Appreciation of China's Tang Poetry and Song Poetry 1 Zhegutian
The maple falls into the river beam (1), the wild water falls in autumn, and the rotten grass (2) meets the suburban hills. Drunk sleep at the small pier, Huangmaodian, and dream of leaning on the Hongye Building in Gaocheng. The sky is limited, and the road is limited. ⑦ Zheng and ⑦ Fan Song, etc. Baqiao willow hates every year, and flowers are full of sorrow.
To annotate ...
① He Liang (hé liáng): refers to the farewell place. The third old title of Li Ling's "With Su Wu" in Han Dynasty: "Hand in hand on the Jiangliang, and heaven remains our neighbourhood." ..... It is difficult for pedestrians to stay long, and each has a long-lost love. "Later, because of the" river beam ",it refers to the farewell place.
2 rotten grass: hay.
③ Xiaowu: an inn in a small mountain village. Wharf: a mountain village with high sides and low middle.
(4) Hongye Building: a building with maple trees and maple trees around it, which refers to a luxuriously decorated house. Red leaves: A tree with dense leaves that grows in central China.
⑤ ⑤ ⑤ ⑤ ⑤ ⑤ ⑤ ⑤ ⑤ ⑤ ⑤ ⑤ ⑤ ⑤ ⑤ ⑤ ⑤ ⑤ ⑤ ⑤ ⑤ ⑤ ⑤ ⑤ ⑤ ⑤ ⑤ ⑤ ⑤ 93 1
⑥ Youyou: Far away and long.
⑦ diàn Zheng: refers to playing music. Cymbals: flower-shaped ornaments made of gold pieces; Or wood products and lacquerware are inlaid with mother-of-pearl patterns.
⑧? (bà) Bridge willow: When the Han people bid farewell, they break the willow at Baqiao and put "Baqiao willow" to show their farewell. It is a well-known fact that willow leaves bend over. Under Baqiao Bridge, Sanfu Huang Tu said, "The Han people have sent their guests here, and they have folded their willows to bid farewell." "The Legacy of Tian Kai" also said: "It is gloomy to come to see you off, so it is called the Broken Soul Bridge." In the long years when Chang 'an became the capital of Han and Tang Dynasties, Baqiao was an ideal place for many foreign officials to leave Beijing for a farewell dinner. Farewell to Baling Pavilion, the water is vast, the ancient trees on the top have no flowers, and the spring grass on the bottom is sad.
932 is from the poet He Zhu. He Zhu's "Treading on the Sand" says: "The willow returns to the pond, and the mandarin duck leaves the pu", which means that there is no "bee butterfly" to enjoy after the lotus in Puzhong turns red. Represents old age. Lotus: another name for lotus. Such as: flowers (that is, lotus flowers); The shadow of the lotus; Couples (that is, lotus roots)
Vernacular translation
The red maple leaf has withered, leaving the bare old trunk, standing on the river bridge and looking out, the wild water recedes, showing the loneliness of autumn. Drunk and lying in a shabby house in a small mountain village, sleeping in a magnificent tall building in his sleep.
The sky is so far and the road is so long. Gone are the days when I played music with my beloved and hugged my fans. The willows by Baqiao Bridge are still flourishing, but the lotus in the water has taken off its gorgeous coat. Seeing these scenes, I remembered my lost years.
Creation background
On the occasion of Daguan and Zhenghe in Hui Zong, Su Xiang once established a poetry club in Jiangxi with Su Gu, Xu Fu, Zhu Hong, Hongyan, Pan Chun, Lv Benzhong, Wang Zao and Xiang Ziyin, and built a villa in Liyang (now Li County, Hunan Province) for recreation. During the reign of Emperor Gaozong in Shaoxing, Yao Su and Chui Fu were both embraced by the emperor, but only he did not go to court and lived in seclusion until his death. This poem came to the poet's mind when he turned off the emperor's call to visit mountains and rivers and passed a small mountain village.
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The first part of the poem is about the scenery of the journey, the poet's drunken dream, and the second part is about leaving sorrow and not hating, expressing people's feelings. The whole word is well-defined and carefully chosen.
On the road in autumn scenery, the words "Maple falls in the river, water falls in the wild and smoke disappears in the mountains" are written. Taking "He Liang" as a starting point, we can see maple trees with lost red leaves around, dry and dry "wild water", faint smoke in the distance, villages, hills and withered autumn grass all over the mountains. These two sentences accurately and vividly capture the typical images that can best express the original scenery of autumn moon and dusk suburbs, describe a three-dimensional picture of autumn in the eyes of travelers, and render the vastness and desolation of autumn. The poet condensed the striking scenery in just fourteen words, and described the depressed weather in late autumn from near to far, thus causing the poet's melancholy mood. Therefore, the following article is "Drunk Sleeping Pier and Huangmao Shop"
However, from the perspective of meaning, there is actually a gap between the direct transition from scenery writing to "drunken sleep". Because of the short space, Xiaoling can't lay out the evolution of emotion. The feelings contained in the scenery here can only be understood by the readers themselves.
The poet went to a village in the mountains, entered a thatched shop, got drunk, fell asleep, and dreamed that he was back in the bustling city, leaning against the railing of a tall building full of maple trees. The meaning of the word came to an abrupt end, and the poet did not explain what he had done on the "Red Leaf Building in Gaocheng". However, in connection with the sentence "Drunk sleep", the contrast between reality and dreams is very sharp, which doubly shows the poet's deep sorrow. The "red leaves" in the dream are in harmony with the "maple leaves falling" I saw before, and the pen is meticulous. Poets are worried about seeing the "maple leaves falling", which makes people dream of seeing it, and the meaning of the blending of scenes is not revealed, so they compete for this.
From a drunken dream to a sober mind, I saw that "the sky is apricot, the road is long", and the poet is still walking on an endless journey. This sentence is still a description of the immediate scene. The two overlapping words "stumble" and "carefree" have a long aftertaste, revealing melancholy and sadness. On the one hand, it is a long way to go, on the other hand, it is the result of the poet's emotional externalization. Because I had a good dream, after waking up, the already long journey is even longer at this time. I don't know when I will finish it, and I don't know when I will come back.
The poet is full of sadness, thinking of the wonderful time above the tall building in his dream, and connecting with the desolate reality, he can't help but sigh that "singers and fans are waiting for leisure", and those careers of singing, dancing and laughing have ended easily. The word "carefree" points out the ruthlessness and irresponsibility of reality. So, naturally, there is a lament that "Baqiao willow hates every year, and Pu Yuan hibiscus leaves are sad"
The last two sentences express the feeling of not hating death. "Year after year" means endless hatred, which coincides with the previous language of "Heaven goes". "Leaves" mean the depth, breadth and weight of sadness. The poet wanders around the world, sowing acacia everywhere, leaving him naturally happens from time to time. In He Zhu's Walking on the Sand, the sentence of "moonlight on the lotus pond" was changed to "willow returns to the pond, mandarin ducks leave the pond". Lv Ping got up and broke the lotus boat road. No bees and butterflies yearn for fragrance, and red clothes are bitter. "It is said that there is no" bee butterfly "to enjoy after the green lotus in the pond is peeled red (that is, the flowers are withered) (that is, no one cares). Don't hate the willow leaves of Baqiao Bridge year after year. Once the lotus leaves in summer are soaked in water, only the lotus leaves are left, and they are "worried" that they will grow old when autumn and winter come. This sentence not only echoes the bleak of Autumn, but also reveals the poet's' deep sigh' for his long-term exile and his later years. These two sentences express the poet's deep sadness of lamenting the fleeting time and self-injury.
Famous comments
Hong Baizhao, a contemporary poetry critic, commented: "The whole poem is short and meaningful, implicit and meaningful, full of flavor and beautiful scenery; Moreover, the metrical works are fine and the language is mellow and elegant, which won the ignorance of Xiaoling's creation. It is an excellent work in Song Ci. "
Introduction of poets
Mao Kun (1064-? ), the word Zemin, was born in Shimen, Jiangshan, Quzhou (now Zhejiang). Song Zhezong (1086— 1094) was born in Facao, Hangzhou during the Yuan You period. Su Shi once recommended him, and he also had contacts with Cai Jing in his later years. From official to ancestor, Yuan Wailang and Zhi Xiuzhou were frustrated in their official careers. Influenced by Su Shi and Liu Yong, his poems are beautiful and mellow, moist and quiet, unique, without colorful words, and naturally deep and elegant in the beauty and elegance. His ci influenced the creation of Chen, Jiang Kui, Zhang Yan and others. There is "Dongtangji", and the word is "Dongtangci", with more than 200 words. For more appreciation of ancient poems, please pay attention to.
Stone Town —— Liu Yuxi in Tang Dynasty
The mountains are still the same, surrounded by abandoned ancient capitals, and the tide is beating against the lonely empty city as in the past.
On the east bank of Huaihe River, the ancient cold moon, midnight, peep at the old palace.
Appreciate:
Stone Town is located in Liangqingshan, Nanjing. Originally Jinling City of Chu State, Sun Quan rebuilt it in this name. It borders the Yangtze River in the north and Qinhuai River in the south. According to legend, Zhuge Liang watched the battle at the top of the mountain and sighed, "The dragon plate in Zhongshan is surrounded by stones, and the emperor's house is also there." This is the first of Liu Yuxi's seven poems "Five Topics of Jinling". Bai Juyi, who called Liu Yuxi a "poet", bowed his head and sighed, praising "the poem on the stone said: the tide hits the empty city and it is lonely, and the poets I know no longer choose words." Liu Yuxi put these words into the introduction of the group poem, which shows that he regards this poem as a masterpiece. Jinling is the ancient capital of the Six Dynasties (Jin Dong, Southern Song, Qi, Liang and Chen). At that time, temples and pavilions, Yuefu was prosperous, and a group of monarchs and ministers pursued them at the expense of national subjugation. However, since the Sui Dynasty destroyed Chen and moved the Governor's Office of Yangzhou from Jinling to Yangzhou, it has become the world of weeds in the ancient city and the object of historical vicissitudes for poets of past dynasties. The beauty of Liu Yuxi's poem lies in that it depicts the rocky mountains and the Yangtze River tides with faint pen and ink, and that the empty city of the old country is surrounded by mountains by tides, but it is so silent that there is no vitality response to the weather in the imperial capital. The mountains are closely surrounded, which seems to remind people of the appearance of tigers in those days; However, the beating and return of the river tide only saw an empty city, and I don't know what the colorful towers and the prosperity of singing and dancing are.
Poetry is written from the ground to the sky, and the lost on the ground want to find the answer from the sky. The bright moon on the east side of Qinhuai River must have experienced the prosperity of the past, but it rose in the east and didn't shine into the city from the battlements ("female walls") until late at night. Poets randomly pick up common images such as mountains, cities, water and the moon, and creatively combine them into an "image city" to conduct dialogues between cities and people and explore the mysteries of history. Images reflect and refract each other, forming the effect of image fusion, telling a story without stories, a story about historical vicissitudes and the rise and fall of cities, and a story with universal consciousness about constancy and change, instantaneity and eternity. Such a poet is also a philosophical poet or a poetic philosopher.
This sad word is written from the sadness of spring, followed by the sadness of lovelorn love and the sadness of sighing old and humble, omitting or blurring the specific time and space background, as if all the troubles experienced by the poet in his life were condensed in one word, which is very expressive and artistic. The first three sentences of the last part are about the departure in early spring. There is no object to say goodbye, but tears pour down, which already contains infinite hidden feelings. The two sentences in "Reminiscence of Time Past" were changed to reminiscence of the past, with "deep affection" referring to lovers and "tying boats" referring to the excitement of wandering and reunion. "Bi Ye Zhu Qiao" was the place where the boat was tied that day, and it is also the situation today. "What happened that day" only exists in memory, but in front of us it is "people go to the empty building, water goes to the empty building". That is to say, when we leave again and "come back" again, there is no one tied to the boat, only water is flowing! After many twists and turns, it tells the despair of not keeping an appointment. Although it is common sense to change the sentence "Shao Hua" into a discussion to reveal the truth of life, it has a very sad meaning when the poet appreciates life. This youth is no longer, and the years are easy to decline, which is the ultimate reason for "hating leisurely", not to mention that spring has passed again! This long-term hatred certainly melted the sadness of the poet's career failure and ideal failure. Finally, turn the tears of sadness and hate into a spring river, do your best to boast, but still "endless and sad"! Beauty is "endless flow"! This metaphor, based on Li Houzhu's metaphor of "how much sorrow you can have, just like a river flowing eastward", has a new meaning, that is, the method of thoroughly remoulding oneself and turning the stone into gold.
The word structure is very detailed. The next piece of "flying catkins and falling flowers" is printed with a piece of "Liuyang thick alcohol meat"; "going upstairs" is printed with "leaving sorrow"; "Chunjiang is full of tears" printed "Tears are hard to collect"; "Teenagers don't stay for teenagers" always refers to the full meaning of this word, which is natural, well-intentioned and long-lasting.
Appreciation of Tang Poetry and Song Poetry in China 2 Reading the book Appreciation of Tang Poetry and Song Poetry edited by Teacher Zhao Qinghua in winter vacation is really a big shock for someone who has experienced the so-called "appreciation" topic in the college entrance examination. First of all, we have learned different views from the "standard answers" in the classroom, and some stereotypes have also been challenged in all directions. This forced me to think: what is the purpose of appreciating Tang poetry and Song poetry? How to "appreciate"?
Appreciation of Tang poetry and Song poetry is also a kind of literary appreciation. As a theoretical part of literature and art, literary appreciation, as its name implies, is the research object. Reading literary works by readers is an aesthetic cognitive activity. Through the medium of language, readers can get concrete feelings and experiences about the artistic images created by literary works, arouse strong ideological and emotional reactions, and gain aesthetic enjoyment, so as to understand the ideological content contained in literary works. In other words, the purpose of appreciating Tang poetry and Song poetry is to understand the author's thoughts and feelings in Tang poetry and Song poetry. Looking around, there are 100 million Tang and Song Ci poems in Qian Qian, but when a poet writes a poem, the purpose of the lyricist's lyrics is nothing more than one sentence: Poetry expresses ambition, and words are affectionate. What we appreciate is the emotion revealed between the lines of poetry. And these feelings are probably something that we modern people have never felt before, or that we can't understand at our age, or that we have never felt before. At this time, I think imagination is a very important ability for poetry appreciation. Poets and poets live in different times from us, and their moods may be completely different from ours. We should try to understand their hearts through poetry. Without imagination, there is no sense of substitution after imagination. I believe many people will not understand under what circumstances poets and poets write such words. For example, Liu Zongyuan's "Hundreds of Mountains Without Birds, Thousand Paths Without Footprints". A boat, a bamboo cloak, an old man fishing in the cold river-snow. "For me who grew up in the south, of course, I didn't have the experience of fishing alone in the ice and snow. However, if you imagine yourself as that old man, there will always be a faint cold feeling coming out of your body. In this way, I have a little understanding of what is called "thousands of loneliness". However, there is a lot of appreciation now, not from the standpoint of the ancients. Appreciators don't substitute themselves into poetry and the author's thoughts, but unilaterally stand in their own position to understand through their own brains. This violates the purpose of appreciation of Tang poetry and Song poetry. What you understand is not the author's thoughts and feelings, but your own.
Appreciation of Tang poetry and Song poetry is a very difficult, complicated and tedious work. Because what we have to do is "appreciate" Tang poetry and Song poetry. What is appreciation? Zhou Dui said, "From the word" Jian ",it is said that there is an expert who studies antique cultural relics. Let people know whether it is true or not at a glance. That kind of authority is well known and has a good eye, but it is not good at a glance. Some are a little more open, and they are so authoritative when they turn around. Can we treat ancient Tang poetry and Song poetry like this? Too arrogant, we can understand some. " Indeed, appreciation is a very heavy word, not a few frivolous feelings can be completed. Recently, there are indeed some appreciation collections of Tang poetry and Song poetry with obvious fast food culture circulating in the book market. No matter how gorgeous the binding is, how smooth the paper texture is, and how colorful the illustrations are, its cultural content is as empty, pale and powerless as its substantive content. I've been thinking, no matter how we imagine and substitute, after all, I'm still me, I'm not, I can't be the author, it's impossible that my ideas actually run counter to the author, it's impossible that the author has something I didn't notice, or I think too much. It depends on the eyesight. The ability to peel silk from layers of words, the ability to see the essence through phenomena, and the ability to cut tissue like a scalpel. Obviously, this ability is directly proportional to accumulation. Su Shi has a saying: "Write by accumulating, learn by taking". Seeing more, the natural ability to distinguish right from wrong has also improved. But on second thought, science and engineering students like us have to deal with various formulas and theorems every day. This can be measured objectively. Literature, especially poetry, is a completely subjective world. Even the same article, the same poem, different people will have different understandings. This is inevitable, or this is the pleasure of literary appreciation. There is no absolute right existence in this world, only whose understanding can better reflect the author's feelings, and whose eyesight is good enough to see what others can't. Obviously, this can also stimulate debate and stimulate the collision of ideas. Literary appreciation does not need the words of one school, but a hundred schools of thought contend. Vision can also be improved through confrontation, confrontation, understanding and integration with others.
As I said just now, literary appreciation needs confrontation, debate and expression of one's own views. The appreciation of Tang poetry and Song poetry is the same, no, it should be said that it is more needed. Appreciation is inseparable from expression. How to make others understand your appreciation, how to make others believe your understanding, these are the requirements for expression ability, by going up one flight of stairs. Good appreciation itself is also a supplement to the poems to be appreciated. Wang Guowei's "thorns on earth" is a good example. I think the appreciation of Tang poetry and Song poetry is very close to the translation work to a great extent. Translation here does not mean translating poetry into short articles, which is out of place and breaks the rhythm and rhythm of the original text. It refers to the reproduction of images, artistic conception and feelings in poetry to readers through their own words. The role of appreciation, to some extent, is also a bridge to bridge the generation gap between the author and the reader. Therefore, a good expression can make people understand the theory you advocate, while a beautiful expression can add luster to the poem you want to appreciate and complement your appreciation. A good poem with beautiful prose is a perfect match.
These are my feelings about appreciation after reading Appreciation of Tang Poetry and Song Poetry this winter vacation. These are my feelings, and I haven't made detailed inference and research. Just some ideas I learned in this book.
Appreciation of China's Tang Poetry and Song Poetry III. How do we start? It's hard for us to start. The hardest part is actually in the beginning Everyone should listen to me. What do you want to say in the first sentence? I'm thinking about it. I never thought about it. I didn't expect today to be such a grand event. Dear guests and friends, you wasted your vacation and precious time. Thank you very much for sitting here and listening to me.
But the topic we decided today is Appreciation of Tang Poetry and Song Poetry, which is not easy to talk about. If I were to talk about the Red Mansion, I would have some thoughts in my heart. Although I can't say it well, there are a few clues that can be made clear. I'm really not sure about this today. I am telling the truth, not being polite. I will be honored to talk about how much I can make everyone more satisfied, and return to glad you came. I'm afraid this goal will not be achieved. What if I'm talking about something worse I failed to applaud when I spoke, and you greeted the boos rudely. This is the custom of our pear garden in the past. You can say you are not good. This has nothing to do with it. This is the evaluation of the masses.
As for my occupation, I have been engaged in poetry for decades. A dream of red mansions is my amateur, with the nature of playing with tickets. However, when I set foot on a dream of red mansions, I couldn't find my own feet. This is a very helpless thing. Today, I am still very happy to talk about Tang poetry and Song poetry here. I like Tang poetry and Song poetry, but it is difficult to speak them. We must first be realistic and understand this. This difficulty lies in several aspects. For example, if you want to have a textbook of Tang poetry or even a blackboard, you can't just listen. Write it down when you encounter difficulties. If you encounter anything, it will be easier to deal with. If you listen to me completely, you will be limited.
At the same time, I am from Tianjin. Although I have lived in Beijing for decades, my Tianjin accent is still very strong, and you may not understand it. This is a difficult point. Another difficulty is that this is not a digression, but a digression. We say appreciate because this word is often used now. Since Shanghai Dictionary Publishing House, we have compiled a Dictionary of Appreciation of Tang Poetry and a Dictionary of Appreciation of Song Poetry, which have become popular all over the world. It's all a collection of appreciation. There are so many things. But the real appreciation, say "Jian" first, what is "Jian". To appreciate Tang poetry and Song poetry, we must first learn to chew words. When people see whether it is true or not, they can also recognize it. That authority, with profound knowledge and unique vision, can't be seen at first sight. Some experts are so authoritative. Can we treat ancient Tang poetry and Song poetry like this? Too arrogant. How can we understand it? So I think we should be cautious in using the word "Jian", but now there is no way, because this word is popular, you find a famous work, you appreciate it, you tell us. It's not like this. It's a very limited and small form. I'm not talking about that key point today. I hope I can make a few points and ask you to share our experiences with each other. You need to pay attention to these points in appreciation. This is my goal, please understand this first. So I said, let's talk about the sword and stay on topic. Otherwise, you will think, am I enjoying it? I'm not sure, am I? The word sword itself, seal character, is very interesting. What I'm saying here is that you are right. I can only say from me that a big eye on the left is like a big circle in the shape of a star and the moon, and a small curved arm on the right is a silhouette of a person. The two strokes are a silhouette of a person, called our pictograms, rather than real ones, like specimen paintings. Even the details are drawn, the pictogram. This is the creation of our Chinese characters. Under the wisdom of the early Ming dynasty, a plate, a point in the plate, is the object we look at. It is said that this man bent over and stared at a big eye. Look at the object he observes in this plate. This is the "sword".
Back to our theme, we should learn from the creation of ancient poems, good masterpieces and excellent sentences. What do you learn, how old are you (level) and what is your level. We should think about this problem first. We have read the words of the ancients. What did they say? Was he targeted? A series of questions, not just took a poem, seven-character quatrain, "half an acre of square pond, a key well." Where to start? There is a lot of knowledge in these two words. Mencius said some of his most wonderful words, which we must forget in the history of China literature and culture. When we recite his poems, we should recite them instead of reading them today. The ancients should have tonal poems. "Recite his poems and read his books. I don't know who he is." Is it okay? No, what should we do? Mencius said that "everything should be based on its worldview", so we should discuss his world and the era in which he lived. This is what our pre-Qin sages said, which is enlightening to us. We have a saying that "knowing people and discussing the world". It is from here that these words are condensed and simplified, and the four characters of "knowing people and discussing the world" are the most beautiful places in our Chinese characters. Everyone should realize that our Chinese characters are so lovely and precious. To write a good Tang poetry and Song poetry, you should know that a person wants to talk about his world. This is to be taken down and said. How do you say this word? Is that what happened? No, we need many preconditions to truly understand a work of the ancients. This is the first question I want to discuss with you today.
China has always been called the country of poetry. In ancient times, from top to bottom, almost everyone liked poetry, and even wrote poetry. There is no other country in the world, and poetry is so universal and popular. This is a fact. But how did China come into being? I think there are three major aspects.
First of all, the Chinese language created by the highest wisdom of our Chinese nation and mankind, because Chinese poetry is Chinese literature, right? There are no Chinese poems anywhere. I think this is all right, but this Chinese character is wonderful. I think this is the creation of the highest wisdom in our country. All nationalities in the world are mainly pinyin characters, and we can't create such a character. Appreciating all kinds of experiences and understandings of Tang poetry and Song poetry, positive and negative, questioning and questioning don't understand, all have the big roots of Chinese characters. This is the first one.
Second, we in China have a different aesthetic vision from others. He looks at the universe, the heavens and the earth, mountains and rivers, everything, vegetation and everything, and has his own aesthetics. He thinks that in this way, others can't see the beauty inside, but he sees it, or others think it is so beautiful. He said that our beauty is like this. It is the poets here who developed poetry because of their aesthetic vision and heart, right?
Thirdly, the expressions of China national poets are extremely unique. You have good Chinese characters and good aesthetic taste, but you can't express them. Then you can have good poems, can't you? Is that a poem written by you that can touch our heartstrings? Unlikely. So in this way, it is extremely important that these three points combine to form us. High-level, extremely beautiful poems are read from a macro perspective, and then we have to talk about a specific poet, so what is this situation, what kind of person he is, and what he does with poems, we also have to say a few words. What is a poet? What is the definition of a poet? He can write poems. The old poets' poems are all five words and seven words, even and flat. The new ones are vernacular poems, free style and the like. He will do this. I don't write prose, I don't pick up that word. I line up sentence by sentence. I am a poet. Am I a poet? I am such a simple poet. How many poems are there?
I was shocked to hear an old professor from Peking University say such a thing. The old professor said that after reading the complete works of Tang poetry, there are more than 1000 poems, and others are not poems. How to say this is to arrange them and rhyme the sentences neatly. This looks like a poem, not a poem, because it has no quality or element, and it has no poem itself. It expresses him in the form of a poem. Oh, let him say that this Tang poem is not good in every capital, and he really needs to "learn". The old professor probably means that he studied and analyzed it and saw that it was not poetry at all. In my personal experience, there are two examples, namely, Bai Juyi, two famous artists in the Tang Dynasty, and Lu Fangweng and Lu You in the Song Dynasty, whose fame spread all over the world. I have hardly read the Tang poetry. I only have the complete works of these two people, and I am patient, not love and patience. This is our trouble in Tianjin. "Resistance" and "love" are inseparable. I patiently read the complete works of Bai Juyi and Lu You, which made me sleepy. What really touched me was very little. If you don't admit this, you can't talk about a word "Jian", can you? This "sword" means seeking truth from facts, being cautious and modest.
It's still useful. It's not a poem. There are so many more. So everyone in the Southern Song Dynasty, Yang Wanli, said that his poetic theory was that you might sound surprised. That poem, as I said just now, is a Chinese character. He said that poetry is a kind of text, and only when the text is removed can there be poetry, so this poem has new ideas, and only when the meaning is removed can there be poetry, and so on. He doesn't even know what he means when he talks like this. Also called works, also called literature. Besides, it's called poetry. How do we pay attention to this great poet? The purpose of this speech, we learn from the ancients, you don't want to die under his sentence, you want to live, you have to understand what he wants to say, you don't want to fight with him casually, I.
To sum up, anyway, if you look at his form, it is not necessarily a poem that writes like a poem, and the person who can write such a poem is not necessarily a real poet. I talk a lot, but I put this watch out, which is helpful for us to appreciate, and learn first and then talk about the reward. What is the exchange of "reward"? The hearts of the ancients and mine are touching. Only when the language and feelings are interlinked can we be considerate. He is like this, I see, this is the appreciation of "reward" in poetry, and it is also our words.