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If you don't indicate the author of this poem, many people may not think that it was written by Yuan Hongdao.
Yuan Hongdao, the leader of the Public Security School in the late Ming Dynasty, wrote many collections of poems. In 1960s, after a comprehensive investigation, Mr. Qian Bocheng wrote Yuan Hongdao Ji Jian Corner, which is now in the world.
In the eyes of ordinary people, Yuan Hongdao is a noble and comfortable person. He traveled all his life, drank and enjoyed flowers, and was a celebrity. In literature, people also pay more attention to his creative theory of "expressing his spirit and not sticking to one pattern", his creative attitude of "keeping his word" (all the poems in brackets in the text are Yuan's works, the same below), and his fresh and handsome poetic style. However, this poem has nothing to do with the freedom, freshness and lightness of celebrities. It can be said that this poem reflects the true and often overlooked side of Yuan Hongdao from the aspects of thought, emotion and language style. Let's take a look at it.
First, poetic poetry
This poem, Yuan poem, was included in the Collection of Bottle Flowers Zhai before his death, and was written in the summer of the 27th year of Wanli (1599). It is listed as the second poem of the Xianling Palace Group. The word "city" with the words "city and mountain forest" belongs to the rhyme department of Four Poems of Shang Sheng. Because it is an ancient poem, the rhyme foot also has the words "eight poems of Shang Sheng" and "four truths of Qu Sheng". There are fourteen sentences in the whole poem, and the flow and expression of emotions can be roughly divided into three layers.
One to four sentences, "Wild flowers cover your eyes, wine tears", come suddenly at the beginning, and write your own emotions directly. There are flowers and wine, which seems to be in line with the author's consistent yearning. Should have been happy, but I got drunk in tears. Where did this abnormal performance come from? It turned out that the "new dynasty incident" made people "sad"; Not only did the deaf people's ears refuse to listen, but even the official newspapers of the imperial court were thrown into the paper basket, leaving them in smoke; The official robes of the imperial court were also pawned at the flower market. Compared with last winter, because he claimed to be a "savage wrapped in legal clothes for no reason", he was "lazy and not used to thinking" ("Idle? 9? Fourth, the mentality, mood and behavior of being an official now look much more agitated: from direct thinking to being disgusted. Seemingly alienated, in fact, that sentence is close to Du Fu's "where petals flow like tears". His reluctance to ask questions is actually due to his deep concern for North Korea, which is not so much disgust as disappointment. These four sentences are the first layer of the whole poem, written on the opposite side, expressing deep worries about state affairs. This poem presents us with the image of an official who cares about the country and the people.
As far as worrying about national affairs is concerned, the emotions to be expressed seem to have ended. However, the author was worried and resentful, so he made another move to continue to express his inner anger as a poet through this kind of meeting between friends. The fifth sentence is about "more than a thousand words a day", but the sixth sentence is deliberately exaggerated to "there is not a word in the poem that worries about the people." This huge gap and contrast in quantity completely violates Du Fu's tradition of "worrying about Li Yuan in poor years" and "paying tribute to Yao and Shun" since the Song and Ming Dynasties. In order to lead to the gap, the author wrongly criticized "others" and indicated that he was interested in mountains and rivers rather than secular people's livelihood by "pointing to mountains and green", but the ninth and tenth sentences told the truth, that is, the author was indignant ―― since Lao Du became famous for his poems, worrying about your patriotism became a child's play ":those poems that kept worrying about your patriotism, in" Literature must be in Qin and Han Dynasties, and poetry must flourish in Tang Dynasty "(". These two sentences are outspoken, and they are quite proud of Ji Kang and Ruan Ji in Wei and Jin Dynasties. In fact, Yuan Hongdao doesn't dislike being loyal to the monarch and patriotic. Mr. Lu Xun once pointed out that "Zhong Lang is a person who cares about the world and respects the spirit of the square towel". Before this poem, Yuan Hongdao also wrote some works that reflect the reality of worrying about the country and the people, such as "Send and Travel". It's not that there is no concern for the people. He just hates the pretentious "stereotype" of retro poetry and expresses his anger. In his own words, the six sentences of "evil is deep, so there is self-correction" ("Zhang Youyu") are the second level, which combines anxiety and indignation about national politics with contempt for poetic atmosphere and expresses cynicism as a poet. Compared with the first level, disappointment and anger towards reality are the same, but from different angles. From court officials to satirical poets, the emotions in the heart and the content of poems have been effectively expanded. The fictional pen also avoids the emotional diarrhea and increases the twists and turns. Qian's comment on Zhong Lang's "The front of the plane is on the side" can also be seen here.
So, the poet's "worry-free people" is just disdain for vulgarity? No, the most fundamental reason lies in the last four sentences, but in the inner helplessness and despair. The whole poem moves to the third level. "Words are silent, don't get drunk?" Useless, useless; Silence, silence is not good; Ruan family, refers to Ruan Ji, Jin Shu? 9? 9 "Biography of Ruan Ji" records that Ruan Ji was addicted to alcohol in order to avoid disaster and protect himself. The author borrowed Ruan Ji from here for his own situation, and Ruan Ji in his works was "intoxicated" because he could do nothing about reality. Indeed, Yuan Hongdao's binge drinking, on the one hand, has evasive factors-the poet went to Beijing for his post in the spring of 1598, and mentioned with his brother Yuan Zongdao that "Cao is cold in rank, but he is also cautious about the storm" ("Man Yan will meet his uncle at the beginning, telling recent events, occasionally"). Therefore, Yuan himself looked on coldly from the officialdom in Beijing, saying that "the profile changes at any time, and the crown is brought to see new things" ("I am in Zhai Zhong"). On the other hand, his alcoholism has more factors to numb himself-being an official in Beijing and seeing the absurdity of Wanli Dynasty. Yuan Hongdao clearly knows that admonition is naturally useless; However, there is no way to escape the sober understanding of the real crisis and the anxiety and depression caused by it. In order to avoid the "silence" caused by injustice, I have to anesthetize myself with "intoxication". His heavy drinking, of course, has the factor of avoiding disaster like Ruan Ji, but it is more to eliminate the depression of being unable to return to heaven in front of reality, and it is a helpless anesthesia to drown one's sorrows by drinking. At this point, the brushwork of the whole poem has changed from the "child's play"-like passion that just accused the loyal patriots to the helplessness and ups and downs of Ruan Ji, and the final outbreak is ready to go-just as Ruan Ji must have a poor way to vent his inner pain, Yuan Hongdao's angry state affairs cannot be avoided after all; The anxiety, helplessness and resentment in my heart can't be dispelled in the wine as if nothing had happened, and the repressed emotions finally broke out-"A cup of spring is thicker than eyes, tears are spilled in Luoyang!" "a cup of spring water", that is, a glass of wine; "Luoyang boy" refers to Jia Yi in the Western Han Dynasty, which is found in Hanshu? 9? At the same time, Jia Yi also left a famous allusion of "Jia Sheng cried". However, in my opinion, although Jia Yi was vilified by Zhou Bo and others, he finally got the way to be an official. Jia Sheng was in tears and worried about the country and the people. However, worrying about the country and the people is an "unattainable time" (Gu Shengbo's Taishi Biexu, written in April this year); Times are unbearable, making people think that "a hero who has lost his way is helpless" (biography of Xu Wenchang, written this spring), and even have to follow Ruan Ji's example, gulp it down and forget the reality. His own "tears" tears, in addition to anxiety, are more deep helplessness and despair, and his inner pain is far better than Jia Sheng's. At this point, the brushwork was "worried about the country", and the complex emotions in my heart finally broke out, reaching the climax of the whole poem, stopping abruptly and hitting people directly; It also echoes the whole poem, revealing the emotional essence of his various expressions and leaving a deep impression on people. These last four sentences are the third floor. It can be said that this level of perspective is not only a poet, but also an official scholar-bureaucrat who cares about current affairs. The most fundamental thing is a painful and powerless sober person.
Throughout the poem, emotionally, all kinds of true feelings are intertwined with disappointment in state affairs, anxiety as a court official, anger as a poet, helplessness and sadness as a sober person. In terms of writing style, the brushwork is ancient and modern, ups and downs, and allusions are used. Style is sad, depressed, ups and downs. The other three poems of Xianlinggong Group also have the method of "leaning out in front of the machine", but in style, they are all superficial, and the fourth poem is even rash. Compared with them, the painful words and gloomy spirit of this poem are abrupt, unique and eye-catching, which makes people wonder: what makes the author of this poem so rude and so angry and painful?
Second, poetic ability.
Exploring the ability to trigger poetry creation is helpful to better understand the whole poem. What "North Korea Affairs" makes Yuan Hongdao, who has always been cheerful, so worried and angry? Qian's notes mentioned "four issues of tax supervision" and "quoting from other sources". However, in the summer of 1599. The victory of the battle to conquer Japan from the East was declared.
In this world, things have been solved. A careful study of Yuan's related poems in this period reveals that what this poem is worried about is the "four issues of tax supervision" noted by Qian, that is, the notorious drawback in the history of Ming Dynasty-"difficulty in collecting taxes". It can be said that Yuan Zhonglang has been worried about this malpractice for a long time, and he is quite concerned about it. Finally, he has made progress in this poem, because Yuan deeply realized that the root of the malpractice lies in the emperor himself. Therefore, the emotion is intense but the expression is obscure (the third poem of the Epiphany Palace criticizes the courtiers for being too harsh in financial management, and the content and style are obviously simple and straightforward).
The history of mining tax difficulties is quite detailed. Emperor Wanli was "lazy in politics" but "brave in collecting money". In the twenty-fourth year of Wanli, in order to increase the revenue of the court treasury directly controlled by himself, in addition to government taxes, the emperor also directly sent eunuchs as local mine supervisors and tax supervisors in the form of "mining tax proposal". These eunuchs, relying on the support of the emperor, extorted money, pocketed their own money and robbed local officials. It never rains but it pours. The records in volumes 8 1 and 237 of Ming History are vivid. At the end of volume 237, he directly commented: "? 1? 7 Let the four countries go out, the poison will flow into the sea, and the people will not be able to live ... The death of Mingfang will be decided. " Undoubtedly, this perverse behavior, which is directly related to the national economy and people's livelihood, will inevitably lead to the "silence" of people of insight, but it is ineffective. Volume 305 of the History of the Ming Dynasty records: "I love the tax supervisor, and since the college students Zhao and Shen came down, I have been admonished by the courtiers for more than a hundred times, and I have never reported him to sleep. However, the tax inspectors have been corrected and disintegrated, and they have to go up and down, which has aggravated the task. " This really makes people feel "speechless".
Now let's look at Yuan Hongdao's poems and letters about the difficulty of mining tax.
Yuan Hongdao once recalled that "I ordered Wu to go" and "the mine tax is difficult to pay." (Preface to Sending Yuci Order to Zhang Jianxu) From the 23rd year of Wanli to the end of the 2nd year, he served as Wu Order. It was difficult to start mining tax during this period, so Yuan Hongdao still didn't know enough about it. In the 26th year of Wanli, urged by his father and brother, Yuan Hongdao ended his wandering in the southeast and became an official again. At this time, the difficulty of mining tax is obvious. On the way to Beijing, he wrote a poem "A Fierce Tiger Walks", denouncing that "the beetle is too peaceful to search the empty mountain. The board pawn is attached to the middle school official and clustered like a bee. The governor dared not ask, and the counties were reprimanded. The mallet plunders the people, and thousands of miles of drought and sand are red ... Three rivers and two Zhejiang provinces are exhausting their bone marrow. " Borrowing the old topic of Yuefu, the rampant taxes make the mine supervisor compare to a man-eating tiger and a "beetle", which directly illustrates the harm of their looting. These poems are written directly and read in contrast to Ming History.
After entering Beijing, although Yuan Hongdao told his brother to be "careful about the storm", he was rampant under the situation that the emperor supervised the mining tax, and he could not restrain his resentment. 1599 in Zhang's performance appraisal preface, he paraphrased his uncle's words that "foreign officials have been attacked 160 times recently" and attacked: "China officials and envoys stationed in mines can do what they want; And its theory and performance can be done by officials. " In the spring of the same year, Yuan Hongdao also pointed out in the Preface to Sending King Jingzhao as the Foreign Minister of the Ministry of Punishment that among the prisoners in the Ministry of Punishment, "the middle officials have the possibility of Luo Zhi ... the tiger of today, who is crowned, the captors of counties and cities, are at a loss." He was saddened, and officials, ministers with nine grades, prime ministers, ministers and Qi of the Ministry of Rites could not fight for it, because "the stronger the opponent, the stronger the supporters"-this "supporter" actually vaguely pointed to Emperor Wanli himself, who was appointed as the supervisor of the country in order to collect money. In this case, I have high hopes for Jing Zhao, an old colleague of Yuan Wailang, a newly appointed criminal department: don't go against the original intention of the official and hide the word "hey" (by the way, "hey" means "silence"). From these two articles, we can understand how much the author attaches importance to the harm caused by the difficulty of mining tax, and why the author has a deep feeling of "unspeakable". We can also understand that his "swallowing tears" transcends Ruan Ji's disaster avoidance and Jia Sheng's concern for the country.
In February of the 27th year of Wanli, Ming History (Volume 8 1) was listed impressively, and eunuch Chen Feng was ordered to go to Jingzhou, Hubei Province to pay taxes. In April, a rebellion to expel tax inspectors occurred in Linqing, Shandong Province, killing more than 30 people. Defending Wang Yang was falsely arrested in Beijing and copied to the ruling and opposition parties. Taking this as a lesson, Yuan Hongdao expressed deep concern in his reply to Shen Chaohuan, Ren Jingguan's good friend: Jingzhou, the hometown of "exhausted residents and lonely shops", was the time when "Jing people recovered and the tiger with long wings came". Qiong Qi's belly, why bother? With dying diseases and poison, how can the Jing people have lives! "He further pointed out:" Chu people are fierce and like chaos, but now they are excited. The world is a big trouble. So, I sighed: "If current events are like this, what is enough?" "Although the river is a tear, I am afraid it is not enough for Jia Sheng to cry." (Reply to Shen Bo's letter) In this letter, Yuan Hongdao, combining current events and folk customs, foresaw that there would be chaos and hardship in the people's livelihood of the country, comparable to Jia Sheng, a "Luoyang teenager". Judging from the prophetic language of this letter, it is just around the writing time of this poem. Sure enough, Chen Feng arrived in Hubei, which led to the expulsion of businessmen from Jingzhou, Shashi and Huangzhou, but falsely accused local officials of refusing to pay taxes. In August, "in order to support the eunuch's rampage in mining tax, Zongshen stopped patrolling, demoted two officials, detained one official and experienced one", which eventually led to the riots in Wuchang and Hanyang in the same year1February.
Therefore, combining the historical events of this poem creation with Yuan Hongdao's poems, we can draw a conclusion that the "new dynasty event" that triggered this poem creation was a major drawback directly related to people's livelihood in the late Ming Dynasty-the difficulty of mining tax. This kind of malpractice makes the author unable to forget the world. The carefree landscape poems in the past aroused the author's inner feelings, and the anxiety and anger were better than those of the ancients, which also made the poems full of emotion, unique and remarkable. Knowing this, we can better understand and appreciate the profound emotional connotation, tortuous brushwork and gloomy and ups-and-downs style of the whole poem. On this basis, we can fully grasp Yuan Hongdao's ideological character, poetic connotation and artistic style.