Festival. Su Dongpo was close to tang style among the Song people, so it can be seen that the atmosphere of worshipping Tang and learning ancient times did not decline at the end of Yuan Dynasty, but he was more alienated from Song Dynasty and closer to the poetic style of Ming Dynasty.
Third, Ni Zan.
The painting art of Yuan Dynasty, which is dominated by literati painting, occupies a high position in the history of China painting. There were more than 420 people who could be tested as famous painters in Yuan Dynasty. The most famous ones are Zhao Mengfu, Chou Yuan, Ni Zan, Wang Meng, Zhenwu, Huang and Wang Mian. These people are all famous poets. Therefore, the integration of poetry and painting, and the integration of poetry and painting style are quite outstanding. Poems on paintings accounted for a considerable proportion in the Yuan Dynasty. These poems embody the aesthetic concepts and ideals of literati, and also reflect the acceptance of Tang poetry by poets and painters.
There is a name "Yuan Sijia" in the history of painting, which usually refers to four famous artists at the end of Yuan Dynasty: Ni Zan, Zhenwu, Huang and Wang Meng. Wang Meng is not named after poetry, but the other three are good at poetry and painting, and their poetic style is relatively consistent, and their aesthetic taste and acceptance of Tang poetry are also close. Taking Ni Zan as the representative, this paper studies their poetic style and concept.
Ni Zan (1301-1374), a small town with characters, Xuan Ying, Yunlin, the owner of the romantic moon, the owner of Zhuyangge, Wuxi people such as Fantasy Xia Zi and Lazy Zan, were deeply impressed by paintings, poems and books, and were praised as "three musts" by later generations. Painting in one product, poetry disdains suffering, but thinking is scattered and meaning is high. Mr. Ni Yuanlin's Poems and Six Volumes of Qing Dynasty. Complete works of pavilions (volume 12).
Ni Zan's poems were unique in the late Yuan Dynasty. Biography of Ni Zan, the first collection of poems in Yuan Dynasty, said: "Commentators call it like white clouds in the sky and residual snow on the ground. Yang Tieya said,' Yuan Zhen's poems are rotten, but the style is especially modern.' Wu Yunan said: "Ni Gaoshi's poems can get rid of the beauty of Yuan people and gain the love of Tao and Liu Tian. A hundred years later, trying one or two songs is still comparable to Zhenshu. "Visible its wind. Wang, Meng, Wei and Liu are the swan songs in Tang poetry, which form the beauty of "elegant charm" and "quiet" in his poems and paintings.
Ni Zan's poems and paintings are all based on "innocence and tranquility", which was discussed in detail by Pan Tianshou, a famous painter in the history of Chinese painting. Yun: "The commentator said that (Zhenwu) is very imposing, Zi Jiu (Huang) is very imposing, and Shu Ming (Wang Meng) is very good at pre-election ... The three schools have not been washed, but Yunlin is ancient and natural, and only Mi Dian is backward. Song people are easy to copy, Yuan people are difficult to copy; Yuan people can learn, but Yunlin can't. His paintings are unremarkable and surprisingly endless, which makes the wise people relieved and makes the powerful people frustrated. " Pan Tianshou: History of China Painting, Shanghai People's Fine Arts Publishing House, 1983, p. 175. It can be seen that advocating "ancient and natural" is the core of his artistic spirit. Therefore, Ni Zan is the most famous in Tang poetry, Wei and Liu. In Preface to Xie Zhongye's Poems, he said:
Poetry dies as coquettish, and Chinese is five words. Only Tao Yuanming sings the right melody! Wei and Liu diluted Xiaosan, and both got the message. This is a blow from the king. What is this? Rich words and poor words are easy to write, but deep words and idle words are difficult to write. If Li, Du, Han and Su are already brilliant, they are going in and out today, surpassing the past and dying, and their feelings have a legacy of beginning and ending, then it is natural.
Ni Zan lived in the Tang Dynasty, Wei and Liu, but ignored Li and Du. This kind of interest actually escaped from the mainstream trend of thought and became more individual, which is also the place where people in the late Yuan Dynasty displayed their self-spirit. In addition, although it is also related to Wang Wei, Wei and Liu are in the front, and they can fight in the back, which shows that their ice and snow nature can't tolerate any dust. In Ni Zan's concept, the artistic conception of "deep and carefree" is not only an artistic style, but also related to the mind of "detached from things" and the temperament of "detached from the world". By this standard, Wang Wei only got a second-rate job. It is this spirit of advocating detachment and refinement that nourishes his poetic pen, heart and soul. Poetry and painting are just the natural flow of his spirit. Therefore, his choice of Fawei and Liu is more important in gaining Fawei and Liu's favor. The core of his poetic theory and painting theory is also to nurse and nourish the soul.
Ni Zan once described his life like this: "I refused the dust, lingered in my heart, and spent the morning dawn, so I was opposite to the ancient books all day and forgot the Tao. I was complacent." ("Qing? The Preface to Reading Poems in Pavilion Draft Metaphysics Museum is quite similar to that in Tang Shi Bu written by Li Zhao, "Wei was virtuous, ate little, and sat to burn incense and sweep the floor" (Volume 2). Therefore, the poet of the DPRK said in "On Four Friends": "Poetry is like Wei Suzhou, thinking of Qingyuan, so it can be said that you don't eat fireworks, but you eat words. In the past, he said that Wei Suzhou was greedy and loved to sweep the floor and burn incense, so was Yunlin. Guy is not only like his poem. " Therefore, Yunlin studied under Wei and praised Wei's temperament and personality. Therefore, when he regards life as the practice mode of art and art as the existence mode of life, his personality, poetry and painting have reached a high degree of harmony and integration. His deep, ancient and carefree realm is not only his artistic style, but also his spiritual realm and life realm. Poetry, whether inside or outside, is not limited to statutes and procedures, but adaptive. "Stick with yourself, singing for fun. "Its paintings, scribbled words, poems and feelings are all expressed. Therefore, although its aesthetic taste is not the same as Tieya and Yushan, the tendency of "inheriting tang style" is still the same.
There is a famous saying about painting in Ni Zan's Answer to Zhang Zao's Zhong Shu: "The so-called servant painter is just an unintentional painter, who doesn't seek the shape, but talks to amuse himself." Therefore, his poems are clear and unique, and he also sees the escape in his chest. For example:
Tired of listening to the wind and rain in the last spring, I sat and looked at the green hills with a roller blind. Seagulls float on the waves far away, and cranes in the forest bring clouds back. ("Painting Old Hidden Lakes and Mountains for Zeng")
Several parties fell asleep, and an old friend came to knock the door. Smile and say nothing, just sit back and forget the machine. The clothes are raining with pineapple, and the sleeves are in the south. Tell me there is nothing wrong in the mountains. ("Only for Yin")
In Lansheng Valley, the reflection still shines on myself. No one is enthusiastic, and the spring breeze smiles. (Title of Waterfront Orchid)
These little poems are full of thoughts and are leisurely and prosperous; Rhyme is high and distant, sometimes wild. It is quite meaningful to learn from Fa Wei and Liu and participate in Wang and Meng. Zheng Yuanku's Painting of Tiyuan Town praised the cloud: "Ni Lang's painting is like ice, and the turbidity is clear. The stream is cold and thin, and there is no me. Stone peeling trees can be affectionate. " A word "Qing", a word "Qing", although the evaluation of its paintings, but also the true taste of its poetry.
Ni Zan once wrote eight Poems of Zhi Zhu, including "Weng Wen heard about the rise and fall of the country, but he remembered Qian Wang and Betty Wong. The wind blows willows at sunset, and the lake is full of smoke and rain. " "The tomb of the king of money, the land is sparse, and the ancestral temple is all in the west of the lake. By Xiqiao Bridge, the grass is Chun Lv and the night crow peak. " Tell the truth about "sadness" and some people say that there are "adherents and bullies". Qian Jibo: The History of China Literature, p. 843. , contains a deeper "worry about impermanence". Yunnan Tianzeng said in "Postscript of Ou Xiangting Painting": "Yuan people's secluded pavilions and beautiful trees are a kind of gas field outside the chemical industry. However, if the product is bright in the sky, it will be like a sad string and a collection of sounds and feelings, which is not available in the happy field of the earth. " This language is also extremely appropriate for Ni Zan's poems. Its high feelings also contain sadness, and its leisure also contains dignity.
Ni Zan's poems reflect mountains and rivers, express lofty feelings, and express his own spirit, which represents the highest achievement of Wang Meng and Wang Meng in Yuan Dynasty, and is also an outstanding representative of the poetic achievements of "Tang Sect" at the end of Yuan Dynasty. Gu Jielun, an Amin scholar, said in "Guo Ya Pin": "Niyuan Town is an ancestor of our people. Reading his words is enough for Xing Tao and thinking. " "You don't care about Liu Wei." The hermit Sect of the Ming Dynasty was a big fan. Ni Zan's aesthetic spirit and artistic interest, his life style of seclusion in poetry and painting, and his admiration for Wang, Meng, Wei and Liu's poetic style really formed a rather strong atmosphere among the literati in the south of the Yangtze River in the Ming and Qing Dynasties.
Ni Zan, together with Yang Weizhen and other scholars in the south of Gu Ying, practiced and completed his high-standard spiritual poetics with his own creation and life. Their poems are spiritual poems, and their lives are more spiritual. With unrestrained romantic temperament, they seek, discover and create the world scenery of truth, beauty and affection between heaven and earth. Indulging in the artistic and spiritual world of self and alienating from the world of turbid water undoubtedly had a far-reaching impact on the school of spirituality in Ming and Qing Dynasties.
In the third quarter, the knot of "Yazheng" in the Tang Dynasty rang
I. Fu Ruojin
Fu Ruojin (1304- 1343), formerly known as Li Ru, was later renamed "Li He" to describe a newcomer (now Jiangxi). Zeng Guan is a professor of Guangzhou literature, and his poems were famous for some time. There are 20 volumes of poems by Fu and Li.
Fu Ruojin studied poetry under the door when he was young, and later admired and revealed his thoughts. Therefore, his poetic thought and the concept of Tang poetry originated from Yuan Sijia's theory of "relying on the Tang Dynasty to be correct", which enabled Confucianism to continue to advocate elegance. The Collection of Fu Li's Poems, the General Catalogue of Sikuquanshu, says that his poems are "peaceful and elegant, with the sound of kissing the tongue without thorns" (Volume 167). Fu Ruojin said in "Preface to Wei Poetry":
How can I understand poetry! People who have traveled all over the world with articles: Mr. Zou Renfan of Shu County, Yu Gong of Shu County, and Ma Zhongcheng of Junyi, all of whom are outstanding. Now it has passed away and retired from the mountains. In the DPRK, Mr. Hanlinjie, Mr. Ouyang Gong, learned from the past and learned from the present, and scholar Zong Yan ... Although what they learned could not be combined into one, they all donated the spirit of Jin people, changed the habit of decline and ugliness at the end of the Song Dynasty, and pursued the harmony of ancient Chinese.
This paper describes his poetics with him as a teacher, and also discusses the mainstream spirit of Yuan Dynasty poetics, that is, to get rid of the bad habits of Song and Jin Dynasties, "sing for peace and prosperity" and obtain "deep classics". These thoughts directly inherited the theory of scholars in Beijing in the mid-Yuan Dynasty, and represented the echo of the voice of "elegant and upright in the prosperous Tang Dynasty" in the poetry transformation period in the late Yuan Dynasty. However, after all, the flourishing age is fading away, and the ancient sound is gone. Therefore, although we advocate "elegance", "canon" and "harmony", it is inevitable that we will produce vain generosity. Fu Ruojin lamented in "Preface to Deng Ge Xing": "Self-coquettish and elegant, ancient poetry is far-reaching. Is the prosperity of the Han, Wei, Jin and Tang Dynasties almost average? Times are different, the wind is used to it, and it is difficult to find its voice! "This is different from the self-comparison and pursuit of self-confidence and expectation in the Han and Tang Dynasties in the mid-Yuan Dynasty.
Based on the poetic thought of "elegance and integrity", Fu Ruojin also took the prosperous Tang Dynasty as his religion, respected Du Li and practiced dharma. Its cloud:
Tang became rich and powerful, so he died! Taibai said, "I won't do it for long." Zi Mei said, "I'm afraid I will follow in the footsteps of Qi Liang." It has a deep emotional meaning. Taibai is a genius, so his poems are self-contained; Zi's aesthetics is outstanding and talented, so his poems have many styles, but he has made many achievements in describing principles and teaching style. The poems after "Three Hundred Poems" are beautiful in childlike innocence and have made great achievements. ..... The people of the Tang Dynasty took poetry as their study, so poetry flourished in the Tang Dynasty. Poets, on the other hand, are talented in virtue and have different voices, just like faces. Therefore, statutes can be learned, but divinity cannot be learned. Therefore, Taibai has Taibai's poems, Zimei has Zimei's poems, and Changli has Changli's poems. Others, such as Li Changji, Du Fu, Liu Yuxi, Wang Moshu, Si Kongshu, Gao, Cen, Jia, Xu, Yao, Zheng, Zhang and Meng, are all one, and cannot be strong but the same. (On the Meaning of Poetry and On the Meaning of Poetry were written by Fu Ruozu Jin, and their authenticity remains to be verified. However, this view can quite represent the position of "respecting Tang as righteousness", which appeared at the end of Yuan Dynasty and can be regarded as a work of "respecting Tang as righteousness". For convenience, put Fu Ruojin's name for the time being. )
This passage is also the original proposition of the "Tang Zong Yazheng" school that appeared at the end of the Yuan Dynasty, which is more meaningful to sum up. Its content is nothing more than the following points: 1 "Poetry flourishes in the Tang Dynasty". One of the reasons is that "there are hundreds of rivers, and literature carries the Tao", that is, the world is related to literature and fortune, and another reason is that "Tang people choose scholars by poetry", which is also considered to be the reason why Song poetry is not as good as Tang poetry. Du Li and respect. The Tang poetry with Du Li as its peak has no momentum. This is different from that of Song and Ming Dynasties, which shows the characteristics of Tang poetics in the transitional period of Song and Ming Dynasties in Yuan Dynasty. Tang poetry is full of flowers and different styles. It is appropriate to study Tang poetry and French. Tang poetry has both temperament and statutes, and the statutes of Tang poetry can be learned, but temperament and spirit can't be learned. "Temperament" must be participated in and cultivated, and the ultimate goal of living in the Tang Dynasty is to acquire the "temperament" of the Tang people.
Fu Ruojin's view of Tang and Song poetry also represents the general view of Yuan people on this issue, and its cloud:
Tang people regard poetry as poetry, while Song people regard literature as poetry. Tang poetry is dominated by melody, so it is close to "300 pieces"; Song poetry is mainly about argument, so it is far from the "national style" that those who reach their temperament in "Three Hundred Articles" can surpass; According to the commentator, the change of elegance and fu is not easy to be superior or inferior. Poetry was harmful at the end of the Song Dynasty. The tallest man is too reserved; Surprisingly, the humble imitate; The deep hook is mysterious, strange and unsolvable; Shallow people form emperors, and some of them are arrogant. At this point, the meaning of writing poetry is gone. (On the Meaning of Poetry)
Fu Ruojin said that the Tang people used poetry as poetry, while the Song people used literature as poetry. The theme of Tang poetry is close to 300. Song poetry is the main reason, which is far from the "three hundred articles". This is the reason and basis for the Yuan people to "suppress the Song Dynasty with the Tang Dynasty". Apart from the disadvantages of the late Tang Dynasty and the late Song Dynasty, which were deeply hated by Yuan orthodox scholars, the two types of poems in Tang and Song Dynasties actually had their own merits. However, the Yuan people spared no effort to "suppress the Song Dynasty with the Tang Dynasty", with the exact intention of reviving elegance, returning poetry from "main reason" to "main emotion" and restoring poetry. Therefore, although Fu Ruojin said that Tang and Song poetry was "not easy to be good or bad", the theories of "near", "far", "surplus" and "change" have clearly distinguished the good from the bad. It is a typical poetic concept of the Yuan Dynasty to lash out at the high, low, deep and shallow poets in the late Song Dynasty.
At the end of Yuan Dynasty, Fu Ruojin and another poet Dai Liang advocated homophony. In the last days of people's dissatisfaction, he also made a final statement for Tang Zong's "Yazheng".
Second, Dai Liang
Dai Liang (1317-1383) was born in Pujiang, Jiulingshan (now Zhejiang). At the beginning, he was the head of Yue Quan Academy. During his reign, he recommended Huainan Jiangbei and other places to promote Confucianism in the book province. Ming Hongwu fifteen years, was called to the capital, resigned, and died the following year, but did not eat the road. There are 30 volumes of Jiuling Mountain Residence.
Dai Liangshao gained popularity by studying literature in Jinhua Liuguan, Huangcheng and Wulai, and studying poetry in Yuque. Liu, Huang and Wu are all famous Neo-Confucians and writers. Their poetic ideas are in the same strain as those of Neo-Confucians such as Xie Si and Ou Yangxun, and they all advocate "worshipping Tang as righteousness". Dai Liang inherited what he learned from his teacher, understood Luo's theory of spiritual nature, and took it as his responsibility to revitalize poetry and elegance. When Taoism declined at the end of Yuan Dynasty, the aim of elegance was still very high. Yuan Qu Ya Xu is not only the core of his poetic thought, but also the end of advocating "elegance in the prosperous Tang Dynasty" in Yuan Dynasty. Its contents mainly include:
(1) traceability
There is a cloud at the beginning of Preface to Elegant Yuan Poetry:
In the past, Confucius deleted poems to cover the prosperity of the week. Based on folk songs, his ci has helped the country and villagers, while those who think they teach the world are called Feng. It is elegant to be a public official, a doctor, and a court of Chen, knowing the abolition and prosperity of his administration. And its decline, although the politics and religion of the previous dynasty did not work, but the customs and traditions remain the same, this ancient work stung today, so it is also an elegant change. But fate has ups and downs, and characters have ups and downs, which is a change of poetry, and each has its own infinity. ("Jiu Ling Shan Fang Ji" Volume 29 "Preface to Yuan Yu Shu Feng")
Tracing back to the source, the poetic way is "wind" and "elegance", and the "Tang Zong" of Yuan people must trace back to this. From Hao Jing, Liu Yin, Dai and Zhao Mengfu in the early Yuan Dynasty, to Yu Ji, Xie Si and Ouyang Xuan in the middle Yuan Dynasty, and then to Fu Ruojin and Dai Liang in the late Yuan Dynasty, the mainstream of Yuan Dynasty poetics is to respect elegance by worshipping Tang Dynasty. On the basis of "the rise and fall of fate", it is related to the king to say that "poetry is changing" and advocate poetry teaching.
(2) Establish sects
Like "Han" and "Tang", the legacy of "elegance" is the direct inheritance and authenticity of poetry. The Yuan people's "living in the Tang Dynasty to learn from the past" and "living in the Tang Dynasty to suppress the Song Dynasty" are all aimed at maintaining the orthodox integrity of the poetic way and inheriting the positive pulse of the poetic way. Therefore, even from the perspective of poetic art, we can agree that everyone in the Song Dynasty "took Tang as innocent", but as two poetic paradigms, their relationship with the source of "elegance" is bound to be based on the voice of Tang, while Song is far away, and Tang can be regarded as a Sect and Song must be ashamed. Yune is an elegant voice. Its cloud:
The five-character poems of Han Xing, Li Ling and Su Wu, as well as the people who collected Yuefu poems in Hanwu, have all been far away from the ancient times, and the legacy of elegance still has some characteristics. Wei and Jin dynasties are divided into three beautiful mountains and five sacred mountains, and the words of being humble and powerless cannot be retro. In the summer, Tang Yi wrote a letter, and the literary and artistic movement revived, and Li and Du went out. Critics say that Li Zhi's poems are like "wind" and his poems are like "elegance", and Ju Kui enlightened followers such as Song, Europe, Su, Wang and others, all of whom took Tang as innocent. However, Tang poetry dominates the temperament, so it is still close to "wind" and "elegance"; Song poetry focuses on discussion, so it is far from "wind" and "elegance". ("Jiuling Mountain House Collection" Volume 29 "Yuan Di Elegant Preface")
Also chase Korea with Tang, straight back to elegance. In addition, compared with the Song Dynasty, "Tang poetry focuses on temperament, so it is still close to' wind' and' elegance'; Song poetry mainly talks about it, far from' wind' and' elegance'. " This theory, like Fu Ruojin, represents the consistent evaluation of Tang and Song Dynasties by Yuan people. Li Zhi's poems are like "wind" and his poems are like "elegance", which is due to the mentality of Li and Du. There is no doubt that these ideas are common in Tang poetry in Yuan Dynasty.
(3) Mark "vowels"
Dai: "What can I do if I can let my husband's elegant voice sweep away the accumulated disadvantages of Song people?" This is the realistic motivation of Yuan people's poetic ideas of "abandoning Tang Dynasty to Song Dynasty" and "restoring elegance". At the end of Yuan Dynasty, it is undoubtedly of certain historical value and poetic significance to summarize the poetic atmosphere and concepts in Yuan Dynasty. Its cloud:
My country is vast and unprecedented. For a bachelor and doctor, it is not easy to think of a poet with his majestic spirit ... When Gaifang was in his prime, his ancestors cultivated the world for 50 or 60 years with profound benevolence, while the old man Dai Bai was a mourning child, who was encouraged by cheers in the hutongs, which was beyond the reach of Han, Tang and Song Dynasties. So at that time, the author learned that all the meals were pure and harmonious, and harmony was the most important thing. After that, there are countless people who are famous for their poems. As a whole, there are innate differences between mountains and pavilions, but they are all based on the right temperament, deep-rooted morality, customs and class. Liu Yuxi said that eight tones and political communication, articles compete with the times, does he not believe it? ("Jiuling Mountain House Collection" Volume 29 "Yuan Di Elegant Preface")
From this passage, perhaps we can better understand the psychology of Dai Liang and others who resigned from their posts. Dai Liang said, "I have a vast territory and abundant resources, which is unprecedented in ancient times." "My ancestors cultivated the world for 50 or 60 years with profound benevolence, while Dai Bai, an old man, cheered and encouraged in hutongs, which was beyond the reach of Han, Tang and Song Dynasties." He also regarded the Yuan Dynasty as a peaceful and prosperous time, so vowels were also used as generations. Its product is "positive"-"positive in nature and deep in foundation"; It is also the beauty of Zhou, Han, Tang and Song-the style is similar to that of Han and Tang, and the interests are mainly in the Song family. Wang Hua is a big bank, which is better than the decline of Zhou De. Emphasize "vowels" and even.
From the point of view that poetry is used in education, Dai Liang still recommended Du Fu the most among the poets in the Tang Dynasty. At the end of Yuan Dynasty, Li Bai and Li He were the most prosperous poets, while Dai Liang was afraid of inferiority and still insisted on returning to Du. A poet at the end of Yuan Dynasty was famous for taking Li's second method. Dai Liang wrote in his preface: "Poetry, or the history of poetry, can observe current politics and govern Tao." The current poems of Si Lian () are characterized by the rhythm of syllables, which is based on the strengths of Li and Li, rather than the beauty of children. If the husband's current politics is relevant, supplemented by the rule of law, then his son will be beautiful. "("Jiu Ling Shan Fang Ji "Volume 12" Yu Cang Ji Xu ") It can be seen that we have tried our best to find a bridge between the poet and Du Fu.
In creation, Dai Liang also tried to practice his thought of "respecting Tang as righteousness". At the end of Yuan Dynasty, the "strange wind" of Tieya, Ni Zan's "Little Three, Wandering Unique" and Gu Ying's "Thousand Faces of Qing Li" were popular in poetry circles. In addition, there are gorgeous, luxurious and delicate poems, and Dai Liang's unique rise and fall is profound and elegant. Yang Xun praised Dai Liang's poems in the preface to the collection of rooms in Jiuling Mountain, saying that "the words are profound and far-reaching, and the sounds and feelings are full of leisure", "there is no deep words, and there is no shallowness; Not slim, not arrogant ... it is rich, thoughtful and not lacking in taste. " At the end of the Yuan Dynasty, customs declined and were in chaos, but Dai Liang still insisted on the tone of "keeping the Tang Dynasty", "being elegant", "being rich in appearance" and "being full of taste" and refused to disclose the decline of the last days. It's really well-meaning.
Dai Liang died in 1383, in the sixteenth year. "The General Catalogue of Jiuling Mountain Rooms and Siku Quanshu" said his poem: "The character is high and beautiful, and it is temporary, generous and intense, and it is chanting, and it is more open and restrained." (Volume 168) Dai Liang's "Self-praise" is also called: "Honor and disgrace are here, we are here, and the song is separated from Mai Xiu's poems, singing the sentence of residual water and residual mountains." After several changes, the tone of "elegance" advocated by a generation of "vowels" finally became a masterpiece, and his poems had to be replaced by the sad voice of "millet leaves wheat to show"