Bao Zhao's life path is a struggle with the aristocratic gate system, and at the same time it is gloomy and tragic. Zuo Si used to express his dissatisfaction with the gate valve system in poetry, but he eventually "followed suit" and lived in seclusion. Bao Zhao is not. He is a man with strong personality and full of desire for life. He made no secret of his pursuit of wealth, carpe diem, achievement and other goals, thinking that he deserved all this by his talent. When he presented a poem to Liu Yiqing, he felt depressed because of his low status. He was furious and said, "There are thousands of people who have been ignored for thousands of years. It is safe to count them! A gentleman can accumulate wisdom, so that Alan can't tell the difference, but all day long, and follow the birds? " (Biography of Southern History) In Ode to a Moth, he wrote: "What's the harm of dying for being invited?" Learn from the leopard in Shannan, hide from the clouds! "Everything negative, reclusive and submissive in the philosophy of Zhuangzi and Zhuangzi is incompatible with his thoughts. He just desperately wants to realize his personal value with his talent. When his efforts were suppressed by social reality and hindered by secular prejudice, his heart aroused endless waves, showing deep sorrow and indignation at cynicism. This is how Bao Zhao's works form a unique style.
Bao Zhao's poems are obviously divided into five-character classical Chinese and Yuefu style. Generally speaking, the five-character ancient style is a work of telling stories, giving answers and singing, which stems from some experience. The situation of Yuefu style is different. Some are written according to the theme of Yuefu, and some are insights from life experiences. Either way, it involves issues of universal significance in life and society. The outstanding achievement of Bao Zhao's poetry lies in Yuefu style. These poems are alert in words, rich in colors and unrestrained in rhythm, showing emotional impulse, agitation and nervousness, with few relaxed and gentle strokes, resulting in an unprecedented general view of agitation. Xiao Zixian of Liang Dynasty divided contemporary literary styles into three types in his Biography of Southern Qi Literature. One of them is: "Singing is shocking, manipulation is dangerous and urgent, and carving is obscene and dazzling the soul. Five colors are red and purple, and eight tones are Zheng Wei. Bao Zhao's legacy is also fierce. " This mainly refers to Bao Zhao's Yuefu poems, although the language is derogatory, but the summary is relatively accurate.
In Bao Zhao's Yuefu poems, you can see the undisguised singing of hedonistic life, such as "Singing in Daitang" wrote:
Sit still and listen to my song in class. When I was an official in Luoyang, Beijing, all the halls were near the long river.
Go in and out of the palace and make friends with Cao He. Cars and horses chase each other, and guests and friends are so glorious.
Spring goes and spring comes, and the light is scattered. Step by step, laughing and laughing.
Zhu Huihui is full of splendor, and the Weavers are shuttling. Everyone is beautiful, and their eyes are matched with Hunan and Hubei.
Although I appreciate your leisure, I will wear it again when I make up. Zheng and flute play more and sing together.
I don't care about a thousand songs, but one is full of emotion. If you want to know the thickness, just listen to this voice.
This poem should recall his life experience of making friends with nobles when he was an official in Beijing, and show his admiration for that luxurious scene. Its main intention is that when you are in a good spring and a good life, men and women should feel connected and happy.
Born in poverty, anxiety about poverty, envy and contempt for wealth have caused the complexity of some of Bao Zhao's Yuefu poems. Such as "Daijieke Youth Field":
Ma Qi Luo Jintou, Jin Wu Pei ditch. A glass of wine is frustrating.
As soon as the pursuers arrived, they traveled with swords. I went to my hometown for 30 years, and I returned to my old hill.
Raise the level 4 and look at the imperial state from the outside. The nine bends are as flat as water, and the double gaps are like Yunfu.
Fugong Luo Xiang, ministers on both sides. The Japanese-Chinese city is full, and the horses and chariots are like a river.
You ring the bell, Chen will eat, and the driver will. Kan, am I alone today? ? Worried!
The theme of this poem is knight errant, but the focus is on the melancholy of knight errant after a long journey. "Ascending to the next level 4" is a description from top to bottom, with sarcasm and heroism, but the end is self-harm. Extending its theme can be understood as follows: society has certain norms and power has certain forms, and it is difficult for heroic and uninhibited people who are divorced from social norms to be accommodated by the power structure of society. Another "Song of a Generation" is about Shi Kuang's contempt for the competition in officialdom, but with a sentence "What's wrong with you now? You will be late on the way ",which also hides sadness.
In Bao Zhao's Yuefu poems, more is to pour out inner grievances. Moreover, he often extends his experience to the understanding of the whole society, and on behalf of the poor, he puts forward a strong struggle against the status quo of aristocratic monopoly power and exclusive glory, and reflects the unfortunate experiences of ordinary people in his poems. This makes Bao Zhao's poetry have a broader social aspect than other poets in the Southern Dynasties. For example, the generation of the poor describes the hardships, embarrassment, loneliness and helplessness of the poor in all aspects, and finally even says that "it is better to pay back the money in a hundred years than in ten years"-it is better to die early if you spend your life like this! His "Song of the East" describes a young Qiang Bing in the Han Dynasty in an antique form, and he died a natural death. Although a narrow escape set a record, it was not rewarded, and the scene that night was bleak and miserable. This is actually based on the inequality in the real society. According to the poetic style, antique should belong to five-character ancient poems, but its style is Yuefu style, and its sixth poem even satirizes the present, directly exposing the oppression of heavy taxes on working people: "More than one year old, less than one lesson." Land rent is sent to Hangu Pass, but animals are lost in the forest. The river hasn't opened yet, and the snow in Guanlong is deep. If you slap an official, you will be punished. "This is extremely rare in the poetry of the Southern Dynasties.
All of the above are five-character Yuefu (antique is a special case). In addition, Bao Zhao also wrote seven-character Yuefu represented by "Copying < Difficult to Go >". Its content is similar to Wuyan Yuefu, especially angry words, which are more original in art
If you pour water on the ground, it will flow in different directions, and the difference in life is not consistent. Life has a life. If you can do it, you can sigh and sit back and relax! Be careful not to drink too much, and raise a glass to break the song "The Road is Difficult". If the heart is not wood and stone and has no feelings, I dare not speak if I swallow my voice!
You can't eat the case, draw your sword and strike the column. When will her husband live and when will Ann hang down her wings? Abandon the office and go home to rest. Going out to say goodbye, dusk is still on the edge. Have a foreplay before going to bed and watch the women weaving in the machine. Since ancient times, sages have been poor and humble, and our generation is lonely and straight!
Both poems describe the miserable experiences of the poor, but they are full of the spirit of struggle and strong feelings. The images in the poem show a dynamic trend, while the sentence patterns are uneven and varied. Emotion, image and syllable are perfectly combined to form a bold and unrestrained style.
Here, Bao Zhao's position in the development of seven-character poems needs special explanation. Before Bao Zhao, there were only neat seven-character poems. Although this kind of poetic style has been quite mature by Cao Pi's Ge Yanxing, there are few lyricists (from Jian 'an to Liu Song, the only important existing work is the dance music "Mi Bai Dance" in Jin Dynasty), and the form is still rhyming with every sentence, with a single rhythm, which is not enough for circulation and change. Its further development will wait until the Liang Dynasty. Bao Zhao's new creation is Yuefu, which is mainly composed of seven-character poems with other sentence patterns. Therefore, Bao Zhao is not only the first poet who consciously devoted himself to the creation of seven-character poems, but also the pioneer of seven-character miscellaneous poems. This kind of poetic style created by him has intricate syllables, general rhymes and is unrestrained, which is especially suitable for expressing surging feelings. Therefore, poets with romantic tendencies, such as Li Bai in the Tang Dynasty, especially like to use it to create.
Bao Zhao was also the earliest poet who consciously wrote frontier fortress themes in the Southern Dynasties. These poems do not necessarily reflect the actual war at that time. Judging from their creative consciousness, they mainly pursue highly nervous, exciting, magnificent and powerful poetic feelings through exciting contents such as war, frontier scenery and military life. This is the embodiment of Bao Zhao's personality and aesthetic taste. Later, poets of Liang and Chen generally attached importance to the unique aesthetic value of frontier fortress themes, which was undoubtedly related to the influence of Bao Zhao. Although his frontier poems are few, they cover a wide range. For example, The Journey to the North Gate of Jicong focuses on the heroic feelings of soldiers who died for their country. "The wind is urgent and the sand is fluttering. Horse hair shrinks like a hedgehog, and its horns can't be stretched out. " In four sentences, write the scene of the battlefield, majestic and powerful, and render a tragic mood. Then, it is not empty to end this knot with "reporting your body and dying for your country". Represents a bitter journey, focusing on the hardships of war. Poems such as "Tang Quan sends a cloud pool, smoke rises from the stone" and "Dan snake is more than 100 feet, and the bee is full of ten laps" write the southern scenery with strange and exaggerated brushwork, which has a thrilling feeling. In addition, the thirteenth and fourteenth chapters of Quasi-Hard to Go describe the homesickness of soldiers far away from their homeland for their hometown and their wives, and the inequality in Dai Dong Xing Wu's army also has vivid and touching effects. The ever-changing frontier fortress works in later generations are largely due to the above basic scope.
Bao Zhao's Yuefu poems are mainly transformed by the old themes of Han and Wei Dynasties. In addition, there are some works that imitate southern folk songs, such as Three Poems by Wu Ge and Seven Poems by Picking Ling. In the past, some poets imitated southern folk songs in terms of poetic style and language style, but it was the earliest to clearly mark the names of Wu Sheng and opera. It can be seen that the influence of southern folk songs on literati creation is deepening. Moreover, Bao Zhao was influenced by southern folk songs, not only in these more than ten poems. Although his other Yuefu poems are similar to those of Han and Wei Dynasties, their language is gorgeous and shallow, and they also absorb the characteristics of southern folk songs to some extent.
In the history of poetry, Bao Zhao's Yuefu poems are of great significance. Although Cao Zhi's Yuefu poems and RoyceWong's poems in Jian 'an period have begun to be brilliant, they are still inseparable from the quality of Luli's ballads. Later, famous poets such as Lu Ji, Pan Yue, Xie Lingyun and Yan Yanzhi all developed in the direction of appealing to both refined and popular tastes, and Yuefu poetry gradually lost its vitality. It took a new turn in Bao Zhao. He combined the simple and vigorous Yuefu in the Han and Wei Dynasties with the gorgeous and shallow folk songs in the south, and then combined it with literary creation, showing new characteristics in language style. More importantly, there is a strong passion in his poems. Whether writing about scenery or characters, it has a distinct subjective emotional color, which makes Yuefu poetry flourish again. Since then, the poets in the Liang Dynasty have pursued both refined and popular tastes, which can be said to be a continuation of Bao Zhao's poetic art. On the other hand, he is full of strength, passion and distinctive self-image, which has influenced Li Bai, Du Fu and other great poets in the Tang Dynasty. It is not an exaggeration for Hu Yinglin to call it "praising Cao and Liu Zhiji and opening Li".
On the whole, Bao Zhao's non-Yuefu five-character poems are similar to the mainstream style represented by Xie Lingyun, with elegant dictionaries and profound carvings. Among them, there are a lot of Ji Shu's travel works, and there are also many elements of landscape description. Although it is not a special description of landscape, it can actually be said to be a branch of landscape poetry. But in Bao Zhao's works, there is nothing to talk about metaphysical reasoning. He is not as clever as Xie Lingyun, but his momentum is often more vigorous. This is mainly because Bao Zhao prefers to choose dynamic scenery, and often exaggerates it to construct the images in his poems, and the subjective color is more obvious. For example, "The Way Home": "The rapids defoam, and the return air starts from the river."
"The sun is shining, still on the road": "The sand is dark and yellow, and the waves are rising in Bai Ou." Even in quiet scenes, he often writes with a sense of movement, such as "From Jingkou to Julie": "Gao Ke is dangerous and spicy, and the front stone is horizontal." "Returning the Three Mountains to King Shicheng": "Saving the nation from extinction."
"Qiyang Shoufeng": "The broad shore leaves shade, and the cliff lives in the moon." These places clearly show the poet's excitability and unbalanced psychology. This technique of scenery description, if not originated from Bao Zhao, at least formed its distinctive features in his poems. It also has a great influence on later poets (such as Li Bai).