Which dynasty did Wei Zhuang belong to: Wei Zhuang, a poet and lyricist of the late Tang and Five Dynasties. The word Duanji. A native of Duling, Chang'an (now southeast of Xi'an, Shaanxi). After Empress Wu's prime minister Wei Daizi (some say it was after Xuanzong's prime minister Wei Jiansu, but it was actually not the same), the poet Wei Yingwu was the fourth grandson. By the time he arrived in Weizhuang, his clan had declined, his parents had died early, and his family was in a poor condition.
Wei Zhuang’s life experience can be divided into two periods.
The early period was the Tang Dynasty. In the first year of Guangming Dynasty, he took the imperial examination in Chang'an, which happened to be the time when Huang Chao's uprising army captured Chang'an and could not escape. In the spring of the second year of Zhonghe Dynasty, he had to flee to Luoyang and wrote "Qin Women's Song" the following year. Later he went to Runzhou and served as Zhou Baomu, the governor of Zhenhai Navy. In the first year of Guangqi, after Xizong returned to Beijing, he was forced by Li Keyong to flee to Fengxiang and Xingyuan. Out of his enthusiasm to support the Tang Dynasty, Wei Zhuang left the south of the Yangtze River and headed north to meet him. He turned back due to road congestion on the way, and later stayed in Wuzhou as a guest. In the second year of Jingfu's reign, he entered Beijing to take the examination, but failed. In the first year of Qianning, he passed the exam again and was appointed as the school secretary. He was nearly 60 years old. Later Zhaozong was forced by Li Maozhen to leave for Huazhou, and Wei Zhuang also accompanied him to serve. In the fourth year of Qianning, he was ordered to go to Shu with Li Xun, the admonishing official, to announce the edict, and met Wang Jian. Later, he served as the left and right supplementary officer in the court. The creations of this period were mainly poetry. The works collected in the "Huanhua Collection" today are from the third year of Guanghua, and no poems have survived since then.
The later period was the Shu period. In the first year of Tianfu, he applied for the post of Secretary of the Western Shu Dynasty and stayed in Shu for 10 years. In the fourth year of Tianjin, Zhu Quanzhong destroyed Tang Jianliang. Wei Zhuang persuaded Wang Jian to proclaim himself emperor and fought against him, thus establishing the Shu Kingdom, which was known as the former Shu in history. He was relied upon by Wang Jian as a confidant, appointed as a regular servant of Zuo Sanqi, judged the affairs of Zhongshu's family, and formulated the system for founding the country. Later he became the Minister of the Ministry of Civil Affairs, Ping Zhangshi. When he was in Shu, he rebuilt a thatched cottage as his residence in Du Fu's former residence on the bank of Huanhua Creek in Chengdu. The creations during this period were mainly about lyrics. Most of Wei's poems that exist today were written in the later period.
Literary Creation Wei Zhuang played an important role in the poetry world of the late Tang Dynasty. Weng Fanggang in the Qing Dynasty said that he was "much better than the ten philosophers of Xiantong (referring to Fang Qian, Luo Yin, Du Xunhe and others)" ("Shizhou Poetry Talk"). Zheng Fangkun called him "Huayue" together with Han □ and Luo Yin. "Three Peaks" ("Poetry of the Five Dynasties? Examples"). He encountered the peasant uprising in Huangchao before and the melee between feudal lords and towns later. He claimed that "his life's ambition is to support Yao and Shun" ("Guanhe Dao Zhong"). Therefore, loyalty to the Tang Dynasty was the core of his thoughts, and sadness and sadness were the important part of his poetry. The subject matter thus reflects the turbulent social outlook of the late Tang Dynasty in a relatively broad way. "The Plowman" and "Biandi Xing" express deep sympathy for the suffering of the people during the war. "Seeing the Army Returning to War", "Yu Dongjun", and "Encountering Xiao Xiaoxiao in the Siege" condemned the ugly behavior of the reinforcements stationed in Luoyang at that time in killing the people and robbing women. At the same time, they were self-respecting and failed to actively suppress them. The rebels expressed dissatisfaction. Poems such as "Bronze Instruments", "Village Residence in Luobei", "Landering View of Beiyuan", and "The Year of Xinchou" reflect his eager expectation for the "revival" of the Tang Dynasty; "Wen Zaixing Liang Yang", "Jiangnan Poems such as "Send Li Ming's Mansion into the Pass" express his longing for the monarchs and royal families in the chaos; works such as "Xantong", "Night View" and "Recalling the Past" recall the present and recall the past, singing a profound tribute to the decline of the Tang Dynasty. 's elegy. He also has some outstanding nostalgic poems, such as "Taicheng", "Jinling Map", "Shangyuan County", etc. In his tribute to the historical sites of the Southern Dynasty, he also embodies his lament for the social turmoil in the late Tang Dynasty, with a sad mood. . In addition, he also has some poems such as "Returning Home", "Homesickness Beyond the River", "Ancient Farewell", "Sentimental", etc., which reflect his situation and mood of wandering around for a long time, seeking officialdom and food. His landscape poems, such as "Inscribed on the Back Pavilion of Pandou Yishuiguan", "Climbing the Tower in Xianyang County to Watch the Rain", "Early Journey in Autumn", etc., are characterized by their sparse scenery and clear and graceful thoughts. He is good at modern poetry. The rhymed verses are round, steady, and resounding in tone, and the quatrains are rich and thought-provoking; while the clear words and idioms, emotive and melodious, are the unique style of modern poetry.
Wei Zhuang's representative work is the long narrative poem "Qin Women's Song". This poem is 1,666 words long, making it the longest existing Tang poem. Through the narration of a woman who escaped from Chang'an, the "Qin woman", the poem describes positively the Huang Chao uprising army's capture of Chang'an, proclaiming themselves emperor and founding the country, repeatedly fighting for Chang'an with the Tang army, and finally the city being besieged and starved of food. The ideological content is relatively complex. On the one hand, it "exposes" many of the so-called "atrocities" of the rebels. On the other hand, it objectively reflects the overwhelming prestige of the rebels and the confusion and corruption and incompetence of the ruling class; on the one hand, it exposes The crime of the Tang army in persecuting the people was revealed, and on the other hand, it was mixed with condemnation of their inability to "suppress thieves". It selects typical plots and scenes and uses narrative and layered techniques to reflect the complex contradictions of major historical events. It has a rigorous layout and clear context, marking the development of the narrative art of Chinese poetry. Wei Zhuang was known as "The Scholar of Qin Women Yin" for this poem. Due to some taboo, Wei Zhuang strictly prohibited his descendants from mentioning this poem in his later years, and it was not included in "Huanhua Collection", so it was lost for a long time.
Wei Zhuang is also a highly accomplished poet in the Huajian School, and is called Wen Wei together with Wen Tingyun. There is not much difference in the content of Wen's and Wei's poems. They are just about the love between a man and a woman, the sadness of separation and the lingering scenes. However, Wen's Ci is mainly lyrics for singers to sing, and the creative personality is not distinctive; while Wei's Ci focuses on the expression of the author's emotions, such as the five poems "Everyone Says Jiangnan is Good" in "Bodhisattva Man", which is based on Bai Juyi and Liu Yuxi's "Memories". The writing style of "Jiangnan" recalls the past travels in Jiangnan and Luoyang, and blends the feeling of wandering in life, the pain of separation and nostalgia for home, which is deeply emotional.
In terms of style, Wei's poems are not as rich and gorgeous as Wen's poems, but are good at using fresh and smooth white lines to express more sincere and deep feelings, such as "Huanxisha" "Every night lovesickness makes me miss more", "Nv Guanzi" "April" Seventeen", "Midnight Last Night", etc. Some of his poems were also influenced by folk poems, using straightforward and decisive language to express deep feelings or melancholy. For example, in "Spring Tour" in "Sidi Township", "I plan to marry you and live in peace for the rest of my life. Even if I am ruthlessly abandoned, I can't be ashamed." There is frustration in the frankness; in "Bodhisattva Man", "Now I recall the joy of Jiangnan." "When I see the flower branches here, I vow never to return", using the "oath" to live in a foreign land forever, it expresses the pain of homesickness in a deeper level. Chen Tingzhuo's "Baiyu Zhai Ci Hua" said that "Wei Duanji's poems seem to be straight but narrow, and seem to be expressive and melancholy, which are the most beautiful in the poems." All indicate this characteristic. Wang Guowei's "Human Ci" believes that Wei's Ci is higher than Wen's, and points out that "Duanji's Ci is more expressive than Feiqing's"; "Wen Feiqing's Ci is also beautiful in sentence. "Xiuye" also focuses on this point. However, there are some obscene language in Wei's poems, which is a shortcoming.
This collection and the research material "Shu□杌" record 20 volumes of Wei Zhuang's "Huanhua Collection". "Supplementary History of the Five Dynasties? Yiwenzhi" records 1 volume of "Weizhuang Jianbiao", 2 volumes of "Jiancao", 1 volume of "Shu Cheng Ji", 1 volume of "Xia Cheng Ji", 20 volumes of "Weizhuang Collection", "Huan" "Flower Collection" in 5 volumes and "Youxuan Collection" in 5 volumes. Today, only "Huanhua Collection" and "Youxuan Collection" of selected poems remain, and the rest are lost.
"Huanhua Collection" was compiled by Wei Zhuang's brother Wei Ai. The preface said that most of Wei Zhuang's works before the Gengzi Rebellion were lost; by the time of compilation, he had collected more than 1,000 works. head. However, there are only more than 200 poems left in "Huanhua Collection" today, which is less than a quarter of the original collection. This collection includes Zhu Chengjue's engraving during the Zhengde period of the Ming Dynasty (from which the "Sibu Congkan" was photocopied) and the Jigugue engraving in the late Ming Dynasty, both of which are composed of 10 volumes. They are divided roughly according to time and place, and the number of chapters in each volume is uneven. "Complete Poems of the Tang Dynasty" was slightly merged and compiled into five volumes with the same content. There is also a volume of "Supplement", which was probably added by later generations after the collection was compiled.
There is no special collection of Wei Zhuang's Ci. "Complete Poems of the Tang Dynasty" compiles 54 poems from "Huajian Collection", "Zunqian Collection", "Cottage Poems", etc. Liu Yupan compiled 1 volume of "Huanhua Ci" with 55 poems, which was published in "Sixty Types of Ci Collections by Famous Writers of Tang, Five Dynasties, Song, Liao, Jin and Yuan Dynasties".