Brief introduction of ancient poet Liu Yong
Su Shi (1037 65438+10.8-18.24), whose real name is Zi Zhan, also known as He Zhong, is a Dongpo layman and is called Su Xian. Han nationality, a native of Meishan, Meizhou (now Meishan City, Sichuan Province) in the Northern Song Dynasty. An important litterateur in the Song Dynasty, a representative of the highest literary achievements in the Song Dynasty. Song Renzong Jiayou (1056- 1063) is a scholar. His poems have a wide range of themes, fresh and vigorous, good at exaggeration and metaphor, and unique style. He and Huang Tingjian are also called "Su Huang". Ci is unconstrained style, Xin Qiji is the representative of unconstrained style, and he is also called "Su Xin". He is also engaged in painting and calligraphy. There are seven chapters of Dongpo, Dongpo Yi Zhuan, Dongpo Yuefu and so on. He, China, Han Yu and Liu Zongyuan in the Tang Dynasty, Ouyang Xiu, Su Xun, Su Zhe, Wang Anshi and Ceng Gong in the Song Dynasty are also called "Eight Great Masters in Tang and Song Dynasties".
The Historical Achievements of the Ancient Poet Liu Yong
Literary achievements
Su Shi has made extraordinary achievements in the creation of ci. As far as the development of a style itself is concerned, the historical contribution of Su Ci has surpassed that of Su Wen and Su Shi. After Liu Yong, Su Shi carried out a comprehensive reform of ci style, and finally broke through the traditional pattern of "Ke Yan", improved the literary status of ci, changed ci from an accessory of music to an independent lyric style, and fundamentally changed the development direction of ci history.
The transformation of Su Shi's ci is based on his concept of ci and his creative idea of "being unique".
Ci has been regarded as "Tao" since the late Tang Dynasty and the Five Dynasties. Liu Yong devoted his life to the creation of ci, which promoted the development of ci style, but failed to improve the literary status of ci. This task needs Su Shi to complete. Su Shi first broke the concept that poetry is superior to ci in theory. He believes that poetry is homologous, and the word "is the seedling of poetry". Although there are external differences between poems and words, their artistic essence and expressive function should be the same. So he often compares poetry with poetry. Because he raised the word to the same position as the poem from the stylistic concept, it provided a theoretical basis for the word to move closer to the poetic style and realize the mutual exchange and infiltration between the word and the poem. [2]
In order to make the aesthetic taste of ci really keep pace with poetry, Su Shi also put forward the creative proposition that ci should be "one family". The theory of "being a family" here is put forward according to the different "lasting appeal" of Liu Yong's ci, and its connotation includes: pursuing magnificent style and broad artistic conception, ci should conform to people's quality, and ci should express its true temperament and unique life feelings like writing poems. Because only in this way can we "write like a man" in the creation of Ci (Answer to Zhang Wenqian's immortal book). Su Shi always pays equal attention to integrity in his articles, but he opposes conformity in literature, so he is not satisfied with Qin Guan's "learning Liu Qi's words" and lacks "integrity".
Expanding the expressive function of ci and opening up the realm of poetry is the main direction of Su Shi's ci style reform. He extended the traditional expression of women's gentleness to the expression of men's pride, and extended the traditional expression of love to the expression of temperament, so that words can fully express the author's temperament embrace and personality like poetry. Su Shi let ambitious people full of enterprising spirit, lofty ideals and passion into the world of ci, changed the original feminine artistic conception of ci, and set a precedent for new poets in the Southern Song Dynasty.
Su Like's poems and Su Shi's poems often express his thoughts on life. This rational thinking on the fate of life strengthens the philosophical implication of the poetic context. Although Su Shi deeply felt that life was like a dream, he did not deny life because of it, but tried to pursue self-detachment, and always maintained a tenacious optimistic belief and a detached attitude towards life.
Su Ci fully shows the author's mental journey from positive to contradictory depression, striving to get rid of self-adaptation and constant pursuit, and his wild, romantic, affectionate and thoughtful personality temperament. After Liu Yong and Ouyang Xiu, Su Shi further made the lyric characters and creative subjects in his poems move from separation to unity.
Su Ci not only expanded the inner world, but also expanded the outer world. The life scenes expressed by literati ci in the late Tang Dynasty and the Five Dynasties are very narrow, mainly confined to the enclosed colorful buildings, embroidered households and pavilions and courtyards. After entering the Song Dynasty, Liu Yong began to extend his ci realm to natural spaces such as Duyi Town, Qianliguan River and Weicun Hill, while approaching the daily life environment of officialdom. Su Shi not only described the author's daily communication, leisure reading, farming, hunting, sightseeing and other life scenes, but also further demonstrated the magnificent scenery of nature.
Su Shi used his own creative practice to show that there was nothing to write about and no intention to enter. Ci, like poetry, has the function of fully expressing social life and real life. Because Su Shi expanded the expressive function of Ci, enriched the emotional connotation of Ci, expanded the temporal and spatial scenes of Ci, improved the artistic taste of Ci, and introduced Ci into the literary hall in an upright manner, which made Ci rise from a "path" to a lyric style with the same status as poetry.
"Poetry as Ci" is Su Shi's main weapon to change the style of Ci. The so-called "taking poetry as a word" is to transplant the expression of poetry into words. The success of Su Ci lies in two aspects: preface and postscript and allusion.
With the title and word order, it is not only convenient to explain the writing time, place and source of words, but also enrich and deepen the aesthetic connotation of words. The extensive use of allusions in Ci also began with Su Shi. The use of allusions in ci is not only an alternative and centralized narrative way, but also a tortuous and profound lyric way. Su Ci used a lot of prefaces, postscripts and allusions, which enriched and developed the expressive techniques of Ci, and had a great influence on the development of Ci in later generations.
Su Shi's "Poetry as Ci" is essentially to break through the restriction and bondage of music on Ci, and make Ci become an independent lyric style from the accessory of music. Su Shi writes ci mainly for people to see, while Dont Ask For Help sings, so he pays attention to the freedom of expressing emotions, although he also abides by the rhythm of ci without being bound by it. For this reason, Su Shi wrote his lyrics with great composure, even though he occasionally disagreed with the musical norms. It is the poems that make Su Ci show rich passion, rich imagination and changeable and colorful language style. Although most of Su Shi's existing 362 poems are still close to the traditional graceful and feminine style, there are also a considerable number of works that reflect the bold and unconstrained new style, such as the famous Mink Head (when is the bright moon)
Su Shi was a key figure in the change of ci style in Song Dynasty. Wang Zhuo's "Bi Ji Man Zhi" Volume 2 said: "Mr. Dongpo is not addicted to temperament, and occasionally writes songs, pointing out that he is all the way up, and his eyes and ears are new to the world, so that the author can start a bosom friend." Strengthening the literariness of ci and weakening the dependence of ci on music are "all the way up" pointed out by Su Shi for later poets. Later poets and Xin poets further developed along this road.
poetry
Su Shi's views on society and thoughts on life are undisguised in his literary works, among which poetry is the most hearty. In more than 2,700 Su poems, the theme of intervening in social reality and thinking about life is very prominent. Su Shi's attitude towards various unreasonable phenomena in social reality is "out of date", and he always regards criticizing reality as an important theme of his poems. What is more valuable is that Su Shi's criticism of society is not limited to the New Deal or the present. He criticized the long-standing abuses and bad habits in feudal society, and embodied a deeper critical consciousness.
Su Shi's life was ups and downs, and he traveled everywhere, and his life experience was extremely rich. He is good at summing up experience from life experience and seeing laws from objective things. In his eyes, ordinary life content and natural scenery contain profound truth, such as Xilin Wall Topic and Mianchi Nostalgia. In these poems, natural phenomena rise to philosophy, and the perception of life is also transformed into rational thinking. What is particularly commendable is that the philosophy in poetry is naturally expressed through vivid and distinctive artistic images, rather than through logical deduction or discussion and analysis. This kind of poem is both beautiful and interesting, worthy of the name. "I don't know the true face of Lushan Mountain" and "Snow Mud Red Claw" became a popular idiom as soon as they came out, which shows that Su Shi's reasonable poems are widely loved. There are many similar works in Su Shi's poems, such as the Sangha Pagoda in Sizhou, the rain on the lake after the Qing Dynasty, and the wind control in Cihu. Su Shi is very insightful, so he can find wonderful ideas everywhere.
Deep life thinking makes Su Shi hold a calm and broad-minded attitude towards ups and downs, which is fully reflected in Su Shi's poems. Su Shi's poems in adversity, of course, contain pain, resentment and depression, but Su Shi shows more contempt for suffering and transcendence of pain.
Su Shi has profound knowledge, mastered the artistic skills of poetry to the point of perfection, and has an amazing spirit of innovation in treating artistic norms. Moreover, the expressive force of Su Shi's poems is amazing, and there is almost no theme that Su Shi's poems can't contain.
The late Northern Song Dynasty, represented by Yuan You's poetry circle, was the heyday of Song poetry. The creation of Wang Anshi, Su Shi, Huang Tingjian, Chen Shidao and others pushed the art of Song poetry to a peak. The prominence and distinctiveness of Wang, Huang and Chen's poems in style and personality may be more striking than Su Shi's poems. But in terms of creative achievements, Su Shi is undoubtedly the first poet in the Northern Song Dynasty. Su Shi's poems are outstanding in the dimensions of wide subject matter, diverse forms and profound emotional connotation. More importantly, Su Shi has a strong artistic compatibility, and he did not push a certain style to the status of a statue in theory and creation. In this way, although Su Shi made great contributions in the process of creating a new look of Song poetry, he basically avoided the two main shortcomings of Song poetry, namely, sharp and blunt and boring. Therefore, Su Shi surpassed his contemporaries in overall achievement and became the most popular poet in the Song Dynasty.
essay
Su Shi's literary thought pays equal attention to literature and Taoism. He praised Han Yu and Ouyang Xiu for their contributions to ancient Chinese prose from two aspects: literature and Taoism. However, Su Shi's views on literature and Taoism were very unique in the Northern Song Dynasty. First of all, Su Shi thinks that article art has independent value, such as "pure gold and beautiful jade". Article is not only a tool to carry Tao, but also an advanced form of human spiritual activities. Secondly, the "Tao" in Su Shi's mind is not limited to Confucianism, but refers to the law of things in general. Therefore, Su Shi advocates that articles should be as natural as the objective world, with a natural attitude. He advocated the diversity and vividness of artistic style, and opposed the unification of literary style, believing that it would make the literary world as barren as "yellow hair and white reed".
It is under the guidance of this unique literary thought that Su Shi's prose presents rich and colorful artistic characteristics. He absorbed artistic nutrition extensively from his previous works, the most important source of which was the heroic momentum of Mencius and strategists in the Warring States period, Zhuangzi's rich associations and natural and unrestrained writing. Su Shi is really expressive, and there is almost nothing objective or inner feelings that his works can't express. Su Wen's style changes freely with different objects and is as natural and smooth as running water. Han Yu's ancient prose relies on eloquence, layout and momentum to achieve the same goal, while Su Wen relies on a contented and thoughtful way. Su Wen is full of energy, but his language is simple and natural, which is one of the characteristics that Wen Song is different from Tang Wen.
Su Shi is good at writing argumentative essays. His historical essays written in his early years have a strong habit of strategists, sometimes pretending to be amazing and unreasonable. For example, On Jia Yi accused Jia Yi of not knowing how to make friends with ministers in order to win the trust of the court, and On Fan Zeng suggested that Fan Zeng should be the righteous emperor who killed Xiang Yu. However, there are also many original opinions, such as On Hou, which claims that the old man was a hermit in Qin Dynasty and humiliated Sean to cultivate his perseverance. On Wang Ping criticizes Zhou Pingwang's blunder in avoiding bandits and moving the capital, which is novel, profound and enlightening. These historical theories are good at randomness, amazing in writing, showing a high degree of argumentation skills, and became the model essays for scholars at that time, so they spread widely. Su Shi's political essays in his early years also had similar stylistic features, but with the deepening of his experience, the habits of strategists gradually weakened. For example, some memorials written by Yuan You are purposeful in content and calm in words, which are close to the styles of Jia Yi and Lu Zhi.
Although the historical and political theories show Su Shi's extraordinary talent, essays, letters, prefaces and postscripts can better reflect Su Shi's literary achievements. These articles are also good at renovation, but the form is more lively and the discussion is more vivid, often mixed with narration and lyricism. They strengthen logical persuasion with artistic appeal, so they are more beautiful than historical and political theories.
The wandering text of Su Shi's narrative notes is a harmonious combination of three functions: narration, lyricism and discussion.
Because Su Shi's composition is based on the principle of "what he says must be done", he should do what he should do, stop when he should, and say few words and sentences, which is most prominent in his notes and essays. For example, the full text of Night Travels in the Sky is only over 80 words, but its artistic conception is detached and its charm is meaningful. It is a wonderful work in the Song Dynasty.
Su Shi and Si Liu also made great achievements in their ci and fu. His Ci and Fu inherited Ouyang Xiu's tradition, but it was more integrated with ancient prose and absorbed the lyrical meaning of poetry, which made Zhao You better than Lan, and created famous works such as Fu on the Red Wall and Fu on the Back Red Wall. Red Cliff Fu follows the traditional question-and-answer mode of subject and object, restrains the object, extends the subject, expresses its own philosophy of life, and describes the beautiful scenery of the Yangtze River on a moonlit night. It is a beautiful prose poem, which is full of prose and scenes.
Su Shi's flowing style is even reflected in forty-six. When he was in imperial academy, the composition of imperial edict was rich and magnificent, which was rare among Taige figures. After he was demoted, the expression he wrote was even more real and touching, which was a rare temperament work in CET-4 and CET-6. [3]
Su Shi's prose is as famous as Ouyang Xiu and Wang Anshi in the Song Dynasty, but from the literary point of view, Su Wen is undoubtedly the most accomplished one in Song Wenzhong.
Historical evaluation of ancient poet Liu Yong
Yuan Mei: Talented but heartless, more interesting but less rhyme: because of his high talent, his academic ability is shallow. There is a kind of rising without knot, more rigidity but less softness: if you try it, you will know that you will be poor sooner or later.
Wang Shizhen: Valley Cloud: "Dongpo Book Sea is full of wind and waves." You should read Poe's words this way. Zozo and Liu Qi are more bitter, and they laugh at public office when they have nothing to do. "
Zhou Ji: People admire Dongpo's generosity, and I admire Dongpo's elegance. Shaoxiu is a good place for Dongpo, and it is straightforward to be sick. Dongpo doesn't work hard at everything. Ancient prose, books and paintings are all famous, and his words are also famous.
Liu Xizai: Dongpo's ci is quite similar to Lao Du's poem, because there is nothing to say. If you are free, it is too white. Taibai's Memory of Qin E is tragic. It was not until the late Tang and Five Dynasties that it became beautiful. You can't go back to ancient times until Dongpo. Later ci theorists still turned Dongpo into a tone sandhi, not knowing that it was a tone sandhi in the late Tang and Five Dynasties. Dongpo's Ding Fengbo says, "I am still lonely and thin." "Lotus Beauty" said: "Nature is not romantic." "Snow Frost Pose" and "Romantic Style" can be collected from people who study Poe's Ci. Dongpo's Ci has the appearance of a fairy being born, which Bai Yuchan can't achieve, but unfortunately it didn't achieve this goal. "
Zeng Guofan: The ancients called virtue, merit and speech three immortals. Lide is the hardest. Since the Zhou and Han Dynasties, morality has rarely been preached. Xiao, Cao, Fang, Du, Guo, Li, Han and Yue, Ma, Ban, Han, Ou, Li, Du, Su and Huang, how many people are there in ancient and modern times?
Cai Songyun: Dongpo's ci has ten thousand volumes on his chest, and his pen has no dust. Its greatness lies not in its ability to speak out boldly, but in its mind covering all weather. What's the difference if you just attack its appearance? Dongpo's poems are beautiful, elegant and profound, opening up a new world. If you are not broad-minded, how can you have such a spit?
Wang: The ci works of people in the Northern Song Dynasty, such as Pan Xiaoyao's detachment, Song's boldness, Ouyang Wenzhong's elegance, Liu's extensive cultivation, Yan Xiaoshan's elegance, Qin Taixu's grace, elegance, solemn and graceful celebration and mellow, can all be simulated. Only Su Wenzhong's pure man is peerless, which makes people unable to follow the steps. It's just a matter of talent, isn't it? His temperament, his knowledge, and his enthusiasm are beyond the imagination of a continuous trend. Su Xin, the lyricist, also said that Xinjude's human feelings are actually good, and Su Qi is almost a fairy!
Shen: Dongpo's poems are like the dance of Ambassador Lei. Although it is extremely world-famous, it should be non-authentic. "Since then, the mountain talk plexus language also. But Cai Taitie walked around the mountain and said, "When the emperor was in power, it was a time of peace. Skilled craftsmen all have names, such as Liu Zhongfu and Jin Shiming in chess, Brahma and Quanya in piano, Liu Ji 'an in pipa, Lei Zhongqing in dance and Meng Shuiqing in flute. This number depends on the skills of the previous generation. "However, Ambassador Lei was a stunt in the teaching workshop, which means it is not true. Is foreign music true?
Xia Jingguan: Dongpo's ci poems are like spring flowers, which make the willow branches sing, just like the song of the wind and waves in the sky, with many plaintive voices and superiority. If the husband is passionate and arrogant, Chen Wuji said, "If you teach Ambassador Lei's dance, although it is extremely world-class, it must be true." This is its second multiplication. Those who learn from the Soviet Union can only know the second journey, and those who fail to succeed are Jia Xuan. Dongpo's "Song of Eternal Sorrow" says: "You are like three drums, one leaf is loud, and the dark dream clouds are broken. In the evening, I found there was nowhere to go. I felt that I had gone all over the small garden. " These words can be used as the holy land of Dongpo.
Wang Guowei: Compared with the Tang poetry, the Song poetry is as white as Dongpo, like parsley, like music, and Fang Hui is as reasonable as ten sons.
Lin Yutang: Su Dongpo is a hopeless optimist, a great humanist, a friend of the people, a great writer, a great calligrapher, an innovative painter, an experimenter in brewing, an engineer, a puritan hater, a Buddhist in yoga, a great Confucian politician, the secretary of the emperor, Brewmaster, a kind judge and a political naysayer. Astronaut, poet, clown. But this is not enough to tell the whole story of Su Dongpo ... Su Dongpo is more versatile than other poets in China, rich in sense of change and sense of humor, extremely intelligent, but at heart he is a naive child-this mixture is equal to the so-called snake wisdom of Jesus and the gentleness of pigeons.
Qian Mu: ① Su Dongpo's poems are great because he has never been politically proud in his life. He was down and out all his life, and all the twists and turns were seen in the poem. However, Su Dongpo's Confucian realm is not high, but his personality is great in the harsh environment elsewhere, like his parts in Huangzhou and later in Huizhou and Qiongzhou. At that time, all the poems were good, but once they were at ease, some of them were not, and the poetic environment was sometimes conventional. The strength of Dongpo's poetry lies in its lofty sentiments and interest. Its quietness is not as good as that of a king, and its loyalty is not as good as that of a king. (2) They (the Su brothers) are covered with a strong color of releasing the old, so they think that there is no positive and ideal standard for world affairs. They are quite sophisticated in dealing with world affairs and respond according to their own cleverness. They also don't believe that one system is better than another. On the other hand, they like rhetoric, so they tend to exaggerate their arguments. When they say it, they talk about it as much as possible. Close to the ancient counsellors.
The representative work of the ancient poet Liu Yong
Chen Bing Mid-Autumn Festival, happily drank the next morning, drunk, wrote this word, and missed my brother Su Zhe. -"Mink Head Mid-Autumn Festival in Chen Bing"
The surging river flows eastward, and those heroes of the past are gone forever. -"Niannujiao Red Cliff Nostalgia"
Play Qingquan Temple in Qishui, next to the temple is Lanxi, and the stream flows west. -"Huanxisha Tour Autumn Water in Qingquan Temple"
Looking at Lushan Mountain from the front and side of peaks and valleys, from far, near, high and low places, Lushan Mountain presents various faces. -"Title Xilin Wall"
I've been talking about juvenile madness, pulling yellow on the left, holding pale on the right, wearing a gold hat and mink fur, riding a thousand troops to roll flat hills. -"Jiangchengzi Mizhou Hunting"
The water is bright and sunny, and the mountains are cloudy and rainy. -"Drinking Rain on Lake Chuqing Twice, Part Two"
Genpox, on the night of October 12, 2006, took off his clothes and went to bed. He just saw the moonlight on the door and got up happily for a walk. -Night Tour in Chengtian Temple/Night Tour in Chengtian.