Li Shangyin (8 13—858) was born in western Henan, and was born in Hanoi, Huaizhou (now Biyang, Henan). He was a scholar in Tang Wenzong in 837. A young man has a successful career, but he has been a servant for a long time, and he has been a literary bureaucrat under the fence all his life. There are poems by Li Yishan.
Li Shangyin's thought has some anti-traditional tendencies, especially in literature, and he opposes the ruling power of Confucian orthodoxy over literature. In the book Shang Cui Hua Zhou, Li Shangyin clearly expressed his disgust at the argument that "learning the Tao must seek the ancient, and learning the ancient is necessary for writing". He believes that "Tao" is not the exclusive product of Duke Zhou and Confucius, and there is no distinction between ancient and modern, so it can be practiced together with Zhou and Confucius. Therefore, he wrote an article "Writing from a Straight Pen, Don't Like to Follow History", that is, expressing his chest directly. He also said in "Offering a Prime Minister to the Kingdom of Zhao Jing":
"When people are engaged in the manifestation of the five elements and prepare for the seven emotions, there must be a sigh to communicate the spirit. Therefore, the yin is sad and the yang is comfortable, and its path is different. Its sadness is sorrowful and its source is tens of millions." In short, in his mind, the most important thing in literature is personal living thoughts and feelings. These views were rarely thorough and true in the Tang Dynasty.
Mu and Li Shangyin's life ideal is still a model of traditional scholar-officials. He believes that from an official to an official, governing the world is the primary responsibility of life. He sincerely cares about society and has devoted great enthusiasm to politics. Many of his political poems based on personal real feelings are actually more passionate than those based on utilitarian concepts. For example, after Yamato became nectar in nine years, he wrote two feelings and heavy feelings, regretting the failure to kill eunuchs; When the upright literati died, they also wrote down weeping for, weeping for and weeping for Liu, and repeatedly lamented that "Kong Wen moved Jia Yi instead of staying" and "When thousands of people look back, the sky is too high to smell". At ordinary times, he often satirizes the present in his poems, attacking the absurd mistakes of the monarch in the country (such as Southern Dynasties, Qi Gong Ci, Sui Gong), reprimanding the separatist regime of the buffer regions (such as Han Bei, Sui Shidong, Li Langzhong, and delivering the household registration department on the way to Zhao Yingjun), and lamenting the poverty of the people (such as "Han Bei"). However, he was deeply disappointed and indignant at the decline of society itself and his personal experience, so he was in Now the yellow leaves shake with the strong wind, but wind instruments and fiddling instruments keep the blue house happy (Storm), which makes it more lonely and weak. It is forbidden to join the WTO and to be born, which causes his inner embarrassment, depression and pain. As Cui Jue's crying Li Shangyin said:
"Empty negative lingyun great talent, lifelong not open".
In personal life, Li Shangyin is a person who attaches great importance to feelings. It is said that he met a female Taoist in "True Love" in his early years, and there may be other love experiences, but all of them have no results; After marriage, he and his wife had an excellent relationship, but his wife died at the age of 39. So in his mind, the pain caused by love is also extremely profound.
Li Shangyin's political frustration and sad life experience often make him fall into sentimental and depressed mood, which affects his aesthetic taste. As far as the literary origin is concerned, in the poems that best represent Li Shangyin's style, it is not difficult to see that he absorbed the exquisite and beautiful characteristics of parallel prose in the Six Dynasties, Du Fu's achievements in neat rhythm, and the advantages of Han Yu, Li He and others in refining and coloring. However, due to his own emotional tone and aesthetic taste, as well as the great poet's pursuit of artistic originality, he integrated these characteristics of his predecessors and re-created his own unique style. He is good at using exquisite and gorgeous language, subtle and tortuous expression techniques and reciprocating structure to form a hazy and profound artistic conception to express his deep feelings and feelings. This feature is particularly prominent in his untitled poems (including poems with the title of the first number but still untitled in reality).
In Li Shangyin's poems, the image, structure and artistic conception are very unique.
First of all, we can see that Li Shangyin loves and is good at using allusions, and he is also very good at capturing images full of emotional expression. Such as the famous seven laws "Jinse":
I want to know why my Jinse has fifty strings, and each string has a youthful interval. Zhuangzi daydreaming, a saint, was bewitched by butterflies, and cuckoo crowed in the imperial spring. Mermaids shed pearl-like tears on the moon-green sea, and the blue fields breathed their jade to the sun. A moment that should last forever has come and gone before I know it!
Each of the four sentences in the middle uses an allusion: the third sentence uses the story of a butterfly born in Zhongzhuang, The Theory of Everything, Zhuangzi, which shows a trance and confusion of life; The fourth sentence uses the story that King Shu turned into a cuckoo when he saw the emperor in Huayang Guozhi. Every spring, he cries until he bleeds, where bread contains a kind of grief and indignation that is hard to pursue and fruitless; The fifth sentence uses the story of Jiao Ren's tears in the Caspian Sea in natural history, which has a strong sense of sadness; Although the sixth sentence is not from He Dian, in the middle Tang Dynasty, Dai Shulun once described the poetic scene as "warm and moist" (see Si Kongtu's "Ji Pu"), which also refers to a hazy and illusory feeling.
In this way, four allusions in the four sentences convey the emotional experience of confusion, sadness, sadness and illusion, and set off the "unprovoked" in the first two sentences, "Why does my golden harp have fifty strings, each of which has a flowery interval of youth", and the "melancholy" in the last two sentences, "and a moment that should last forever and unconsciously come and go", thus forming the.
Li Shangyin used all kinds of images including allusions in detail. On the one hand, most of these images are colorful or mysterious and have a certain aesthetic feeling, such as "mica screen", "golden emerald", "embroidered hibiscus", "dancing with the dressing table", "sleeping duck incense burner", "red candle remnants" and "phoenix tail fragrant Luo", which make the poems present dazzling visual effects. On the other hand, most of these images contain some emotional colors such as sadness, hesitation and sadness, just like those allusions in Jinse. Besides, he likes to write about the moon, dew, drizzle and sunset. This made him feel cold and sad. Take "Feeling Lu Cong in Pan Sudou House" as an example;
Reed leaves shoot in summer, and the postal kiosk wants to sprinkle dust. In the past, he was a guest in Jiangnan, but at the beginning of today, he was a foreigner. The wind in Sizitai is very urgent, and the moon should sink on Lake Yu Niang. The sound of silence is not far from pedestrians, and an empty city is accompanied by a night anvil.
The poet lives alone in a desolate city outside Shanhaiguan. What he saw and heard was the rustle of reed leaves, the wind and the moon sinking, and the anvil ringing all night. The whole poem chooses the image that makes people feel desolate and expresses his "feelings", that is, the feeling of wandering around the world, loneliness, desolation and cold.
Secondly, Li Shangyin's poems are more similar in structure than those of poets in the prosperous and middle Tang Dynasty. The structure of poems in the prosperous Tang Dynasty and the middle Tang Dynasty is often parallel or progressive, with one scene and one meaning, and the realm is open and stretched, such as overlooking a mountain, while Li Shangyin's poems are tortuous, and the whole poem often laments one kind.
Emotions are just superimposed from different angles, just like people wandering in a deep valley, lingering. If there is no title:
It was a long time ago that I met her, but since we separated, the time has become longer, the east wind is blowing and a hundred flowers are blooming. Silkworms in spring will weave until they die, and candles will drain the wick every night. In the morning, she saw her hair cloud changing in the mirror, but she bravely faced the cold of the moonlight with her evening song. There are not many roads to Pengshan. Oh, Bluebird, listen! -Give me what she said! .
One or two periods show the pain of parting, three or four sentences write about the constant lovesickness, five or six sentences write about the gloomy disappointment and entanglement of the mood with the wax torch of spring silk, set off the bleak sadness of the two places with the white hair in the mirror and the cold light of jathyapple, and seven or eight sentences express their hopes by borrowing a book from the Jade Bird, but they use Pengshan as a metaphor for people and gods, and finally they can only communicate with each other but can't meet each other. And the poem "promote leakage":
It is difficult to distinguish between newspapers and overlapping words. Dance and make up a case to collect the residual clothes and sleep in the duck incense burner for the evening smoke. Go back to know the moon, where dreams come from is more cloudy. Nantang is getting warmer and warmer, and every pair of mandarin ducks protects the waterline.
The whole poem begins with the sound of the silent night bell, and leads the reader into a secluded and quiet world in the dim light, where colorful and desolate colors and breath shine, giving people an illusory and mysterious feeling. Then it is pointed out that a tryst has passed, but the people who come back are still wandering under the moon, and the future is long. I don't know where to reproduce such a dream of sex rain. Finally, the picture turned bright, and it was written about the futon in Nantang. Yuanyang was playing in the water, and the water waves rippled, which was even more shocking. Rendering layer by layer, responding from beginning to end, setting off loneliness and loneliness. This circular structure formed by the change of visual angle is also skillfully used in Notes to Northern Friends on a Rainy Night:
When you ask about the return date, it's hard to say, evening rain, Manqiuchi. When * * * cut the candle at the west window, but talk about the rain at night.
The four poems first imagine the virtual world in the real world, and then turn the real world into the virtual world, overlapping like a movie montage, showing the poet's deep feelings for his wife.
Many of Li Shangyin's poems are hazy and psychedelic, which constitutes a remarkable feature. There are some specific reasons, such as his special experience leading to depression, and some of his unrequited love can't be explained clearly. But at the same time, we should also note that poetry is an artistic creation activity after all, and some artistic features are always inseparable from the poet's intentional pursuit. Although Li Shangyin's misty poems are not easy to read, they are very infectious and widely loved by people because of their real artistic life. This special effect is mainly composed of the following factors:
First of all, the content of Li Shangyin's poems is different from ordinary poems. He doesn't intend to use poetry to describe the events of specific characters. Moreover, he does not directly express simple and clear emotions such as emotions. He focuses on the inner experience of some life experiences, which are often multifaceted and fluid, and sometimes it is difficult for him to capture and convey clearly. Therefore, he can only use symbolic means to create impressions and produce artistic conception. However, it is not that the poet did not control the obscurity. He still put forward an essential point, like the poem "Jinse". Although it is impossible to know where the sadness it expresses comes from, Memories of China Years by String and Column let people know that its scope is memories of the good old days. Therefore, it is impossible to make a detailed analysis of such poems, but their emotions can be felt.
Secondly, when Li Shangyin's poems constitute a sad and lonely artistic conception, he seldom uses old images that have lost vitality, but often uses some unnatural images with colorful and strange colors. These images not only shine with exciting brilliance in obscurity, but also always become a symbol of strong desire for life. The previous analysis of the poem "Promoting Leakage" can be used as an example. Therefore, although the artistic conception in this kind of poems is low, it is not light.
Thirdly, his poetic scene is usually not a panoramic scan, nor is it a plane connection of several related images, but is often superimposed from many aspects with some seemingly unrelated exquisite symbols, forming a multi-faceted complex realm. This kind of poem reduces the momentum, but expands the connotation, which requires readers to participate more actively and associate more.
In a word, Li Shangyin's creation proves that poetry does not necessarily need to express clear facts, but can express complex and changeable inner feelings in a hazy form, which is a great contribution. In addition, modern poetry, especially the Seven Rhymes, is more mature in his hands, because the repetitive cycle, overlapping structure and concentrated symbolic images just conform to the characteristics of limited words and repetitive rhythm of modern poetry.
Wen Tingyun (? —866), the word Fei Qing, was born in Taiyuan (now Shanxi). Some of his modern poems are very similar to Li Shangyin's, for example, Crossing the Past: the pearl foil and gold hook face the colorful bridge, which was beautiful here last year. Incense lamp overlooking Joan temples, Leng Yue diligent jasper flute. The screen leans against the six-window mountain, and the willow hangs cold. The bad wall was covered with moss after the rain and was picked up at that time.
He is also good at using allusions, paying attention to color, exquisite images, cyclic overlapping in structure, beautiful colors and forms, and some poems are also sad.
But after chewing slowly, we can feel that there are many differences between Wen's poems and Li Shangyin's poems. Li Shangyin's pursuit of love and ideal is persistent, so there is deep pain hidden in his heart. This kind of pain has been chewed, written into poetry, and integrated into the image of poetry, so it is far-reaching and touching. The poems of Wen are straightforward and superficial, and often lack charm. Compared with Li Shangyin, the language of poetry is also shallow, and the images used are more external and concrete, unlike Li Shangyin's poetic images, which have a very strong symbolic connotation.
Wen's Yuefu songs are deeply influenced by Han Yu and Li He, paying attention to the magical beauty of images and the gorgeous colors of words, but lacking creativity. However, some of his five-character modern poems have inherited the pattern of poets since Dali, with narrow realm and simple content. However, some excellent works are very meticulous in observing natural scenery and are good at capturing images. They often show a picture of scenes blending between scales in fresh and concise language, like the well-known "Walking on the Good":
I began to recruit priests in the morning and felt sorry for my hometown. When a chicken crows at the Maodian Moon, people walk on the Banqiao Frost. Leaves fall on the mountain road, and the walls in Ming Yi are full of flowers. Because they remembered Ling Du's dream, the geese returned home full of food.
Especially in the third and fourth sentences, verbs move in tandem, presenting the six images of chicken, maodian, moon, pedestrian, Banqiao and frost side by side in front of readers, making people combine into a colorful realm, and through this realm, they realize the hardships and loneliness of pedestrians, so they are highly respected.
Wen's poems are beautiful, but their personality is not outstanding and their content is simple. His achievements are mainly in the creation of ci, which we will introduce in the next chapter.