Li Shangyin's Life Experience and Sentimental Temperament —— The Ideological Content of Li Shangyin's Life Psychological Portrait in Late Tang Dynasty
Li shangyin (8 12 ~ 858), a native of Yuxi, is also known as Fan Nansheng. Originally from Hanoi, Huaizhou (now Qinyang County, Henan Province), he moved to Zhengzhou (now Zhengzhou City, Henan Province) with his grandfather. Father Li Si was the county magistrate of Huojia (now Huojia County, Henan Province). When Shang Yin was three years old, his father was employed as an observer in eastern Zhejiang (later transferred to western Zhejiang). His childhood was spent with his father from Huojia to Jiangsu and Zhejiang. Starting from Shang Yin's great-grandfather, generations of Li's paternal line died prematurely. Shang Yin was ten years old and his father died in the shogunate. Orphans and widows returned to Zhengzhou to help the mourners. "There is nowhere to return to the four seas, and nine families have no relatives to rely on" ("Sacrificing Sister Pei"). Although I am in my hometown, I feel the same as foreign refugees. Or it is precisely because of the loneliness and misfortune of family background, coupled with thin weaknesses, that his sentimental character was formed, but at the same time, it also prompted him to seek to pass the imperial examination and revitalize his family business. He gained a high degree of cultural and artistic accomplishment in "studying hard" and exercised his tenacious and persistent pursuit spirit.
In the third year of Emperor Wenzong Daiwa (829), Li Shangyin met Hu Chu and was appreciated. Linghu Chu hired him into the shogunate and personally instructed him to write this pose. In the second year of Kaicheng (837), Linghu Mao helped him to be admitted to the Jinshi. But at the end of this year, Ling Huchu died of illness. Li Shangyin entered the field of vision of Wang Maoyuan, our Jingyuan envoy, in the spring of the following year. Wang Maoyuan loves business talents and marries his youngest daughter. At that time, the factional struggle was fierce, and the father and son were important members of the Niupai, and Wang Maoyuan was considered to be a confidant of the Li faction. Li Shangyin's taking refuge in Wang Maoyuan is an act of "betraying kindness" in the eyes of the Niu Party. After that, he was dissatisfied with Hu Ling Mao. Li Shangyin's withdrawn personality aggravated party member's prejudice. He has been indulging in his next position, and only served as a secretary of Do, a provincial proofreader, a masako, and an idle doctor in imperial academy, Liu Pin. Time is short. From his debut in the third year of Daiwa to his death in the twelfth year of Dazhong, he spent 20 years in various shogunates. East to Yanzhou, north to Jingzhou, south to Guilin, west to Zizhou, far from home, wandering in different places. Five years before his last trip to Zizhou, his wife Wang died unfortunately and his children lived in Chang 'an, which aggravated their mental pain. Times, family background and life experience have contributed to Li Shangyin's sentimental and introverted personality and mentality in many ways. His talent, his tragedy and his introverted personality make him feel good and his feelings are extremely rich and delicate. State affairs and family affairs, a spring trip to Qiu Lai, human contacts, and contacts with friends of the opposite sex can all trigger his rich emotional activities. "Yu Xin was sentimental, and Yang Zhu was sentimental when he died" (sending a thousand cows to General Li), "sentimentality" and "joys and sorrows", and their tragic colors are very prominent in his creation.
When Li Shangyin was a child, he was educated by an uncle who was proficient in the Five Classics and adhered to the Confucian theory of loyalty and filial piety. At the age of fifteen or sixteen, I studied Taoism in Yuyang Mountain. In his later years, he "lost his family and was unhappy". He got rid of his troubles through Buddhism, and his thoughts included Confucianism, Buddhism and Taoism. He has the heart of "Kuang Guo" and the idea of "willing to ring the bell to sweep the floor and be a passer-by of Liang Qingshan" He attaches great importance to his own value and creation. The Book of Upper Cui Huazhou says:
At first, I heard the elders say, "To learn Tao, you must ask the ancients. For writing, you must learn from others. " It's always embarrassing Think back: the husband is called Tao. Are Duke Zhou and Confucius unique in ancient times? Gai Yu, Zhou and Kong are all ears. It is based on a way of doing things that has nothing to do with the present and the present, and it is straightforward to write for the article. It doesn't like to learn from history and is afraid of the times. There are thousands of books, different products and different flows. How to distinguish them?
He opposed mechanical retro, thinking that Tao was not unique to Zhou and Confucius, but both he and Zhou and Confucius embodied Tao. For writing, there is no need to rely on classics and classics, and there is no need to avoid them. You should be original, not inferior to the ancients. From this sharp argument, we can see the autonomy and self-confidence of his thoughts.
Li Shangyin is a poet who cares about reality and the destiny of the country. He has more than 0/00 political poems of all kinds, accounting for one-sixth of his existing 600 poems, which is quite high. The famous long poem "A Hundred Rhymes in the Western Suburb" shows from the beginning that "farm tools abandon the roadside and hungry cows die. Even through the village, there is no room for ten rooms. Then through the oral complaints of the villagers, the social crux is displayed. Long poems are magnificent, which not only traces the historical process of the decline of the Tang Dynasty vertically, but also dissects various social crises horizontally, forming a social and historical picture for more than a hundred years. The separatist rebellion in the buffer region, the tyranny of the bureaucracy, the arrogance and extravagance of the ruling group, heavy taxes, poor people's lives, chaotic public security, financial crisis, and the weakening of border defense forces. All of them are revealed in long poems to varying degrees, and these aspects have been repeatedly concerned by Li Shangyin in other poems.
In the winter of the ninth year of Emperor Wenzong Daiwa (835), the Mana incident happened. The following year, Li Shangyin wrote two poems, such as Feeling, Feeling Again and Qujiang, criticizing eunuchs for usurping power and chaos, killing innocent people indiscriminately, and expressing their worries about the fate of the Tang Dynasty. At that time, no one, including poets such as Bai Juyi and Du Mu, could write works as bold as Li Shangyin. Liu Zan, a friend of Li Shangyin, was demoted and executed for opposing eunuchs. In his poems, he repeatedly complained about Liu Xu's grievances: "God shut the palace for nine years, and Wu Xian never asked for grievances. Huangling is separated from the spring road, and the autumn rain turns over the books. "(Weeping for Liu Xu) describes Liu Xu's experience of being wronged and relegated to death in the political environment where eunuchs were rampant and the emperor was fatuous, and at the same time introduces the symbolic technique of Bixing into this highly political subject.
Li Shangyin opposed the buffer region to undermine national unity. On the one hand, he was in favor of the court's use of troops against the buffer region and praised the generals who had rendered meritorious service in counterinsurgency; On the other hand, he also sharply criticized the problems existing in the imperial court. If we look at the root of military and political corruption exposed in the rebellion, we think the key lies in Zaifu's incompetence. It combines opposing the separatist regime of the buffer region with criticizing state affairs, and surpasses the previous similar works in ideological depth.
Li Shangyin's epics have always been highly regarded, but most of them satirize the luxury and stupidity of feudal rulers. Such as Sui Palace:
His Ziquan Palace has been occupied by clouds, because he will take the whole Yangzhou as his private territory. If the imperial seal had not been seized by Tang Taizu, he would have set sail long ago. Fireflies are gone now, leaving the weathered grassland, but they are still perched by weeping willow crows at dusk. If he meets, there will be chaos in the world. Will the later Emperor Chen ask "flowers in the back garden" again?
The writing about Emperor Yang Di's escapism and debauchery contains profound thoughts and sharp satire, from thinking before things happen, from planning before death, and from subtle lyricism.
In the late Tang Dynasty, many emperors paid more attention to immortals than sages, hoping that enterprises would live forever. Li Shangyin repeatedly sneered. Jia Sheng: "The propaganda room asked for a virtuous person to visit the courtiers, and Jia Sheng was even more incoherent. Poor midnight is unprecedented, and Mo Wen people ask ghosts and gods. " Jia used the call at night to give full play to his dissatisfaction with the emperor's ignorant talent and ability. Yaochi: "Grandma Yaochi's window opened and Huang Zhu sang sadly. Eight gentlemen go to Wan Li every day, why doesn't Mu Wang come back? " On the basis of legend, the scene that the Queen Mother of the West can't expect Zhou Muwang to come back is fictional, which profoundly shows that it is useless to seek immortality, and immortals can't save those who meet immortals from death.
After the Anshi Rebellion, the Tang Dynasty turned from prosperity to decline, and Li Shangyin was particularly saddened by Xuanzong's loss of government, and his irony was particularly sharp. Such as "Ma Wei":
In vain, I heard the legend that overseas Kyushu, the afterlife is unpredictable, and this life will not stop. When they heard the guards guarding them, they fought swords at night, and there were no more chickens in the palace. The Sixth Army has agreed that they will all be stationed in Malaysia. On the old Qixi Festival, we also laughed at the Weaver Girl. How can the four seasons be emperors? It is better to have Mochow's Lujia!
Every antithesis in the poem contains sharp contrast, supplemented by the tone of function words, which is ironic and contains profound emotions. His poem "Longchi" more sharply exposed the ugly behavior of Xuanzong occupying his daughter-in-law, and even the emperor of this dynasty was merciless and did not shy away.
Most of the other chapters in Li Shangyin's poems, except political poems, belong to the works of chanting and understanding life experience. Some of his poems show his pragmatic spirit. For example, "I want to go back to heaven and earth and get on a boat" ("Anding Tower"), hoping to reverse Gan Kun's great career and then retire from the Jianghu. "Jia Sheng is alert, and he pays tribute to the soldiers" (On the City), using historical figures to describe his talent, ambition and pursuit. But no matter how persistent he is, reality always makes him feel that his ambition is empty. In his poems, he expressed more feelings about life. "The middle way follows my strengths, and fate has been blocked since ancient times" ("Sense"), which is about my talent and generosity of fate. "Spring is at the end of the world, and the end of the world is oblique. If there are tears in the warbler's voice, it is the highest wet flower "("Tianya "), which hurts the spring day and the sunset, and blends with the injury of his boss. This kind of poetry has a gloomy and declining projection in its sadness.
Li Shangyin was a great poet in the Tang Dynasty. Most of his poems about objects express the poet's fate, life experience and spiritual mood. For example, "the wandering warblers are uneven and can't control themselves in the stream." The punch line is unintentional, and it may not have a moment. On windy mornings and rainy days, Song opened and closed thousands of doors. I can't bear to listen to the pain of spring. Where is the Fengcheng flower branch? " Wandering warbler is helpless in Chang 'an, symbolizing the poet's wandering life. Although its ingenuity contains inner wishes, it may not be good. "The Raven" laments the accident, but it is still relatively implicit. The poem "Cicada" is sad and indignant: "Oh, this last broken breath is among the green and indifferent trees! "The descriptions of the surrounding environment and themselves in this kind of poems can be said to convey the common feelings of scholars in the middle and late Tang Dynasty.
Among Li Shangyin's lyric works, the most outstanding one is the love poem with no title as the center. These poems are not the majority of Li's poems, but they are the representatives of Li Shangyin's unique artistic style. Many writers of love poems in ancient China often treated women and their love life with a playful attitude. Li Shangyin's views on love and women are relatively progressive. He writes about love and women from the perspective of purity rather than lust with an equal attitude. He once expressed great sympathy for women's lack of marital autonomy in their secluded boudoir in White Hu Ling Collection. His love poems are sincere and touching. 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! .
From the beginning, I said I had done everything. Don't hate it. Zhuan Xu silkworm wax torch, until death. Metaphor contains symbols, feelings and nature, which has surpassed love and has the eternal significance of clinging to life. The neckband is considerate and affectionate to each other. The end of the couplet is almost hopeless hope, more affectionate. He purified and sublimated love so clearly and with tears, which is rare in ancient poetry and has been known for thousands of years. Li Shangyin also wrote "Fourteen Tibetans and Six Relatives, who are still unmarried" ("Untitled"), the kind of woman who is "buried in a secluded room" and has no right to ask about marriage matters; He wrote, "Although my body doesn't have bright phoenix wings, I feel the harmonious heartbeat of the sacred unicorn" (the first song of "Untitled Two Songs"). This kind of love is obviously a rare combination, but it has been realized; I wrote about the unforgettable love, but I can't get rid of it, and I can't talk about it. These descriptions more or less violate the attitude of feudal ethics towards women and love.
Li Shangyin used his poems to express beautiful ideals and sentiments, and showed the pure and noble side of human nature. At the same time, it also showed the political environment of his time and the spiritual outlook of scholars.
Section 2 Ambiguous Polysemy and the Development of Spiritual World
Since the middle and late Tang Dynasty, poetry has moved towards poetic beauty, obscurity and goodness, and the ambiguity of poetry connotation and its causes can be felt.
Li Shangyin's poems have many artistic achievements. Famous works such as Two Feelings (Five Elements) are heavy and gloomy; Han Bei (Seven Ancient Dynasties) is vigorous and lofty; The writing style of "preparing for duty" (seven laws) was frustrated; The poem of the proud son (five ancient times) is similar to the sketch of characters; Han Shu (Five Laws) in the Year of the Horse in Shu has the style of ancient poetry. In the bold exercise of "I Turn into a Rhyme and Give Four Roommates Seventy-two Sentences" (seven ancient poems), I saw deep affection, and so on, each with its own characteristics and great skills. However, judging from the evolution of the history of poetry, his lyric poems, especially untitled poems, and those whose styles are close to untitled, such as Jinse, Re-entry into the Palace and Spring Rain, deserve special attention for their artistic achievements and innovative significance. Li Shangyin's position in the history of literature largely depends on the great and lasting influence produced by such works.
Before Li Shangyin, Han Meng and Bai Yuan flourished in the middle Tang Dynasty. By the late Tang Dynasty, the emotional content of Han Yu's poems and Bai Juyi's poems had gradually divorced from the mentality of literati, and the strange and increasingly fierce Han poetry and Bai Juyi's simple and implicit brushwork were no longer suitable for expressing delicate feelings. In the middle and late Tang Dynasty, Li He's magnificent and mysterious painting style opened the trend of paying attention to soul and self in the late Tang Dynasty. After that, there are three noteworthy trends in poetry creation: first, the growth of love and the richness of themes, and the melody of Qi and Liang gradually sneaked back to the Tang Dynasty poetry circle; Second, pursue exquisite beauty; Third, pay attention to subjectivity and the expression of spiritual world. These three aspects are manifested from different aspects, and they are internally related. Love and rich and meticulous spiritual activities often go hand in hand, and the expression of love and spiritual world needs to be beautifully written. Driven by this trend, Li Shangyin has made great progress in expressing the spiritual world, including love experience, and at the same time created the poetic beauty of "Mickey Returning to Words" (Aoqi's poetry review).
The artistic conception beauty of Li Shangyin's lyric poems. He devoted himself to the experience, grasp and reappearance of emotions, mostly delicate things to express his feelings. Expressed in a subtle and circuitous way, not only the emotions of untitled poems are multi-layered, but even other poems are often filled with a heavy emotion, showing a deep and ethereal expression, such as Spring Rain:
When spring comes, I wear a coat with a white lining, but I only think about the white gate city where I can't go. There are two red mansions facing the cold, covered by rain, and a pearl curtain lamp shakes my lonely heart and goes home. The long road ahead will be full of new difficulties, in the middle of the night, the interval of short dreams. Oh, I'm sending you this message, these jade earrings! ? I saw a lonely goose in a cloud three thousand miles away.
Feeling "disappointed", "lonely" and "against one's will" about the departure of the loved one is a layer of emotion; Entering the scene of being alone in the rain is another layer of emotion; Imagine each other's sadness on the long road, which is a layer of emotion; After waking up, I returned to the environment, feeling that my dream was blurred and it was another layer of emotion; Then there is the melancholy that letters are difficult to reach. Thoughts go back and forth, winding and circling. The images such as rain, lamp shadow and pearl foil are beautiful, light and ethereal, and the artistic conception is hazy and confused, which makes the poetic scene look sad.
Different from ordinary poets, Li Shangyin reveals the focus, depth, breadth and state of emotional content as clearly as possible in a predictable, measurable and comparable way. In order to express complex contradictions and even inexplicable emotions, he is good at turning hazy images in his mind into poetic images. These images are obviously symbolic, but it is difficult to guess what they symbolize. They are structured as poems, omitting the clear expression of logical relations, thus forming a hazy poetic realm with elusive meaning. Such as "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.
This poem presents some images that seem to exist but are not true, although they are not true, they are clearly visible: Zhuang Sheng dreams of butterflies, Du Fu cries blood, good jade produces smoke, and tears in the sea. What these images constitute is not a complete picture, but a sense of frustration, sadness, loneliness, longing and disappointment interwoven in it, which is a mental image full of these feelings. The realm of poetry transcends the limitation of time and space, and there is no longer a boundary between truth and illusion, between ancient and present, between soul and external things. What exactly are you writing? Only the beginning and end of couplets vaguely imply the feeling of recalling the New Year, and the content that conveys this feeling is five metaphors that are not necessarily related logically and the confused and sentimental feelings used to run through these five metaphors. The carrier itself is hazy to varying degrees, but the ontology does not appear, so poetry naturally constitutes a multi-level hazy realm, which is difficult to understand.
The obscurity of Li Shangyin's poems is often combined with intimate and sensible emotional images. Although it is difficult for readers to understand the ideological content of the poem "Jinse", it is easy to see a poetic scene for wandering in their minds. Therefore, although "Jinse" is difficult to understand, it is a household name and widely read. The famous sentence in "Re-crossing the Temple of Notre Dame": "The spring dream often rains, and the spirit can't satisfy the flag all day long" describes the desolate and lonely situation of the Virgin "falling late", which is regarded as "the meaning is still unfinished" (Lv Benzhong's Wei Zi Poetry). The barren hills are deserted, the drizzle is like a dream, and the spiritual wind seems to be intimate, but that kind of spirit is not a spirit, which has vague hopes, illusory emotional hints and fascination. It seems that there is something hidden, which is difficult to confirm.
Li Shangyin's untitled poems are vague in realm, emotional in thought and often vague in connotation. There are many lawsuits in a piece of Jinse. All kinds of notes seem within reach. The so-called "endless flavor, the stronger it is baked, the inexhaustible." This phenomenon shows the polysemy of Li Shangyin's poems, which can be appreciated and interpreted from many aspects.
Polysemy is very common in China's classical poems, which can be caused by metaphors, symbols, allusions, hints, feelings after words and intentions in sentences. However, one polysemous word is easy to solve, while the other is difficult to solve. Li Shangyin belongs to the latter. The former is often manifested in some images with symbolic meaning or deep meaning hidden under the surface meaning. Although there are many meanings, most of them belong to the extension and deepening of extension. However, Li Shangyin's polysemy often provides readers with the possibility of multiple interpretations, which constitutes polysemy in interpretation. Multiple meanings can be relatively close or divergent.
The fuzziness of Li Shangyin's poems is related to the uniqueness of his images. The images used by ordinary poets are objective and can be perceived in the usual way. Li's poetic images are full of unrealistic colors, such as beads and tears, jade smoke, Pengshan, Jade Bird, Caifeng, Linxi, Yaotai and Lingfeng. It's hard to be true. This image has been spiritualized by Li Shangyin, which is a combination of various experiences. Their production mainly comes not from the outside, but from the heart, and their connotation is far more complicated than ordinary images.
Shi Li used many allusions. Due to the concentration of connotation, allusions can contain rich and multi-level content in a limited sentence if used well. Li Shangyin is also good at multiplying and transforming the connotation of allusions, and his allusions are also unique. He often pays attention to the emotional charm conveyed or implied by the original code, without the reason of the original code. "Zhuangzi daydreaming, a saint, was bewitched by Butterfly". The original canon was only to illustrate the idea that everything is with me, but Li Shangyin put aside the philosophical thinking of the original canon and introduced a thick layer of confusion and sadness into the life born from the dreamy original canon. "Wang Di Chun Xin Du Fu Tiao" also introduces the feeling of hurting spring from the original sadness. These allusions are not used to express a specific meaning, but to convey emotions. The associations and * * * sounds caused by emotional feelings can be varied. Li Shangyin's life was bumpy, and he had full feelings about the contradiction and complexity of things. Combining his own experience and understanding, he often turned the canon into the opposite of the original story, from positive to negative, positive to negative contrast, which greatly expanded the angle and space of people's ideological activities. For example, Chang 'e:
The mica screen was dyed red by thick candles, and the Milky Way gradually tilted towards the morning star. Chang 'e, I must regret eating the elixir, and now I am alone, in the blue sky, singing every night.
Chang 'e took the elixir of life and became a fairy in the Moon Palace, which is the envy of ordinary people. Li Shangyin had many lofty pursuits in his life, but he ended up living in a lonely situation. He has studied aisles and is familiar with the lonely life of a female Taoist. Based on these feelings and experiences, he assumed that Chang 'e would regret stealing the elixir because of the loneliness in the sky. The annotator speculates on the theme of the poem, indicating that after the allusions are reversed, the quiet environment and eternal loneliness convey some similar psychology of different types of characters, so that the poem can be interpreted from different angles. There are also some allusions, although not used in reverse, but the poet made a unique germinal, such as: "Dream Ze sad wind moves white grass, the king of Chu was buried all over the city." I don't know how much singing and dancing can do, but I can slim the palace kitchen to a thin waist. "(Dream Ze) asked about the benefits of reducing diet from the aspect of" how much you can sing and dance ",which led to various explanations such as" I deeply care about the ignorance and numbness of those who love beauty in the palace "and associations such as" everyone in the world imitates those who cry when reading this ". It can be seen that the allusion of the king of Chu's love for thin waist has produced an ambiguous effect through hair growth.
The polysemy of Li's poems is also closely related to the unique image combination in his poems. The poet's mental load is heavy, his spirit turns inward, and his inner experience is extremely delicate and sensitive. When his mind is touched by the outside world, all kinds of mental images will emerge. Poetry often has intricate images, which are not limited by time and space and causal order in real life. The ellipsis and interval caused by this image transformation and jumping need readers to connect and supplement through artistic association. If there is no title:
The purple fairy is a treasure lamp, and the cloud slurry has not been drunk into ice. How to have a bright night in a snowy month, but also on the twelfth floor of Yaotai?
There is a great emotional jump between images and sentences. As a narrative, it is really incredible, but in confusion and loss, people may have similar mental images and hallucinations in their hearts. As a psychological image, the link changes before and after, and the cloud slurry turns into ice immediately without drinking, which is an illusion of unsuccessful pursuit. The sentence "how" is a feeling far away from the object of pursuit, and the jump in the middle reveals that the other party is elusive and difficult to catch up with. All this is not only understandable, but also a sense of confusion caused by various incentives (such as falling in love, making friends and being an official). Because there are multiple incentives for the emergence of poetry itself, readers have their own feelings and artistic associations in the face of the leaping changes of images, so there will be polysemy in interpretation.
The more fundamental reason for the ambiguity of Li Shangyin's poems is that he takes the spiritual world as the object of expression. Many poems describe not only a moment, but the whole state of mind, and his state of mind is very complicated. His persistent concern for politics has enabled his spiritual realm to be explored in the rise and fall of the world, the universe, history and chaos, but in real life, all kinds of troubles are entangled in his heart. Specifically, the decline of the times, the decline of family background, the frustration of official career and love, Hu Ling's ignorance of current affairs, the early death of his wife Wang, etc., all increased his psychological load. All kinds of emotions are interrelated and permeated with each other, so it is difficult to distinguish them. This state of mind, when expressed by complex images, cannot be clearly explained by a certain time, place or thing. At the beginning of the poem "Jinse", it is pointed out that "fifty strings are for no reason", which shows that there are different ideas. Judging from its multi-level hazy state and strong feelings of disappointment, confusion and sadness, it is by no means a temporary event that can make the author fall into such a state of mind. To solve it with a specific incident, it is inevitable to hang a leak and not see one thing clearly. "Jinse" is like this, and there is a similar phenomenon in untitled poems. The poet expressed an inexplicable sadness that haunted his mind. He probably didn't fully understand its context, so the poem was named Untitled without a proper title. Most of these chapters can only be regarded as the embodiment of the whole mood centered on love experience. Such as "Four Untitled Poems":
You said you would come, but you didn't. You didn't leave me any other trace, except the moonlight on your tower at five o'clock. I cried for you and left forever. I couldn't wake up. I tried to read your hasty notes, and I found the ink was too pale. The layering of residual jade is hazy; Musk smoked through the tulle, soft. In those days, Liu Lang had long complained that the mountain was far away; You go to more places than the mountains in Shashaling!
The whole article is about the hero's feeling of missing each other after waking up. However, the disappointment of "empty talk" and "no trace to be found" in earnest expectation, the sense of separation that has been farther away from Pengshan, has not Li Shangyin experienced it again and again in the process of career pursuit and communication with friends? Therefore, the melancholy mood of hope and disappointment expressed in the poem is not simply caused by the frustration of love.
Some of Li Shangyin's poems, although touched by a temporary event, still focus on the context, expressing feelings or emotions rather than meaning, and the connotation far exceeds the specific plot. Le Garden Scenic Area: "I am driving in the graves of Le Garden with the shadow of dusk. To see the sun, for all his glory, buried by the coming night. " The poem "Overlooking the Sunset" by Deng Guyuan triggered the whole soul's bet, with mixed feelings and an instant intersection. The emotion in the poem can only be summarized by the word "discomfort", and the reason and connotation of discomfort almost converge his feelings and experiences of life experience.
Because performance is often not limited to specific situations, it is a complex emotional world and a variety of life experiences; Therefore, all kinds of misunderstandings about Li Shangyin's poems may be merged at a higher level. From the perspective of multi-faceted and multi-level poetic context, some reasonable elements in communication theory may be closer to the original. For untitled poems, ordinary readers don't need to delve into their "skills", so long as they grasp their overall emotional connotation, they can appreciate their poetry and poetic beauty.
Section 3 Sadness, Beauty and Harmonious Style
Analysis of Melancholy and Harmonious Style —— Comparison of Li Shangyin's Poems, Qi's Poems and Liang's Poems: Comparison of Li Shangyin and Ruan Ji's Poems: Comparison of Li Shangyin and Li He's Poems: Comparison of Li Shangyin and Du Fu's Poems.
Li Shangyin is a writer who deliberately pursues the beauty of poetry. Due to the decline of the times and the influence of the colorful aesthetic taste in the late Tang Dynasty, the poetic and picturesque meaning full of vigor, clarity and implication in the prosperous Tang Dynasty could not be reproduced. As a result, Li Shangyin's yearning for implicit beauty developed into the pursuit of hazy realm, and the splendor of the prosperous Tang Dynasty turned into sadness. Yan has a literary origin in the Six Dynasties, and Li Shangyin's poems are gorgeous and unyielding. In his view, Yan is associated with the misfortune of love life, the ups and downs of life experience, and even the anxiety about the fate of the Tang Dynasty, which becomes a sad feeling. He wrote his own feelings and feelings with sad emotions, beautiful images and gorgeous rhetoric:
Its corolla is like a white jade plate, with tears splashing and sadness repeatedly; Ruthless wind and rain are like sad guzheng, string string, broken dream. (Two Peony Poems When the Clock Will Rain (Part Two))
It's already very lonely. How far can a pomegranate flower whisper? . (The First Part of Two Untitled Songs)
Apes are worried about themselves, and Luo is invited. (Chu Palace)
There is no such thing as a dragon and a phoenix. ("Four Poems of Spring in Yantai")
All these have injected sentimental feelings into the hazy and magnificent poetic realm, and melted many feelings into profound beauty, forming a kind of aesthetic beauty.
Li Shangyin's poems do not pay attention to the external connection of images, but at the same time, they use many beautiful words and events, which are easy to give people the feeling of being inlaid with gold and jade, and it is rare to show a deep and muddy climate in this form. However, Li Shangyin can be integrated with beauty and has great meteorology and integrity in art. This is because: First, Li Shangyin has his own image group. The images used are consistent in tone, breathing and emotional direction. Second, Shi Li's technique is skillful. The harmony of tone, the harmony and control of function words, the clever organization of ceremony, and the neatness and standardization of form all increase the harmony and fluency of poetry. Third, the unity of emotions. The feeling of loneliness, wandering, melancholy, helplessness, sparseness and sadness is rich and profound, which permeates many poems and makes all parts of the poems integrate into a seamless whole. For example, the whole story of Spring Rain is immersed in a lonely and touching mood. Starting from this state of mind, with the help of drizzle, I am immersed in a confused state of mind, a vague dream, and objects such as the red chamber, the shadow of a lamp, the clouds and the lonely geese, and my poetry becomes sad and muddy. Short stories such as "A note to a friend in the north on a rainy night" use the melancholy of homesickness to gather here and other places, present and future, truth and imagination, and Bashan alone to meet the rainy night to cut the candle and gather in the west window. Although there is a big leap between the four sentences, it is the muddy realm of "water is clear and jade is as smooth as a chain" (comment by He Chao).
The style and realm created by Li Shangyin is the result of summing up and absorbing the artistic experience of the previous generation and perfecting it in the development trend of poetry in the late Tang Dynasty. Represents the late Tang Dynasty, higher than the late Tang Dynasty. I can communicate and echo with the first-class poets of the previous generation.
By comparing Li Shangyin's poems with the poets of previous periods, we can further see his creative path and achievements:
First, Li Shangyin and Qi Liang's poems. In Li's poems, the themes of love and romance account for a large proportion. At the same time, he also pays attention to the rhythm of words and the use of allusions. This is undoubtedly related to Qi Liang's poems. However, the poems of Qi and Liang mainly describe the appearance, posture and clothing of women in boudoir and boudoir, emphasizing melody but lacking temperament. Li Shangyin's love poems pay attention to the expression in the emotional field, get rid of the vulgar sentiment characterized by satisfying sensory desires, and push the poetic realm of this theme to the peak with his deep affection. Whether it is passionate love between men and women, persistent lovesickness, or sadness after a love breakup, they all show respect and sympathy for each other and understand the situation and mood of their loved ones. Try the first part of "two untitled poems":
The stars were bright last night, but there was a cool breeze at midnight. Our banquet is on the side of Hualou Temple and the east of the county. Without Cai Feng's wings, it is impossible to be Qi Fei in fly with me; The heart is like a soul, and the feelings are the same. Guessing and intrigue, wine warms the heart; This group of people came to the bet of drinking friends, and a win-lose red in candlelight. Alas, it's time to call the roll in the morning when you hear the drums of the fifth watch; Riding to Lantai is like the wind in the wind.
Express my deep thoughts on the right person in the interval last night. How precious it is to have that kind of soul mate when the "body" is out of control. "Being without body" and "Being with heart" reflect on each other, and in the depression that the mind is connected but the body can't satisfy, it highlights the fit in the interval, the joy in the depression and the comfort in the loneliness. This is different from Qi and Liang's poems which take women as the object of sexual pleasure. Li Shangyin's love poems are always unforgettable and can't be rejected. They are often a hopeless and unstoppable pursuit, so that they are treated with life and death. Some poems also permeate many aspects of life feelings in love descriptions, and even communicate with the persistent pursuit of career ideals. This kind of interest and realm is far above Qi Liang's poems.
Second, Li Shangyin and Ruan Ji. On the obscurity of poetry, Li Shangyin and Ruan Ji have something in common at the turn of Wei and Jin Dynasties. But in writing, Li Shangyin took care of emotion and tried to express the original state of emotion. Ruan Ji is in charge of philosophy. He enters poetry in a philosophical way, writes scenery and expresses emotion with imaginary and illusory things of philosophy, and vaguely hints at the theme of poetry. Ruan's poems appear in the form of gods, and the trance of poetic purpose is related to the lack of visualization of reality and reality. However, Qi Liang's poems after Ruan Ji devoted themselves to accurately and meticulously reappearing the state of scenery, and experienced a development stage of "opening the voice and opening the heart". Li Shangyin fully absorbed the artistic achievements of previous generations' poems, including Qi and Liang. His poems are "vivid and affectionate" (He Chao's Reading the Secretary of Yimen), unlike Ruan Ji's poems, which are not metaphysical.
Third, Li Shangyin and Li He. Li He began to write poems in seclusion and seclusion, which played a direct leading role in Li Shangyin. However, Li He is eccentric, brilliant and subjective, which is different from ordinary people's way of thinking and perception. He pretended to be