Is it Chinese language and literature? The explanation above is very clear
Gong style poetry is the palace poetry, or the erotic poetry centered on the palace. It is a historical term , so strictly speaking, palace style poetry should refer to the erotic poetry centered on the Eastern Palace when Emperor Jianwen of Liang was the crown prince, and several palaces such as Empress Chen, Emperor Yang of the Sui Dynasty, and Emperor Taizong of the Tang Dynasty. We should remember that the period between Emperor Jianwen of Liang Dynasty when he was the crown prince and Emperor Taizong of Tang Dynasty banquet was the period between Xie Zao's death and Chen Zi'ang's birth. There was not a single first-rate poet during this period. It was a period that was highly praised for its invention of rhythm and the rise of criticism, but when it came to poetry itself, it was criticized. It is not a sin not to have a first-rate poet, or even to have any poet at all. That's just a negative shortcoming. But an active sin was committed during this period. It is not a blank, but a stain, just because they created some palace poems like the following:
The long banquet is not the same, and the guests are so delicate that it is difficult to force them. He returned the cup and ignored it, turning around to change his face. (Gao Shuang's "Ode to the Wine Drinker")
No one in the crowd laughs, and no one in the audience flirts with each other. (Deng Jian's "Fenghe Listening to Prostitutes at Night").
The attitude of the guests reflected here represents their entire atmosphere inside and outside the palace. There is lust in the corner of everyone's eyes:
The guests only pay attention and do not see what is going on. (Bao Quan's "Reward to Liu Changshi and Praise for Famous Scholars")
Everyone has a ghost in his heart:
The spring breeze has its own meaning, and the fragrance is also found in secret places. (Li Yifu's "Tang Ci")
This is true for concubines and prostitutes, and it is also true for one's own married wife (Liu Xiaowei's "Junxian Yu Jian Renzhi You led you to give your wife" is an example). So getting a wife became an advocate. Xu Qiu could write a poem like "Ode to the Peach Tree in Front of the House as a Gift in Good Time", why couldn't his wife Liu Lingxian write a poem "Guangzhai Temple" to surpass him? Everyone simply revealed it:
Knowing the king is also a prodigal son, and a humble concubine raises her own family. (Wu Jun's "Thinking about Drums and Music")
Because maybe she knows what her own secret is.
Knowing what you love, you go to and from the palace of Qin. Who said that even Qu Yin was not as good as Mo Aotong? (Eighteen rhymes of Emperor Jian Wen's "Yange Pian")
Emperor Jian Wen was not surprised by this, maybe this was just satisfactory news for him. There is no end to the depravity. It is often a very short distance from one perversion to another, so now there are works like Emperor Jian Wen's "Tong Molui", Wu Jun's "Ode to Young People", Liu Xiaochuo's "Ode to Children Picking Lotus", Liu Zun's "Prosperous Ying Ling", and Works such as Lu Jue's "Song of the Concubine of the King of Zhongshan" are not surprising. Another type of perversion is seeking satisfaction through things instead of people. Then the embroidered collar, [white clothing] belly, shoes, pillows, mats, bedding... all took on life and became defiled. By extension, even Deng Zhu, Yu Jie, and Liang Chen all enthusiastically helped them focus their thoughts on that absurd focus. Needless to say, organic creatures such as flowers, grass, warblers, and butterflies were all lovely sympathizers.
Luo Jian has already broken the mandarin duck quilt, and his beautiful clothes have grape belts. The remaining red and pink curtains are reflected in the curtains, and butterflies and orioles gather outside the window. (Shangguanyi's "Eight Ode to Yingzhi")
Looking at the above situation, we really have to wonder whether it is poetry or seeking satisfaction in a disguised shamelessness. How can you hope for good poetry under those circumstances! So often it's a set of faded clichés, and the poem itself doesn't make a deeper impression than the title. In fact, sometimes they really don't seem to be composing poetry, but just making up topics. These are all the results of bleak management: "Ying a man who hires a concubine, but still pursues the heart of the piano" (Fu Zhizhi), "Giving a husband to a woman in a cold bed" (Wang Zhou), especially the latter case, are full of "boudoir love", "Autumn Thoughts" ", "Send far away" and other titles are available, but the author insists on marking these five words. I don't know what his intention is. If the ambiguous topics such as "ancient meaning" and "ancient imitation" commonly used by early authors were a way to hide their shame, then these people now have no shame at all! I don’t know if this can be regarded as a kind of nakedness mania for words, starting from the awareness of the words, from the words to the title, and gradually becoming clear. Anyway, the "poetry" praising the facts has become an appendage of the "title" indicating the category of events. This trend is very close to the first-class works such as "Youxian Cave", which mainly used narrative writing and supplemented it with poetry. The form is very close, but the content is so far away? "Youxian Cave" is the inevitable end of palace style poetry.
I have to add that Gong-style poetry lost an opportunity for renewal midway through. This palace-style poem, which is dedicated to writing words in the indulgence of obscenity, was originally the product of the aging and anemic court life of the Southern Dynasties. Only the heat and power of the emerging nations in the north could save it. Therefore, we cannot help but be thankful that Yu Xin and others entered the Zhou Dynasty and were retained, because only in this way can palace poetry be more firmly transplanted in the north and obtain the nutrients it needs. Sure enough, Yu Xin's "Crying in the Night" and "Spring Farewell Poems" after being left behind were much more colorful than the similar works he had written in his hometown. The second and third generations after transplantation should not be a problem. Unexpectedly, those northerners were just as fragile as the southerners. They couldn't resist the temptation of the beautiful poison in the south, and they immediately succumbed again. Except for three or two poems by Xue Daoheng such as "Xi Xi Salt", "People Think of Returning Every Day", and Emperor Sui Yang's "Spring River Flowers and Moonlight Night", they did not show any resistance. In his later years, Emperor Yang was considered to be enthusiastically loyal to southern culture. The literary and artistic Tang Taizong was unexpectedly even more enthusiastic than Emperor Yang. So Yu Xin's journey to the north was completely in vain. In the early Tang Dynasty, palace style poetry was still the boneless and heartless palace style poetry of Emperor Jian Wen's time.
The only difference is that now the words are more detailed, the tone is more fluent, and the overall appearance is more well-behaved and softer. It is not correct to say that the content of imperial poetry in the early Tang Dynasty was exactly the same as that of Emperor Jian Wen. Because apart from bringing out the word "zombie", they didn't say anything else in the poem. This makes people suspect that people have lost the mood to actively commit crimes in this life. Perhaps it was just the experimentation of words and tones that gave them some interest in writing this kind of poetry (words, tones and palace style have an innate and historical connection). Palace poetry can be said to be an involuntary and hypocritical existence at that time. It turns out that from Yu Shinan to Shangguan Yi, even the sincerity has fallen away. This is really what is called "sluggishness"!
But the fall has finally come to an end, and a turning point has come.
In the suffocating haze, surrounded by the faint humming of insects, empty and tired, suddenly there was a thunderbolt, followed by a violent storm! The insect chants were no longer heard, and this was how Lu Zhaolin's "Ancient Meanings of Chang'an" appeared. The success of this poem at that time was not accidental. Letting go of his rough and rich voice, he started like this:
Chang'an Avenue is narrow and sloping, with green oxen, white horses and seven-scented carriages. Jade chariots crossed the main hall, and golden whips came to the Hou family! The dragon holds a treasure in its head to carry the morning sun, and the phoenix spits out tassels to carry the sunset. Hundreds of feet of hairsprings compete around the tree, and a flock of delicate birds sing. ......
This lively rhythm is enough to make people feel as happy as waking up from a big dream. Then clouds of chariots and riders, carrying various characters in Chang'an, appeared in panorama-like scenes, passing through the "weak willows and green pagoda trees" of "five dramas and three lines" to "sex the prostitutes' houses with peach and plum blossoms". It is true that this is not a beautiful scene. But there is trembling in this madness, and there is spirituality in depravity:
Why should I die if I can achieve my goal? I would like to be a mandarin duck and not envy the immortals.
Compared with the shamelessness of the past, which was just pathological:
Looking at each other and looking at your breath, who can be shy and refuse to go forward! (Emperor Jian Wen's "Wulouqu")
What kind of courage is this now! This really has the power to revive the weak emotions of people at that time. Finally:
Severe things and do not treat others with beauty, the mulberry fields and blue seas will change in a moment. In the past, there was a white jade hall with golden steps, but now only the green pines can be seen!
There seems to be a suspicion of "advising hundreds of people to ridicule one person". By the way, irony, irony is mentioned in palace poetry, what a strange piece of news! I almost want to ask whether "Chang'an Ancient Meaning" can be regarded as a palace style poem? In the past, the imperial poetry we knew was the confession of the author's own subconsciousness from the emperors and ministers of the Xiao family down. Those authors were only in the poem, but this time Lu Zhaolin was both in the poem and outside the poem, so he can make everyone Use a sober onlooker self to give another self a warning. How far apart are these two attitudes!
Lonely and lonely, Yang Ziju lives with a bed of books year after year. There are unique osmanthus blossoms in Nanshan, flying around and attacking people's trains.
The last four sentences of this article are a bit abrupt, not only unreasonable in terms of the structure of the poem, but also speaking like this, it also reveals the intolerance of one's own attitude, so it seems to be counterproductive in this article. But for the sober aspects of human nature, these four sentences can be regarded as a guarantee and comfort. A little artistic failure does not hinder the ideological success of "Chang'an Ancient Meanings". He is an unprecedented change in palace poetry. One hand held the aging decadent and taught him how to return to healthy desires; the other hand pointed out to him the disillusionment of desire. In this poem, good and evil are both positive, so they seem to be opposites and complement each other. I dare say that the evil aspects of "Chang'an Ancient Meanings" are more useful than the good aspects. Don't ask how Lu Zhaolin succeeded, just look at how Yu Xin failed. Desire itself is not a bad thing. If it goes astray, only channeling can save it. Blockage is ineffective. Yu Xin's attitude towards palace style poetry was to correct it blindly. He seemed to want to replace palace style with non-gong style. On the contrary, Lu Zhaolin only wanted to save palace-style poetry with more powerful palace-style poetry. What he was fighting for was whether it was powerful or not, not whether palace-style poetry or not. Even if you say that his method is to fight fire with fire, he will win anyway. Isn’t the effective method the right method?
Contradiction is human nature, and poets do not have to be responsible for their own actions when writing poems. It turns out that "Year after year, a bed book" in "Chang'an Ancient Meaning" is just a poem. Even if it was true when the poem was written, the situation would have completely changed probably not long after, and King Luo Bin's "The Love of Guo Family Replies to Lu Zhaolin" It's ironclad evidence. The story goes like this: Zhaolin had a mistress named Guo in Sichuan. When she was pregnant, Zhaolin had to go back to Luoyang for business. Before leaving, they met and they came back soon to officially get married. Unexpectedly, he left for two years and never returned, and there was a new person in Sanchuan. At this time, she could not find any news from him, and the child was lost. "There is no one left in the world for five miles, and who can continue the three heartbreaking sounds?" Apart from King Luo Bin sending a poem to redress her grievances, what other more suitable ending could this tragedy have? A legendary story that is inherently sad and beautiful. It is a pity that King Luo Bin did not catch up with the era of Jiang Fang and Li Gongzuo. What I mean is that the story is most suitable for a novel, and the author has only one poetic form at his disposal. This experiment is not impossible, but he has forgotten the typical example of "The Peacock Flies Southeast". With a pen that makes judgments (this is his specialty), he can only draft a letter in rhyme. However, it is an experiment and deserves admiration. Isn't King Luo Bin's failure more valuable than Li Baiyao's success? At least he helped pave the way for "Qin Fu Yin".
This is based on the saying that "a handful of soil is not yet dry, how can a six-foot-long solitude be supported", which teaches the first heroic female scribe in history. , murderous revenge, revolution, helping the infatuated woman defeat the betrayed man, are all his fault.
"The Female Taoist Priest Wang Lingfei Presents a Gift to Taoist Priest Li Rong" does not tell a specific story, but we can guess half of it. Isn't it a dispute like the case of Lu and Guo? Li Rong is a talented Taoist priest. (See "Old Book of Tang: Biography of Confucian Luo Daocong". Lu Zhaolin also wrote a poem for him.) The story still happened in Shu. Li Rong went to Chang'an and did not come back for a long time. Concubine Wang Ling was anxious, and it was time for King Luo Bin to send a message to him. Driving. But this time the letter was written more like a poem. The reason for this is not that -
Plum blossoms are like snow and willows are like silk, and they can't hold themselves back year after year. When I first said goodbye to the cold, I will think more about it when spring comes.
It is a kind of sonorous sentence, but there is a thriving emotion in the melody that is continuous and lingering. The success of "The Female Taoist Priest Wang Lingfei Presents a Gift to the Taoist Priest Li Rong" is second only to "The Ancient Meanings of Chang'an".
Like Lu Zhaolin, much of Luo Binwang’s success is due to his length. ——The works of the two mentioned by Bu Wen are all Yungang statues in Guan Xiu's poems, and King Bin is particularly fond of becoming a big man (this can be seen in his "Emperor Jing Pian" and "Chou Xi Pian", which are poems composed of poems). certificate). From the five-character and four-sentence "Since the King came out" to the eloquent and huge piece by Lu and Luo, this is also a drastic change in palace style poetry. Just the length, nothing more. The important thing is that there is a lot of accumulated strength behind it. This power, which the predecessors called "momentum", is actually emotion. There are real feelings, so the arrival of Lu and Luo can revive people's hearts that have been paralyzed for more than a hundred years. There is emotion, so the works of Lu and Luo, as Du Fu predicted, "will not waste the eternal flow of rivers."
No storm lasts forever. As expected, it becomes too much for us if it lasts, so we need to stop it in moderation. Because, after all, it is just a means, a means to break depression and irritability; it is also just a process, the process of achieving sunny days after rain. The effect of means is time-limited, and the process should not take too long. Therefore, we were lucky enough to meet Lu and Luo in the field of palace poetry, but we were also very willing to leave them as soon as possible - for the best. Meet Liu Xiyi.
My beauty has been envied by people since ancient times, how can we see each other from afar today? I am willing to wear a thin waist, and I am willing to separate my charming face for a bright mirror. ("Gongzi Xing")
This is not a very luxurious rhetoric, and it is not the highest attainment in Liu Xiyi; but in palace poetry, we have never heard such infatuated words. We also know that his sources are "Poems in Tongsheng" and "Xianqing Fu". But we must remember that this kind of borrowing inspiration from the Han and Jin people beyond the Qi and Liang Dynasties has rarely been done in palace poetry in the past hundred years!
I have a blind date with you, and I live together with you. I wish to be a pure pine for thousands of years, but who cares about the freshness of the hibiscus! For hundreds of years, we have celebrated the same day on the west mountain, and the dust of the north has passed through the ages. ("Gongzi Xing")
This, together with its predecessor - Yang Fang's "Poetry of Hehuan", is just normal. In healthy love, extremely ordinary and natural longing, who knows that in the palace It has also become an incredible and rare treasure in style poetry. Returning to normalcy is indeed an important characteristic of Liu Xiyi. This was already seen when Sun Yi compiled Liu Xiyi at the beginning of the volume of "Zhengsheng Collection". Look at him even if he is so sad and beautiful like this:
When he is self-pitying and charming, and makes up to look alone. Sadness accompanies willows, and spring is as chaotic as silk. ("A Spring Girl's Journey")
Carrying a cage and sighing, I fall in love with the spring scenery. Looking at the flowers makes you feel affectionate, but leaning against the tree makes you feel helpless. Thoughts linger in the dusk, making you wander the streets south of the country. We met but didn't know each other, and went back to dream of the brothel. ("The Evening of Picking Mulberry"
There is never a time when things don't return to normal. The return of emotions to normal state is another important stage of palace poetry. Only in this way, the irritability and tension disappeared, leaving only a crystal quiet. It is at this moment that lovers become poets, realizing the harmony of all things and the mysterious and irresistible beauty of every water, stone, plant and tree, and they can't help but cry out as if they were traumatized:
Poor willow sad tree! Poor peach and plum heartbroken flower! ("Gongzi Xing")
But just when they were calling "sad tree" and "heartbroken flower", he had already understood what metaphysicians call "eternity" from the temporary nature of beauty - a The most ethereal yet the most real; a surprising and terrifying existence. Everything becomes small in front of it, everything is gone. Naturally, they know the supreme wisdom, and at that moment of enlightenment, the lovers become philosophers:
Whose family will fall after the peach and plum blossoms in the east of Luoyang City fly around? The daughter of Luoyang is so beautiful. She sighs when she sees the flowers falling: This year the flowers have fallen, but the color will change. Who will be there next year when the flowers bloom again? ...The ancients never recovered the beauty of Luochengdong, but today's people still love the wind of falling flowers. The flowers are similar every year, but the people are different every year. ("The White-headed Man")
It is said that when Liu Xiyi recited the second sentence of "The flowers will fall this year...", he was surprised and recited "Every year, every year..." Second sentence, another surprise. Later, Song Zhiwen saw the poem and insisted on giving it to him. The poet refused, so Song Zhiwen crushed him to death with a soil bag. So the prophecy of the poem came true. The person who made up the story naturally meant that Liu Xiyi had leaked the secret and deserved to be punished by heaven. This is Chinese-style literary criticism, timeless and correct. We cannot and do not need to change it even a little bit in a thousand years. However, we can explain it in modern terms. The so-called person who reveals the secrets of heaven is the person who has realized the consciousness of the universe. From the dung beetle-like palace poetry to the solemn cosmic consciousness, this is too far, too amazing! At this time, Liu Xiyi had actually taken half a step closer to Zhang Ruoxu, and was not far from the top.
If Liu Xiyi is the quiet and refreshing dusk after the violent storm of Lu and Luo, Zhang Ruoxu is the quieter and more cheerful moonlit night after the storm. "Moonlight Night on Spring River" needs no introduction, but we can't help but talk about it. From the perspective of the development of palace-style poetry, this poem is particularly worthy of discussion.
The spring river tide reaches the sea level, and the bright moon on the sea rises with the tide. The ripples follow the waves for thousands of miles, but there is no moon on the spring river! The river flows round and round the meadow, and the moonlight shines on the flowers and forests like snowflakes. Frost flies in the sky without notice, and the white sand on the terrace cannot be seen.
In front of this kind of poetry, all praise is chatty, almost blasphemous. The readers themselves know how far it exceeds all palace poetry. I think the following sentences need a little explanation:
...Who by the river saw the moon for the first time? When did Jiang Yue shine on people? Life is endless from generation to generation, but the river and the moon are only similar year after year. I don’t know who Jiang Yue is waiting for, but I see the Yangtze River sending water!
An even more amazing cosmic consciousness! A deeper, more sweeping and tranquil realm! In front of the magical eternity, the author has only astonishment, no longing, and no sadness. In the past, when Lu Zhaolin pointed out that "the white jade hall with golden steps in the past can only be seen with green pines now", or when Han Shanzi, another poet of the early Tang Dynasty, even more poignantly recited "it may not be like this, hibiscus cannot withstand the cold", those were all standing. Beside the main body, overlooking reality. I thought that attitude was too cold, too arrogant, or, if you like, a little bit pretentious. In the opposite direction, Liu Xiyi stared at the futility of "following the limitless" and lamented it in vain. That would be too dispirited and cowardly. Only Zhang Ruoxu's attitude is neither arrogant nor humble, and the purest one is blending and changing. "Limited" and "infinite", "sentimental" and "ruthless" - the poet and "eternity" suddenly met and hit it off, so they started talking - - "Who first saw the moon by the river? When did the moon on the river shine on people for the first time?... The moon on the river looks similar every year, but who does it look like?" For each question, he seemed to get a more mysterious answer. With Yuanmo's smile, he became more confused, but also satisfied. So he confided his secret to the silent counterpart:
The white clouds are gone leisurely, and there is no sorrow on Qingfeng Pu.
Because he thought of her, the "Li Ren" beside the "makeup mirror". He clearly heard her sigh:
At this moment, we are looking at each other but not hearing each other, I wish the moonlight would shine on you!
He said that he regretted very much. How long will this wandering life last?
Last night I dreamed of falling flowers in the pond, and it was a pity that I didn’t return home in the middle of spring. The spring water in the river is gone, and the moon has set in the west again!
In his daze, he suddenly remembered that he was not the only one wandering around, and that perhaps other people had no choice but to do nothing about this clear scene?
The slanting moon hides the sea fog, and the Jieshi Xiaoxiang road is endless. I don’t know that mortals will return by the moon, but the falling moon shakes the trees all over the river with love!
Here is a mysterious and cordial conversation, like a dream, with strong cosmic consciousness, pure love sublimated by cosmic consciousness, and compassion radiated by love. This is what the poem says. Poetry, peak upon peak. Looking back from here, even Liu Xiyi is a process, not to mention Lu Zhaolin and his supporting role, Luo Binwang, are a process. As for the darkest sins left behind by the courts of the Liang, Chen, Sui and Tang dynasties over the past hundred years, wouldn't a palace-style poem like "Spring River Flower Moonlight Night" cleanse them away? Going forward, he atones for the sins of a hundred years for palace-style poetry. Therefore, going back, he divides the work and cooperates with another peak, Chen Ziang, to clear the way to the prosperous Tang Dynasty. Zhang Ruoxu's achievements are impossible to estimate.