There are more than 340 poems written by Su Shi, which break through the narrow theme of writing about love and parting between men and women and have a wide range of social contents. Su Shi occupies a special position in the history of China Ci. He extended the spirit of the poetry innovation movement in the Northern Song Dynasty to the field of ci, swept away the traditional style of ci since the late Tang Dynasty and the Five Dynasties, created a wild school that kept pace with the graceful school, expanded the theme of ci, enriched the artistic conception of ci, broke through the boundary between poetry and poetry, and made great contributions to the innovative development of ci. His representative works include Nian Nujiao and Shuidiao Tou, which created the first example of unconstrained ci, and was also called "Su Xin" with Xin Qiji. Liu Chenweng said in the preface to Xinjiaxuan: "Ci is broad and aboveboard, like poetry, prose and wonders of heaven and earth."
1 July, 079, Su Shi took office in Huzhou, was convicted and imprisoned for Wutai Poetry, and was exiled to Huangzhou in the following year1month. Before the poem case happened, Su Shi had served as a judge in Hangzhou in 107 1 and had outstanding achievements. Generally speaking, his poetry works are free and easy in the desert, but in content, they mostly point to official life to express political pride. After the poetry case, although there were times when I was a bachelor of official Hanlin, there were few bold and unrestrained embarrassment in my works, but more and more people turned to the understanding of nature and life. As for living in Danzhou, Huizhou in his later years, his indifferent and broad-minded state of mind is even more obvious. As soon as he inherited the style of Huangzhou's works, he converged all his life, and I moved things freely to achieve a suddenly quiet environment.
Taking Wutai Poetry Case as the boundary, Su Shi's poetry works have both inheritance and obvious differences in creation. Behind the "going home" complex throughout, people can see that the poet's brush strokes gradually turned to the helplessness of middle age and the broadmindedness of old age-getting older and more mature, and getting more and more dull.
First of all, in terms of subject matter, Su Shi's early works mainly reflect his "specific political worries", while his later works mainly focus on "broad life worries", with evil as their resentment. When it comes to evil, it means "spit it out like a fly in Taiwan Province". His flowing works triggered the Wutai poetry case. Huangzhou's relegated life made him "ironic and cruel, sharp in writing style, nervous and angry, all of which disappeared and replaced by a brilliant, warm, kind, tolerant and harmonious understanding." Very sweet, very mature, very thorough and deep. "
Secondly, culturally, Confucianism was advocated in the early stage and Taoism in the later stage.
In the early stage, he had a sense of social responsibility advocated by Confucianism and was deeply concerned about the sufferings of the people; Later, especially after being demoted twice, he advocated Taoist culture more and returned to Buddhism in an attempt to get rid of religion. Inspired by Buddhism's "normal mind is the Tao", he lived a real peasant life in Huangzhou, Huizhou and Danzhou, and enjoyed it. Thirdly, in style, the previous works are magnificent and unrestrained, like a flood bursting its banks and spilling thousands of miles; Later works are ethereal and meaningful, simple and light, such as Deep Willow and White Pear Flower.
As far as ci is concerned, there are not many works that really belong to the bold style. According to Mr. Zhu Jinghua's statistics, similar works accounted for about one-tenth of all Su Shi's poems, and most of them were concentrated in Xuzhou, Mizhou, which was the mainstream of creation at that time. Although these works are not dominant in quantity, they truly reflect Su Shi's positive attitude towards being an official at that time. Some of the later works have both the style of local customs and the charm of hospitality. For example, it is almost all-encompassing, colorful and lyrical, remembering the scenery, nostalgic feelings, giving gifts away, pastoral scenery and talking about Zen. This part accounts for about nine times out of ten of Su Shi's whole poems, and it is full of Zhuangzi, which turned into a butterfly and I forgot everything. At this point, he expelled all dissatisfaction with reality and politics, hysterical rants, and criticisms that criticized the shortcomings of the times. Its subject matter is more and more extensive, and its style is more and more plain and far-reaching.
Su Shi's ci style can be divided into three categories:
First, bold style This is the ideal style that Su Shi deliberately pursues. With rich, passionate and even slightly sad feelings, he integrated his ci and wrote a portrait of Chen Hongshou painting Dongpo in the late Ming Dynasty.
Things win with generous and heroic images and vast and magnificent scenes.
2. Broad-minded style This is the most representative of Su Shi's thought and personality characteristics, expressing the poet's desire to retire, avoid troubled times and look forward to peace.
3. Graceful Style The number of graceful words of Su Shi accounts for an absolute proportion in the total number of words. These words are pure and profound in feelings and healthy and lofty in style, and they are also the inheritance and development of traditional graceful words.