Indeed, the most important feature of Su Shi's poetry creation is "taking discussion as poetry". Looking through Su Shi's poetry collection, you will see that from the early southward period, "life is nothing, and suffering is the taste of the world." Before wealth shines on us, poverty and inferiority are hard to be immune. ..... Today, if you are a person, you will be eager to escape ("The Cow's Mouth See the Moon"), and the life summary of the middle-aged career "The poet is poor, but God escapes" ("Zhang Du Fu's Poems"); This kind of poem can be seen everywhere, from the expression of the painful mood of Huangzhou when he was punished (two cold meals and rains) to the lament of life when he was demoted to Hainan in his later years (Looking at the Lake Pavilion). Su Shi's theory of "taking argument as poetry" almost perfectly expresses his inner feelings and feelings about social life, leaving many famous works through the ages, making Su Shi a bright pearl in the history of China's poetry.
So, how did Su Shi's style come into being?
First of all, Su Shi's poetry "taking discussion as poetry" is the need of literary development and evolution. Wang Guowei said: "There is a generation of literature." Poetry, a poetic form, reached its peak in the prosperous Tang Dynasty, with the traditional content and expression of expressing emotion with "things". Jiang Shiquan, a Qing Dynasty man, once said with emotion in "Distinguishing Poems": "After the birth of Song in the Tang Dynasty, it was really difficult to explore." Mr. Lu Xun also thinks: "All good poems were written only in the Tang Dynasty. If you can't dig out the' the Monkey King' in the palm of the Tathagata, you don't have to do it. " (Lu Xun's letters to Yang Jiyun) Facing the splendid Tang poetry, the poets in Song Dynasty can only find another way to seek a breakthrough. Su Shi critically inherited the legacy of his predecessors. He sought inspiration from The Book of Songs Ya and the poems of Tao Yuanming, Li Bai, Du Fu, Han Yu, Liu Zongyuan, Bai Juyi and Liu Yuxi, and made innovations, thus forming his own poetic style of "taking argument as poetry".
In fact, argumentative poetry has existed since ancient times, but it is only a trickle, not a grand view. A Qing poet Shen Deqian once said in On Poetry: "People say that poetry is the main character, not the main argument, which seems to be similar, but not entirely so. Try to think about where Ya didn't discuss it. Among Lao Du's ancient poems, the works of Yong Huai, Journey to the North and Eight Sorrow, and the works of Shu Xiang, Yong Huai and General in modern times are purely discussions. " In fact, there are not only two elegance in The Book of Songs, but also July and Shuo, which are also works of discussion. Down to the Wei and Jin Dynasties, many poems by Cao Cao and Tao Yuanming are also full of discussions. In the early Tang Dynasty, Chen Ziang's "Youzhou Tower" is almost a purely argumentative poem. Li Bai's "ancient style" and ballad poems in the prosperous Tang Dynasty often vent their anger by discussion; Du Fu's five-character poems prefer to discuss politics and the army, the past and the present. In the middle Tang Dynasty, Han Yu had directly advocated "writing with poetry", and his comments also directly influenced Ouyang Xiu, Su Shi and others in the Song Dynasty. The poetry innovation movement in the Northern Song Dynasty was rapidly launched under the banner of learning from Korean retro. The literary world in the Northern Song Dynasty, led by Ouyang Xiu, promoted the ancient prose movement advocated by Han Yu. Ouyang Xiu's creative theory and Han Yu's creative theory are in the same strain. In terms of poetry, he was good at discussing politics with poetry, reflecting the real struggle, and became the pioneer of "discussion" in Song Dynasty. Su Shi is Ouyang Xiu's favorite pupil and the leader of the poetry innovation movement in the Northern Song Dynasty after Ouyang Xiu. Like most poets in the Northern Song Dynasty, he took the road of respecting Du Fu, ancestors and learning from Korea, but his achievements surpassed others. Du fu's comments are mainly long narrative poems, which combine narrative comments into one furnace; Han Yu's comments are mostly in some poems reflecting social contradictions; Su Shi's comments can be said to be casual Or chant pastoral landscapes: "If you want to compare the West Lake with the West Lake, light makeup and heavy makeup are always appropriate" ("Drinking Chuqing on the Lake after Rain"); Or express personal feelings: "Life begins with literacy worries, so you can stop being famous" (Shi Zui Mo Tang); Or reflect the sufferings of the people: "I hope God will hang down on Reiko, and I will not get sores" ("Litchi Tan"); Or pour out brotherly feelings: "I am brothers with you in this life, and there is no reason for the afterlife" ("Give something to the imperial palace ... and leave my children"); Or explain a certain point: "Ling Du's storytelling is expensive, thin and hard, which is unfair." In addition, Su Shi has many discussions throughout. Su Shi attracted people's attention with a large number of successful artistic practices, and established this form in his own hands.
Secondly, the formation of Su Shi's "taking discussion as poetry" is also closely related to the development of the times and social thoughts at that time. The Northern Song Dynasty, where Su Shi lived, was an era of "accumulation of weakness and poverty", with internal and external troubles and social contradictions. Intellectuals who are interested in saving the country actively explore the way of governing the country and the essence of life, forming an atmosphere of advocating rationality and distinguishing right from wrong. As the main tool for literati to express their feelings, poetry inevitably tends to be "argumentative". Su Shi is not only a writer, but also a politician and philosopher. As one of the active participants in the feudal political reform, he took poetry as a tool to participate in the discussion of state affairs, insisting that poetry should be "good", "pithy and bitter, and words should be made in the contemporary era", "at the poet's will, seeking irony and supplementing the country with several ways". "When I was young, I was full of ambition, and the micro-officials dared to help the times." His political ambition and courage to intervene in politics made his poetry creation naturally enter the process of discussion.
Thirdly, the formation of Su Shi's "taking argument as poetry" is inseparable from the poet's own experience and personality. Su Shi was involved in the struggle between political reform and anti-political reform all his life and was repeatedly suppressed and exiled. His tragic experience and life embarrassment made him have a deeper understanding and experience of society and life. In order to better express his views and philosophy on society and life, express his feelings and vent his anger, he expressed his thoughts and feelings in his poems, adding strong elements of discussion and philosophy. Su Shi is frank, free and bold by nature, with extensive knowledge and profound cultural accomplishment. He can observe society, life and life from the perspective of a philosopher, and draw many important thoughts, viewpoints and understandings from it. In order to better explain complex thoughts and profound speculation, Su Shi pioneered and innovated, "taking argument as poetry", and truly and profoundly expressed his poems, making them logical, brilliant and colorful.
Second, the artistic expression of Su Shi's poetry "taking discussion as poetry"
Su Shi was born with a healthy pen, which was as cool as a sad pear and as fast as a sharp one. His innovation of "arguing for poetry" has made his poetry reach the realm of "no hidden and difficult to show". Specifically, Su Shi's "taking argument as poetry" is mainly manifested in the following aspects:
(1) Discuss the reasons, which are interesting and profound.
Shen Deqian, a scholar of the Qing Dynasty, said: "Poetry cannot be separated from reason, but it is expensive in reason and interest, not expensive." Su Shi's poems are not only good at argument, but also immortal. The mystery lies in that his argument is "rational interest" rather than "rational language", and it is a philosophical sublimation of thought rather than a mediocre expression of cognition. People often refer to Su Shi's poems with arguments as "philosophical poems", which Mr. Liang attributed to "philosophical poems". He believes: "The success of philosophical poetry is less than lyric poetry, precisely because most philosophical poets can't grasp the rhythm of wisdom like lyric poetry-the latter is more latent and therefore more difficult. Because the rhythm of wisdom is not easy to grasp, it will become a dry and tasteless lesson poem if you are not careful. Therefore, successful philosophical poets are rare not only in China but also in the West. " Su Shi can be said to be a successful philosophical poet "rare in China and extremely rare in the West". He is witty and clever. When he is writing, he can always make comments that others have not done and can't make, which shines with the spark of wisdom. Not to mention that "Xie Su Keiko Wine" is bubbling and spinning freely, nor is it that the game "Give money to Taoist" is full of troubles and fun. Just focusing on its Zen language and reasoning, we can also see that this is one of its wisdom. The integration of Confucianism, Taoism and Buddhism is the general trend of academic thought since the Northern Song Dynasty, and Su Shi is an outstanding representative who showed this trend earlier. "The kiosk low window lying Yan Wen, know silent also don't talk. Vimo means I'm really sick. Who knows Dongpo? Third, although the sick owner is weak, he has a stronger and more handsome soul than most people. In this poem, the poet expresses the "Zen flavor" he found from heavy physical pain, which is full of profound philosophy.
Another example is Qin Shi: "If there is a piano sound on the piano, why not put it in the box?" If the sound is on your fingers, why not listen to it on your fingers? " The whole poem is purely argumentative and wins with whimsy. Although there is no image, the implication is thought-provoking, revealing a philosophy that everyone often sees but does not think of: the subject must be unified with the object. This revelation will certainly arouse readers' sense of novelty and surprise, and get philosophical lessons from it.
Another example is "Washing Children's Plays": "Everyone wants to be smart when raising children, but I have been delayed by being smart all my life. I only hope that this child is honest and honest, and there is no disaster and no difficulty in reaching the public. " This is a poem written by Su Shi to Han Er, the fourth son, at the full moon. This poem is indulgent and unintentional. The author introduced his profound experience of life philosophy with exaggerated language, popular comments, jumping ideas, and playful pen "very harmonious for pleasure" (Su Shi's Poem of Liu Shuzi's After Fisherman). Readers can imagine how much Su Shi hates feudal bureaucrats from the overall image of the poem: those so-called bureaucrats are stupid and honest in Su Shi's eyes, and a truly talented and learned wise man will never be an official. This is Su Shi's bitter summary of his bumpy career as an official, full of cynicism and resentment of being incompetent. This poem is ironic, relying on philosophy and curiosity to enlighten readers, so that readers can get profound enlightenment in banter.
(B) the combination of discussion and image, meaning and reason complement each other.
Su Shi's poem "Taking Argument as Poetry" transforms the traditional way of describing and describing objects with the sentence pattern of argument, and assimilates the way of image with the way of argument, that is, the discussion is integrated into the image, and the image can be expressed in the discussion. This poetic expression opens up a new way of artistic abstraction in addition to the traditional concretization. It is this artistic abstraction that makes Su Shi's poems colorful and colorful. For example, in the poem "Mount Li", that sentence is purely a discussion: "Your door is as deep as the sky, and you are like an emperor sitting in the palace of law. The difficulty in life lies in stability, so why come to Mount Li here? The following images are purely useful: "Lingyun meets the golden que behind the road, and the building is hidden." ..... Xiao Jingyu is empty, and the elk comes to complain. " In the end, the main idea of this poem is still clarified by discussion: "There is an old saying that there is no need to climb mountains to destroy the country. "Arguments and images can be divided into clauses, but they are integrated in the whole article.
Su Shi's poetry "taking argument as poetry" inherits the tradition of paying attention to artistic conception in Tang poetry, and creatively develops it, creating an environment for argument, whether true or false, which makes poetry show deeper connotation. For example, in Reading Meng Jiao's Two Poems, the poet turned the abstract experience and evaluation into a concrete image: "At first, like eat small fish, the gains were not worth the candle; This is like cooking Peng Yue, but it is empty. " "Like a yellow river fish, it cooks itself with paste." The reality created by this statement inherits Han Yu and shows the inheritance of Tang poetry. However, Su Shi is superior to the Tang people in that he is good at creating imaginary realm, avoiding reality and being empty. Through the creation of fictional realm, he gives readers more imagination space and expresses more connotations than the real realm. Both Su Shi and Li Bai wrote about Lushan Mountain. Li Bai wrote in his poem: "The incense burner in Rizhao produces purple smoke, and the waterfall hangs in front of Sichuan in the distance." The image is vivid and magnificent. Su Shi wrote in vain, using the argument: "Looking horizontally, the ridge side becomes a peak, and the distance is different." Jumping and flying can be said to be different opinions. Li Bai took pictures from a distance, and Su Shi formed a montage from seven angles: horizontal, horizontal, far, near, high, low and middle. This virtual reality is not specific, but it contains more profound connotation. Through the implication, it reveals that "the authorities are confused and the bystanders are clear." Although Su Shi's Lushan Mountain was written by Li Yu, he made us feel the profound philosophical light while enjoying the magnificent Lushan Mountain, which was memorable and unforgettable.
(C) Heart-to-heart talk with emotion as the line, blending sense with reason
As the ancients said, "Poetry takes emotion as the body", "Emotion moves in the middle, and the form is in words", and Shen Qing-deqian said, "Argument should be based on emotion, not close to the father's face." It means that thoughts must be influenced by aesthetic feelings, otherwise poetry will easily fall into shallow, dry and boring quagmire. Su Shi's "Argument as Poetry" is not a dry sermon, but poured the author's true feelings and created a strong charm. The rich charm and implicit philosophy complement each other, which is both reasonable and touching. Such as Mianchi Nostalgia:
What is life like everywhere? It should be like Hong Fei stepping on snow mud; I accidentally left my fingers and claws in the mud, and Hong Fei was driving that complicated thing. The old monk is dead and has become a new tower. There is no reason to look at the old topic with a broken wall. I still remember that rugged past: the road was long and the donkey hissed. In this poem, the poet is just exploring the mystery of life with emotion. The first sentence is a philosophical exclamation of life, which leads to the first half of the poem. It sums up the uncertainty of short peace trace of life with "snow mud claw", which is appropriate, vivid and novel, unconventional, and shows the author's extraordinary language skills. While meditating on the journey of life, I am full of nostalgia. I revisited my old place. At that time, I lived with Ziyou in Mianchi Monastery, but the old monk had already left and Ziyou's poem was dead. Su Shi was deeply touched by the fact that the poems on Ziyou in those days could not be found and the past experience became hard to find. In the second half of his poem, he contrasts the disappearance of the dead with the disappearance of the living, which highlights this point. The couplet "Remember whether the road was bumpy in those days: the road was long and the donkey hissed" said that it did exist in the past, but its position in the whole poem was just another "finger claw" accidentally left under the mud. In fact, with the passage of time, it has disappeared. This further confirms and deepens the life philosophy of "Snow Mud Claw" expounded in the first half of the poem. Therefore, the image of "Hong Fei Mud Claw" appears in the atmosphere of discussion. It is not a "thing" in a specific scene written by the Tang people, but a highly generalized symbol for the poet to express his thoughts and feelings, which is rich in connotation and intriguing. The whole poem is full of emotion and talk about Wang Yang.
Farewell works are most concerned with feelings. The so-called "forget me, only leave" (Jiang Yan's Bie Fu) has many lyrical characteristics, but Su Shi's A Farewell to Ying Zhou is based on discussion:
Don't turn your face near, and don't touch your chest and wipe your tears. If you don't meet at close range, it's thousands of miles away. Life is not parting, but love is heavy. At first, Wan Qiu danced with children with clothes in her arms. I knew I had this hatred, so I stayed in the autumn wind. The autumn wind has passed, don't hate it forever.
Seemingly discussing the topic of distance, in fact, every sentence is full of passion, reflecting the sincere concern for my younger brother. As Ji Yun said, "The twists and turns are clear, the original works are covered, and the pen is enough to achieve." (Biography of Ji Su Ping).
The famous "Litchi Pond" is touching not so much because of the poet's superb artistic skills, but because of the poet's deep feelings of worrying about the country. "The beauty in the palace is broken, and the dust splashes blood for thousands of years." Why are you angry? "I hope God has mercy on a pure child, and I won't give birth to a stunner as a sore." What does this mean? "You can only write if you can love and hate", and it is just right to explain this poem with Lu Xun's The Analects.
Third, the gains and losses and influence of Su Shi's "taking argument as poetry"
There has always been a lot of controversy about Su Shi's evaluation of "taking argument as poetry". Tang and Song poetry wine said Su Shi: "Can drive Du Han, become a monk, and dominate one hundred generations." Li Zhiyi's Postscript to Eleven Jue Yuan Classics by Mr. Dongpo said: "Dongpo's old man is a model after literary discussion." However, Zhang Jie's Poems of the Old Cold Hall accuses "Zi Zhan of arguing for poetry, and Lu Zhi of making up strange words ... the poet's meaning is sweeping the floor." Yan Yu's criticism of "taking words as poems, discussing as poems and learning as poems" in Song Dynasty became a programmatic criticism recognized by later generations. So what do you think of Su Shi's "arguing for poetry"? Whether poetry can be discussed, as discussed earlier in this paper, whether based on the historical conditions at that time or from the historical evolution of poetry, the answer should be yes. Whether the creative method of a poem is reasonable and excellent cannot be measured by Tang poetry, but should be tested through practice to see whether it has vitality and can stand the test of time. Su Shi's poetry "takes discussion as poetry" creates a kind of artistic conception and image different from traditional poetry represented by the prosperous Tang Dynasty. It creates a "situation" in which sense and reason blend, and does not violate the essence of poetry. "Argument is poetry" makes the poet better express the inner world of the subject and better achieve the effect of freehand brushwork and vivid expression. Needless to say, Su Shi's argumentative poems occasionally have "unreasonable" problems, such as "Fish Watching Platform" and "To Chief Elder Lin Dong". The discussion of metaphysical meditation is too detailed and abstract, which seems to be loose and boring and lacks poetry. Zhao Yi once pointed out: "It is disgusting to imitate Buddhist scriptures and make Zen poems. It is not allowed to come from Dongpo's pen." However, the mainstream of Su Shi's poetry is good, and his "taking discussion as poetry" has created the physique of Songshi, as Shen Deqian commented: "There is a furnace in the chest of perilla, and gold, silver, lead and tin are all melted and cast; The ultra-profundity in his works is equal to the unconstrained style, the flying fairy game, the extreme change and the desire to get what he wants. After Han Wengong, it opened up a realm. "
Because "taking discussion as poetry" has successfully expanded and innovated the artistic form of poetry, it is more suitable for expressing people's ideological interests in the new historical period, and has been widely welcomed and exerted a wide and profound influence. At that time, Su Shi's poems were "more and more banned" and "scholar-officials were angry because they could not recite Poe's poems". Su Shi's "Taking Argumentation as Poetry" initiated a generation of poetic style, laid a system for discussing prose culture in Song poetry, and made Song poetry another milestone in the history of China's poetry development. After Su Shi, the way of "discussion" actually became one of the most important artistic ways for poets. Some outstanding poets in the Song Dynasty wrote poems in this way. Whether it is Lu You's "Julian Waghann Beiding Zhongyuan Day, there is no hope to tell the family sacrifice" ("Shizi"); Or Wen Tianxiang's "Who has never died in life since ancient times, leaving a heart to shine in history" ("Crossing the Zero Ding Yang"); Whether it is Zhu's "asking the canal is so clear, because there is flowing water from the source" ("Reading Random Thoughts"); Or Li Qingzhao's "Life is a hero, and death is also a ghost hero" ("Biography of Xiang Yu"). , are straightforward, "to talk about poetry". These famous sentences have been handed down to this day, which not only shows the essence and charm of Song poetry, but also shows the strong vitality of "taking discussion as poetry". Wang Guowei spoke highly of Su Shi. He said in Six Theories on Literature: "There are no poets under three generations who are too obedient, too far-sighted, too beautiful and too thoughtful." And in Article 12, it says: "After the Song Dynasty, those who can feel their feelings and speak their words are only Dongpo!"
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