Like Fang Fangxuan, Rong Wenda, another "Three Talents in Liaodong", is also a poet who always cares about the fate of his hometown. According to Jing Xian's Biography of Mr. Huimin and the Private Life of Rong Kemin, Rong Wenda, whose name is Kemin, is called Fu Liang. He lived in Wendeng County, Shandong Province, and moved to Fengtian Jinzhou in the early years of Qianlong. Xianfeng moved to Changtu County with his father for ten years, and then returned to Huaide. It is said that he is different in nature and smarter than usual, and the teacher can't teach him. Later, I studied with Mr. Wang Xiechen in Liaoyang, 700 miles away, but Mr. Wang Qicai didn't charge tuition. /kloc-at the age of 0/9, Changtu first set up a church. During the hall test, Zhang Zhisheng read the book and said with emotion, "I am a real talent in the country!" Soon after, he was among the best in all the examinations in the 12th year of Tongzhi (1873) and 19th year of Guangxu (1893), and was highly praised by southern scholars. He was born in Ren Xia and envied Jia Zhu and Guo Jie. All studies of classics, history, paintings, books and poems can be traced back to the source. In the 11th year of Guangxu (1885), he was admitted to Shi Jing, Shengjing to study Chinese teaching by painting tribute. In the 29th year of Guangxu (1903), he was employed as the chief teacher of Fengtian University and died at the age of 56. His collection of works is Lu Pingzhai's Manuscript, which contains many styles of poems, such as Jingyang Mountain Poems. With the theme of "looking back on the past in Liaodong", he wrote eight seven laws, from the Liaodong historical sites in Yu Yan Qin Dynasty to the unification of various ministries in Nurhachi, looking back at the kings of past dynasties, discussing the ups and downs, writing vigorously and imposing. He also recited Shen's poems and his seven methods, Shen Yuan's departure, saying-
Drums boiling outside the city, Guo silence.
Sick people always hate the night when they listen to chickens, and decline like cranes while police invade autumn.
Gan Kun was obsessed with the past and shed tears for a long time, but Europe and Asia were heartbroken.
It is said that when Cui Hua returns to the west, the wind and frost in the wasteland can pass the ban.
Rong Wenda wrote this short poem when he was recovering from illness in Shenyang Guest House, which was heavy and gloomy. Judging from the historical facts reflected in the poem, when Eight-Nation Alliance went to Beijing in 1900, Empress Dowager Cixi fled to xi 'an in July of February1,and returned to Beijing in June of1.
The first couplet in the poem depicts the arrogance of foreigners and the silence and depression of locals in Shenyang after the invasion of imperialist forces with deep and dignified brushstrokes. "Foreign drums" are playing everywhere in the city, but "Guo" is silent. Guo Di, the cuckoo's cry is similar to that of Guo Gong, so the ancients often called Guo Gong a cuckoo, and the cuckoo's cry is also called Guo Di, which refers to the local accent here. "Creek" and "Creek" are the same as "anvil", and the sound made by the sound of the anvil should also be the local accent, which is the voice of Shan Ye. Therefore, "Guo is silent" means that our own local music has been suppressed and silenced, and local people have been replaced by local music. In the couplets, the poet calls himself "the sick man" and "the old man", expressing his silent hope for the dawn and sending out a warning signal against the "autumn invasion". He also wrote that he is looking forward to hearing the cock crow, hating the night, and "the old man is like a crane to warn the autumn invasion". Although he is a sick "old man", he is used as a warning against the invasion of autumn cold and autumn frost. The meaning of "long night" and "autumn invasion" in the poem is very obvious, which is used to describe the darkness and harm brought by foreign invaders. The poet in The Necklace further expressed his feelings of worrying about the country and the people. "Gankun", heaven and earth also. "Eurasia" refers to the world in general. Two emotional words show the poet's inner sadness and anxiety in the face of the fact that the imperialist aggression against China has deepened step by step and has spread to Liaoning and Shenyang. As Chen Ziang's "Youzhou Tower" in Tang Dynasty said, "I miss heaven and earth, and there is no limit, and I am lonely and in tears". In the final couplet, the poet expressed his hope for the Qing dynasty, and the double cultivation of frost and sword can win and ban. "It is said that Cui Hua returned to the west" means that it is said that Sheng Jia, who fled to Xi 'an because of Eight-Nation Alliance's coming to Beijing, has returned to Beijing from Xi 'an via Luoyang, Henan. "Cui Hua" here refers to the holy driving. Korea's "Shanglin Fu" cloud:
"Building Cuihua Citi" is the flag of the Emperor, decorated with jade feathers. When Empress Dowager Cixi fled Beijing in a hurry, Emperor Guangxu was among the ranks. It was a "holy driving" trip. As a college student in Fengtian, Rong Wenda could not have a clear understanding of the Qing regime and Empress Dowager Cixi at that time, so he had hopes and illusions about them, thinking that they would "return to the west" and the Qing Dynasty might recover, which reflected the historical limitations in his poems.
However, Rong Wenda's hope was quickly extinguished by the cold reality. After the Gengzi Incident and Eight-Nation Alliance's entry into Beijing, the Qing government signed the "Xin Chou Treaty" with eleven countries, which made the loss of China's sovereignty unprecedented. From then on, the Qing government completely succumbed to foreign aggression, and China was completely reduced to a semi-colonial and semi-feudal society. The government is becoming more and more corrupt and incompetent, and people's lives are more miserable.
When we review the historical process from Jiaqing, Daoguang to Xianfeng, Tongzhi, Guangxu and Xuantong in the late Qing Dynasty and the reflection of this process in literature (especially poetry), we find that poets with a sense of social responsibility, on the one hand, carry forward the realistic tradition of literature, so that their poems can truly reflect the social outlook and humanistic spirit of the times they live in, and at the same time, poets are often committed to active cultural construction as cultural builders to promote social development, with poetry or other literature. Among the Shenyang poems we enjoyed in the early Qing Dynasty, Chen Menglei's Sixteen Scenes of Staying in Beijing and Shen Shilin's Eight Scenes of Wanquan belong to the latter situation.
Naturally, our rough classification does not necessarily mean that poets of that era had such consciousness when they created. There are many works of poets with realistic writing characteristics, which often have the attribute of promoting the construction of urban culture and local culture for the reality of social life. For example, the poem "Shenyang Zayong" by Xuan, one of the three gifted scholars in Liaodong, which we just enjoyed, is not only a portrayal of the author's sincere feelings of loving Wanquan River and Shencheng, but also promotes the development of urban culture and local culture with the artistic appeal of his poems.