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The Life of Su Shi
——My thoughts after reading "The Aesthetic Life of Su Shi"
Author: School of Chemistry Liu Yixue No.: 12040208 Course Selection No.: 200402311
Introduction: "Aesthetic life and official life are two extremely opposite attitudes towards life. Official life and the nature of poets are fundamentally incompatible: one is Dai Politicians wearing masks, one is a poet with an innocent heart, one is extremely hypocritical and needs official entertainment, and the other must be honest and clear-minded. Su Shi's life is a typical aesthetic life, that is, reading immersed in literature and art. Writing, appreciating the hue, order, rhythm and harmony of the life universe brings joy to life."
Today I read the article "Su Shi's Aesthetic Life" written by my teacher, which gave me a better understanding of Su Shi. We have been studying Su Shi's poems since elementary school. At first, we just thought that his writing was very bold and unrestrained, and we didn't understand them well. But after reading this article, I feel that there are too many things in it for us to admire, including his literary talent and his character.
Below, I will only give an introduction to Su Shi’s poems:
(1) Su Shi’s life:
Su Shi (1037-1101), named Zizhan, Also named Hezhong, also known as "Dongpo Jushi", he was a native of Meishan, Meizhou (now Meizhou, Sichuan). He was a famous writer, calligrapher and painter in the Song Dynasty. He, his father Su Xun, and his younger brother Su Zhe are both famous literary figures, and are known as the "Three Sus" in the world; they are as famous as the "Three Cao Fathers and Sons" (Cao Cao, Cao Pi, and Cao Zhi) in the late Han Dynasty. When it comes to him, almost everyone who has some knowledge of literature knows about him.
His father Su Xun is the "Su Laoquan" mentioned in the "Three Character Classic" who "begins to get angry at the age of twenty-seven". Although Su Xun got angry late, he worked very hard. In his later years, Su Shi recalled studying with his father when he was young, and felt that he was deeply influenced by his father. Of course, without Su Xun's diligent study, it would have been impossible for Su Shi to receive a good tutor at a young age, let alone "study the classics and history, and write thousands of words a day" when he was still young, and it would be even less possible for him to have a literary career in the future. Everyone.
In the first year of Jiayou (1056), Su Shi, who was twenty years old, left Sichuan for the first time to go to Beijing to take part in the imperial examination. In the following year, he took the examination of the Ministry of Rites, and won the appreciation of the examiner Ouyang Xiu with his article "On Punishment and Reward Loyalty" and was awarded a high school Jinshi.
In the sixth year of Jiayou's reign, Su Shi took the high school examination, which is commonly known as the "three-year Beijing inspection". He entered the third class and was awarded the title of judge of Dali and the judge of Fengxiang Prefecture. Later, when his father died of illness in Bianjing, Ding You returned home to support the funeral. In the second year of Xining (1069), he returned to the court after serving, and was still granted his post.
Su Shi has not been in the capital for several years, and great changes have taken place in the court. After Shenzong ascended the throne, he appointed Wang Anshi to support the reform. Many of Su Shi's mentors, including Ouyang Xiu, his mentor who admired him at the beginning, were forced to leave Beijing due to disagreements with the new king Anshi on the implementation of the new law. The old rain in the government and the field has withered, and what Su Shi sees in his eyes is no longer the "peaceful world" he saw when he was twenty.
Su Shi saw the harm caused by the new law to ordinary people on his way back to Beijing, so he disagreed with Prime Minister Wang Anshi's approach. He believed that the new law was not convenient for the people, so he wrote a letter to oppose it.
One result of this is that, like his mentors and friends who were forced to leave Beijing, they will not be accepted by the court. So Su Shi asked to be released to the outside world and was transferred to Hangzhou Tongpan.
Su Shi stayed in Hangzhou for three years. After his term was completed, he was transferred to Mizhou, Xuzhou, Huzhou and other places as magistrate.
This lasted for about ten years, and Su Shi encountered the first disaster in his life. At that time, some people deliberately distorted his poems and made a big fuss about it. In the second year of Yuanfeng (1079), less than three months after Su Shi arrived in Huzhou, he was arrested and imprisoned for writing poems that satirized the new law and "slandered the emperor and prime minister in writing". This is known as the "Wutai Poetry Case" in history.
Su Shi spent 103 days in jail and was almost on the verge of being beheaded. Fortunately, the Northern Song Dynasty made a national policy not to kill ministers during the reign of Taizu Zhao Kuangyin, so Su Shi escaped.
After being released from prison, Su Shi was demoted to deputy envoy of Huangzhou Tuanlian (equivalent to the deputy captain of the modern civil self-defense forces). This position was quite humble. At this time, Su Shi had become discouraged after going to prison. In his spare time, he led his family to reclaim wasteland and farm to help make ends meet. It was at this time that he gave himself the nickname "Dongpo Lay Scholar".
In the seventh year of Yuanfeng, Emperor Shenzong of the Song Dynasty, Su Shi left Huangzhou and went to Ruzhou to take office. Due to the long journey and exhaustion from the journey, Su Shi's infant died unfortunately. The road to Ruzhou was far away, and the travel expenses had been exhausted. Coupled with the pain of losing his son, Su Shi wrote to the court, requesting not to go to Ruzhou for the time being, but to live in Changzhou first, which was later approved. When he was about to return south to Changzhou, Shenzong died.
Zhezong ascended the throne, Wang Anshi's power fell, and Sima Guang was re-elected as prime minister. Su Shi was summoned back to the court that year. In just one or two years after this, Su Shi was promoted from the prefect of Dengzhou to a bachelor of the Hanlin Academy and a minister of the Ministry of Rites.
As the saying goes: "It's not easy to be a Beijing official." When Su Shi saw that the emerging forces were desperately suppressing the figures in Wang Anshi's group and abolishing the new laws, he believed that they were just the same as the so-called "royal party" and once again proposed to the emperor Advice.
Su Shi could neither tolerate the new party nor forgive the old party, so he once again asked for external transfer.
As a bachelor of Longtuge, he once again went to Hangzhou to serve as the governor after an absence of sixteen years.
Su Shi's only political achievement in Hangzhou was to build a major water conservancy project and built a dam next to the West Lake, which is also known as the "Su Causeway".
Su Shi lived very comfortably in Hangzhou, comparing himself to Bai Juyi in the Tang Dynasty. But not long after, Wang Anshi came to power again, and he was recalled to the court again. But soon he was exiled to Yingzhou due to political differences.
After that, Su Shi entered the court several times, was demoted, demoted, demoted, entered the court... and suffered the ups and downs of the officialdom. He was once demoted to Huizhou and Danzhou (in today's Hainan Island). When he was summoned back to Beijing in the first year of Emperor Huizong's founding (1101), he died of illness in Changzhou at the age of sixty-six.
Judging from Su Shi's resume, he was unsuccessful as an official; his main contribution was in literary creation. He is one of the eight famous calligraphers of the Tang and Song Dynasties, and one of the four major calligraphers of the Song Dynasty (Su, Huang, Mi and Cai). Judging from the extant works of Su Shi, he was proficient in all kinds of poetry, lyrics, and poetry. In the two Song Dynasties where there were many talents, he was the master of poetry, lyrics, and prose.
(2) Su Shi’s outlook on life and aesthetics:
Su Shi’s diverse outlook on life and his rich and complex thoughts have a multifaceted impact on his literature. Research in recent years Participants hold different views on this. For example, Pu Youjun's "Beyond Difficulties: Su Shi in Hainan" ("Journal of Sichuan Normal University", Issue 3, 1992) believes that Su Shi's optimistic and open-minded way of life and aesthetic attitude enabled him to overcome all kinds of persecution in Danzhou, a remote and desolate place in Hainan. and hardships, reaching the pinnacle of poetry creation and literary thought. Chen Xiaofen's "Buddhist Thought and Su Shi's Creative Theory" (Research on Literary Theory, Issue 6, 1992) believes that "Buddhist thought, with its macroscopic content involving the composition of the universe, its transcendent way of understanding and thinking characteristics, to a certain extent "Su Shi has always believed in Buddhism and had close contacts with monks. He was also familiar with various Buddhist scriptures and had a deep understanding of Buddhist principles. Therefore, Buddhist ideas gave him many inspirations for his creations." Liu Shi's "Several Issues Related to Buddhist Zen in Su Shi's Creations" (Guizhou Social Sciences, Issue 3, 1992) discusses Su Shi's good use of Zen in his poems from three aspects: Buddhist Zen allusions, Buddhist Zen language, and Zen expressions. Classics and Zen language express the characteristics of Zen state. Gao Linguang's "A Brief Discussion on the Influence of Zen Aesthetics on Su Shi's Artistic Creation" (Journal of Inner Mongolia Normal University, Issue 1, 1993) preliminarily examined the influence of Zen aesthetics on Su Shi's artistic creation from the aspects of thinking characteristics, aesthetic attitudes and aesthetic methods. . The anti-rational thinking characteristics of Zen aesthetics were cited by Su Shi, which made some of his works fully emphasize the expression of individual emotions and the evaluation of the true connotation of literature: the ultra-utilitarian aesthetic attitude of Zen aesthetics is reflected in Su Shi's works and is concentrated in the following A kind of transcendent spirit, thus creating the multi-faceted style characteristics of his creations, which are either indifferent or heroic; the direct result of Su Shi's invocation of the aesthetic method of Zen aesthetics "seeing images and separating them" is the direct result of his creation of allegorical things but also The main characteristic of poetry is not being stuck in things. On the contrary, Qi Wenbang's "Dongpo's Ci Style and Buddhist Thoughts" (Journal of Henan University, Issue 2, 1993) believes that Buddhist thoughts cast a layer of nihility on some of Dongpo's bold works of poetry. His great transition from actively using the world to thinking about Buddhism and Laoism reflected a huge change in his writing style, which was replaced by works that are both bold and broad-minded, as well as broad-minded and elegant. Qin Zhaowen's "The Nightmare of Buddha and the Sorrow of Zen - Su Shi's Zen-Buddhist Complex in the Lingnan Period" ("Literary and Historical Knowledge", Issue 6, 1996) believes that: "Su Shi's personality is not simply broad-minded, but there is also deep sadness hidden in his heart. ", and "became the dominant aspect of Su Shi's personality in the later period, especially in the Lingnan period." The underlying reason for this is that "Su Shi's Zen Buddhism beliefs were in sharp conflict with the requirements for self-realization." "Su Shi's Zen Buddhism beliefs not only laid the foundation for It "eliminates the sentimental tone of his later poems and recasts his own personality." From a metaphorical sense, Su Shi in this period can be said to be a victim of Zen Buddhist thought to a large extent.
Other researchers have explored the relationship between Su Shi’s works and Taoist thought. For example, Zhang Wei's "On the Connection between Su Shi's Aesthetic Thoughts and Taoism" (Social Science Research, Issue 4, 1994) discusses the impact of Su Shi's Taoist thoughts on his aesthetics and artistic creation, believing that "he organically combined Taoism with artistic creation. Combined, the concept of Tao and the principles of Tao are integrated into his creations, making his works more spiritual and more beautiful." Zeng Zhilu's "On the Taoist Thoughts in Su Shi's "Ji" Prose" (Journal of Baoji Normal University, Issue 4, 1990) believes that the Taoist thoughts embodied in Su Shi's prose are often neutralized and transformed by Confucian thoughts and become A kind of Confucianized Taoist thought plays a more positive role in special circumstances. Zhou Xiaohua's "Su Shi's Views of "Void", "Quiet" and "Ming" - On the Influence of Zhuangzi's "Xinzhai Thought" on Su Shi's Later Thoughts" ("Academic Monthly" Issue 9, 1996) believes that "Su Shi's concept of "empty", "quiet" and "bright" The heart is connected with the transcendent aspect of Zhuangzi’s thought, but it is also unable to break away from the fetters of Confucianism.” Yang Shengkuan's "The Gentleman is Like Water, Taking Shape from Things: A Brief Theory of Su Shi's Personality Thoughts" (Tangdu Academic Journal, Issue 2, 1993) believes that Su Shi inherited and synthesized the ideal personality thoughts advertised by Confucianism and Taoism, and put forward the idea of ??"a gentleman." Su Shi's life realm and literary and artistic pursuits are all marked by the personality ideal of "like water, shaped by things".
The rise of acting studies in the Song Dynasty also had a certain impact on Su Shi's creation. Zheng Rongji, "The Core of Su Shi's Literary Theory Criticism and Creative Thought" (Journal of South Central University for Nationalities, Issue 4, 1994) believes that "reason" runs through Su Shi's entire philosophical thought, literary theory and creative practice, but Su Shi's theory is simple Dialectical materialism refers to the objective laws of the occurrence, development and change of things, which is manifested in three aspects: rationality, knowledge and rationality.
Some researchers have analyzed Su Shi’s literary and artistic views from an aesthetic perspective. For example, Wang Shide's "Su Shi's Essay on the Aesthetic Meaning of the Wonderful Law" (Journal of Xuzhou Normal University, Issue 2, 1992) discusses the relationship between law and new ideas in Su Shi's artistic outlook, and his artistic pursuit of "sending a taste of indifference". Zhang Yi's "The Beauty of Clear and Open Space—Su Shi's Creative Personality, Cultural Character and Aesthetic Orientation" (Research on Literary and Art Theory, Issue 4, 1992) summarizes the artistic characteristics of Su Shi's works in the context of "clear and open space". Geng Qin's "Su Shi's Theory of "Wandering Clouds and Flowing Waters"" (Journal of Yantai University, Issue 4, 1994) believes that Su Shi repeatedly used flowing clouds and flowing water to describe the way of poetry and prose, which reflected his aesthetic pursuit of advocating nature.
(3) Epilogue:
After reading this, everyone has a certain understanding of Su Shi. Su Shi was successful in literary creation, but unsuccessful in officialdom. of. Because his character was too incompatible with the society at that time. Although he has ideals and ambitions, his talents cannot be put into use because he is excluded. It can be said that he was born at the wrong time. In the end, Su Shi chose to use writing poetry to relieve pain, and to use creation to enrich and please himself. As a result, many majestic and magnificent poems were left behind. Su Shi has his own outlook on life and values. At the same time, he also has his own aesthetic point of view, which is writing. Therefore, his poetry is deeply influenced by his aesthetics.
Su Shi described his life with his pen and left exquisite poems to future generations. We would like to thank God for creating such a great poet for us. It is precisely because of his unique aesthetic point of view that he can still create even when he is depressed about knowledge. There are still too many things in Su Shi that are worth studying and thinking about. I believe that one day, a complete Su Shi will be revealed in front of us.