Artistic Features of Qin Zhongyin Bai Juyi's Poems

Deep affection is its fundamental feature. Whether it is feeling time, expressing feelings, nostalgia for the past, and singing about things, all works are permeated with the poet's true feelings and have the charm of sighing. Just like "Although my body doesn't have the bright wings of a phoenix, I feel the harmonious heartbeat of the sacred unicorn" ("two untitled poems") and the word 14 written by Liao Liao, the pain of being blocked, the tacit happiness, and the ambivalence of being more valuable and embarrassed when being blocked. Another example is "even this bright flame of love, is there only ashes?" ("Four Untitled Poems"), on the surface, is a desperate sadness, but under the cover of despair, it reveals the warm feelings of acacia like spring flowers, which is particularly painful and infectious. Liu Xizai's so-called "sentimental tenderness" (Yi Jian's Poem Notes) and Zhang Caitian's so-called "tender sadness" (Li Yishan's Poem Correction) all refer to this feature of his poems. The lyric of Li Shangyin's poems rarely adopts the way of expressing his mind directly, but is especially devoted to understanding the meaning in graceful songs. Poets like to temper their artistic thoughts with twists and turns. He often avoids making positive lyricism, but uses descriptions of environmental scenery to render the atmosphere and set off feelings, such as Shooting the Sun, Love and Cui Yan in the Rockfall Pavilion, etc. He is good at banishing imagination and turning facts into virtual scenes, such as Notes for Northern Friends on a Rainy Night and the Goddess Chang'e flying to the moon. I like to embroider beautiful words, embed allusions, fine needles and dense lines, and heavy folds, resulting in grotesque and hazy poetic scenes, such as Jinse and Bi Cheng San. He also used a lot of metaphor to express his feelings, or satirized the present from the past, or pointed to people from things, which was often meaningful, ethereal and unreasonable, but memorable. The predecessors said that he was "always unable to utter a straight word, and his throat was blurred, or intermittent, so-called good at burying his thoughts" (Feng Hao's Notes on Yu Sheng's Poems), and the analysis was very pertinent. Of course, the deliberate pursuit of depth and music will also bring hidden ills. Some of the poet's works are confusing and obscure, and some even become "poetry puzzles" that can't be broken through the ages, which leads to the atmosphere of seclusion, and he is hard to blame. The basic style of Li Shangyin's poems is the combination of graceful and restrained songs and the connotation of "affectionate and graceful words" (Ye Xie's original poems). Under the influence of the poetic style of picking flowers and algae in the late Tang Dynasty, Li Shangyin's poems also have their own rich and delicate side. But he is not limited to gorgeous, but can be depressed in beauty and not lose weight in beauty, which is inseparable from his affectionate writing style. Among the writers with similar prose in the same period, if Li He is characterized by grandeur, Du Mu by handsomeness and charm, then Li Shangyin is just profound and graceful.

Bai Juyi's main works are: Song of Eternal Sorrow, Pipa, Farewell to Ancient Grass, Spring Tour in Qiantang River, Mujiang Song, Memory of Jiangnan, Peach Blossom in Dalin Temple, Drunk with Li Eleven, Memory of Yuanjiu, Knowing the Book Province in China, Sauvignon Blanc, The Theme of Yueyang Tower, The View of Cutting Wheat and Palace.

Bai Juyi was enthusiastic about helping the world in his early years, emphasizing the political function of poetry and striving for popularity. He wrote 60 poems, New Yuefu, Qin Zhongyin, which truly made people sick by singing only, and every sentence must be tuned, just like Du Fu's "Three Officials" and "Three Farewells". The long narrative poems "Song of Eternal Sorrow" and "Pipa Journey" represent his highest artistic achievements. Middle-aged people encounter setbacks in officialdom. "Since then, the career has been long-term, and the world has never been opened." But he still wrote many good poems and did many good things for the people. Hangzhou West Lake and Bai Causeway commemorate him. In his later years, he sent his feelings to the mountains and rivers, and also wrote some small characters. There is a poem for Liu Yuxi: "Don't listen to the old songs, but listen to the new word Yang Liuzhi. It can be seen that he has read some new words. Among them, Flowers Are Not Flowers is quite good.

Bai Juyi's thought combines Confucianism, Buddhism and Taoism. Self-reliance, with Confucianism as the guiding ideology, "wealth will help the world, and poverty will be immune." His ambition of "helping the world and the people" is mainly based on Confucian benevolent policies, including the theory of Huang Lao, the technique of treating filial piety and the method of applying Korea; His mind of "being alone" absorbed the concepts of contentment, uniformity and freedom of Laozi and Zhuangzi and the Buddhist thought of "liberation". The two are roughly bounded by Bai's demotion of Jiangzhou Sima. Bai Juyi not only left nearly 3,000 poems, but also put forward a whole set of poetic theories. He compared poetry to a fruit tree and put forward the viewpoint of "root feeling, Miao character, Watson and true meaning" (nine books are the same). He believes that "emotion" is the fundamental condition for writing poetry, and "those who move people should not care about emotion first" (nine books at the end of Yuan Dynasty). The emergence of emotion is helpful and tied up with current politics. Therefore, poetry creation cannot be divorced from reality, but must be based on various events in real life and reflect the social and political situation of an era. He inherited the tradition of "beauty and beauty" since the Book of Songs and attached importance to the realistic content and social function of poetry. Emphasize the role of poetry in exposing and criticizing political abuses. He put forward a series of principles in poetry expression:

"the quality of words is the path"-concise;

"Call a spade a spade, cut to the chase"-straight book, close to the facts;

"The fact is true"-the content is true and well documented;

"Smooth figure"-the words are smooth and easy to sing. (Preface to New Yuefu)

His poetic theory is of progressive significance for urging poets to face up to reality and care about people's livelihood. It also has an important influence on the poetic style that has gradually emphasized form since Dali (766 ~ 779). However, overemphasizing the subordination of poetry creation to the needs of real politics will inevitably constrain the artistic creation of poetry and the diversification of poetry styles.