Abstract: With the advent of Dading in the middle Jin Dynasty and the Taiping era in Mingchang, although the Han scribes gradually weakened psychologically the longing for hometown and the pain of national subjugation in the early Jin Dynasty, they gradually accepted the Jurchen of Jin Yuan. Foreign rule, but still lingering in the contradiction between "official" and "hidden". Their ambivalence is reflected in their poetry creation. On the one hand, Han scribes began to pay attention to people's livelihood and actively serve as officials in their poems. On the other hand, Han scribes expressed their feelings of seclusion from time to time in their poems. These are the common creative psychological portrayals of Han scribes in the specific atmosphere of the era at that time.
Keywords: The creative mentality of Han scribes in the Jin Dynasty and their return to officialdom
At the beginning of the founding of the Jinyuan Jurchen Kingdom, they used force to conquer the country. There were frequent wars and chaos in the world. They were closely related to the Liao and Song Dynasties. and other countries engaged in a long war. During this period, poets such as Yu Wenxuzhong and Cai Songnian were scribes from the Liao and Song Dynasties who entered the Jin Dynasty. They were all "borrowing talents from different generations". These literati, who have experienced the suffering of different generations and frequent wars, have a certain tendency to reject foreign regimes, and have a strong sense of alienation and nostalgia for their country. In line with such experiences and mentality, the themes of their creations are mostly expressed in the pain of origin and the longing for hometown. Therefore, under the influence of this kind of thinking, most of the poems written by Han literati also expressed "the feeling of returning home from a guest, and not forgetting to see it like a blind eye. Asking about the pines and chrysanthemums when you get home, you will make early plans to explain the official situation" {1} (Cai Songnian's "Drinking Alone at the New Moon" ), he was immersed in the pain of thinking about his country's subjugation as "a poet in the Southern Dynasties and a minister in the Northern Dynasties" (Liu's "Moonlight Boating").
With the advent of the Dading era in the middle Jin Dynasty and the Taiping era in Mingchang, the Han scribes who grew up in Jinyuan have gradually weakened psychologically the concept of "Hua Yi differentiation" in the early Jin Dynasty, and have themselves been influenced by the Jin Dynasty. The "captives" of Yuan Yuan's stable began to gradually accept the foreign rule of Jin Yuan Jurchen, and no longer resented surrendering to foreign rule. As a result, they actively served as officials, began to care about the social and people's livelihood of the Jin Dynasty, paid attention to the sufferings of the people, and even began to sing triumphant songs for the prosperity of the Jin Dynasty; at the same time, the specific atmosphere of the Jin Dynasty did not really fully support the Han scribes The opening up of a smooth road to official career, the ups and downs of the officialdom, and unequal treatment aroused the hidden desire of Han literati to retreat to nature, calling them to go to nature and rely on their leisurely and indifferent feelings. It is true that this kind of wandering and contradictory psychology is reflected in their poems and soaked in the syllables flowing from their hearts.
1. Active official journey
The Han scribes who were active in the poetry circles of Dading and Mingchang were infected by the long-lost stability of the Jin Dynasty, infected with the national pride of the north, and inherited Hailing. With the high and confident spirit of the imperial dynasty, he actively pursued imperial examinations and devoted himself to officialdom, leaving behind many poems that reflected the "Imperial Dynasty mentality" {2} and related to the fate of the country and the people's livelihood. Specifically:
First, the voice praising the "Golden Source of Prosperity" {3}. The poets of the Jin Dynasty in the Dading and Mingchang periods had a clearer attitude towards the Jin Dynasty. They no longer had the complicated psychology of the old ministers of the Northern Song Dynasty in the early Jin Dynasty and were more intoxicated by the rare peace and order in Jinyuan society. This inner emotion was externalized into the poet's voice, and a large number of poems describing the prosperity of Dading and Ming Dynasty emerged. Such as:
The holy dynasty is thousands of miles away, and the beacon smoke has ceased, and the horses and cattle in Hebei have all slept peacefully. The soldiers of the Snail Kingdom are greedy and tear the earth apart, and the ministers of the Ant Kingdom are praying to heaven for their orders. The old man in politics does not cause trouble, so he sent me to wear a whip. Thinking of Yajiang's literary drink, Dexingqing pairs two poems with immortals. ——Wang Ji's "Send off Tian Yuan Chang to accompany the Goryeo envoy"
The family of the illustrious Jinyuan Emperor's son temporarily divided Fu Zhu into the capital. The ceremonial appearance descends to Gelin's toes, and the temple's calculations control the canine teeth vertically and horizontally. Huang He has heard for a long time that there is a virtual cauldron seat, and Zhu Yixing leads him to the embankment sand. He was determined to take the calligraphy test in the same year, and his surname was Fenyang, which is not enough to praise him. ——Wang Ji's "Two Poems on Wanyan Gong's Stay in Nanjing" No. 2
In the former poem, the poet boasted to the Korean envoys about the peaceful scene of Jinyuan society, and then boasted of the "Holy Dynasty"; in the latter poem The poet is a kind tribute to the Jurchen nobles of Jinyuan. Similarly, in the second poem of "Farewell to the Ambassador of Goryeo": "The princes are here to attend the front table to praise the loyal people and serve the Holy Dynasty." The poet also considers himself a member of the "Holy Dynasty". The scribes at the beginning of the Jin Dynasty regarded the Jurchens of the Jin Dynasty as "foreign countries" and "barbarians". This has changed, and they have expressed their acceptance of the Jin regime through poetry.
If Wang Ji’s description of the “Holy Dynasty” is still a bit general and vague, then Liu Ying’s “There are hundreds of miles of mulberry trees and tens of thousands of fireworks. Long bridges with dragons and dragons, and flying pavilions with phoenixes and tengzhu.” "It is said that in Shanxi, there are many stores in the road, wells and wells, grapes fall down in autumn, and peony trees are full in spring" ("Shanggu") describes the prosperous scene of a town. Similar poems include Wang's "Living in Nancun" and Cai's "On the Road to Chuan", etc., all of which are used by poets to express their admiration for the clean society and the peace and prosperity of the people during the Dading and Mingchang periods.
Second, it reflects the voices of people’s sufferings and concerns about life in border areas. The poets of this period not only sang the triumphal songs of the Jinyuan Holy Dynasty without sparing their pen and ink, but also had a cold insight into the aspirations of the people at the bottom of the society, and were actively enthusiastic about the prosperity of the Jin Dynasty in order to contribute to current affairs. Therefore, in the poet's writing, the world heard the decline of the Holy Dynasty, where there were people struggling to survive under heavy taxes and famine, and there were border soldiers who were suffering from bitter cold under the haze of war. For example, Liu Ying's "Sand Man" during the reign of King Sejong:
The sand is Manman, grass class, south mountain and north mountain facing each other. My trip is between mountains. Travelers can't see birds when looking up, and there are enough trees to know that there are few frontier fortresses. The sand is long and grassy, ??and I want to take advantage of the west wind to return.
Servant, don't worry about your clothes. I'm just wearing clothes because I miss you.
Here the poet is thinking of "servant" due to the wind and sand. The last sentence is "servant, don't worry about your clothes. I just wear clothes and miss you in the cold." The idea conveyed by "The Great Protection of the World" ("The Song of Thatched Cottage Broken by the Autumn Wind") is consistent. From this we can see Liu Ying's inheritance of Du Fu's spirit and his cold concern for the lives of the people behind the "Golden Age". Liu Ying once stated his intention in poetry in the poem "Out of Badaling": "There are no good words in poetry, but songs for those who do the work." That is to say, the poet has regarded reflecting the suffering of the people's livelihood as his creative pursuit. Later, for example, Dang Huaiying's "I see the old man in many fields, his rent and wealth are often hanging over his head. He bows his head and takes responsibility, and his appearance is pitiful" ("In the Snow" No. 4), which reveals the torture of excessive taxes and miscellaneous taxes on the people. Another example is Lu Duo's "On the Road to Xiangcheng":
"The grain and millet are low, the wind is low, and the water is long, and the late post and horse are trapped in the autumn sun." The sick body and official affairs are intertwined. Will Meng Yu Xingyun be willing to take advantage of the coolness? Although it is said that autumn insects do not harm the crops, I worry that the harsh government will cause locusts to suffer. The poem should be laughed at by Xishan, but it is still frowned upon when the brows are burned.
This poem reveals more deeply the disaster suffered by the people of "harsh government and locusts". This should be the same as what Bai Juyi, the great poet of the Tang Dynasty, said: "A harsh government is fiercer than a tiger" ("Snake Catcher")! However, the suffering suffered by the government from excessive taxes was far less severe than the suffering brought to them by the war. For example, Shi Tuo's poem "Wandering in the Paradise" says: "On a sunny day, there are bright flowers, and there are green waves in the overcast sky. Pengqiu is far away from the sea, and there are many forests in the spring. Although the time of the flowing water has passed, the moving orioles are singing warmly. I am so pitiful and happy, "The drums disperse and the clouds are harmonious", showing the evil consequences of war. Also, "Outside of the war in my hometown, I felt that the road was long" (Shi Tuo's "He Wang Yibin Fantai Poems") reveals the poet's heavy worries about the war. Hao's "Wei Chushi's Hometown" shows a scene of depression after the war: "After the frost and wind in the suburbs, the mulberry trees were desolate and the soldiers were still alive. Let's ask the ministers and prime ministers at that time. Several houses in particular had old farmhouses." There are also Zhou Ang's "Mozhou Road":
In ancient Mozhou, east of the Daling River, the people lived in huts like snails. Looking out from the side of the house, there is nothing but white sand and hills. The car is like being pulled backwards in the sand, and the wind shakes the sand and loses its previous track. The horse's hooves are half lame and the cow's lead is worn. He stops at three steps and rests his whip at five steps. The sound of chickens and people's voices has no neighbors, and the evening breeze rustles and kills people. When people pray, the sand responds to God. The veterans of Liaodong are not envoys, so why bother to bury the double wheel?
This is a seven-character ancient poem. The poet describes the inaccessible ancient Mozhou. There are only white sands, neighing war horses, and the rustling evening breeze. It is completely lifeless. The veterans of the war are always accompanied by the god of death, which is cruel. It is the hateful war that makes people risk their lives. The hatred for the war conveyed in the poem is self-evident.
The poet was at the border and experienced the wind and moon in the fortress. At the same time, he also paid attention to the life in the border area with his concern for the country and the people. He wrote poems about the people in the border area who had suffered from war and were waiting to recuperate, such as "Border" Customs":