On the Four Poets in Song Dynasty
Su Shi (1037 65438+10.8-165438+August 24), with the word Zi Zhan, the word He Zhong, an iron official Taoist, Dongpo lay man, known as Su Dongpo, Su Xian, Poxian, Han nationality, Meishan and Meizhou.
In the second year of Jiayou (1057), Su Shi was a scholar. Song Shenzong worked in Fengxiang, Hangzhou, Mizhou, Xuzhou and Huzhou. In the third year of Yuanfeng (1080), he was demoted to be the permanent assistant ambassador of Huangzhou because of Wutai poetry case. After Song Zhezong succeeded to the throne, he served as a bachelor of Hanlin, a bachelor of reading and a minister of rites, and was famous in Hangzhou, Yingzhou, Yangzhou and Dingzhou. In his later years, he was demoted to Huizhou and Danzhou because the New Party was in power. Song Huizong was pardoned and returned to the north, where he died. Song Gaozong posthumously awarded a surname; Song Xiaozong pursues "literary style".
Su Shi was a literary leader in the mid-Northern Song Dynasty, and made great achievements in poetry, ci, writing, calligraphy and painting. Vertical and horizontal text; Poetry has a wide range of themes, fresh and healthy, exaggerated metaphors and unique styles. Also known as "Su Huang" with Huang Tingjian. The word is bold and unconstrained, and both Xin Qiji are representatives of bold and unconstrained, and they are also called "Su Xin"; Prose creation is rich and unrestrained, and it is also called "Ou Su" with Ouyang Xiu, and it is one of the "Eight Masters in Tang and Song Dynasties". Song Sijia, one of Su Shi's good books; He is good at literati painting, especially at ink bamboo, strange stones and dead wood. Li Zhimin commented: "Su Shi is an all-round artist." Wang Shizhen, together with Li Bai and Cao Zhi, are called the "Three Immortals" for more than 2,000 years since the Han and Wei Dynasties.
His works include Seven Episodes of Dongpo, A Biography of Dongpo, Dongpo Yuefu, Xiaoxiang Bamboo Stone Map, Strange Stone Map of Dead Trees and so on.
Su Shi's views on society and thoughts on life are undisguised in his literary works, among which poetry is the most hearty. In more than 2,700 Su poems, the theme of intervening in social reality and thinking about life is very prominent. Su Shi's attitude towards various unreasonable phenomena in social reality is "out of date", and he always regards criticizing reality as an important theme of his poems. What is more commendable is that Su Shi's criticism of society is not limited to the New Deal, nor to the present. He criticized the long-standing abuses and bad habits in feudal society, which reflected a deeper critical consciousness.
Su Shi's life was ups and downs, and he traveled everywhere, and his life experience was extremely rich. He is good at summing up experience from life experience and seeing laws from objective things. In his eyes, ordinary life content and natural scenery contain profound truth, such as two poems, titled Xilin Wall and Mianchi Nostalgia. In these poems, natural phenomena have risen to philosophy, and feelings about life have also been transformed into rational thinking. It is particularly commendable that the philosophy in poetry is naturally expressed through vivid and distinctive artistic images, rather than through logical deduction or discussion and analysis. This kind of poem is both beautiful and interesting, and it deserves its name. "I don't know the true face of Lushan Mountain" and "Snow Mud Red Claw" became popular idioms as soon as they came out, which shows that Su Shi's reasonable poems are widely loved. There are many similar works in Su Shi's poems, such as Sizhou Sangha Pagoda, Drinking Rain after Chu Qing on the Lake, and Cihu Breeze. Su Shi is very insightful, so he can find wonderful ideas everywhere.
Deep thinking about life makes Su Shi hold a calm and broad-minded attitude towards ups and downs, which is fully reflected in Su Shi's poems. Su Shi's poems in adversity certainly contain pain, resentment and depression, but more of Su Shi's poems show his contempt for suffering and his transcendence of pain.
Su Shi is knowledgeable and versatile, and he has mastered the artistic skills of poetry to a perfect degree. He has an amazing innovative spirit towards artistic norms. Moreover, the expressive force of Su Shi's poems is amazing, and there is almost no theme that Su Shi's poems can't contain.
The late Northern Song Dynasty, represented by Yuan You's poetry circle, was the heyday of Song poetry. The creation of Wang Anshi, Su Shi, Huang Tingjian and Chen Shidao pushed the art of Song poetry to the peak. In terms of outstanding and distinctive style and personality, Wang, Huang and Chen may be more eye-catching than Su Shi's poems. However, in terms of creative achievements, Su Shi is undoubtedly the first poet in the Northern Song Dynasty. Su Shi's poems are outstanding in the dimensions of wide subject matter, diverse forms and profound emotional connotation. More importantly, Su Shi has a strong artistic compatibility, and he did not push a certain style to a position of respect in theory and creation. In this way, although Su Shi made great contributions in the process of creating a new look of Song poetry, he basically avoided the two main shortcomings of Song poetry, namely, sharp and blunt and boring. Therefore, Su Shi surpassed his contemporaries in overall achievement and became the most popular poet in the Song Dynasty.
Ouyang Xiu (1007- 1072), a native of Yongfeng County, Ji 'an City, Jiangxi Province, was a politician and writer in the Northern Song Dynasty, and was quite famous in politics. Because Jizhou originally belonged to Luling County, it called itself "Ouyang Xiu of Luling". Posthumous title Wenzhong is known as Ouyang Wenzhong, a bachelor of Hanlin, a deputy envoy of the Council and a political advisor. Later generations also called him "the four great writers of the ages" with Han Yu, Liu Zongyuan and Su Shi. Together with Han Yu, Liu Zongyuan, Su Shi, Su Xun, Su Zhe, Wang Anshi and Ceng Gong, they are called "the Eight Masters of Tang and Song Dynasties".
Ouyang Xiu was the first literary leader to create a generation of literary style in the literary history of the Song Dynasty. He led the Northern Song Dynasty Movement and inherited and developed Han Yu's ancient prose theory. The high achievement of his prose creation and his correct theory of ancient prose complement each other, thus creating a generation of writing style. Ouyang Xiu not only changed the style of writing, but also innovated the style of poetry. He has also made great achievements in historiography.
Ouyang Xiu was born in Mianzhou (now Mianyang, Sichuan) on June 21st, Northern Song Dynasty (1 August 0071). At that time, his father was an officer in Mianzhou. He was 56 years old. Three years later (three years in Dazhong Xiangfu, 10 10), my father died. Ouyang Xiu is the only son in the family, and lives alone with his mother Zheng. Orphans and widows only went to Suizhou, Hubei Province to go to Ouyang Xiu's uncle. My uncle's family is not very rich. Fortunately, my mother Zheng is a well-educated lady. She taught Ouyang Xiu to read and write with a straw in the sand. Ouyang Xiu's uncle also cared from time to time, and finally did not let Ouyang Xiu lose his basic education in his childhood.
Ouyang Xiu loved reading since he was a child, and often went to the Li family in the south of the city to borrow books and copy. He is intelligent, hardworking and often recites it before copying it. Teenagers, like adults, write poems and essays in a complicated way. Seeing the hope of family rejuvenation, his uncle once said to Ouyang Xiu's mother, "Sister-in-law doesn't have to worry about poor children, your children have wizards! You can not only start a business, but also be famous in the world. " At the age of ten, Ouyang Xiu learned six volumes of Collected Works of Mr. Changli from Li Jia's Tang Dynasty. He loved it very much, which laid the seeds for the Northern Song Dynasty movement in the future.
Ouyang Xiu's early political thoughts reflected the interests of the small and medium-sized landlord class and had a clear understanding of the serious economic, political and military crisis at that time. He advocated getting rid of accumulated disadvantages, combining leniency with severity, saving agriculture, and conspiring with Fan Zhongyan for innovation. In his later years, with the improvement of social status, his thoughts gradually tended to be conservative, and he resisted and ridiculed some new laws of Wang Anshi. But this is more realistic, and the attitude of Sima Guang and others is different.
Ouyang Xiu occupies an important position in the history of China literature. He inherited the spirit of Han Yu's ancient prose movement. As the leader of the Song Dynasty movement, his literary theory and creative achievements had a great influence on that time and later generations.
In the early Song Dynasty, in a temporarily peaceful social environment, Kunxi-style poetry and fu advocated by aristocratic literati groups flooded the literary world, which was flashy and meaningless, but it was all the rage. In order to correct the shortcomings of Kunxi style, Ouyang Xiu strongly advocated ancient prose. He loved reading Han Yu's collected works since he was a child. After he became an official, he personally revised Korean and published it all over the world.
He learned from Han Yu in his literary view and advocated Ming Dow's practical application. He emphasized the decisive role of Tao in writing and believed that Tao was the content, essence, form and tool of writing. Pay special attention to the cultivation of Taoism, and put forward that "Taoism wins, and literature is not difficult to come" (answer Wu Chong's Book of Scholars), "The purity of Taoism fills the truth of China people" (answer the Book of Ancestors) and "Scholars should learn from the classics", so that teachers can enrich themselves with Taoism. But he also corrected some of Han Yu's prejudices. In his interpretation of Tao, he regards "things" in reality as the concrete content of Tao. In his view, it is impossible to learn Tao because it is "indifferent to abandon Pepsi" (Answer to Wu Chongzhi). He opposes "high words but fresh facts" (Book 2 is the same as Zhang Xiucai). Regarding the relationship between "Tao" and "Wen", it is advocated that "Tao" and "Wen" should be paid equal attention. It is believed that "literature" must be subordinate to "Tao", but it is not "a sage must have words", and many examples are cited to illustrate that "one cannot be a person who speaks from poetry or books" in Historical Records. Words and deeds can be seen in the world. "The so-called" keep your word "means that the content should be true, the language should be literary, and the content and form should be unified. This is Ouyang Xiu's basic argument about creation.
He adopted the spirit of Han Yu's Preface to Literature, strongly advocated the simplicity, fluency and naturalness of writing, and opposed the ornate carving and quirks. He can not only put forward simple prose theory from reality, but also set an example with his highly exquisite creative achievements.
His ideas have been warmly endorsed by others, such as Mei and others. Later, when Zhi Gongju (the supervisor of the exam), he encouraged candidates to write simple and fluent ancient Chinese. Anything that is empty, flashy or wins by strangeness is excluded. At the same time, he promoted and trained Wang Anshi, Ceng Gong, Su Shi, Su Zhe and other new writers. In this way, the movement he advocated won a decisive victory.
Wang Anshi (102 1 year1August 18-1May 2, 0861day), born in Linchuan (now Linchuan District, Fuzhou City, Jiangxi Province), was a famous thinker and politician in the Northern Song Dynasty. Wang Anshi has made remarkable achievements in judging cases in Yangzhou, Yinxian and Zhou Shu successively. In the second year of Xining (1069), he took part in politics, met with the Prime Minister the following year and presided over the political reform. Because of the opposition of the old school, Xining went on strike for seven years (1074). A year later, Song Shenzong was put into use again and retired to Jiangning. In the first year in Yuan You (1086), the Conservative Party gained power and all new laws were abolished. Yuran died of illness in Zhongshan (now Nanjing, Jiangsu) and was given to a teacher. Shao Shengyuan (1094) was named "Wen", so he was called Wang Wengong.
From the literary point of view, Wang Anshi's works have made outstanding achievements in poetry, prose and ci. This movement, which was launched in the mid-Northern Song Dynasty, was greatly promoted in his hands, and made a contribution to eliminating the "flashy afterwind" that was all the rage in the early Song Dynasty. However, Wang Anshi's literary thought overemphasizes "practicality" and often underestimates the role of art forms. Many of his poems often show that the argument and reasoning elements are too heavy, thin and hard, and lack image and charm. There are also some poems about Buddhism, which are obscure and dry, but they do not lose their demeanor.
essay
In order to realize his political ideal, Wang Anshi closely linked literary creation with political activities, emphasizing that the role of literature first lies in serving the society, emphasizing the practical function and social effect of articles, and advocating the unity of literature and Taoism. On the whole, his prose has carried out his literary ideas, exposed the disadvantages of the times, reflected social contradictions, and has a strong political color.
Wang Anshi's essays are aimed at current political or social issues with clear views and profound analysis. Long horizontal but not simple, short awkward but not thin. They expounded political ideas and opinions with rigorous structure, thorough reasoning, concise language and strong generality and logic, which played a positive role in promoting political reform and consolidating the achievements of the Northern Song Dynasty movement.
Wang Anshi's essays are straightforward, concise, short and pithy, forming a unique style of "thin and hard". For example, Reading the Biography of Meng Changjun is less than 100 words long, but it is clear-cut, thorough, concise and sweeping, and its logical power is beyond doubt. Some of them are landscape travel essays, which are concise, lively and labor-saving, and also record travel and reasoning.
poetic sentiment
Wang Anshi's poetry is bounded by the second strike in the ninth year of Xining (1076), which can be roughly divided into two stages, with obvious differences in content and style. The early works are mainly based on "grievances", paying attention to social reality and reflecting the suffering of the lower class, with obvious tendency and straightforward style; After retiring from politics in his later years, his mood gradually became dull, and a large number of poems about scenery and objects replaced the previous political poems. He wrote "Poor and Backward Work" in his later period, devoted himself to pursuing the art of poetry, emphasizing meaning and rhetoric, using words carefully, being dual and refined, subtle and profound, profound and not artificial. He was unique in the poetic world at that time with his long style, and was known as "Wang Ti".
word
There are about twenty poems written by Wang Anshi today, which can be roughly divided into two categories: poems expressing feelings and poems explaining Buddha. They are "thin and elegant, washing away five generations of old habits." He lyrically wrote lyrics, wrote things and chanted his thoughts, and used vast, simple and simple images to create a unique emotional world for the literati. The word "Nostalgia of Gui Zhi Xiang Jin Mausoleum" is bold and gloomy. Together with Fan Zhongyan's "The Glory of Fishing Light Qiu Lai Landscape", it pioneered bold and unconstrained ci, which had a good influence on later ci circles.
Huang Tingjian (1August 9, 045-1May 24, 05), whose name is Lu Zhi, was born in Fenningfu Weng, Hongzhou (now xiushui county, Jiujiang City, Jiangxi Province), a famous writer and calligrapher in the Northern Song Dynasty, and the founder of Jiangxi Poetry School, with the same fame as Du Fu and Chen Shidao. Su Shi, who studied with Chao and Qin Guan, is collectively called "the four bachelors under the door". When he was alive, he was as famous as Su Shi and was called "Su Huang" by the world.
He is the author of Valley Ci, and Huang Tingjian's calligraphy is unique and one of the "Song Sijia". Professor Peking University and pioneer Li Zhimin commented: "Huang Tingjian attracts cranes into the grass, strong and easy to swing, with a new realm."
Jiangxi Poetry School was formed in the late Northern Song Dynasty with Du Fu as the ancestor and Huang Tingjian, Chen Weizong as the ancestor (that is, "one ancestor and three schools"). Huang Tingjian is the founder and leader of Jiangxi Poetry School. This faction advocates Huang Tingjian's theory of "turning iron into gold, robbing a fetus to change bones". Moreover, most of the members of the poetry school are influenced by Huang Tingjian, and their poetry creation style is mainly about chanting the life of the study, paying attention to the scrutiny skills of words. [2]
Huang Tingjian's poetry takes Du Fu, a master of Tang poetry, as the research object, and constructs and puts forward poetic theories such as "touching iron to refine gold" and "robbing the fetus to change bones", which have become the theoretical program and creative principles of Jiangxi poetry school and have had a far-reaching impact on later literary creation. As one of the great poets in Song Dynasty, Huang Tingjian's influence on Song poetry even surpassed that of Su Shi, a great writer. Su Shi's poems are vivid, vertical in conception, wide in breadth and breadth, unpredictable and complex in structure, so there is no trace to be found. Therefore, although Su Shi's achievements were high, there were few teachers and he failed to form a genre. Huang Tingjian's creative ideas are traceable, and he is eloquent and easy to learn, so he has many followers. Huang Tingjian's poems are rigorous and meticulous in reasoning, which represents the characteristics of the Song Dynasty. It can be said that Huang Tingjian's poems have the most artistic characteristics of the Song Dynasty. Influenced by Huang Tingjian, Jiangxi Poetry School also influenced the poetic style of the Southern Song Dynasty, which had a far-reaching impact on later generations. When Su Shi was a squire, he recommended Huang Tingjian to succeed him. In the recommendation book, there was a "magnificent article, wonderful in the world; The sentence "Do filial piety and catch up with the ancients" illustrates the importance of recommendation.
First, pay attention to the words. Use the word "every word has a place". At that time, people commented on Huang Tingjian's poems: "Every word must be refined in the month, and it has not been lightly pronounced." Huang Tingjian also put forward the poetic method of "eyes in sentences". The so-called "eyes in the sentence" is what later generations call "eyes in the poem", which means paying attention to the tempering of key words, such as the word "green" in Spring Breeze and Green Jiang Nanan, which is tempered and can be described as "taking a word as the key to closing the door".
Second, pay attention to grammar. Huang Tingjian's poem "Send Gu Zidun to Hedong": "No one knows the syntax, and the autumn moon comes from Chengjiang". What is "syntax"? From this poem, we can see that Huang Tingjian's discussion of poetry syntax is still simple, such as the autumn moon is clear and wise. In "Two Letters with Wang", he said: "But if you are familiar with the ancient poems after arriving in Kuizhou, you will find that their syntax is simple and ingenious. The terrain here is flat, the mountains are high and the water is deep, which seems unattainable. The article is successful, without axe teeth, and it is a good ear. "
The third is to pay attention to the rules. Huang Tingjian has a lot to say about the significance of laws and regulations, such as: "If you want to write Chu Ci and catch up with the ancients, you must be familiar with Chu Ci, observe the twists and turns of the ancients, and then write. For example, if you want to brocade, you must have a brocade machine that can brocade. " Compare the composition structure to a "brocade machine". Another example is "the things in the valley must be carefully arranged." Every time I see the feeling after reading, I will tell you more twists and turns of the "original road". " Another example is: "Writing poems is like writing zaju. It was arranged at the beginning, and it was necessary to slap in the face when it came. " Taken together, Huang Tingjian's so-called composition is about the twists and turns of poetry structure, and these twists and turns are pondered by studying the works of predecessors.
Although Huang Tingjian talked about the poetic method, he did not stick to it, but wanted to go beyond it and reach the realm of "self-harmony without worrying about breaking the rope".