Open classification: Xia Yi, Xia Poetry.
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Quiet and quiet small yard, I lay on a bamboo mat, cool all over; Pomegranate flowers in full bloom outside the window, through the hanging bamboo curtain, reflected Hong Ying.
The dense shade cut off the heat. It was at noon when I woke up and heard the intermittent chirping of orioles.
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Su Shunqin's poem "Summer Meaning" can express a quiet and secluded feeling in the heat of midsummer.
"Farewell hospital is deep in summer, Xia Ming": the word summer indicates the festival, and the words "Farewell hospital", "deep" and "bright" go deeper and deeper, forming a quiet atmosphere from the beginning. The other yard is the small yard next to the main yard. Deep, it is said that this small courtyard is deep in the house and deep in the courtyard, with a winding path leading to a secluded place. In this extremely quiet environment, some people have a bamboo mat. Han Yu's poem "The Gift of Zheng Qun" once described the bamboo mat as "eight feet of wind blowing" and "a clear blow when in doubt". "Summer mat is clear", which means that although it is midsummer, bamboo mats are cold in the depths of the yard. Deep is overlapping, deep and clear, with similar vowels and clear sound quality. This gives people a cool and profound feeling not only from the image of words, but also from the image of music.
"Pomegranate flowers are full of curtains": Inheriting the word "curtain", the porch spreads the Mingxia seats. The poet lay on it and looked out, only seeing the pomegranate in full bloom, showing its bright charm through the curtain. Han Yu once said, "Liu Hua will shine brilliantly in May" ("Liu Hua"), but the second sentence changed its meaning, but added a heavy curtain. Looking at pomegranate through the curtain, although the bonus is like fire, it is not harsh.
Tao Yuanming has a saying: "Love the forest in front of the hall, and store shade in midsummer" (The Book of the Republic of China). The third sentence of this poem is translated from Tao's poem, which says that although it is noon in midsummer, the yard is still clear, gloomy and cool. This sentence contrasts with the previous one. As you can imagine from the "shade everywhere", trees have become forests, not trees, but shade, which makes the yard cool and quiet.
What does the poet do in this quiet environment? It turned out that he had been comforted by the clear scenery in the yard. Although it was noon under the scorching sun, he was fast asleep. When he was "dreaming", he could only hear the crisp rhyme of one or two songbirds coming from the depths of the garden from time to time. It is the sound of warblers rather than orioles, which can not only see the shade of trees, but also reflect the deep tranquility of this small courtyard with the sound of whispering in silence. Tonggong Mountain is more secluded. According to Wang Ji's poem "If you enter Ye Xi" in the Southern Dynasties, Wang Wei's "Wu Xinyi" says: "The birds are surprised when the moon rises, and the spring water rings when the moon rises." The artistic conception of the last sentence is similar to that of two poems.
Brief introduction of the author
Su Shunqin (1008- 1048), a native of Kaifeng (present-day Henan), worked as a county magistrate, a judge of Dali, and a supervisor of Jixian Temple. It is said that because he was close to a politician who advocated reform, he was framed as an excuse and retired to Suzhou. Later, it was restored to Huzhou with a long history, but it soon died out. He is as famous as Mei Yao Chen and is called "Mei Su". There is Sue's collection.
On the understanding of the political function of poetry, it is consistent with Mei. He said in Preface to Poems on Stone: "Poetry is great when it exists." The so-called "great event" means that poetry can reflect "the love of wind and religion and the change of customs" If the rulers have a system of "collecting poems", they can "relax their affairs" and achieve "long-term stability". Therefore, he criticized the literary atmosphere of "winning with flowers" and strongly praised Mu Xiu and others for "learning from the ancient road", and Shi's poems could "alert the public". Moreover, as mentioned above, he also put forward a rather extreme opinion that "literary life is also harmful to morality". In fact, Su's personality tends to be bold and open, without the taste of Taoism. His ideas have an important relationship with his desire to make progress in his career.
As a poet who is concerned about current politics and eager to make a difference, Su Shunqin's poems often touch on some serious practical problems. His gyeongju defeat describes the defeat of the Song Dynasty and Xixia War, and bitterly criticizes the lax border defense measures of the imperial court and the incompetence of the generals. "Drought in Wuyue Mountains" wrote that on the one hand, famine caused "the dead to accumulate on the road", on the other hand, in order to cope with the war with Xixia, the government still ruthlessly searched for food and drove Ding Zhuang's labor to the battlefield, resulting in "three Ding and two Ding died, and the survivors also lacked food". Finally, "Hu was stuck in the mud, which was a long-term worry. The phrase "long wind and dark clouds, relying on tears to imagine" expressed his inner pain; "Love in the south of the city is forever uncle" also wrote about the tragic situation of the people due to famine: "Seven or eight out of ten people died when the road was crossed. Dogs lick bones and black kites lick skins. " In contrast, he denounced the incompetence and shamelessness of the powerful people by saying that "the high position hates Liang Rou, and the sitting theory confuses Yun Ni".
He is often sharper and more straightforward than Mei in reflecting the disadvantages of the times and exposing social contradictions. On the one hand, this is due to personality, on the other hand, it is also related to Su Shunqin's unfortunate experience. He is a man with strong self-esteem, but he is always excluded or even framed, so he feels that he can't do his due duty for the society, and he personally feels very depressed. These two emotions combine and reinforce each other. The last paragraph of "The Feeling of Being an Uncle Forever in the South of the City" says: "I'm hungry now. I have to think again: I can't control myself. What should I do?" I am full of anger and anger, and I can't be together. "The implication is that if you can master power, you can save the people; Helpless to take care of themselves, so I am particularly angry. In some poems, he even directly vented his personal dissatisfaction, such as "Going to Drink":
Husband is neither rich nor young, Hu Yan fled the world! In 2008, I haven't fulfilled my ambition. I have tried to test words in cases. Sometimes you can't worry, and you will lose the peace in your stomach. The attendants came to Taihang Mountain, where the wine was as clear as the sky. Long song burst into tears and drank a bucket of heart. My road is not as good as wine, and my sorrow and sorrow are like rot. I don't know how to read a hundred cars, but I want to go home with Liu Lingwu!
This kind of poetry is frank and passionate, although it is not as high as Li Bai's spirit after all, but it is also slightly close to Li Bai's style. According to the legend in the History of Song Dynasty, Su Shunqin was "angry with songs and poems, and his style of writing was bold and often amazing". Among the poets in the Northern Song Dynasty, he really has the flavor of the Tang Dynasty. Therefore, although his theoretical expression is pedantic, his poems are quite lively because of his emotional exposure, rather than a Taoist face.
In the language art of poetry, Su Shunqin, like Mei, tried to break the mature and outdated poetry mode with new images and new syntax. In his poems, you can often see plain sentences, unfamiliar words and strange images.
However, due to different strengths, there are still obvious differences in poetic styles, as Ouyang Xiu commented in "Poems on June 1st": "Yu Sheng and Zi Mei are both famous, but the poetic styles of the two schools are different. The beauty of children is magnificent, and surprisingly, it is beyond the horizon; Saint is implicit, with profound leisure as its meaning. They are extremely long, although a good theorist cannot be good or bad. " The previous "drinking wine" is an example. Let's take "Songjiang Long Bridge has no clear view of fishing" as an example:
At dawn to the east, the fishing boat reflected the distance. The white smoke on the road is faint and the moon sets, and the ridge head is burned with rare stars. Sing without touching the dragon's sleep, and get up the net without smelling the fish and turtles. I'm really not on a business trip. I'm going to go with you.
Some special words and images in this poem can also be found in Mei's poems. The whole poem is bold and unrestrained, and the weather is open, which is hard to find in Mei's poems. On the other hand, Mei's poems are subtle, profound, subtle and delicate, which is also lacking. The most obvious weakness of his poems is that sometimes he only pays attention to the catharsis of feelings, ignoring the scrutiny of emotional expression and the internal tension of language, making them rough and even endless.
But there are also some small poems, written by Su Shunqin, which are quite exquisite, such as "Boating Calf in Huaizhong":
Weeds are green in the spring shade, and sometimes there are flowers and trees. At night, under the lonely boat ancient temple, Sichuan is full of wind and rain.
The second sentence is a bit prosaic, but it uses the word "time" to make the scene move, as if in a piece of green grass, flowers and trees jump into the eye from time to time. "Quiet" and "bright" are unique in describing flowers, emphasizing psychological feelings and vision. The rhyme of the whole poem is close to that of Tang poetry, but it is more quiet and delicate, and its meaning is more flowing and tortuous. Another example is "Summer Meaning":
In summer, the courtyard is deep and clear, and pomegranate flowers are full of curtains. The shade is all over the ground, it is already noon, and I dream of warblers.
It is also small, chic and full of fun. Instead of parallel images, the line of sight in the poem is constantly changing: first, the deep yard, then a bright pomegranate tree through the bamboo curtain, then the summer scene in the middle of the sky and under the drooping shade, and finally a wandering warbler wakes up the master's dream and the silence during the nap. The rhythm of poetry is formed through the process of the poet's inner experience, and the vein texture is very fine, which is a feature of Song poetry.