The style of Su's poetry is both strong and soft, colorful and brilliant. His words, like his poems, often focus on meaning and let emotions flow, so his style also changes with the changes in content characteristics and emotional tone. His lyrics have the melancholy of poetry, the boldness of poetry, and the simplicity of poetry. As Chen Zhi said: "When you read his poems, you can feel like you are seeing the person, the scenery of the country, the romantic characters, the high-spirited and open-minded, which is completely different from the daughter's mood in traditional Xiaoci; reading his poems can make you feel excited and excited. The heroic spirit of crossing the river and reviving the country can also be used to calm down and plant chrysanthemums in the east fence to clean oneself. "Su Shi's reform of the style of poetry was not simply against elegance, but to change the situation in which the graceful style dominated the world of poetry, and to transform the style of poetry from unity to diversity. With the development of culture, it has formed a situation in which styles such as graceful, bold, elegant, graceful and far-sighted are all flourishing together. He said in "Yuxianyu Zijun": "It's close but it's quite a small poem, although it doesn't have the flavor of Liu Qilang. It's also a family... It's quite spectacular." The saying "it's a family" here is aimed at Different from the "flavor" proposed by Liu Yong's poems, its connotations include: pursuing a magnificent style and broad artistic conception, expressing one's true temperament and unique life feelings. At the same time, it can be seen that Su Shi was quite conscious and self-aware in creating a bold style of poetry in addition to the elegance and authenticity. In "Shui Tiao Ge Tou" (When Will the Bright Moon Come), the whole poem is inspired by the appreciation of the moon in the Mid-Autumn Festival, which arouses imagination, asking about the sky, visiting immortals, thinking about the palace, writing about the jade world, until the "yin and sunny waxing and waning" of the moon are expressed. explore. It embodies the characteristics of Su Shi's bold and unrestrained words, with ultra-fast writing style and majestic style, but also has an elegant and ethereal color, full of romanticism, which "makes people climb high and look far away, raise their heads and sing loudly, and feel grand and noble, transcending the dust." (Preface to "Wineside" by Hu Yin). The lyrics above are all about scenery, expressing emotions due to the scenery, the moon and the people. The darkness of reality makes the author want to leave reality and fantasize about traveling to the heaven, but he cannot forget the reality and comfort himself by "dancing to clear the shadows". The next film is composed of the moon and people, and people and feelings. The author's love for life and deep affection for missing his relatives also bring a profound spirit of realism to the poem. "People have joys and sorrows, and the moon waxes and wanes. It is difficult to solve this problem in ancient times." The author found the answer from natural phenomena, and his depressed mood was relieved by the revelation of natural phenomena. The end of the poem, "I wish you a long life, and I will travel thousands of miles away," expresses your optimism and open-mindedness. In addition, the language is natural and fluent, especially in many places in the lyrics, sentences from previous poems are used, to the extent of being completely invisible. Another example is "Niannujiao·Chibi Nostalgia". The opening sentence of the poem directly reads "The great river goes eastward, the waves are gone, and the romantic figures of the ages" are used to describe the scenery and emotions in aria-style syntax. The realm is broad, the feelings are deep, and the writing is summarized and meaningful. momentum. Then he wrote about the rocks and the stormy waves, all of which were painted in the ancient battlefield. They were majestic and grand, exaggerating the majesty of the natural scenery of the ancient battlefield and creating a strong atmosphere for the appearance of ancient romantic figures. The second film uses "remote thoughts" to shift from scenery to ancient heroes, vividly depicting the scenes of the Battle of Chibi. The specific and detailed descriptions of "Xiao Qiao's first marriage", "feather fan scarf" and "talking and laughing" are very vivid and prominent. It perfectly depicts Zhou Lang's "majestic and heroic" image. The whole poem has a broad artistic conception and majestic momentum, and its style can be described as "bold" and "high", but it ends with the low tone of "life is like a dream", forming a bold and melancholy style. This is Su Shi's lyrical work after he was hit by the "Wutai Poetry Case". He used the majestic scenery of Red Cliff and the great achievements of historical heroes to express his feelings of failure. Su Shi created a bold style of poetry, but he is not only famous for his bold poetry. When he writes about love affairs, his sad words are euphemistic and detailed, such as the mourning work ("Jiangchengzi" (Ten Years of Life and Death)). The emotional connotation of this poem is thicker than the ordinary words that specifically write about the love between men and women. The writing style is lingering, delicate and dense yet similar. Another example is "Bu Shuanzi": "The moon is missing and the sparse tung trees are hanging, which breaks the silence of the people. Who sees the lonely people coming and going alone? A misty and solitary shadow. I startled but look back. No one cares about my hatred. I picked up all the cold branches and refused to live on the lonely sandbank. "Cold." The whole poem creates the image of a lonely swan goose, expressing the author's lonely, confused mood and aloof and unyielding attitude after suffering political setbacks. The writing is deep and pure, each image highlights the cold atmosphere, and the whole word is enveloped in a thick layer of loneliness and sentimentality. Another example is "Water Dragon Song" (which looks like a flower but not like a flower), which contrasts the image of a missing woman in spring with the dancing poplar flowers, creating a sad emotion layer by layer, and is written in a particularly gentle and delicate way. There are also some short words about daily trivial matters or pastoral style and life customs, which are fresh, simple, funny and relaxed, such as the first poem of "Huanxi Sand": "The layers of hemp leaves are shining, and who cooks cocoons to make the village fragrant?" The woman talking coquettishly across the fence raised her drunken eyes with a white cane, pounded the green wheat and softened her hungry intestines, and asked when the bean leaves would turn yellow. "There are three sentences in the film, each of which reveals something characteristic of the countryside in early summer. What I saw and heard when I came here. The first sentence uses layers of lush leaves to form the basic color of the early summer world. It is warm yet calm, using the lush crops to set off the vitality of the countryside, while the two or three sentences describe the atmosphere and human feelings of the countryside. In the second part, the author, as a prefect, visits farmhouses and inquires about the old man in the fields, as if he were talking to someone like home. The whole word exudes a strong flavor of life. In the second poem of the group of poems, it is written about the village girls hugging each other to watch the envoy, "twirling red makeup to look at the envoy, with three, three, five and five thorn fences, and stepping on the silk skirts". It also describes the mood of the peasant women, all the Now it gives us a kind of simple and natural beauty, adding another color to the female world of Qi Luo and pink in the past.
Su Shi's innovative spirit in reforming the style of poetry is not only mainly reflected in the above three aspects, but also in the use of title sequence, use of allusions and attitude towards music. Most of Su Shi's previous poems were written in a representative style in response to songs. The lyrics only need a tune name to indicate the singing method, so most of the poems do not have an inscription. Su Shi turned the lyrics into a lyrical style that was inspired by events and emotions. Therefore, what kind of emotions or events the lyrics express must be explained and explained. However, the style of poetry is good at lyricism and not suitable for narrative. In order to solve this contradiction, Su Shi used a large number of titles and prefaces in his poems, so that the preface of the poems and the text of the poems formed an organic unity. For example, "Jiangchengzi·Hunting in Mizhou", "Niannujiao·Chibi Nostalgic" means adding titles in addition to the lyrics; "Shui Tiao Ge Tou" (when will the bright moon appear), "Ding Feng Bo" (don't listen to the sound of beating leaves in the forest), etc. Then add a minor sequence after the tone of the word. After Su Shi, most poets took the preface as a rule for writing lyrics. Su Shi also began to use a large number of allusions in his poems. The use of allusions in words is not only an alternative and condensed narrative method, but also a tortuous and profound lyrical method. This method is not uncommon in poetry, but it was pioneered by Su Shi and followed by many successors, especially Xin Qiji. For example, Su's poem "Jiangchengzi·Hunting in Mizhou" uses Sun Quan to shoot tigers and Feng Tang Jianzhaodian; example. Su Shi wrote lyrics mainly for people to read, not for people to sing, so he paid attention to the freedom of expressing emotions and aspirations. Although he also abided by the musical range of the words, he was often not restricted by the rhythm. Because of this, Su Shi wrote his lyrics with ease, regardless of the occasional dissonance. In this regard, later generations have mixed praise and criticism. Wang Zhuo's "Biji Manzhi" said: "Mr. Dongpo is not obsessed with music. He occasionally composes songs and points out the way up, which will bring new eyes and ears to the world. Only then will the author know how to revive himself." In other words, the literary nature of the words is strengthened and the importance of the words is weakened. The dependence of music is what Su Shi pointed out to later generations of poets as the "all the way up." Lu You said that Su Ci was "bold and unrestrained, and did not like to tailor it to suit the rhythm." He obviously understood the rhythmic characteristics of Su Ci. However, Li Qingzhao criticized it quite a bit, thinking that Su's poems "are often inconsistent with the rhythm". Although everyone has different opinions, they all point out the characteristics of Su Ci's not compromising the charm with rhythm. This feature is undoubtedly progressive from the perspective of the general trend of poetry development, at least it is understandable. To sum up, Su Shi has a special status and significant contribution in the history of Ci. He expanded the realm of Ci, changed the style of Ci, and created a new stage of Ci writing. In particular, he created bold Ci that was different from the traditional graceful Ci and made it unique, which gave Song Ci a new look and influenced many subsequent Ci poems. Human creation. Su Shi can be called a genius literary master in the history of Chinese literature, and a superstar who will shine forever in the world of Chinese poetry.