On Bai Juyi's creative characteristics and writing characteristics.

Poetry propaganda and poetry creation occupy an important position in the history of China's poetry with its outstanding popularity and reality. In Jiu Shu Tong Yuan, he clearly said: "Servants aim to help the two, and they are independent. Always serve the Tao, and invent poetry. Calling it a satirical poem is also aimed at helping others; It's not bad to call it leisure poetry. " It can be seen that among Bai Juyi's four kinds of poems: satire, leisure, sentimentality and miscellaneous law, the first two poems are most valued because they embody his "serving the people and always being kind". His poetic thoughts are mainly based on early satirical poems. As early as the early Yuan Dynasty, Bai Juyi showed a tendency to emphasize realism, popularity and irony: "If there is no textual research on today's praise and demotion, there is a lack of punishment and persuasion;" If the poem "The Beauty Sting" does not test politics, then the significance of the make-up test will be abolished. ..... Those who give ci and fu with admonition and irony are wild in nature. "The role of poetry is to punish evil and persuade good, and make up for current politics. The means of poetry is praise, criticism, admonition and satire, so he advocates: "Set up officials to collect poems, make sarcastic remarks, examine their gains and losses, and understand their feelings." (Poetry Sixty-nine) He opposes the simple pursuit of "high palace rhythm" and "strange writing" without content, and even more opposes the gorgeous poetic style of "mocking the wind and making flowers" since Qi and Liang Dynasties. In the preface to new Yuefu, he clearly pointed out that the standard of writing poetry is: "the quality and path of his words are easy to distinguish for those who want to see;" "His words are straightforward and he admonishes those who want to listen; Its business is nuclear and true, so people who use it can send messages; Its body is very smooth and can be played in music songs. " Here, "quality and diameter", "straightness and tangent", "core and reality" and "smoothness and smoothness" respectively emphasize that the language should be simple and popular, the discussion should be straightforward and exposed, the writing should be absolutely false and pure, the form should be smooth and fluent, and it has the color of ballads. In other words, poetry must be authentic, easy to understand and easy to sing in order to be considered the ultimate. Bai Juyi's above requirements for poetry have only one purpose, that is, to make up for current politics. So he went on to say: "In short, for the monarch, for the minister, for the people, for things, for things, not for writing." (Preface to New Yuefu) In Nine Books of the Same Origin, he reviewed his early creation and said, "Since I came to Korea, I have grown older and read more. Every time he talks to others, he asks more current events; Every time you read history, you should seek truth and Tao, and you will know that articles are written in time and songs and poems are written in things. " The first thing to do for time is to show it to the king. He also said: "I don't know when to avoid it" (the second of two painful poems about Tang Qu), and created a large number of satirical poems reflecting the sufferings of people's livelihood, but the general direction is "only songs make people sick, hope the emperor can know" (sent to Tang Sheng). Because only when the people's feelings are heard in heaven, the emperor opens the door and reaches the people's feelings, will politics tend to be calm. From emphasizing realism, popularity and satire to advocating writing for the monarch and the people, Bai Juyi put forward a systematic theory of poetry, and his satirical poems such as Qin Zhongyin and New Yuefu were created under the guidance of this theory. This theory, with its outstanding realistic pertinence and popularization tendency, may make poetry closer to social reality and even interfere with politics. This theory is a direct inheritance of Confucian traditional poetics and a further development of Du Fu's creation of current affairs. Judging from writing current events, Bai Juyi and Du Fu are the same; But Du Fu only wrote what he saw and felt, and the sufferings of the people were integrated with his own sad feelings. Although he always talks about it in realism, it contains irony, but it is not based on irony. The difference between Du Fu's poems and Bai Juyi's lies in his thought of "being the king", which highlights the practical utilitarian color of poems and leads them to a narrow road. Because of paying too much attention to the ironic function of poetry, poetry is equated with exhortation and commemoration, and the images of many poems are replaced by ironic reasoning and discussion. Due to the narrow and strict evaluation criteria of poetry, a large number of outstanding writers and works that do not meet this standard in history have been excluded. All these have had a certain negative impact on that time and later generations. There are more than 170 satirical poems by Bai Juyi, most of which were written before relegation. They are closely related to Zhang Ji and Wang Jian in realism and vulgarity, and have further developed in the depth, breadth and sharpness of reflecting reality. Looking at Wheat Cutting is an early work of a poet in the first year of Yuanhe. The poem begins with "Tian Jia has less leisure in the month, and people are twice as busy in May". In the middle section, the hardships of "steaming in summer, burning the back and burning the sky" and the sorrow of "losing land and taxes to fill the stomach" are described in detail. Finally, he is like a poor man who wrote "The north wind is like a sword, and clothes don't cover his body" in the first half of "Villagers Suffer from Cold", and wrote "Brown fur covers the quilt, and it is warm to sit and lie down" in the second half. In contrast, he expressed the feeling that "I am ashamed to miss him and ask myself who he is", and the true feelings came from the heart. Through personal experience, North Village of Suzige Mountain truly shows the cruelty and violence of Shence Army "taking the wine on my table and feeding me a plate". Finally, it ends with the irony that "the master is careful not to say anything, and the lieutenant owes something", and the pen is directed at the eunuch who is the commander of the Shence Army. The above works are only a small part of Bai Juyi's satirical poems, but they generally show two basic tendencies of this kind of poems, namely, a profound reflection of the suffering life of the lower class and a sharp exposure of the evil deeds of the upper class dignitaries corrupting their lives and oppressing the people. This kind of reflection and exposure is vividly reflected in the famous Qin Zhongyin and New Yuefu. Qin Zhongyin is a series of poems, including 10 and "a sad poem" ("two songs that hurt the Tang Dynasty"), which exposes the corruption of officialdom, the arrogance and extravagance of powerful people and the multiple oppression of working people. For example, "Chongfu" denounced the cruel deprivation of the people by the rulers: "Take my warmth and buy your favor!" The House of Mourning for the Dead reveals that dignitaries are rich and heartless, "there is rotten meat in the kitchen and rotten money in the treasury" but "they can't stand hunger and cold". "Song and Dance" wrote "Zhu Lun chariots and horses, red candle dance floor. The amusement of "entertaining yourself and sitting tight, getting drunk and taking off your heavy clothes" is followed by angry words of "I didn't know there were death row inmates who froze to death in the township prison"; Bought Flowers is a sad criticism of "ten families give a bunch of dark flowers" through what an "Tian She Weng" occasionally saw and felt at the place where he bought flowers. Light Fat is aimed at the ministers, doctors and generals in the eunuch's heart: the road is arrogant and the pommel horse shines with dust. Excuse me, who are those people? Passers-by replied that they were eunuchs, officials of the emperor. Wear a red ribbon representing the identity of a doctor and a purple ribbon symbolizing the identity of a general. Boasting his identity, he came to the army at the dinner party, in large numbers, and the scene was grand. The bottle overflows, and the land and water are eight treasures. There is an orange as a fruit in Dongting Lake. This excellent fish tastes delicious. They remained calm after the party, but became arrogant when they were drunk. However, when there was a drought in the south of the Yangtze River, there was a tragic scene in Quzhou. These are two different classes: one is full of fat people, and the other is full of natural and man-made disasters, vying for "cannibalism"! This sharp contrast is easy to remind people of Du Fu's "Zhu Men's wine stinks and the road has frozen bones". Fifty pieces of New Yuefu were written in four years and generally revised in seven years. This is a group of systematic poems with clear political purposes, which have been carefully organized and constructed. It covers a wide range of topics, including Wang Hua, the fight against chaos, rites and music, Ren Xian, the current situation, border politics, ladies-in-waiting, etc., but the well-written and valuable chapters are those that reflect the sufferings of people's livelihood and the situation of the lower class and expose the evils of politics and power. If these poems are compared with Yuan Zhen's Yuefu with New Themes, their achievements are obviously much higher. First of all, an article is dedicated to one thing, the title of the article is what to sing, and the preface below the article is the theme of the article. For example, "Shang Yang White-haired Man" and "I am angry and open-minded"; "red carpet" and "worrying about the cost of sericulture"; "Ji Qin is gone" and "Mourning the People"; The arrangement of "selling charcoal Weng" and "Kugong market" ... makes the center stand out and the meaning clear, avoiding the disadvantages of ambiguity and complicated context. Secondly, many chapters are flexible in form, with the first three sentences and the last seven sentences full of folk songs; In the use of language, try to avoid elegant written language and embellish it with spoken or common sayings. For example, Qin Jiliao wrote at the beginning: "Qin Jiliao, out of the south, made a fortune, with green hair and black flowers, and a red neck. Clever ears and clever tongue, birds speak everything. " Simple and fluent, easy to read. In the second half of the poem, Ji Qin is a metaphor for admonishing officials, a chicken swallow is a metaphor for the people, and a phoenix is a metaphor for the monarch: "Ji Qin, people can talk about birds, but didn't you see the grievances of the chicken swallow?" When I heard about the owner of Phoenix, I didn't mean to say a word for Phoenix before. Use noisy words! "Ironic criticism in the form of fable is implicit and appropriate. Third, some excellent poems are good at vividly depicting characters and have strong feelings. For example, in the middle passage of The White-haired Man in the Sun, the life of the white-headed maid-in-waiting is "hidden in the Yang Palace" because of jealousy: staying in an empty room, the autumn night is long and the night is sleepless. The shadow on the wall after the lamp still lingers, and the rustle of dark rain hitting the window. It's late spring, so it's hard to sit alone at night. Gong Ying is full of anxiety and disgust, and Liang Yan is always jealous. The warbler's cry goes to Yan quietly, and the spring goes without remembering the year. Just look at the autumn moon in the deep palace, and things are round for four or five hundred times. This is very similar to the description that Emperor Tang Ming missed Yang Fei in Song of Eternal Sorrow. For another example, the heroine recalls her young life in a silver bottle at the bottom of the well: when she was a woman at home, people's words and deeds were very strange: in autumn, Chanjuan's temples were covered with cicadas, and she climbed over the mountains like a moth. Laughing and laughing together in the back garden, I haven't met Hejun yet. I play with plum branches on the low wall and the gentleman riding a white horse on the edge of the willow tree. I'm on the wall, and you're looking at your immediate family, and when you see it, you know that you have the virtue of heartbroken. Shallow and lively, but full of emotion, between the lines, full of youth. Because the young man and woman got married without parents' orders or matchmakers, it eventually led to a love tragedy. At the end of the poem is a comment: "If you send a message saying that you are stupid, be careful not to treat others lightly." However, because the emotion transcends the theme of "stopping prostitution" and reveals a strong tragic atmosphere, it still arouses deep sympathy from readers. Among the 50 new Yuefu poems, those who embraced the above points and made outstanding achievements should be the first to criticize Miyagi and eunuchs and complain for the poor. Through the experience of the old man selling charcoal from "burning charcoal at a reduced salary" to "selling charcoal" in the city and then taking it away, this poem profoundly exposes the barbaric acts of disturbing the people in the court market and accepting bribes from eunuchs. Among them, the sentence "clothes are poor, worry about charcoal, and wish the weather is cold" is particularly accurate. It is true and appropriate to use the word "poor" to pour infinite sympathy first, and then use "worry" and "wish" to write about the difficult situation and subtle and complicated psychological activities of the charcoal seller. There is not a word in the poem, it is all images, but it is thought-provoking. In addition, Xinfeng Brokeback Weng and Du Lingcuo are also poems about the elderly. The former describes the unfortunate experience of an old man who "stole a big stone and broke his arm" 60 years ago to avoid military service, thus condemning this unjust war. With heavy brushstrokes, the latter described the poverty in rural areas and the misery of farmers under the attack of natural and man-made disasters, and earnestly shouted through the poet's mouth: "Peel my silk and take my millet. What is abused is a wolf, so why scratch your teeth and eat human flesh!" The voice is loud, exciting and strongly critical. Although these two poems are not as good as The Charcoal Man in artistic achievement, they are also of great value in describing characters and reflecting reality. Of course, Bai Juyi's new Yuefu also has many shortcomings. First, the creative purpose of "New Yuefu" is "the first sentence is based on its purpose, and the pawn chapter is used to show ambition" (preface to "New Yuefu"). In order to do this, the author often adds a comment to the poem at the expense of losing artistry; Sometimes they gild the lily and make unnecessary repetitions. Secondly, some events written by poets are not deeply felt. They are only written to fill the number of fifty poems, so they are boring and cannot be chewed, such as Dance of Seven Virtues, Fa Qu, Two Empresses, Poet Collector and so on. , mostly accumulated by discussion and preaching. At the same time, because of paying too much attention to the practical utilitarian purpose of poetry, the author often constructs poetry with ideas, and the true feelings are relatively insufficient. Compared with Du Fu's representative work of Yuefu, which deeply observes people's feelings and has rich meanings, many works of New Yuefu are indeed fragmented. Thirdly, in the use of language, due to the pursuit of simple things, it is lost in direct revelation, and sometimes a simple thing has to be repeated, which makes the poem not refined enough. Bai Juyi's satirical poems, represented by New Yuefu, had little influence at that time, so that they were "people who were difficult to know at that time" (Yuan Zhen's Preface to Bai Changqing's Collection); Later generations, there are different opinions. In any case, Bai Juyi created a new poetic style and style through his own efforts, and with the courage of "not afraid of power and anger, and not afraid of being ridiculed by relatives and friends" ("To Tang Sheng"), he made the boldest criticism and attack on the social ugliness at that time, which is always worthy of respect.