Lu You (1 125 ~ 220), a native of Yinshan, is the author of "Poems by Jian Nan". His works mainly have two aspects: on the one hand, he enthusiastically revenges the country, regains lost land and liberates the occupied people; On the one hand, it is leisurely and delicate, chewing out the deep and eternal taste of daily life and ironing out the twists and turns of the current scenery. His students praised him and said: "On poetry, it is more than crossing the south, and the grass took a fancy to the Northern Expedition"; An old man in the Song Dynasty praised him and said, "The predecessors commented on the poems of Song Dynasty after crossing the south, imitating Du Fu with Lu Wu's views, in order not to forget the Central Plains, which is the same as the fact of worshipping Juan." These two people close to his time pay attention to the first aspect of his works. But except in the middle of the Ming Dynasty, Lu You impressed readers in the following hundreds of years by that second aspect, such as Yang Dahe's collected works in the early Qing Dynasty, the imitation of Wang Wan, Wang Ping, Xu Wei, Feng Tingyi and Wang Lin, the excerpts of Xiangling in the forty-eight chapters of A Dream of Red Mansions, and countless guest rooms in the old society. This has created the impression that Lu You is an "old diner". Of course, some critics object to this biased view, thinking that "loyalty and anger" poems are the backbone and brain of Lu You's collected works, and those poems that linger are only secondary. However, this deviation was not corrected until the late Qing Dynasty. The speaker was saddened by the weakness of the national situation and indignant at the oppression of imperialism. He had a very cordial experience of Lu You's first-hand works and gave a very warm praise. For example, "Poetry has been decadent for thousands of years, and the soul of China is exhausted; Concentrate on nine military music, and the ancient man will be relieved! " "Not a hundred soldiers in the chest, tired of poetry; Who loves the country's tears and speaks of Chen Hu's injustice! " These words seem to be the voice of the opinions of the two poets quoted earlier, just like the echo wrapped in the valley, which is much more shocking than the original voice.
Poems such as Sweeping Chen Hu and Guo Jingnan appeared in the early years of the Northern Song Dynasty, like Lu Zhen's Cutting the Spine. After the change of Jingkang, the patriotic works of Song people increased, and some of them were selected in the front. However, Chen, Wang Zao, Yang Wanli and others are obviously different from Lu You in this respect. They just expressed their worries or hopes about national affairs, but did not devote themselves to disasters, leaving their lives and strength at the disposal of the state. I only sighed helplessly or asked for help, but I didn't say I wanted to do it myself, I didn't say I wanted to join the army, I didn't say I wanted to mount a horse to attack thieves, I didn't say I could be generous and selfless or dare to love my body, and I didn't say I was willing to raise a horse to fight. "Hand owls rebel against thieves and clear up old Beijing." This is the characteristic of land travel. He not only wrote about patriotism and worries about the country, but also declared his courage and determination to save the country and protect his family. For example, in Liu Ziyi's poem, he said, "Zhongxing soldiers are unparalleled ... Hu Erhu does not peep at the river!" "Bow your head, pull out Hu Jian, but shoot at Hu Jun ... Men with seals, eagerly go to the enemy", the tone is dignified, but it is about others, those "soldiers" and "men"-just like Li Bai, Wang Wei and other "Join the Army" are about others, although Liu Ziyi's sense of reality is more real, holding his poems. Let's look at an example of Lu You: "Duck, green mulberry has withered, and the fire has crossed Qilian;" I don't care about fame, but I hate that no one is quick to whip! " Although he put himself aside, his tone is very subtle and gentle, but he is obviously ready to have his share in this heroic cause. This is the artistic conception of "no clothes" in The Book of Songs and Qin Feng, the artistic conception of Li Mu's Zhao in Zhou Wenqing was shot dead by an arrow, and the artistic conception of Yue Fei connected with Lu You's generation in Man Jiang Hong. In the poems of Guo in the Northern Song Dynasty and Han Ju at the turn of the North-South Song Dynasty, the spirit and artistic conception of "cultivating my spear and sharing resentment with my son" and "who knows I am also a man who committed suicide" are occasionally revealed, but no one has ever played it as well as Lu You. This is also the realm that Du Fu lacks, so it is not very accurate to say that Lu You is "the same as Chongjuan" and has not yet known him. Patriotism permeates Lu You's life and runs through all his works. He saw a picture of a horse and met some flowers. Hearing a wild goose singing, drinking a few glasses of wine and writing a few lines of cursive script will arouse the feelings of patriotism and national humiliation, and the blood will boil, and this craze will rush out of the boundary of his sober life during the day and flood into his dreams. This is also absent in people's poems.
There is one more thing to supplement the past criticism about the art of Lu You. Liu Kezhuang, who highly valued him, said that he was knowledgeable, good at using classicism, and organized his works into duality. He even said that "the good duality of the ancients has been exhausted", and many critics later agreed. This is certainly true, but it ignores his simple and empty works, and more importantly, obliterates his views on this issue. We found that he often found it inappropriate to write poems by finding chapters and sentences, although she couldn't change that habit herself. He said: "group embroidery shows women workers one after another, and poets want to be poor here;" He added: "I am a beginner in poetry, but I want to draw;" Middle-aged people begin to realize less, and gradually they will see greatness. ..... If you want to learn poetry, your time is outside of poetry "; In response to the argument that "Du Fu's poems have no words and no place to come from", he said: "Today, people interpret Du Fu's poems only to find their source ... For example, is there a word in the poems of Kunxi Enjoyment Collection that has no source? ..... and today's poetry is never without mountains ... but it is better to be a bad poem! " In other words, the word "source" does not mean that poetry has a way out. What Liu Kezhuang appreciates is exactly what Lu You thinks is the poet's dead end-"group embroidery", "algae painting" and "source". What is the poet's life and "time" outside of poetry? Lu You made several replies. The most noteworthy and always neglected is the following proposition. He said: "since ancient times, the law has been unique, and idiots want to carve emptiness!" "I can know the beauty of your poems in the mountains and rivers." He also said: "The general industry will work harder on the road ... I hope the ship will not stop between pommel horses, and there will be more work to be done in the future." In other words, to do a good job in poetry, we must get in touch with the outside world. Needless to say, we should step out of the lines of books and jump out of the hole where mullet eats holes. "Painting the void" and "touching the void" were originally metaphors in Buddhist scriptures, and "Dharma does not leave the country" and "Mind does not leave the country, only leaves the country" are also slogans of Zen Buddhism. Lu You said: Poets should not build cars behind closed doors. Only through travel and experience, through life experience, can he meet the reality-"realm" one by one and get a vivid poetic thought-"law" Like his own unique and heroic patriotic poems, he began to write them only after he went to the northwest to participate in military aircraft. The first song selected below is "A Journey to the South". As for him, he imitated the poets of the late Tang Dynasty and denounced them. He attaches great importance to "group embroidery" and "algae painting", and attaches great importance to unpretentious plum. All these show that he put forward stricter requirements and higher ideals for his works.
Although Lu You worked as a teacher, his poetic style was not greatly influenced. His friends have already pointed out that he "does not accept Jiangxi". There are more traces of Jiangxi style in Yang Wanli's and Fan Chengda's poems than in his. Among the poets in the Tang Dynasty, Bai Juyi also inspired him greatly, and of course Du Fu. Li Bai, who was generally admired by the Song people and did not kiss him, was often a model of his seven-character ancient poems.
As early as the early Yuan Dynasty, Wen Zhong and Yu Shi were widely known. During the reign of Qianlong and Jiaqing in Qing Dynasty, Xu Meizun was a part of Lu You's poems and made detailed comments. These two notes were not engraved at that time, and they can't be found now.
-Qian Zhongshu:
Second, "the five wonders of Confucius and Mifu, Donglan Pear Flower"
Su Shi (1037 ~11), a native of Meishan, was named Dongpo, including Dongpo Collection, Houji and Continued. He has always been regarded as the greatest literati in the Song Dynasty, and has made great achievements in prose, poetry and ci. He criticized Wu Daozi's paintings, saying that "creativity lies in statutes, subtlety lies outside the bold". Judging from the poetic comments scattered in his works, these two sentences may be applied to himself casually to summarize his poetic theory and practice. The "uninhibited" in the last sentence should be thought-provoking, not a drunken rampage. The previous sentence can be regarded as the definition of "unruly". In the words that Su Shi can understand, it is: "Do what you want, don't you? Yu Shantou "; In modern terms, freedom is based on the understanding of regularity, and creativity has full freedom under the permission of artistic laws. This is exactly what Su Shi has repeatedly stated. The composition should be as free and lively as "flowing clouds and flowing water" or "flowing clear water", but at the same time, it should be very cautious. "Do what you have to do, and stop what you can't stop." After Li Bai, no one in ancient times could catch up with Su Shi's "verve".
The main feature of his style is the richness, freshness and appropriateness of metaphors. In his poems, we can also see the so-called "Apollo" by people who pay attention to prose in the Song Dynasty or Shakespeare metaphors praised by westerners, and a series of various images express one aspect or a state of a thing. This method of description and contrast seems to adopt the "wheel-wheel war" mentioned in the old novel, with waves of unrest rising again and again, showing its true colors and surrendering to the poet's pen. China essayists, Zhuang Zhou and Han Yu, whom Su Shi likes, all use this technique. For example, Zhuang Zhou's Tian Yun uses six metaphors to illustrate this point, such as "the dog is old", "the ship is sailing on land, and the car is driving on water", "the ape is spying on clothes", "oranges are raw" and "ugly learning from western learning", while Han Yu's preface to sending stones uses "the river must be dirty. In China's poems, The Book of Songs is often written like this. For example, "Baizhou" in Guofeng refers to the artistic conception with three images: mirror, stone and mat, and "Four Trunks" in Xiaoya even says that "the lines of the building are as neat as wings, as spines, as birds and as flies". This metaphor is the most common in Han Yu's poems in the Tang Dynasty. For example, there are eight metaphors to describe the boldness of poetry, such as "seeing off the teacher without a teacher", and four metaphors to illustrate the talent of poetry, or "fist fight fell" in Shan Jutu. However, let's take a look at a passage in the first poem of Su Shi's "Hundred Steps of Flood": "It's like a rabbit walking an eagle, a falcon falling, and a good horse betting on a steep slope. The seven images in the four sentences are intricate and neat, which makes the examples of The Book of Songs and Han Yu seem unremarkable. Other examples, such as "Shi Gu Ge" uses six images to describe "being one or two", and "being one or two" in the first poem "Reading Meng Jiao" is four images. Like the famous sentence in He Zhu's Jade Case, comparing "tobacco", "wind catkins" and "Huang Meiyu" to "leisure worries" is a good metaphor. The most prominent one is "Flower Heart and Boudoir Love" written by Xie Yi, which uses nine things such as "flowers in the wind" as a metaphor for good deeds (Song Ci, page 652). Ancient theorists have long paid attention to the visualization of poetic language and attached great importance to metaphor; At this point, Su Shi fully met their requirements.
Su Shi's main fault is the arrangement of classical idioms in his poems, so critics think that he is "knowledgeable", "incompetent when he sees what he has learned", "obstructing", "killing, accumulating, wasting" and "sacrificing", while his defenders praise him for "telling the truth" and "telling the street". He criticized Meng Haoran's poem "high rhyme and short talent, like brewing wine without cooking", which just exposed his own bias and weakness. At the same time, this criticism, like Li Qingzhao's criticism of Qin Guan's ci, can help us understand the proportion of classical idioms in that creative atmosphere.
Needless to say, the annotator has attracted this kind of poem. As early as the Northern Song Dynasty, Zhao Cigong annotated five Su poems, and from the Southern Song Dynasty to the Qing Dynasty, more than ten poems were annotated one after another. In the middle of Qing Dynasty, Vinchy Wang made some summary work on the exaggerated and rare Collection of Compilation and Annotation of Su Wenzhong's Public Poems. Others, such as Shen Qinhan's Notes on Su's Tea and Zhang Dao's Su Shiting Dialect, are relatively large supplements. It's a pity that Lu You didn't want to annotate Su Shi's poems, which is a great regret in the history of literature, but it was not recorded in Fu and Li Bai's "99 Fine Draft".
-Qian Zhongshu:
Third, "Pear Blossom"-Huang Song listens to the sword
Huang Tingjian (1045 ~ 1 105), whose real name is Lu Zhi, an old man in the valley, is also called Fu Weng. He is divided into three groups, namely "Inner Valley Collection", "Outer Collection" and "Outer Collection". He was the founder of "Jiangxi Poetry Society School", and he was as famous as Su Shi before his death. After his death, he praised his disciple Sun Fa as the successor of Du Fu. Since the Tang Dynasty, many people admired Du Fu, and Huang Tingjian was probably the first person to learn from him. What is Du Fu's favorite poem? He said: "Lao Du wrote poetry, but he retired from writing, and there was no place for a word; Gai's descendants read less, so it is said that Han Du made his own words. People who can write articles in ancient times, although they use the words of the ancients as calligraphy, such as a panacea, can turn stone into gold, but they can really cultivate everything. " Among his many comments on poetry, this passage has the greatest influence and can best explain his own style, and it can also be regarded as the program of Jiangxi poetry school. His poems are somewhat mysterious, and it is said that even the people of Jiangxi School are puzzled.
Whether Du Fu's poems have origins everywhere, not a single word, let's get rid of it. At least Huang Tingjian thinks so and wants to learn from it. Yuan Zhen appreciates the straightforward description of Du Fu's poems, without the classical idiom: "Pity the canal, speak directly, regardless of the origin of the ancients"; Liu Yuxi said that "poetry should be based on evidence" and cited a poem by Du Fu as an example, which was limited to "there must be a place for poetry with uncommon words", which was much narrower than Huang Tingjian's words. "There is no place for words" is what Rong said in his "Poems": "There are no empty words in sentences, and there are no empty words in words". This formalism, which was opposed by Zhong Rong for a long time, was revealed in Wang Anshi's poems in the Song Dynasty, intensified in Su Shi's poems and reached its peak in Huang Tingjian's poems. People who "read widely" may see that his words are all about turning "what the ancients said" into gold and understanding what he said; People who "read less" only think that meeting is nothing more than a classical idiom, as if they have gold powder in their eyes and can't open them, so they can't see anything. Of course, in the past, Kunxi writers like Li Shangyin and Shi Fa liked to embroider classical idioms into poems, but they were very different from Huang Tingjian. Li Shangyin's most influential poems and Kunxi style mainly describe gorgeous things and colorful scenes, and the words used are also biased in this respect. Compared with this kind of poems, Huang Tingjian's Ode to Immortality is much richer in content, much more complicated in the nature of words and expressions, and much more obscure in its origin. In Li Shangyin's poems, especially in Kunxi style, the meaning often appears absent and unpredictable; The allusions they use are often just to create some atmosphere and draw some emotional appeal, just like the music when eating in a restaurant, so they will give people an impression of "flashy" and "superficial". Huang Tingjian is very sincere and likes to preach and discuss. No matter how common the meaning is and how pedantic the argument is, as long as the reader knows the classical idioms he uses, he will know exactly what he is thinking. Therefore, his poems give people the impression that they are blunt and obscure, and the language is not transparent enough, as if the glass window in winter was covered with water vapor and frozen into a piece of ice. Huang Tingjian once compared the artistic criticism of Taotu to "listening to the pipa through the curtain", which can describe his own poems. Readers know that his poems are really interesting, but the language he gave him is separated like a curtain, making it thousands of miles apart and not seeing each other. As the article "Wen Xin Diao Long" and "Hidden Show" said: "Dark things are deep, although they are not hidden"; This "thought-provoking" is inexplicable, not implicit.
In the early years of the Southern Song Dynasty, Ren Yuan annotated The Valley Collection; In the middle and late Southern Song Dynasty, Rong Shi's annotation of Waiji and Shi Jiwen's annotation of Other Sets failed to catch up with Ren Yuan's excellent blogs. In addition, Chen also wrote "Poetry in the Valley" and Deng Gonggong wrote "Poetry in the Valley" respectively. Unfortunately, the notes of these three schools have not been circulated. It seems that people who read widely are skeptical about Huang Tingjian's poems. They are just wary of what lurks in ordinary words, and they are all in danger. If Ren thinks that the publication of Answering Qian Mu's Father's Pen with a Forever Orangutan is clear, but Yang Wanli has found two hidden "ancient characters". Even Huang Tingjian obviously recited Bai Juyi's poems and misremembered some words. His admirers also think that he turned the tin sheet into gold, "which can be used as a method of writing poetry", and added a topic of "living in southern Guizhou" for him to be included in his poetry collection.
-Qian Zhongshu: