Ban Gu's Poetry and Zhang Heng's Poetry: Simple and Elegant Qin Jia's Poetry: The Maturity of Literati's Five-character Poetry
The earliest complete five-character poem of the Eastern Han literati is Ban Gu's Ode to the History, which tells the story of Ti Ying's saving his father in the Western Han Dynasty. This poem first tells about Taicang's guilt and being escorted to Chang 'an. The second time I wrote to Ti Ying, his father's words made me sad, so I made a statement. Then write that Emperor Wen was born with mercy and ordered the abolition of corporal punishment. At the end, Ban Gu praised Ti Ying emotionally for being better than people. Poems in "Ode to an Epic" come in chronological order, focusing on narration, rather than on lyricism as some later epic poems do. Ban Gu created the poem "Ode to an Epic" by writing biographical history books, with simple words and little polish. This poem was written by Ban Gu when he was in prison in his later years, and it has his own feelings.
Apart from Ode to an Epic, Ban Gu's five-character poems also include several lost poems included in Taiping Yulan. Huan Tan's New Theory of Qindao was revised by Ban Gu, and there are passages similar to five-character poems in the second half. The style of these works is basically the same as that of "Ode to an Epic", which is mainly narrative and simple and frank.
Ban Gu's "Bamboo Fan Fu" is a complete seven-character poem, which was originally the end of Fu. This seven-character poem describes the production process of bamboo fans, and its shape, function, words and sentences are unpretentious.
Ban Gu was an early scholar who wrote five-character poems and seven-character poems in the Eastern Han Dynasty. He agreed with these two new poetic styles and made a useful attempt. Ban Gu wrote five-character poems and seven-character poems with historian's brushwork to a great extent, all of which were mainly about narrating things. Even works like Ode to an Epic, which are most suitable for lyric reasoning, are mainly based on historical facts. His five-character poems and seven-character poems are different from those in Du Dong Fu in nature and style. The former is simple and the latter is elegant. The reason lies in Ban Gu's mastery of two traditional forms of poetry, four-character poetry and Sao-style poetry, which can fully reflect the true nature of literati. However, he is relatively unfamiliar with five-character poems and seven-character poems, and is still in the simulation stage, and his work style is relatively simple and practical.
Zhang Heng is a famous scholar who continued to write five-character and seven-character poems after Ban Gu and made important achievements. His "Bingge" is a very distinctive work, which is unique among the five-character poems of scholars in the Eastern Han Dynasty. This poem tells the story of a newly married woman disguised in her own words. First of all, I described my surprise and joy on my wedding night. "I'm so happy about the new handover. I'm afraid I'll find soup." Write vividly the curiosity and timidity of newly married women. The best part is the middle part. The bride doesn't say how hardworking and capable she is, but claims that she is willing to undertake everything from regulating diet to offering sacrifices to the gods. She didn't know how much she loved her husband, but she made the following confession: "I regard it as a banquet and I am building my bed." I am willing to keep the wind and frost for Luo. "The bride is considerate and caring for her husband and conveys her best wishes to each other through image metaphor. At the end, I showed my beautiful posture and the joy of getting married, bolder and more frank than before. " "Simultaneous Song" obviously draws lessons from the expression of folk songs, with wonderful wording and lofty aspirations.
Zhang Heng's Poem of Four Sorrow is a reformed Sao style, and it is a seven-character poem formed after the Sao style is neat. All poems are seven-character poems, except for the word "Xi" in the middle of the first sentence of each chapter, the rest are standard seven-character poems. The whole poem consists of four chapters, which are unfolded in the order of southeast and northwest. The beauty gave him Jin Cuodao, Cuilang, Mink and Splendid Festival, and the poet wanted to return the cases of Qiong Yao, Shuangyupan, Zhu Mingyue and Sapphire. However, either the mountain is high and the water is deep, or the road is dangerous and cold, so that he can't go where the beauty is, and it is difficult to get what he wants, and his heart is agitated and sad. This poem has political sustenance and won the charm of Li Sao, which is the first of its kind for future generations.
Attached to the end of Zhang Heng's Fu Xuan is also a seven-character poem. This work expresses the anguish that life is limited and it is difficult to celebrate the world. The poet wants to "transcend the secular world", but "Heaven has no boundaries", so he has to go back to the real world to continue his search.
Compared with Ban Gu's seven-character poems, Zhang Heng's five-character poems have obviously improved in skills, and he has been handy in using these two new poetic styles, or he is beautiful. Ban Gu's five-character poems and seven-character poems inherited the former style, while Zhang Heng's five-character poems and seven-character poems developed in the direction of Li Lihua's beauty. Ban Gu's five-character seven-character poems are mainly narrative, while Zhang Heng's five-character seven-character poems are good at lyric. Since Zhang Heng, the five-character and seven-character poems of Eastern Han literati have formed the basic trend of lyricism.
Qin Jia's Poem for Women is three signs of the maturity of the five-character lyric poems of scholars in the Eastern Han Dynasty. Mrs. Qin Jia and Mrs. Xu Shufu experienced a tearful "Where are you going?", and their poetry answers have also become a popular story in the history of literature. Qin Jia's poems about giving gifts to women are continuous in time. The first song is about Qin Jia sending a car to pick up his wife when she is about to go to Beijing. Xu Shu couldn't come back to see her because of illness, which kept Qin Jia awake all night. In the second song, Qin Jia wanted to go to Xu Shu to talk about money, but he couldn't make it because of inconvenient transportation and other reasons. The third song is about giving gifts to Xu Shu when going to Beijing and sending money from afar. Qin Jia examined the love between husband and wife in each other's life experiences, and pointed out two pairs of contradictions: "Life is like morning dew, how different it is to live in the world." Worry often comes early and joy often comes late. ""hurt me and my body, and suffer less and less alone. Having a sense of justice is not enough. "Qin Jia left his sick wife and went to Beijing, depriving them of the happiness of being late and feeling deeply inadequate, making them even more unhappy and sad; Difficulties have come early again, and I don't know when the date of the party will be postponed. All three poems have descriptions of drivers to set off the poet's mixed feelings. " Send a car to welcome the child back, and return without success "to convey disappointment; A good horse does not return to the saddle, and a good horse does not turn its hub ",which shows its melancholy and hesitation in the face of the road;" "Yang He's" The Bell Agitates "implies that the bell agitates to leave, showing helplessness.
Qin Jia's poems for women are a group of lyric poems with high artistic achievements, and they are mature works of five-character lyric poems by literati in Han Dynasty. From Ban Gu to Qin Jia, after a century or so of development, the creation of five-character poems by scholars in the Eastern Han Dynasty entered a prosperous period.
Five-character Poems by Li Yan, Zhao Yi and Cai Yong
There is a new style in the poem, the feeling of talent and talent, the sharp contrast, the whole body criticism, the sense of hardship and the literature in troubled times.
Before Emperor Huan, the literati poetry in the Eastern Han Dynasty experienced a turning point from narration to lyricism, from imitating folk songs to the writer's original creation, but the tone of the poetry did not change much and maintained continuity. The five-character and seven-character poems written by Ban Gu, Zhang Heng and Qin Jia show gentle and sincere beauty of neutralization, without excessively fierce words and even shocking words. However, at the end of the Eastern Han Dynasty, several famous poets who mainly lived in the Lingdi period suffered misfortune, and their poems also showed a completely different style from those of Ban Gu, Zhang Heng and Qin Jia. Through their own complaints and shouts, they opened up a new atmosphere in the poetry world. The last stage of literati poetry in the Eastern Han Dynasty ended with a fierce criticism of reality.
There are two five-character poems in Li Yan's works today, which express the feeling of lack of talents and convey the feeling of oppression. Throughout the first poem, he revealed his great ambition. He wants to "relax Wuling and strive for a thousand miles" and make an earth-shattering career. The poet doesn't believe in fate and thinks it is unnecessary to ask questions. He used historical figures such as Chen Ping and Han Xin to inspire himself. These people started from humble origins and eventually achieved great careers, and they have an imposing manner that is not bound by any restrictions. The style of the second poem is not as high as the last one, and it seems a bit low. The poet is ambitious, but in real life, the situation is bumpy. Instead of being reused, he was continuously destroyed, which reminded him of Jia Yi who was young and promising and was suppressed and rejected by court officials. He lamented that he couldn't meet Bian He and Bole because of the beautiful jade and swift horse. The contrast between these two poems is sharp, which leads to a huge emotional gap, with a passionate man in front and a depressed mood behind. The successful application of metaphor and symbolism in two poems about wisdom has far-reaching significance. In the first poem, the words of trimming wings, toes, feathers and feet are used to form a continuous image, comparing themselves to giant birds soaring in the sky and horses galloping thousands of miles. The second song, Ganoderma lucidum trapped Yu Hongbo, Lan Rong was destroyed by severe frost, symbolizing that people with lofty ideals were oppressed, with many words and deep feelings.
Zhao Yi's poems on illness are all five words, attached to the poems on illness, and appear in the form of duet with Lu Sheng, expressing their own aspirations. The first poem begins with "Qinghe is impossible, life cannot be delayed", which shows that he is completely desperate for the Eastern Han Dynasty. Under the control of this emotion, the two poems expose the darkness and criticize the disadvantages through sharp contrast. "Although full of books, it is better to have a bag of money." This is a criticism of bribery, taking scholars, employing people only for money and despising learning. "In Yiyou Beitang, I lean on the door." This reveals that those who choose officials and candidates do not pay attention to morality, so that flatterers are valued and honest people are excluded. The former is sitting in the hall, while the latter is standing by the door. "The potential home is more suitable, and the spit is self-contained. Brown and pregnant with gold, orchids turn into cockroaches. " This accuses power as the only criterion of value judgment, which leads to the abnormal phenomenon of upside down good and evil and distortion of justice and truth. Among the literati poems in the Eastern Han Dynasty, Zhao Yi's sick poems expressed the strongest emotion. He is not ordinary sadness, but full of anger. He is not an ordinary cynic, but a thorn in the human world, with the righteousness of the Eastern Han Party.
Cai Yong's "Kingfisher Poetry" is a portrayal of the mentality of scholars in troubled times. In this fable poem, Cai Yong conceived a limited space for the kingfisher, but it can be supported. Willow leaves and red flowers in front of the courtyard, where kingfishers can flap their wings and repair their capacity. It is a survivor who escaped from hunters and is willing to entrust his life to Liu Ruoshu's master. Kingfisher has found shelter for the time being, but it is still under the fence, fearing being hunted down. This poem is an image reflection of Cai Yong's own experience, from which we can see the fear of scholars in troubled times at the end of Han Dynasty.
The above five-character poems by Li Yan, Zhao Yi and Cai Yong were all written in the Lingdi period, with typical characteristics of literature in troubled times. Cai Yong's "Kingfisher Poetry" reveals a deep sense of hardship, and the poet lacks a minimum sense of security and lives in fear. The four poems of Li Yan and Zhao Yi all aim at exposing and criticizing the darkness and decay of society, showing a heavy sense of oppression and a strong sense of struggle, and the independent personality of writers in the Han Dynasty shines again. Poets are in an unfortunate situation, so their criticism of society can also hit the nail on the head. Li Yan and Zhao Yi's works are no longer as subtle as previous literati poems, but speak out loudly and show sharp edges. Later, the characteristics of Jian 'an literature, such as rich outline, deep ambition and long pen, have been revealed in the five-character poems of literati in the Lingdi period.