It includes both praise (beautiful love)
It also contains irony (arrogance and extravagance, the country is in danger. )
As soon as Song of Eternal Sorrow came out, its theme has always been the focus of debate among readers. There are also very different views. There are generally three kinds: one is the theme of love. It is a love poem praising Li Yang. And affirm their sincerity and persistence in love; The second is the political theme theory. It is believed that the focus of the poem lies in allegory, exposing the "endless hatred" that "the emperor of China, whose lust may shake the beauty of an empire" will inevitably bring, and condemning the debauchery of the Tang and Ming emperors that led to the Anshi Rebellion, so as to admonish the later monarchs; The third is the dual theme theory. It is believed that it is a mixture of exposing and praising unity, irony and sympathy, which not only shed tears of sympathy, but also blamed on political misconduct and resentment. How, still want to analyze from the work itself. Poetry can be divided into four levels: the first level is from "the emperor of China, eager to shake the beauty of an empire" to "the emperor's eyes can never fix enough on her", describing how Tang Xuanzong emphasized color and sought color before the Anshi Rebellion, and finally got Yang Guifei, "as long as she turned her head and smiled, there were hundreds of spells". After the imperial concubine entered the palace, she was arrogant and extravagant. She not only "inherited her kindness", but also "listed all her sisters and brothers in the soil". After repeatedly rendering the imperial concubine of Emperor Xuanzong of Tang Dynasty, she was completely addicted to singing, dancing and drinking. The first sentence of the book not only implies the tragic factor of the story, but also plays a role in arousing and guiding the whole poem; The second layer, from "until the war drum, from the boom of Yuyang, the earth shook" to "when he turned to look later, it was a land of blood and tears", describing the Anshi rebellion, Xuanzong's escape, being forced to give the imperial concubine the death penalty, and writing the "Song of Eternal Sorrow" is the basis of the tragic story. The poet deliberately played down the Anshi chaos caused by Xuanzong's extravagance and wrong country, and deliberately described where they would go. Readers are infected by the tragic atmosphere, rather than rational criticism of history. Chen Hong's theory of "punishing stunners and suppressing chaos" in Song of Eternal Sorrow cannot be used as the writing motivation of this poem. The third layer, from "hiding in the yellow dust blown by a cold wind" to "not dreaming", describes the loneliness and sadness in Shu after Yang Guifei's death, which is a kind of "sad color" and "heartbroken sound". When Chang 'an returned to Korea after the recovery, that depression was more important than Ma Wei and that memory. Where is her white face? . After returning to the palace, Chi Yuan remained the same, and things were different, and the lingering acacia made people sad; The fourth layer, from "there is a Taoist who lives in Lingqiong" to "this worry is endless", describes that Xuanzong sent alchemists to find Yang Guifei's soul, focusing on her lonely and sad memories of her past love life. The poet used romantic methods to go from heaven to earth, and finally let the imperial concubine reappear the fairyland on the illusory fairy mountain with the image of "tears running down her sad white face like spring rain hitting pear flowers". The catharsis of "emotion" has gone beyond the emotional entanglement between the emperor and his concubines, and is more of a poet's subjective ideal element, which has already gone beyond the scope of historical facts and shows the contradiction between subjective desire and objective reality. The last sentence "everlasting, everlasting; One day both will end, and this endless sorrow will last forever "is a sigh and cry of love, which is a kind of lament. Love is spread by fate and destroyed by political ethics.". This hatred has transcended time and space and entered an infinite realm. In this way, the poet expressed eternal love with "everlasting regret", that is, pointed out the theme of the whole poem. It should be said that Bai Juyi at the beginning of writing, at least subjectively, agreed with Chen Hong's theory of "punishing stunners and smothering chaos". Later, he repeatedly emphasized the themes of "stunner confusing people" and "fawning on others" in Li Furen and Gu Jia Fox written by New Yuefu, clearly proclaiming the harm of sex, but admitting that "people are not wooden stones". However, in the actual writing of Song of Eternal Sorrow, he obeyed the human instinct and emotional desire for beauty expressed in folk love stories. In this way, the whole story has a deeper and more complicated meaning: it depicts both beauty and evil, and directly links the two; There is a passage in the books "Love Collection" and "Song of Eternal Sorrow": My uncle said to my mother, "It's beautiful, and it can be evil." Li Yannian sang, "Give the country back to the city." This is also called. This passage can probably represent the final thinking of scholars in the middle Tang Dynasty on this issue. One of the basic principles that Bai Juyi followed when writing Song of Eternal Sorrow is that "beauty" cannot be erased just because it is "evil". Although its theme seems to deviate from the condemnation of "evil" in the end, the content of "evil" itself has not been erased, but it has enriched the meaning of "beautiful". On the one hand, Song of Eternal Sorrow is an important historical and political theme, on the other hand, it is a humanistic and psychological theme with a long tradition from the people. Bai Juyi followed the national cultural psychology and the poet's personality thought in his creation, that is, the traditional mode coexisted with the author's subjective initiative, which was inseparable from the poet's life experience and outlook on life. Bai Juyi's life spanned the middle and late Tang Dynasty. His thought, bounded by the relegation of Jiangzhou Sima, experienced two stages, from active entry into the WTO to passive birth, and practiced the Confucian life mode of "helping the world and the people" that he believed in. The basic connotation of Bai Juyi's so-called "loneliness" is that he is happy and know life, complacent and peaceful, and thus connected with Shi and Lao, and his attitude towards the world is natural. In his whole ideological system, "being alone" and "helping the world" go hand in hand. "Giving is Lu Yi's career, and accumulating is the way to repair the old morality" ("a gentleman does not give tools"), which are two sides of a complete outlook on life. Before his relegation, he worked for Yunlong and Peng Feng, and together with Yuan Zhen, he vigorously advocated the New Yuefu Movement. It is precisely because he had great ambitions when he was young and had the political spirit to help the Tang Dynasty decline and save the people from fire and water that he had enough courage to deal with such a major historical theme, summed up the political gains and losses of Tang Dynasty in his later years with "no confusion" and wrote the Song of Eternal Sorrow. In this way, in his mind, Tang's dichotomy will inevitably be reflected in the shaping of the image. It is precisely because of the unity of opposites between Tang, who loves deeply, and Tang, who values the country and despises the people, that Bai Juyi wrote this story as a tragedy of a good emperor. The good emperor was confused, which finally caused sorrow for himself and the people. We can see from the works that the characterization of Tang Minghuang rejected idealization, which is another result of idealization. What is excluded is that the feudal ruling class added enough aperture to the emperor's head, making it an idealization of demigods. And this kind of exclusion itself contains another ideal of urban residents. Starting from the soil where the emperor's authority declined in real life, they imagined the leader of the feudal ruling class as an ordinary person like themselves, an infatuated emperor with love, distress, mistakes and shortcomings, no different from the protagonist in general love stories! They idealized the emperor from another angle. An idealized emperor should be a person like the people, not a god! Bai Juyi, on the other hand, conditionally accepted the citizens' idealization of Tang and discarded it, thus completing the shaping of Tang's image. After the poet was relegated to Jiangzhou, the status of "being independent" and "helping the poor" changed. His spiritual life and official career gradually changed, and finally "ji ji" was released as "immune". In the process of spiritual self-rescue, Bai Juyi gradually turned from paying attention to social politics to paying attention to individual life, and his love for free personality gradually surpassed his obsession with moral personality.