Zuiwengting Ji was written in the sixth year of Song Renzong Qingli (146), when Ouyang was appointed as the prefect of Chuzhou. Ouyang Xiu came to Chuzhou after being demoted from the fifth year of Qingli. Before he was demoted, he served as Taichang Cheng Zhi Jian Yuan, You Zhengyan Zhi Gao, and Hebei Du Yun Jian Bao. The reason why he was demoted was that he always supported Han Qi, Fan Zhongyan, Fu Bi and others to carry out the New Deal, but opposed the conservative Lv Yijian and Xia Song. Han Fan and others had been demoted as early as January of the fifth year of Qingli. By August of this year, Ouyang Xiu was charged with a crime committed by one of his relatives, and he was dismissed from his post and demoted to Chuzhou.
Ouyang Xiu practiced lenient politics in Chuzhou, developed production, and enabled the local people to live a peaceful and stable life, with rich years and an intoxicating landscape, which made Ouyang Xiu feel extremely happy. However, at that time, the whole Northern Song Dynasty was dark in politics, and evil spirits were in power. Some people who were interested in reform and striving for strength were hit one after another. Looking at the country's long-standing ills with open eyes, the scene of decline and decline was growing day by day, which made him feel heavy anxiety and pain. This is his mood when he wrote Zuiweng Pavilion, and these two aspects are mixed together and expressed in his works.
Zuiweng Pavilion is beautifully written and poetic. This essay consists of two parts: the first part focuses on writing pavilions; The second part focuses on writing a tour. But the word "music" runs through the whole article. In order to understand the meaning of this drunkard, let's enjoy the beauty of the landscape of the drunkard pavilion.
at the beginning of the article, the sentence "There are mountains all around Chu" is a well-honed sentence, with little pen and ink but a lot of content. The magnificent mountain scenery of Chuzhou surrounded by mountains is displayed in front of your eyes at once, which is continuous and magnificent. When you are intoxicated by the magnificent mountains, the author reminds you of the "Southwest Peaks", where the Woods and valleys are especially beautiful. When you are attracted by the "Southwest Peaks", he tells you that from a distance, the lush, deep and beautiful mountain is Langya Mountain. In this way, from the mountains to the peaks to Langya, from far and near, you can have a panoramic view. After walking six or seven miles into the mountains, I gradually heard the gurgling sound of water, and a mountain spring rushed out from between two peaks. This is the brewing spring. Here, the author combines the visual image with the auditory image, and the quiet mountain scenery and the dynamic brewing spring set each other off into interest. When you haven't had time to take a sip of fresh spring water, and the peak turns around, you suddenly see a pavilion, which is close to the spring and its corners are tilted up like birds spreading their wings. This is the Zuiweng Pavilion. As a result, a beautiful landscape with towering mountains, gurgling springs, flying pavilions spreading their wings and mountains, springs and pavilions reflecting each other is vividly presented to people. Then, the author explores the source, pointing out that it was the monk Zhixian who built the pavilion and the Taishou who named it. Taishou calls himself "Drunken Weng", so he also calls this pavilion Drunken Weng Pavilion. Why does Ouyang Xiu, a satrap, often come here to drink with guests? Why do you get drunk after not drinking too much? Why did Ouyang Xiu call himself "Weng" when he came to Chuzhou as a local official? It goes without saying that this contains the depression and bitterness that he was relegated, his talents could not be displayed, his ideals could not be realized, and he had to drown his sorrows in wine! "The meaning of drunkenness is not wine, but also between mountains and rivers." Appreciating the pleasure of mountains and rivers, although it contains sorrow, can, after all, relieve sorrow, which lays the foundation for the second part to write about the joy of traveling.
The landscape of Zuiweng Pavilion is beautiful, and the mountain scenery of Zuiweng Pavilion is more beautiful and lovely due to the changes of dusk and seasons. In the morning, the sun rises, the glow is bright, the fog disappears, the green hills are green, fresh and quiet; In the evening, the sun sets, the twilight gathers, and the caves in the mountains and rocks are dark and quiet, which is intoxicating. In spring, wild flowers are blooming and fragrant; In summer, beautiful trees are lush and shady; In autumn, the wind and frost are noble and clean; In winter, the truth comes out. The four seasons change, and the wonders are stacked on mountains. Enjoy the mountain scenery of Zuiweng Pavilion, and the fun is endless.
It's fun to watch the changing mountain scenery in Zuiweng Pavilion, but it's even more fun to watch people travel and have a feast there. Those who carry things on their backs sing while walking; Tired of walking, rest under the tree and feel at ease. People greet each other, old people and children, and they keep coming and going. There is stillness, movement, sound and state here, which depicts a vivid picture of Churen's amusement. Then I wrote about fat fish spring wine, the satrap banquet of mountain dishes and wild vegetables, and the satrap drunkenness of "white hair, self-effacing" mixed with everyone's joy. In the extreme joy, the satrap's complicated state of mind is also subtly expressed.
Finally, the author concludes from the comparison of the different contents and feelings of birds' joy, guests' joy and satrap's joy that "birds know the joy of mountains, but not people's joy; People know that it is fun to swim from the satrap, but I don't know that the joy of the satrap is also fun. " Drunk, can have fun with the people; Wake up, can write the article "Zuiweng Pavilion", is the satrap Ouyang Xiu. Pen and ink are concise and implicit, with far-reaching implications.
Zuiweng Pavilion is indeed a lyrical prose with fresh style, swaying posture, beauty and moving. The author's eulogy of Chuzhou's beautiful landscape, his efforts and yearning for building an ideal society of peace, stability and happiness with the people, especially the author's euphemistic and implicit confession of depression, are undoubtedly an objective exposure to the dark politics of the Song Renzong era, which naturally shines with ideological light. In particular, the language of this article is accurate, vivid, beautiful, and the sentence pattern is neat and varied. The sentence pattern of "... zhe ... ye" is repeatedly used in the whole text, and 21 "ye" characters are used together to enhance the unique rhythm of the article. All these aspects can be used for reference
The artistic achievements and influence of Ouyang Xiu's prose
Ouyang Xiu was an important writer in the mid-11th century in China. His prose, poems and ci occupied a very important position in the literary world of the Northern Song Dynasty, and he was recognized as the leader of the literary world at that time and the leader of the ancient prose movement. In particular, the achievements of prose are the most outstanding. On the one hand, he created his own unique style on the basis of inheriting the creations of famous prose writers such as Han Yu, Liu Zongyuan and Li Ao in the Tang Dynasty, and at the same time, it also had a great influence on the creations of some famous prose writers at that time and in the Ming and Qing Dynasties.
China's prose has shone brilliantly since the Zhou and Qin Dynasties, and there have been such outstanding writers as Zuo Qiuming, Meng Ke, Zhuang Zhou, Jia Yi, Sima Qian, Liu Xiang and Ban Gu. However, from the Jin Dynasty, the Southern and Northern Dynasties to the mid-Tang Dynasty, the beautiful and lewd essays prevailed, which greatly damaged the style of writing. The ancient prose movement in Tang Dynasty, represented by Han Yu and Liu Zongyuan, can be said to be a major literary and artistic reform. The so-called ancient prose movement is to restore ancient prose creation to distinguish it from parallel prose at that time. Han Yu and Liu Zongyuan made great achievements in this movement.
The new ancient prose movement led by Ouyang Xiu in the mid-Northern Song Dynasty can be said to be a continuation of the ancient prose movement in Han and Liu Dynasties in the Tang Dynasty. Influenced by Yang Yi and Liu Danian, the writers of Xikun style in the early Song Dynasty, who continued to advocate the flashy style of writing in the late Tang Dynasty and the Five Dynasties, the literary world in the early Song Dynasty once extremely advocated the style of "poor and elegant", and Han Yu's collected works had long been shelved, and even the names were rarely mentioned. Ouyang Xiu and his comrades, such as Yin Zhu, Mei Yaochen and Su Shunqin, took on the heavy responsibility of literary and artistic reform in such a harsh environment.
In the article "After Remembering the Old Books in Korean", Ouyang Xiu described how he made up and revised Han Yu's collected works from the scrap books when he was a teenager, which was widely publicized. At last, he reformed the style of writing and achieved the grand occasion of "scholars don't learn unless they are Korean". Ouyang Xiu used to pretend to be the heir of Han Yu all his life, and people also evaluated him at that time. Su Shi once said, "Ouyang Zi is Han Yu today." Ouyang Xiu's main achievement in learning from Han Yu is not to inherit the tradition of "writing carries the Tao", but to unify the ideological content and artistic form in the creation of prose, emphasizing that works must have the author's personal characteristics, artistic style must be original, and to oppose imitation. Therefore, although he flaunts to learn from Han Yu, he can suddenly create his own style and create a different prose style from Korean. Generally speaking, Korean is known for its grandeur, while Owen is known for his beautiful charm. Yuan Mei, a Qing Dynasty poet, wrote a passage in "Poems with the Garden": "Ou Gong's literature is Korean but quite unlike Korean, and this official document is unique among the eight schools." This view is very pertinent.
Han Yu led the ancient prose movement in the Tang Dynasty, and advocated that writing should be "literal". However, in fact, some of his works, such as Monument to the King of Cao Cheng and Monument to the West of Pinghuai, consciously imitated the ancient classics such as Shangshu, which made him feel groggy when reading. Some of Liu Zongyuan's works, such as Jin Wen and Qi Fei An, still have a strong atmosphere of the Six Dynasties. Ouyang Xiu's works are different, which can be said to be completely natural. Luo Dajing, a Song Dynasty poet, said in "The Jade Dew in the Crane Forest": "Han Liu still uses odd words, while Europe and the Soviet Union only use ordinary light empty word, but it is beautiful and quaint, which is out of reach." In Ouyang Xiu's prose, the literary and artistic reform movement since the Tang Dynasty can be said to have completed its task.
Ouyang Xiu's achievement in prose writing is that, on the basis of learning from the previous generation writers such as Sima Qian and Han Yu, he integrated discussion, narration, scenery description and lyricism into an all-embracing creative method, giving full play to the superiority of prose writing that is not bound by dual tones. As far as the content of the works is concerned, Ouyang Xiu's prose is good at narration, scenery description and lyricism, and has certain ideological content. As far as writing skills are concerned, Ouyang Xiu's prose is good at using the pen, being good at using the pen, being good at swallowing foreigners, and being good at cadence. Read it with twists and turns, smooth momentum, sonorous syllables, beautiful charm and high artistry. Su Shi said that his prose "talks about avenues like Han Yu, talks about things like Lu Zhi, and records like Sima Qian" (Preface to the Collection of Laymen). It is a very general description of Ouyang Xiu's achievements in inheriting the previous generation of writers' writing.
Ouyang Xiu's writing attitude is extremely serious. He himself said, "If you write articles in your life, you will get three more, that is, immediately, on the pillow and in the toilet, but you can think about it a little" ("Return to the Field"). It can be seen that he is serious about his writing attitude, and he will not let go when he is resting on the road. As soon as you feel uncomfortable with a written work, correct it immediately. The famous "Zuiweng Pavilion" began to write the name of the mountains around Chuhe, with hundreds of words. Finally, it was changed, leaving only five words: "There are mountains around Chuhe". In his later years, when he made his own anthology, he still worked late into the night in cold winter, which shows that his writing attitude is serious.
Part of the epitaph, preface of poetry collection and miscellaneous notes of garden pavilion in Ouyang Xiu's literary collection can best represent his prose style, which is also the most outstanding part of artistry. Let's try to discuss these aspects briefly.
(1) works such as epitaphs account for almost half of Ouyang Xiu's collections. Originally, in Han Yu's works by Liu Zongyuan, articles related to epitaphs accounted for a large proportion, and putting in a good word for the dead was a considerable income at that time, so Han Yu was ridiculed by the tomb. In Ouyang Xiu's epitaph, it is inevitable to pay homage to the tomb, but mainly in the epitaph written by the author for some good friends such as Shi Manqing, Su Zimei, Mei Shengyu, Jiang Linji, Yin Shilu and others, it creates the author's unique style of love and literature, which has certain literary value.
the northern song dynasty is a weak dynasty. since the founding of the people's Republic of China, it has adopted a policy of suppressing internal humiliation and external humiliation. By the middle period, the class contradiction had developed to a very sharp level. Not only the peasants were brutally exploited by the bureaucratic landlord class, but also the declining small and medium-sized landlord class was suppressed by the establishment and felt that there was no way out politically. Some people in this class once hoped for political reform, but all failed, so they were often frustrated in their official career and down and out for life. Ouyang Xiu himself was born in a declining bureaucratic family, and his early official career was also bumpy. Therefore, I have a deep friendship with them and deeply sympathize with their experiences. Most of the epitaphs made for them are flesh-and-blood and colorful works. The following is a part in the middle of Huang Mengsheng's Epitaph:
To Shaojia Suizhou, Mengsheng followed his brother Mao Zongguan. As a boy, I stood on the side of my brothers. I saw that my dream rose to seventeen or eighteen, and I made eyes at Ming Xiu. I was good at drinking and laughing. Although I was young, my heart had risen only in Qimxy. In the last seven years, both Yu and Meng were promoted to Jinshi in the capital, and Meng was promoted to C. When he was appointed as the main book of Yongxing of Xingguo Army, he was dissatisfied and went to the disease. For a long time, the public security main book of Jiangling House was re-adjusted, and when it was ordered to Yiling, it met Jiangling. The dream rose in a haggard color, and it was unknown at first. After a long time, I shook hands and drank wine, drunk and danced at night, and sang loudly. Giving benefits, sadness, dreams, rising aspirations, although declining, is still alive when you are young. In the last two years, he moved to Gan De's order, dreamt of rising and polyphoning Nanyang's main book, and met Deng again. When I asked him about the geometry of the articles he had written in his life, Meng Sheng sighed: "I have been taboo. I am poor and have a life. People who are not in the world don't know me, and I am ashamed to tell the world." He refused to come out after asking for it, so he drank the wine and got drunk again, dancing and singing, because he laughed and said, "I know who I am." I am willing to publish my article, and my reading is magnificent, and my spirit is unrestrained. If it is irresistible. Giving is good for sorrow, dreaming is difficult, but the article is not declining.
It's really lifelike to describe the image of a low-level bureaucratic intellectual. If you read it, you will hear it, and if you see the person.
(2) With regard to works such as preface and postscript, the most prominent one is the History of the Five Dynasties written by Ouyang Xiu, which has a high position in the twenty-four histories and has been unanimously recognized by historians and essayists. Among the twenty-four histories, The Four Histories is the best. As far as articles are concerned, Historical Records is luxurious, Hanshu put in order, Houhanshu is concise, and The History of the Three Kingdoms is sparse, each with its own characteristics. In addition, it is about the History of the Five Dynasties. In the Notes on the Twenty-second History, Zhao Yi, a Qing Dynasty, commented on the History of the Five Dynasties: "Not only is the writing clean, but it goes straight to the historical records, and the spring and autumn brushwork is included in the biographies, which is not as good as the historical records." Although this kind of comment stands on the traditional historian's standpoint, Fang Bi in History of the Five Dynasties is clean and sophisticated, which is really outstanding. Especially those prefaces, such as Biography of Lingguan, Legend of Official and Biography of One Line, are both painful historical theories and beautiful essays. In the past thousand years, it has long been popular and is recognized as the most outstanding historical theory after Historical Records. The following is the second half of Biography of Lingguan:
Fang Qi, who was a group of Yan and his son, sent a letter to the head of Liang Junchen, entered the ancestral temple, returned to the first king, and announced his success. His spirit was strong. And the enemy has been destroyed, the world has been decided, one woman cries at night, the chaos should be four, and the thief is not seen, but the foot soldiers are separated, and the monarch and the minister care for each other and don't know where to go. As for swearing to break my hair and crying, how bad it is! Is it hard to get and easy to lose? Suppress the trace of its success or failure, but all from others? The book says, "If you are full of losses, you will benefit from humility; if you are worried about work, you can rejuvenate the country; if you are relaxed, you can die. It is natural. Therefore, Fang Qisheng is also a hero in the world, so he can't compete with it; And its decline, dozens of actors are trapped, and the country dies and dies, laughing for the world. Husband's misfortune often accumulates in a small way, while wisdom and courage are trapped in drowning, so it is also awkward to be alone.
I am deeply moved, cadenced and both. It's no wonder that Mao Kun, a Ming dynasty man, was named "the tune of the Millennium".
The preface to the collection of poems and poems written by Ouyang Xiu for some friends also broke away from the law of predecessors' creation and created his own style. The Preface to Shi Mi's Poems and the Preface to Shi Weiyan's Anthology are based on the friendship between the author's good friend Shi Manqing and the two monks, trying to describe Shi Manqing's lack of talent and the inappropriateness of the two monks. As for the theme of the preface to the poems, it is only lightly touched. The whole composition changes, the brushwork moves and is magnificent, which can be said to be two representative works.
(3) Before the Tang and Song Dynasties, Li Daoyuan's Notes on Water Classics could be taken as the representative to describe the landscape extremely well. Liu Zongyuan's landscape miscellaneous notes, inheriting "