Yuan Haowen was the most important poet in Jin Dynasty and an outstanding poetry theorist. He has more than 1,400 poems. His works are second to none in the Jin Dynasty and his achievements are the most outstanding. Yuan Haowen lived in the turbulent era at the end of the Jin Dynasty and experienced the pain of national subjugation. His personal experience is closely related to the fate of the nation and the country. His poems vividly show the historical picture at the turn of the Jin and Yuan Dynasties. In art, Yuan Haowen inherited the excellent tradition of China's classical poetry in an all-round way, and skillfully mastered the artistic forms of various poetic styles. Times and personal conditions made him a great poet in the Jin Dynasty.
He emphasized the ideological nature of poetry. Yuan Haowen advocated that poetry should reflect social reality, and opposed the poet's thinking in vain while hiding in his study.
The artistic style of Yuan Haowen's poems: Yuan Haowen's most touching works are his mourning poems after Jin's death. These mourning poems are full of blood and tears, which are extremely desolate, depressed and sad, thus forming a unique style with sad artistic conception and powerful strength.
Yuan Haowen's poetry creation inherited the realistic tradition in China's classical poetry, and achieved the best of the seven laws. Among the existing 1360 poems, many of them are cynical, gloomy and magnificent, which profoundly reflect the social contradictions and people's difficulties and chaos during the Jin and Yuan Dynasties.
Yuan Haowen's poems are superior to those before and after the death of Jin Dynasty in terms of ideological value and artistic achievements. "The unfortunate poets of the country are lucky. They have been endowed with vicissitudes." (Zhao Yi's Collection of Mountain Monuments) Stimulated by these great changes, such as the destruction of the country and the capture by the enemy, the poet wrote a series of vigorous and tragic poems about discipline and disorder (Hao Jing's Epitaph of Mr. Yishan) with his artistic endowment of "holding the spirit of seclusion and looking up to life".
One of the characteristics of Yuan Haowen's Ji Luanshi is that he does not blindly lament the reality of the country's demise and people's suffering, but expresses his tragic and generous feelings in a broad artistic conception. For example, when the Mongols besieged Bianjing City, they wrote "Five Poems of Renchen Driving East after taking office in December" (the second poem):
Infiltrate the dragon and snake to fight and go straight to the end of life. The plateau water turns into mountains and rivers, and the battlefield wind comes to vegetation. Jingwei filled the sea with resentment, Bao Yong cried Qin Ting without tears. Bing hero knows who is there and doesn't plan to divide his troops and go to Jingxing.
The poet is deeply saddened by the great disaster brought by the war and the critical situation of the country, but there is still a generous and heroic atmosphere between the lines. This kind of work is quite common in Yuan Haowen's poems, such as "The North Wind Hunting Sorrow, Wei Shui Fei Fei Fighting Cold Bone" (the third of Qiyang's three poems) and "The purple gas has sunk, and the white clouds look forward to the autumn of the emperor" (one of the two poems about Weizhou's feelings). They all expressed their deep sorrow and great pain with heroic brushstrokes. Sad emotions and vigorous bones are Yuan Haowen's unique poetic style.
Another feature of Yuan Haowen's Ji Luanshi is his profound historical insight. He often combines his sympathy for reality with his critical consciousness of history, thus increasing the ideological depth of his poems. Such as "April 29th Guisi left Beijing":
At the beginning of the Great Wall, I donated banquets and money. Nanmu was already in full swing at that time. All I know is that this is a real joke. Who said China would be Lu Chen? When the crane comes, it should have something to say. When people leave, it doesn't matter. Who knows god's will, stay in Qingcheng to study ancient and modern times.
This was written by the poet Tian Xing in the second year (1233) when he was escorted out of Beijing by Mongolia. At that time, Jin people broke the Song Dynasty, captured Song Hui and Qin Huang, and were surrendered by Song people in Qingcheng. Now that the Mongolian army has broken the gold, it has also been surrendered by the Jin people in Qingcheng, and the historical tragedy has been repeated in the same place. In the grief and indignation of the country's collapse, the poet made a profound examination of the historical lessons of the country's lax military equipment and its collapse. Others, such as "Leaving the Capital" and "Qiyang Trilogy", also express the poet's rational thinking on the reasons for the demise of the Jin Dynasty.
Yuan Haowen is good at all kinds of poetic styles, especially the achievements of the seven laws. His seven laws are deeply influenced by Du Fu, with profound skill and gloomy artistic conception. His "Seven Ancient Stories" are often magnificent, with magnificent images, but there is no disease of rudeness. Poems such as "Jin Yongting, Kings Traveling Together" and "Visiting Huangshan Mountain" reflect this feature. Even in Liaocheng, Nanguanxing is still vigorous, and the second half is full of strange and luxurious imagination. His five-character poems are muddy and implicit, such as the two lines in Ying Bie in the Five Dynasties, "The cold wave is faint, leisurely down", which blends with my things and the image is plain and meaningful, reflecting another style of Yuan poetry.
Yuan Haowen was also the most outstanding poet in the Jin Dynasty. There are more than 300 existing words, the number of which is the highest in the Jin Dynasty, and their artistic attainments are also outstanding. His style is similar to his poetic style: the weather is magnificent and the realm is magnificent. Three stops of Magnolia Slow Tour and Sanmenxia in Fu Tou are his representative works. There are beautiful and profound works in Yuan Ci, such as two famous works "Fishing" praising Shuangmi and Qiu Yan, which describe the double love between man and goose respectively, with intensive techniques and profound feelings. Therefore, at the end of the Song Dynasty, Zhang Yan praised Yuan Haowen's words as "deeper than using things, longer than refining sentences, having a romantic place, and not reducing Zhou Qin" (Volume II of Etymology).
Yuan Haowen also occupies an important position in the history of ancient literary criticism. His poetics focuses on some quatrains and prefaces. His Thirty Poems comprehensively commented on the important poets and poetic schools from Han Wei to Song Dynasty for more than 1000 years, and expressed the poetic proposition of attaching importance to natural artistic conception and heroic and magnificent style, which has always been valued by later poetic theorists. It is worth noting that his quatrains are also beautiful poems, such as the second and seventh poems:
Cao Liu is a roaring tiger, with no horns in the four seas and two males. Unfortunately, Liu Yueshi did not teach in Zhi Heng Jian 'an Middle School. Generous songs are never passed on, but a song in the vault is natural. Zhongzhou is heroic through the ages, and also went to Yinshan Chilechuan.
It is one of the most artistic works of all ages. After the death of the Jin Dynasty, Yuan Haowen compiled ten volumes of Zhongzhou Collection with one volume of Zhongzhou Yuefu in order to preserve the documents of the Jin Dynasty. The book contains 2026 poems of 25 1 poets in the Jin Dynasty, each of whom has a biography, or narrates his life story, or comments on his poems, in order to preserve history with poems. The Collection of Zhongzhou is not only of great documentary value in the history of literature, but also a precious historical material in the Jin Dynasty and an important part of Yuan Haowen's literary achievements in his life.