However, as a courtier of court literature, it is not easy to express personal beliefs or feelings. For example, Yu Xin has a poem "The Wind and the Floating Picture of Tongtai Temple", which is sung together with Xiao Gang's "The Floating Picture of Wangtongtai Temple". The devotion to Buddhism expressed in the poem actually focuses on the mood of the Crown Prince, and it is impossible to simply conclude that Yu Xin believes in Buddhism. This situation also applies to other literary attendants in the East Palace.
Because Xiao Gang and others were in charge of new changes, they influenced the creation at that time, broke the stereotypes and opened the way for the development of Tang poetry. Yu Xin's early works have made great contributions in this respect, such as the seven words and eight sentences in "Night Cry", which are sonorous in tone and basically conform to the level tone of rhythmic poetry. Another example is Ge Yanxing, which expands the system of seven-character ancient poems, not only lengthens the narrative space, but also changes the rhyme between sentences to rhyme according to the ups and downs of feelings. His early exploration of poetic forms is worth cherishing, and both Yang Shen in Ming Dynasty and Liu Xizai in Qing Dynasty recognized his role in it.
Yu Xin's accumulated literary experience in the Liang Dynasty includes not only the management of aesthetic forms, but also the understanding of aesthetic contents. Xiao Yi said: "Chanting wind ballads, lingering is the text." Yu Xin had a sentimental aesthetic interest in his early days, and expressed his sadness with colorful words. Yu Xin's later life experience fully realized this aesthetic pursuit, thus reaching an artistic realm higher than that of his contemporaries. Later, because of the Hou Jing Rebellion, the Liang Dynasty was on the verge of collapse. Emperor Liang Yuan tried to revive in Jiangling, but soon died in the Western Wei Dynasty. Yu Xin was sent to Chang 'an as an envoy, but due to the fall of Jiangling, he could not return to the south. He worked in the Western Wei Dynasty and the Northern Zhou Dynasty, and served as a general in title of generals in ancient times and an official in charge of the court. According to Zhou Shu's biography, he "often wants to go to the countryside, although he is looking forward to it." His homesickness is a sad speech, which contains rich ideological content and deep feelings. His style is desolate and his art is more mature. Du Fu said in "The Play is Six Poems": "Yu Xin's articles are old and familiar, and his brushwork is vertical and horizontal"; In Ode to Monuments, he also commented on his "land where poetry stirred up the river in his later years", which refers to this feature of his later works.
Sentimentality and leading the country with soul is an important aspect of his "homesickness thinking". Yu Xin was shocked by the changes in the country. "It has been a place for song and dance performances since ancient times, but today there is no place to go." This sense of vicissitudes made him more deeply realize that between personal destiny and national destiny, it is like "a running horse, without a hair moving;" A boat is covered, and it is all heavy. " Therefore, while expressing his personal pain of national subjugation, he can also reflect the people's sufferings with compassionate brushstrokes, and blame it on the infighting and idleness of those in power. Yu Xin, who has lived in the north for a long time, is eager to return to the south and look forward to the mountains and rivers of his old country. When I saw the Weihe River, I saw the scenery in the south of the Yangtze River: "Trees are like a new pavilion, sand is like Weilong Bay, and words are still singing. I want to return the sails." Suddenly seeing betel nuts will also evoke homesickness: "The green house is ripe and the purple ears are blooming. Don't talk about Wan Li, I have seen him once. " On the way to see Wang Lin off, Yu Xin couldn't help feeling sad after receiving a letter from an old friend in the south. The General Catalogue of Sikuquanshu praised Yu Xin's works after moving northward as "rich in content, full of emotion and literariness, full of yellow dialogue, relaxed in spirit and free to change". From the poem Send Wang Lin, we can see the author's superb art.
Sighing and hating about travel and worrying about life experience are another important aspect of his "homesickness thinking". Although he got "high officials and beautiful officials, and some of them even surpassed the old country" after moving to the north, he felt that he was tantamount to "advocating that his family was forced to hire, and the proton value still existed", and blamed his detention on "forgetting Chu and Cao, but eating Zhou Wei". His aversion to travel is intertwined with his anxiety about life. He used the image of "thinking when the water is dry, and being surprised when the forest is exhausted" to illustrate the powerlessness of personal survival. Yu Xin claimed that the poem "Mourning for the South of the Yangtze River" written in his later years was "not without danger and suffering, but mainly based on sadness". Ni Kun commented on this topic: "After Zi Shan entered the customs, his articles were more sad and resentful, and he was not alone." It is the spiritual feature of Yu Xin's later literature.
His "Twenty-seven Poems of Singing Huai" expresses sorrow from many angles with the system of five-character poems, which directly inherits the lyric tradition of Ruan Ji's "Poems of Singing Huai", especially outstanding. For example, in No.7 Middle School, I borrowed a woman who lived in Alakazam and missed the Han Dynasty, and compared her hidden hatred for being an official in the north with her desire for the return of the south, which was sincere and touching. Another example is the worry he expressed in Article 18. This kind of worry is not only the disappointment and sadness about his unsuccessful career, but also the grief that he can't build great honor for his country, so he can't leave room for being dismissed or detached. In this poem, the four sentences of "waning moon" describe the scenery, and the sentence patterns are ingenious and clumsy, which can project the poet's unique state of mind and show the poet's meticulous brushwork.
The experience from south to north made Yu Xin's artistic attainments reach the height of "the victory of poor north and south", which is of typical significance in the history of China literature. Yu Xin learned from the rhythm and antithesis of Qi and Liang literature, accepted the vigorous style of northern literature, developed and enriched the aesthetic mood, and made necessary preparations for the formation of the new poetic style in Tang Dynasty. Yu Xin is a figure in the history of China literature. No one can compare with Bao Zhao in the Northern Dynasties. At that time, there was a saying of "Yu Xu style". At that time, Xu Ling tied with it, but in fact, Xu Ling's performance was below it. Yu Xin is one of the prolific writers in the history of China literature, and he has made great achievements in poetry and prose.
His poems and Fu also occupy an important position in the history of China Fu. It is different from the Sao Fu of predecessors and the law Fu of later generations. In the Han Dynasty, he turned prose into parallel prose, which made Fu more formal and developed to a new stage. At the same time, Yu Xin also advocated the Tang people to write poems into Fu, which influenced the parallel prose of He Luo in the Tang Dynasty. Parallel prose flourished in the Six Dynasties, and Yu Xin was a master.
Yu Xin is the most famous poet who goes from south to north. He suffered the bitter life peculiar to the split era, but he achieved the literary achievement of "the poor north and the south win". His literary achievements show the prospect of the integration of North and South styles. Yuwen Hu: Yu Xin, a native of southern China, was born filial, and his grief was greater than his death. When I saw him, I couldn't bear to look at him.
Wang Tong: Xu Ling and Yu Xin, who boasted in ancient times, celebrated their birthdays.
Li yanshou: (1) Since Datong, Liang has been lacking in refined morality, and has gradually followed the rules, striving for novelty and originality. Wen Jian (Xiao Gang) and Xiang Dong (Xiao Yi) started their lewdness, while Xu Ling and Yu Xin parted ways. Its meaning is shallow and complicated, its text is hidden and colorful, its words are light and dangerous, and its feelings are full and sad. Listen to Yanling, and cover the voice of national subjugation. (2) Wang Bao, Yu Xin, Yan Zhitui, Yu Shiqi, Liu Gui, Xu, Ming Kerang, Liu Zhen, Yu Chu, etc. And they are very famous in the south, famous for their talent, and expensive is also appropriate.
Linghu Defen: Erqi Well and Hengqizi, in the middle and southeast of bamboo arrows, are temples. Only Wang Baohe Yu Xin is a wizard, and a generation is locked in a cage. At that time, Sejong Yazi Yunwei, Teng and Zhao Erwang carved chapters. Building an empty palace with salt is like the friendship of cloth and clothes. Because he is from the imperial court and the state of Yan, he never forgets to taste the charm and show off the last light. Still in the mountains, with Dai, and in the rivers, Zongbo also. But Zishan's articles originated in the late Song Dynasty and prevailed in Liang Dynasty. His body is obscene, and his words are light. So I can praise my eyes and heart better than Zheng and Wei. ... if used on one side, Zeus is also a sinner.
Zhang said: Lan Cheng chased Song Yu, a puppet poet in my old house. The pen rushes to the mountains and rivers, and the text is arrogant.
Du Fu: ① Qing Xin Yu opened the government, and Jun Yibao joined the army. ② Yu Xin's articles are older and more mature, and Ling's brushwork is vertical and horizontal. Yu Xin's life is the most miserable, and his poems in his later years caused a sensation in the north and south of the country.
Yang Shen: Yu Xin's poem, Liang Zhiguan, was driven before the Tang Dynasty.
Xia Wanchun: The Su (Su Wu) Festival is over, and Yu Kaifu's generals have been abandoned forever.
Wang Fuzhi: Since the Song and Qi Dynasties, the style of articles has been extremely rampant. People know that its obscenity is abhorrent, but they don't know that its falsehood is especially abhorrent. Southerners admire it and northerners make peace with it, so Wei Shou and Xing Zicai are like Xu Heyu. Hanging the shadow of an article and serving its heart harmoniously is considered to be beautiful, light and false. People are used to imitating each other, and there is no need to say what they want, so they can tell each other what they want. Its chastity is also not chastity; Its lewdness is not lewd; And my heart is long gone.
Ji Yun: Yu Xin's Parallel Prose is a masterpiece of the Six Dynasties, guiding the way for the Four Masters and standing tall among the Four Six Masters since ancient times.
Liu Xizai: The prosperity of Yuzishan started in the early Tang Dynasty with seven ancient times, and Wu Ye started in the Tang Dynasty with seven laws. Other styles were based on the five odd and five behaviors of the Tang Dynasty, which was particularly invincible.
Lin Shu: Zi Shan's "Jiangnan Fu" is not named Fu, but should be regarded as the blood and tears of the doctor who died in the country.
Liu, Yu Zishan and other sad essays use the most allusions ... Their emotions and essays can be traced back by swimming. Although the space is long, there is no trace of piling up ... so we know that piling up is different from using allusions. I mainly use allusions to assimilate them, while piling up is for them, but it is stagnant and ineffective.
Qian Jibo: Carving and painting strange characters, fighting every day; What can be done, don't be angry, do it with the wind, and the algae are bright and elegant, so Yu Xin and Xu Ling are also human beings. ... but his brilliant and beautifully written works have been gradually influenced by young people in the Southern Dynasties for hundreds of years. And its flow into the week, with a sense of wandering, transferred to the sound of the north, so the works after middle age can fade away from the splendor of the palace, but they are particularly desolate. Take things as color, be good at communication, linger on the chapter, prosper and abolish the scenery, decline the scenery, and speak Tsinghua; It is good at carving insects to make words. Things that are well used, according to the principle of ancient love and present, belong to rhetoric, which comes out with depression and frustration, so they pile up into smoke. Rich in talent, natural and healthy, with low bone grafting, Qi is a male. With majestic demeanor and full of vibration, Li Dian's new sound will not hurt the accumulation. I have tasted Han Yu's ancient prose, and I saw it in the mud; The parallel prose of the letter is sparse in the overall beauty. Han Yuxiong was not happy, but his letters were dense and sparse, beautifully organized, and his pen was used in the wrong place. Forty-six paintings in Tang and Song Dynasties were created on the basis of Mohan and Han and Wei Ci Fu, and their fulcrum was actually controlled by trust.
Qian Zhongshu: Zi Shan's Ci is a work with vivid images and beautiful feelings. Such as Spring Fu, Qixi Fu, Lantern Fu, Duzhu Fu, Mirror Fu and Yuanyang Fu were all written in the Southern Dynasties. Her husband's attitude towards Wei and Zhou has changed a lot, but the two books "Elephant Play" and "Shooting Horses" are still the same. His poems, such as "Zhang", "Zhang", "Dead Tree" and "Sorrow", are all lyrical and profound, and they are all bypassed by Qu Zi, not directly quoted by his legacy, but the poor state in the south of the Yangtze River is full of glory in his sorrow. Do more work in the early stage, be lucky in the later stage, be muddy in the bright and beautiful, and be in the beautiful middle stream; If you work after you are poor, you will be more successful when you are old, but you will not be empty.
Mao Zedong once said that Jiang Yan was far more than one writer in the Southern and Northern Dynasties, and Yu Xin was one of them.