Su Shi was an outstanding writer in Song Dynasty. As a writer, he is mainly manifested in his words, poems, essays and argumentations, especially words. Su Shi (103765438+1October 8th-1August 24th), whose name is Zi Zhan, whose name is He Zhong, was named Dongpo Jushi, and whose historical name was Su Xian [1-3]. Han nationality, a native of Meishan, Meizhou (now Meishan City, Sichuan Province) in the Northern Song Dynasty. An important litterateur in the Song Dynasty, a representative of the highest literary achievements in the Song Dynasty. Song Renzong is a scholar of Jiayou (1056-1063). His poems have a wide range of themes, fresh and vigorous, good at exaggeration and metaphor, and unique style. He and Huang Tingjian are also called "Su Huang". Xin Qiji is the representative of the unconstrained style, also known as "Su Xin". He is also engaged in painting and calligraphy. There are Seven Episodes of Dongpo, Dongpo Yi Zhuan, Dongpo Yuefu and so on. 1, Ci: Su Shi has made extraordinary achievements in the creation of Ci. As far as the development of a style itself is concerned, the historical contribution of Su Ci has surpassed that of Su Wen and Su Shi. After Liu Yong, Su Shi carried out a comprehensive reform of ci style, and finally broke through the traditional pattern of "Ke Yan", improved the literary status of ci, changed ci from an accessory of music to an independent lyric style, and fundamentally changed the development direction of ci history. The transformation of Su Shi's ci is based on his concept of ci and his creative idea of "being unique". Ci has been regarded as "Tao" since the late Tang Dynasty and the Five Dynasties. Liu Yong devoted his life to the creation of ci, which promoted the development of ci style, but failed to improve the literary status of ci. This task needs Su Shi to complete. Su Shi first broke the concept that poetry is superior to ci in theory. He believes that poetry is homologous, and the word "is the seedling of poetry". Although there are external differences between poems and words, their artistic essence and expressive function should be the same. So he often compares poetry with poetry. Because he raised the word to the same position as the poem from the stylistic concept, it provided a theoretical basis for the word to move closer to the poetic style and realize the mutual exchange and infiltration between the word and the poem. In order to make the aesthetic taste of ci really keep pace with poetry, Su Shi also put forward the creative proposition that ci should be "one family". The theory of "being a family" here is put forward according to the different "lasting appeal" of Liu Yong's ci, and its connotation includes: pursuing magnificent style and broad artistic conception, ci should conform to people's quality, and ci should express its true temperament and unique life feelings like writing poems. Because only in this way can we "write like a man" in the creation of Ci (Answer to Zhang Wenqian's immortal book). Su Shi always pays equal attention to integrity in his articles, but he opposes conformity in literature, so he is not satisfied with Qin Guan's "learning Liu Qi's words" and lacks "integrity". Expanding the expressive function of ci and opening up the realm of poetry is the main direction of Su Shi's ci style reform. He extended the traditional expression of women's gentleness to the expression of men's pride, and extended the traditional expression of love to the expression of temperament, so that words can fully express the author's temperament embrace and personality like poetry. Su Shi let ambitious people full of enterprising spirit, lofty ideals and passion into the world of ci, changed the original feminine artistic conception of ci, and set a precedent for new poets in the Southern Song Dynasty. Su Like's poems and Su Shi's poems often express his thoughts on life. This rational thinking on the fate of life has enhanced the philosophical meaning of ci. Although Su Shi deeply felt that life was like a dream, he did not deny life because of it, but tried to pursue self-detachment, and always maintained a tenacious optimistic belief and a detached attitude towards life. Su Ci fully shows the author's mental journey from positive to contradictory depression, striving to get rid of self-adaptation and constant pursuit, and his wild, romantic, affectionate and thoughtful personality temperament. After Liu Yong and Ouyang Xiu, Su Shi further made the lyric characters and creative subjects in his poems move from separation to unity. Su Ci not only expanded the inner world, but also expanded the outer world. The life scenes expressed by literati ci in the late Tang Dynasty and the Five Dynasties are very narrow, mainly confined to the enclosed colorful buildings, embroidered households and pavilions and courtyards. After entering the Song Dynasty, Liu Yong began to extend his ci realm to natural spaces such as Duyi Town, Qianliguan River and Weicun Hill, while approaching the daily life environment of officialdom. Su Shi not only described the author's daily communication, leisure reading, farming, hunting, sightseeing and other life scenes, but also further demonstrated the magnificent scenery of nature. Su Shi used his own creative practice to show that there was nothing to write about and no intention to enter. Ci, like poetry, has the function of fully expressing social life and real life. Because Su Shi expanded the expressive function of Ci, enriched the emotional connotation of Ci, expanded the temporal and spatial scenes of Ci, improved the artistic taste of Ci, and introduced Ci into the literary hall in an upright manner, which made Ci rise from a "path" to a lyric style with the same status as poetry. "Poetry as Ci" is Su Shi's main weapon to change the style of Ci. The so-called "taking poetry as a word" is to transplant the expression of poetry into words. The success of Su Ci lies in two aspects: preface and postscript and allusion. Su Shi was a key figure in the change of ci style in Song Dynasty. Wang Zhuo's "Bi Ji Man Zhi" Volume 2 said: "Mr. Dongpo is not addicted to melody, and occasionally writes songs. He points out that all the way up, the world will be new, and the eyes and ears will be new, which will make the author know and find new things." Strengthening the literariness of ci and weakening the dependence of ci on music are "all the way up" pointed out by Su Shi for later poets. Later poets and Xin poets further developed along this road. 2. Poetry: Su Shi's views on society and his thoughts on life are undisguised in literary works, among which poetry is the most incisive. 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 valuable is that Su Shi's criticism of society is not limited to the New Deal or the present. He criticized the long-standing abuses and bad habits in feudal society, and embodied 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 Xilin Wall Topic and Mianchi Nostalgia. In these poems, natural phenomena rise to philosophy, and the perception of life is also transformed into rational thinking. What is particularly commendable is 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, worthy of the name. "I don't know the true face of Lushan Mountain" and "Snow Mud Red Claw" became a popular idiom 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 the Sangha Pagoda in Sizhou, the rain on the lake after the Qing Dynasty, and the wind control in Cihu. Su Shi is very insightful, so he can find wonderful ideas everywhere. Deep life thinking 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 Su Shi's poems show his arrogance and transcendence of suffering. Su Shi has profound knowledge, mastered the artistic skills of poetry to the point of perfection, and has an amazing spirit of innovation in treating 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. The prominence and distinctiveness of Wang, Huang and Chen's poems in style and personality may be more striking than Su Shi's poems. But 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 the status of a statue 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. 3. Su Shi's prose presents rich and colorful artistic features. He absorbed artistic nutrition extensively from his previous works, the most important source of which was the heroic momentum of Mencius and strategists in the Warring States period, Zhuangzi's rich association and natural and unrestrained writing style. Su Shi is really expressive, and there is almost nothing objective or inner feelings that his works can't express. Su Wen's style changes freely with different objects and is as natural and smooth as running water. Han Yu's ancient prose relies on eloquence, layout and momentum to achieve the same goal, while Su Wen relies on a contented and thoughtful way. Su Wen is full of energy, but his language is simple and natural, which is one of the characteristics that Wen Song is different from Tang Wen. Su Shi is good at writing argumentative essays. His historical essays written in his early years have a strong habit of strategists, sometimes pretending to be amazing and unreasonable. For example, On Jia Yi accused Jia Yi of not knowing how to make friends with ministers in order to win the trust of the court, and On Fan Zeng suggested that Fan Zeng should be the righteous emperor who killed Xiang Yu. But there are also many original opinions, such as "On Hou", which advocates that the old man was a hermit in Qin Dynasty, and humiliation is to cultivate his perseverance; On Wang Ping criticizes Zhou Pingwang's blunder in avoiding bandits and moving the capital, which is novel, profound and enlightening. These historical theories are good at randomness, amazing in writing, showing a high degree of argumentation skills, and became the model essays for scholars at that time, so they spread widely. Su Shi's political essays in his early years also had similar stylistic features, but with the deepening of his experience, the habits of strategists gradually weakened. For example, some memorials written by Yuan You are purposeful in content and calm in words, which are close to the styles of Jia Yi and Lu Zhi. Su Shi's prose is as famous as Ouyang Xiu and Wang Anshi in Song Dynasty, but from the literary point of view, Su Wen is undoubtedly the most accomplished one in Song Wenzhong.