On poetry, Daiyu first promoted Wang Wei. Wang maintained his status as a master of pastoral school in the prosperous Tang Dynasty. On the basis of inheriting and developing the spiritual purport and aesthetic way of landscape pastoral poems established by Tao Yuanming and Xie Lingyun, his pastoral poems combine poetry and painting with his own specialty, reaching an almost perfect realm. Su Shi has "poetry is like charm, and there are paintings in poetry;" Looking at the painting, there are poems in the painting ("Lantian misty rain map"). Wang Wei concentrated on writing a lot of famous poems in his later period of creation. This kind of poems are often good at five words, especially five laws, which represent the most important characteristics and achievements of Wang Wei's poems. Most of his pastoral poems concentrated on the most beautiful and universal features of rural scenery, and wrote beautiful, fresh and elegant pictures with the purest colors, clear composition and clear levels, which entrusted his life ideal of transcending the secular and returning to nature. This interest is clearly reflected in "Looking at the Apricot Curtain" written by Daiyu on behalf of Baoyu:
Apricot curtains attract guests to drink, and you can see a villa.
Lingbi Goose Water, Sang Yu Yanziliang.
One spring is green, and ten miles of rice and flowers are fragrant.
In prosperous times, you don't have to plow and weave.
The first couplet moved the artistic conception of "Where is the restaurant, and the shepherd boy refers to Xinghua Village", but it did not stick to the old pattern and found another way. Parallel couplets and necklaces have both landscapes and family atmosphere; There are both grand and open scenes from the big picture and small scenes from the small. All the scenes are mixed and colorful, which is simply a beautiful picture. It is not difficult to think of Xin Qiji's Harvest in the Peach Blossom from Ten Miles of Peach Blossom, and the ending couplet is only the result. If this poem is fresh and natural, it is quite similar to Tao Yuanming, then the weather in the poem is very prosperous in the Tang Dynasty, which is closer to Wang Wei.
The school of pastoral poetry, represented by Wang Wei, not only inherited the spiritual purport and aesthetic way of Xie Tao's poems, but also always advocated Xie Tao in artistic expression. Generally speaking, pastoral poetry mainly worships pottery, while landscape poetry mainly combines big thanks and small thanks. Tao Yuanming's pastoral poems are mainly freehand brushwork, and most of the scenes in the poems have implications, with a strong subjective color of the poet, and are not even the real scenery in front of him. Xie Lingyun is often rigid and realistic, and writes the scenery objectively. [2] In this sense, two poems written by Daiyu during her visit to Yuan Dynasty and three chrysanthemum poems written later were greatly influenced by Tao poems.
The style of Tao Yuanming's poetry is simple and natural, quiet and solemn, full of artistic conception, and rarely uses strange exaggeration, gorgeous rhetoric and rich colors. Everything is natural and plain, which makes Tao Yuanming's poems present a Qingyuan artistic conception, and there is a meaningful charm in the plain. We might as well analyze the poem "Immortal Immortal Monument" written by Daiyu when Princess Yuan returned to her hometown. It is to be a poem, and it is not easy to display her talents, but the topic is deep in her stomach, so the first four sentences are well written: "Where a famous garden is built, a fairyland should not be the world of mortals. Add new scenery through beautiful mountains and rivers. " Stylistically speaking, it is refined, natural and novel, which is the essence of Tao poetry. At the back, "Xiangjin Valley Wine, Flower Mei Yutang people." He Xing invites pets, and there are frequent exchanges between the palace and the car. "If you look at it alone, it's nothing new compared with before. It's probably restricted by the system. Singing Chrysanthemum, Asking Chrysanthemum and Dreaming Chrysanthemum in the thirty-eighth poem Lin Xiaoxiang's Chrysanthemum Capture won the first prize at one fell swoop for their sincere and profound feelings and skillful and flexible skills. Tao Yuanming is mentioned in the first of the three songs: "After Tao Zhang, the long wind speaks today" ("Chanting Chrysanthemum"), "Whispering that I am holding my hand against the east fence" ("Asking Chrysanthemum"), and "It is not to admire the butterfly of Zhuang, but to look back on the past to find Tao" ("Chrysanthemum Dream"). Of course, other people's poems are also involved. However, only Daiyu realized his lofty demeanor from his residence to Tao Yuanming: "Being aloof from the world" is the personality trait of Qiu Ju and Tao Yuanming; There is also a German Festival sung through the ages!
In Dai Yu's poetic theory, in addition to Wang Mo's five-character law, she also recommended Du Zimei's seven-character law and Li Qinglian's seven-character quatrains to Xiangling, and on this basis, she quoted the poems of Xie Lingyun, Yu Xin and Bao Zhao. This is because of Du Fu, Li Bai and Wang Wei. They all inherited the creative methods and even styles of their predecessors, which is particularly evident in Du Fu's poems. "The Biography of Du Fu in the New Tang Dynasty" said: "To be rich, to be muddy, to be boundless, to be more, is true in ancient and modern times." Du Fu's poems are extensive and profound, with both style and spirit. Although it is to learn from the ancients, it is still Du Fu's face and spirit, and there is no suspicion of deja vu.
Du Fu's achievements in rhythmic poetry are the best in the Tang Dynasty and have always been recognized by poets. Du Fu studied his temperament carefully, and reached a painstaking level. No matter the five laws or the seven laws, they all create a seamless aesthetic realm with precise and rigorous rhythm. Du Fu's metrical poems are elegant and magnificent. Both harmonious and profound. Especially in the changes of sentence structure and syntax, and in the difficult turning of melody, it is incomparable to the past metrical poems. In addition, Du Lu's use of allusions was the first of its kind in the Tang Dynasty. Du Fu is handy in doing things. For example, "Ji Tan Hu Fa, Spring Grass Deer Yo" in Zhang Yinju. Du wine is partial to persuasion, and there is no desire or desire. " Quoted from the Book of Songs, Feng Wei tells people that Jiangdong snakehead is a yellow fish, and it is also quoted from Luming Literature, Yo Yo, a sentence from Cao Cao's Yuefu that "there is only Du Kang" and a sentence from Xie Lingyun that "you get what you want", without leaving any trace. Du Fu's creation and conception came from ancient times, and he can turn the ancient into the useful, and he can go in and out at will, full of twists and turns. Because Du Fu learns from his predecessors with an open mind, his poems learn from each other's strong points, and then forge his own unique Wang Han style, and finally become a generation of "poets".
So Daiyu asked Xiangling to learn from Du Fu's poems, "read one or two hundred Lao Du's seven-character decrees", which means a private school teacher. Since she has this view, she must have learned it step by step. When we carefully study Dai Yu's poems, we can easily find that her metrical poems are extremely neat in antithesis and metrical aspects. For example, "steal a pear core for three minutes and borrow a plum blossom soul." ("Ode to the White Sea") "There is a cloud, written in the frost, and the mouth is fragrant to the moon." ("Chanting Chrysanthemum") "When you go to the fairy, you don't want to admire Zhuang and give birth to butterflies, but look back and find Tao Mengling." ("Chrysanthemum Dream") "The tender jade is full, and its shell is red and fragrant." (Ode to the Crab) and so on. In Daiyu's poems, there are also many allusions: "Xiangrong Jingu wine, beautiful and charming Yutang people." The "Jingu wine" in the sentence "Immortal Fairy Source" is a typical example of Shi Chong's banquet in Jingu Garden at home in the Jin Dynasty, saying "If you don't succeed, you will be punished three times". "I only shed tears on the flower hoe, and I saw blood stains on the branches above." ("Burying Flowers") This sentence uses two allusions: First, ChristianRandPhillips cried smoothly, and blood and tears stained the bamboo branches into spots; Second, Emperor Shu turned the cuckoo into a soul, with blood stained with flowers, and the flowers were azaleas. "The beads on the color line are hard to collect, and the old traces of Xiangjiang River have been blurred." ("Three Masterpieces of Dipa") also used Yao's second daughter's Canon and the Xiangjiang River, crying and avoiding it. "Going to visit immortals is not to admire Zhuang Sheng's butterflies, but to look back on the past and find Tao Mengling." (Chrysanthemum Dream) is quoted from Zhuang Zhou's Dream Butterfly in Zhuangzi's Theory of Everything. The ingenious use of allusions not only embodies Daiyu's profound knowledge and Minhui's poetic talent, but also enables us to get a glimpse of her spiritual world of "being independent and proud of the world" and her noble sentiment of "self-purification by quality".
Daiyu's poems are often "a stroke of a pen" (the thirty-seventh time). The words and sentences are like words, but they have a natural and simple charm. This realm is mostly learned from Li Bai.
Li Bai ruled the history of poetry with quatrains. His quatrains are subtle and natural, as if they were blurted out, but they are charming. Among the five wonders, Jingting Mountain Sitting Alone, Song of Autumn Pu, Silent Night Thinking and Loulaoting. , are masterpieces with clear and vivid charm. The highest achievement of Li Bai's quatrains is to push seven quatrains. His seven wonders are not only natural and subtle, but also noble and famous. Try saying, "When I asked Yu why he lived in the Blue Mountains, I laughed but didn't answer his heart. Peach blossoms and flowing water are gone, especially heaven and earth. " (Q&A in the Mountain) "Two people drink flowers in the mountain, one after another. I am so drunk that I want to sleep, and I plan to hold the Ming Dynasty piano. " It can be seen that Li Bai's seven poems were written in an epiphany moment, inadvertently portrayed, without hard training, but natural, but full of infinite feelings. Wang Anshi, a poet in the Song Dynasty, once put forward "nature" to evaluate Shi Li:
Poets get what they want. "Clear water produces hibiscus, which is naturally carved", which is also earned by Li Bai. "Or look at Cuilan, the blue ocean doesn't hunt whales." This Lao Du also made money. "Hard words are empty, and proper efforts are made", which Han Yu also got. (Five quotes from the last episode "Tiaoxi Fishing and Conceiving Conghua")
This passage is very famous, especially Li Bai's words have great influence. "Natural carving" is not achieved by words, but based on its long-term ability to write poems. "Carving" means not carving or removing the chisel marks. Words seem to be blurted out and sentences seem to come by accident. In fact, this often requires careful consideration.
Daiyu's "Three Exquisites of Tipo" and "Wumei Yin" are quite natural in Li's poems. As far as its skills are concerned, The Three Exquisites of Tipo is not the best in the poetry of A Dream of Red Mansions, but you should know that this poem is not "made" but "cried", and its value lies in the truth of feelings! The whole poem runs through with "tears", and Daiyu will die of tears for Baoyu all her life. Now, let's look at the first one: "whose eyes are empty and tears are empty, but who are you abandoning?" This sentence is really true. The word "who" directly points her deep affection to Baoyu, and her feelings are extremely unrestrained. At the same time, the word "who" also contains endless questions. This poem describes Dai Yu's mixed feelings at this time, adding a touch of sadness to her love. The five women chanted in five beautiful songs are all tragic figures except the legendary Hongfu. Daiyu chose them as the theme of her poems to express her consistent sadness. Daiyu lamented the beauty of "a generation of beauties", just like a river flowing eastward, and its fate was far above the "East Village Girl" with a bald head. In the poem "The Concubine", Qing Bu and Peng Yue, who are scornful for glory and willing to be humiliated, think that Yu Meiren is not as good as the "drinking sword" in Chu's account, and they entrust their wishes to her to "lead a totally clean life rather than get stuck in a ditch". She satirized the abdication of Emperor Han Yuan and her obedience to the painter, showing her independent character of refusing to be pushed around by others. She regrets that Lvzhu paid Shi Chong's death for her when she was in danger, which shows that her love focuses on emotional feelings and spiritual understanding. She admires Hongfu's resourcefulness and courage to break through the shackles of power and ethics, which highlights her rebellious thoughts of boldly pursuing the ideal of a free and happy life. "A generation of the whole city chased the waves, and the martial arts were empty." ("Xi Shi") "Beauty is out of the Han Palace, and beauty is unlucky." ("Fei Ming") "Talking about self-uniqueness, beauty has a huge eye to know the way out." ("Red Stroke") and so on. All the words are natural and easy to read without ornate rhetoric. This humble kung fu also highlights Daiyu's achievements in poetry creation, making her well-deserved to be the first talented woman in the Grand View Garden!
Why does Daiyu have such a profound upbringing? This is due to her personal fate, as well as her own knowledge and talent and other comprehensive factors, thus fulfilling her unique poet temperament.
She comes from a hereditary marquis and has a poor academic background. She can read and write since she was a child. At the age of six, she had finished reading four books, which laid a solid literary foundation for her later. However, due to her delicate constitution and her mother's early death, her childhood life was shrouded in a lingering melancholy. When she came to Guo Rong Mansion alone to "relieve her father's internal troubles and foreign invasion", she showed the strong self-esteem of the orphan girl who was "careful step by step, always careful for fear of being laughed at by others". Soon, her father died again. When she finished the funeral and set foot on Guo Rongfu again, she had become a truly homeless poor relative and took refuge in Jiafu. This series of encounters, as well as the intrigue of the whole environment, made her already sensitive heart a little more melancholy: the noise in the Grand View Garden, the laughter of others, and even the fallen flowers in nature, autumn wind and autumn rain, etc. Can touch the sad string in her heart, which is vividly expressed in daily poems.
The spiritual tradition of our national culture, especially China's excellent classical poems, makes Lin Daiyu more beautiful. Daiyu not only learned the poems of predecessors, but also learned their taste in algae. This makes her words and deeds sentimental, and exudes a "beautiful vanilla" charm and refreshing style. There is a powder wall in that area, which is covered by thousands of bamboo poles. ..... "Xiaoxiang Pavilion has an extraordinary beauty, which seems to contain a bit of Daiyu's temperament. In particular, her favorite "those few bamboos" and "just water bamboos, beautiful and restrained" symbolize her noble character and are also her life ideals and interests. Living by the bamboo forest adds a bit of charm to Daiyu.
This girl with a poet's temperament observes the surrounding landscapes, flowers, birds, insects and fish with a poet's eyes, and appreciates the warmth of human feelings and the coldness of the world with a poet's heart. She described her life with delicate brushstrokes. From her poems, we can appreciate a sad beauty, a fragile beauty, a desperate beauty and a final beauty. This also makes her show unusual knowledge and charm. No wonder Zhi Yanzhai commented on her: "It takes orchid as its heart, jade as its bone, lotus as its tongue and ice as its god. Really can't beat the skirt of the world. "
In short, through the preliminary exploration of Lin Daiyu's poems, we can know that she is good at expressing her feelings and ambitions in Min Hui. Moreover, we also found that Daiyu's poems have a long lasting appeal, fresh and distant; Rules and regulations on the beauty of teachers and students; Wu Qinglian's "nature" is unpretentious. No wonder her poems are much higher than those of her peers. At the same time, her education has also created the unique charm of her "poetic soul".