Abstract: "Hurting time" is an important emotional feature of Li Shangyin's untitled poems. The tragic temperament in untitled poems is inseparable from the poet's experience of life and his understanding of Buddhism and Taoism. It is this individual emotion of Buddhism and Taoism that melts the poet's pain, injects the fantasy of poetry, affects the poet's creative mentality to a certain extent, increases the difficulty of reading untitled poems, and adds hazy beauty, sad beauty and life beauty to untitled poems. The sentimental sentiment of Buddhism and Taoism in untitled poems has a great influence on poetry.
[Keywords:]: untitled poems; Sentimental; Buddhism and Taoism; Polysemy; Sad beauty
In the Qing Dynasty, Liu Xizai summed up Li Shangyin's poetic style with the phrase "Li Fannan is affectionate and graceful" in "An Outline of Art", which is very insightful. The most representative of the exquisite and beautiful style of a mountain is his love lyric poem Untitled. This part of the poem is elegant and gorgeous. Harmony in phonology, sadness and dignity "stunning brilliance" has reached the point where "five colors are dazzling and five tones are confused". The reason why untitled poems can achieve "endless charm, more and more popular, more practical and inexhaustible" (Yang Yi commented on Yi Shan's rhyming poems in Yang Qiu) lies in his successful expression of deep feelings and interest in Buddhism and Taoism. Sentimental sentiment is the emotional tone of untitled poems.
In-depth study of Li Shangyin's untitled poems, although some people have pointed out the sentimental and sincere characteristics of his poems for a long time, they often stick to the lines of the poems or stick to the social background to explore, and have not fully expounded the poet's life experience and understanding of Buddhism and Taoism, so it is difficult to truly appreciate the emotional experience and ambiguity of untitled poems. Therefore, this paper attempts to explore the subtle relationship between sentimental sentiment and Buddhism and Taoism in untitled poems, show the poet's creative mentality, and put forward new techniques to interpret untitled poems, in order to show that sentimental sentiment and Buddhism and Taoism are the great charm of untitled poems.
1. Sentimental sentiment is the emotional theme of Li Shangyin's untitled poems.
Sentimental sentiment is a tradition of emotional expression in China's literary works, which has been handed down from generation to generation since Song Yu's Nine Arguments. The decline of society, the lack of people's livelihood and the turmoil of the country in the late Tang Dynasty made people's attention to the outside world turn to the examination and appreciation of the individual's heart. Therefore, social reality has created a mountain of melancholy and sad poetic beauty. Poets use delicate language to express sentimental feelings, and take emotional situations as an aesthetic perspective: either the feeling of parting, the feeling of sadness in a different place, or the lingering joy of two kinds of feelings, often with persistence in hopelessness, condensed clearly in confusion, seemingly hazy but not depressed, seemingly vacant but more stubborn. The poet is delicate and sentimental. Most of his love poems, represented by Untitled, convey a complex and special emotional life, without a sense of certainty and purpose. Among them, the poet either melts into life experience, or injects his own fantasy, or nothingness, or summarizes it as "it's already lonely and dark, how far can a pomegranate flower whisper?" (Untitled), and poured sentimental emotions into the magnificent poetic landscape of Alan Yu, and integrated many feelings into the profound beauty, forming a kind of sad beauty.
Compared with the poets after the Song Dynasty, Li Yishan, a poet in the late Tang Dynasty, likes and is better at judging human feelings, world situations and current situation with a unique eye, expressing his feelings and showing the poet's unique personality charm. Li Shangyin's untitled poems mostly take "acacia" as the theme, describing the yearning and pursuit of love between the hero and heroine, with a strong tragic color and showing various complicated thoughts and feelings. As far as some specific poems are concerned, two untitled poems (a faint phoenix-tailed yarn, with double fragrance; Deeply grieved, Mochou Hall expresses the expectation and self-injury of a girl when she is lovesick. The girl in Untitled (such as Liang Chu has feelings) has resentment in her heart because of the frustration of love; Untitled (stealing a mirror at the age of eight) is about the repression of a beautiful and noble girl's desire, and the poet laments her personal decline and disappointment in life in a sad style; In two untitled poems (The Star Last Night and The Wind Last Night), the poet lamented the love separation between the past and the present, expressing the poet's depressed heart, while the untitled poem (It was a long time before I met her, but it was longer since we separated) wrote the painful parting in late spring, expressed the distant and persistent sad thoughts, and integrated the poet's life sentiment that it was difficult to realize his ideal; There are four untitled poems (you said you would come, but you didn't, and you didn't leave me any other traces; Whispering southeast drizzle; Affectionate spring night; The first song in "Where is Zheng Ai" wrote that a man misses a distant woman, like crying, like a dream, like a cigarette, and lonely. The second poem is about a woman with a closed boudoir's longing for love and disillusionment of hope, and the fourth poem is about the long night when an old woman in the East was injured and couldn't get married. The four-line poem "Untitled" contains the sadness of graceful and restrained but not willing to live in the world.
As far as Li Shangyin is concerned, he has lost his relatives several times since he was a child, suffered from the hardships of life, and was deeply touched by the indifference of the world and the delicate and fragile feelings. Influenced by the party struggle, the poet's misfortune of "sticking to his life" and "ancient talents hinder his life" gave him lifelong resentment; The declining times, declining family background, ill-fated official career, frustrated love, misunderstanding of others and the early death of his wife all increased his psychological burden, which made him lament the decline of fortune and the wandering of life experience in a melancholy and sentimental style: life experience, family background and Buddhism, which contributed to the poet's sentimental and introverted personality and mentality in all aspects. His talent, his tragedy, and his helplessness also filled him with feelings, state affairs and family affairs, going to Qiu Lai in the spring, human contacts, and friends of the opposite sex, all of which can arouse his emotional activities. "I believe in affectionate life, and Yang Zhu dies with affection" ("Send a Thousand Cows to General Li"), "Affection" and "Affection". The trauma of the soul, the hardships of life and the painful experience are all concentrated in one poem, which euphemistically tells a sad inner world and a beautiful spiritual picture, and sings a sad and touching elegy for that tragic era.
All these untitled poems of Li Shangyin express the misfortune of love, express the parting and blocking, expectation and disappointment, persistence and lingering, anguish and indignation in love life, and vent the leading sentimental feelings everywhere. As Yu Shucheng said in Tang Poetry, "His untitled poems are almost all about his misfortune".
Second, the interest of Buddhism and Taoism untitled poems lies in the persistence of life and sensibility, and in the expression of suffering and impermanence.
(1), life is impermanent and fate is hard to kill. This is Yishan's profound understanding of Buddhism and the object of untitled poems.
Li Shangyin's concern for life is based on his personal life experience. His perception and insight will inevitably tap his inner desire for beauty. For the expectation of truth, goodness and beauty, and the persistence of smart life, Li Shangyin's persistence won only the impermanence of circulation and the emptiness of good scenery. In the face of all this, "tragic destruction left a permanent shock in the poet's heart lake and accumulated in the depths of his consciousness." Coupled with all kinds of impermanent experiences, the poet's tragic temperament is aggravated and the impermanence of real life is deepened. The withering of beautiful things repeatedly lamented by the poet in his poems presents a tragic fire picture of flowers withering and branches withering: "The wind and frost are refreshing, and the moon dew is sweet with laurel leaves" (Two Untitled Poems), "The flowers are exposed until they are wet, and the wind and butterflies are strong and charming" (Two Untitled Poems). Here, sometimes the path is low, sometimes it is like crying, and sometimes it is embarrassing. The singing of life, the sentimentality of love and the transcendence of pain condense the meaning of untitled poems. The poet's profound understanding of life made him familiar with the truth that fate is hard to kill. The helpless world, influenced by impermanence, is troubled by the world, but for all worldly things, we can only sigh our own weakness and helplessness. The girl in Untitled (stealing a mirror at the age of eight) is talented and beautiful, and is good at needlework. However, she was locked in the boudoir, wasting her youth, unable to control her own destiny at all, and all kinds of feelings could only cry to the spring breeze. The bitterness and anguish of a girl's love for spring is a portrayal of a scholar's desire to use the world. Things are impermanent, and individuals can't decide whether they can shoulder the heavy burden and gallop their talents. When the poet pays attention to the doomed world, he thinks that the world is like "a boat in the stormy waves of Wan Li". In the impermanent stream, I am uncertain, lonely and helpless, aimless, only knowing that the farther away from home, the more lonely and desolate I am. Therefore, I can vaguely hear the desperate soul sigh: "Is life too long and meaningless, homesick?" ("Untitled? Wan Li's "Stay in the Boat through the Storm" embodies the poet's profound understanding of life.
(2) The meditation of seeking after suffering and transcending pain sublimated the poet's understanding of Buddhism and Taoism.
Most of Li Shangyin's untitled poems are characterized by love, and through the tragic atmosphere of love, the great pain that the poet has been striving for all his life but failed is set off. It is precisely because Yishan lived in the late Tang Dynasty, the declining atmosphere of society and his bitter life experience that he thought that "social reality, natural personnel, everything, every plant and tree have sad emotions and become sad images." ② The love world written by poets is mostly lonely and desolate, like wind and fog, but if dreams are beyond the reach of many hands, things are often generalized and vague, often accompanied by doubt and despair. "The spring breeze is full of flowers. Even this bright flame of love is only ashes?" ("Untitled? A misty rain blew from the east with a wind), the poet abstracted family affection into something that could be reached, took care of the generation and destruction of what was pure, and sprouted a sense of loss in life. At the same time, his poems often win by chanting "love and parting". The poet agrees with pain, conveys pain, feels pain, and thinks that desire leads to pain, so he can't ask for it, so he expresses his ardent pursuit of ideal realm and disillusionment of ideal in a sad and low environment. " How to make a bright night in the snow on the twelfth floor of Yaotai (Untitled) expresses the helplessness of sighing with lofty aspirations. As for "there are not many roads to Pengshan, and the bluebirds are looking for love", it shows the poet's obsession with weak hope. "Willow waves are outside Pengshan, but on the other side with you, thousands of peaks are far away" is a sigh and despair for the ideal.
(3) Persistence to death is the poet's spiritual fusion under the fusion of Buddhism and Taoism.
Li Shangyin is good at creating an illusion, but he is aware of it and is stubborn. "Poets with good hearts and feelings have created many illusions filled with loss and sentimentality with their unique illusions, hallucinations, dreams and extrasensory feelings. They are either beautiful and elegant, or colorful, or confused, or lifelike, with different shapes and colorful colors, but they are all spiritual. " . His heart is full of longing for the most beautiful love, and his heart is really full of understanding and appreciation of nothingness and disillusionment: he recalls the past, laments the present situation, is passionate about life, and is stubborn; He looks forward to the future, melts himself and never dies, always wandering between disillusionment and pursuit. For love, Yishan deeply yearns for it, deeply feels its illusory and persistent pursuit, and knows each other and loves each other. "I know that this love will not have any results, but it can comfort my soul!" Expressed his unswerving persistence; For the lovesickness in the two places, "clouds change in the morning mirror, and the moon is cold at dusk" (untitled) has done its best. Based on this, it can be concluded that even if the poet has only a little knowledge of Buddhism and Taoism, in all fairness, his deep heart still reflects the poet's persistence and obsession with life, sensibility and even death.
(4) From his personal life experience, the communication with Buddhism and Taoism will inevitably bring about the emotional communication between the poet and Buddhism and Taoism.
We should see that the poet's close contact with Buddhism and Taoism makes him have nihilistic religious color everywhere. More often, Yishan masturbates with Buddhism and Taoism, seeking philosophical detachment. The poet has an epiphany, a half-solution, confusion or helplessness, but from beginning to end, it is nothingness, persistence and sadness ... It has always been the main theme of his feelings, which has become the lingering shadow of the poet. For this concern for Buddhism and Taoism, his poems do have detailed records:
I rode out of the city in the Ming Dynasty to send me to Nanshan to study. (History of An Gong Ping)
Recall the past, thank you for riding four times, and learn from Xianyu Yangdong. ("Forty Rhymes of Li Wei's Two Poems of Song Poetry")
Young, aiming at Yuanmen; And for this capital, it is even more necessary to evade the contract. ("On the Hedong Qigong") ③
In the ups and downs of strength, there is a wish hidden; When I was different, I returned to Yuan You with my fairy costume. ("Six Scheerens by Li Shang") ④
When he arrived in Dongchuan, a mountain suddenly changed, and he began to believe in Buddhism and Zen, making friends, accepting children, and his thoughts also moved closer to Buddhism, which was also slightly reflected in his poems: "Fan Nanyi Collection? The preface said, "Three years have passed, and I have lost all my possessions. I am willing to ring the bell and sweep the floor. To the traveler of Liang Qingshan. " In the Tang Dynasty, the inscription on the four-card hall of Jingshe Temple in Yi Hui, Zizhou began with the meaning of "In the seventh year of Ming Xuanda, Shanghedong served as the four-card hall in the south temple of Jingshe Temple in Yi Hui, Zizhou". The same volume "A Taoist named Hu Jun's New Well Failure" has a clear meaning at the beginning: "There is a palace in the northeast of Zitong Shuai Town called Zijing Palace, and there is a Taoist named Hu Zongjun in the palace. "
It can be seen that the poet's thought at that time was negative and nihilistic, and he fled into Buddhism and Taoism, but it was not a simple interpretation of Buddhism and Taoism, but an "eclectic" attitude towards Buddhism and Taoism. The reasons are nothing more than the misfortune of life, poor political career, depression of life and career, old age, poor health, homesickness and so on.
Thirdly, the integration of sentimental sentiment and Buddhism and Taoism deepened the hazy beauty and tragic beauty of untitled poems.
(1) The interweaving of Buddhism and Taoism in Li Shangyin's thoughts has influenced his personal creative mentality.
Li Shangyin's bumpy experience of "depravity and suffering", the lonely figure wandering in the drift and the tragic fate of his career have prepared rich bitter materials and bleak life experiences for untitled poems. Poets can only seek comfort in Buddhism and Taoism. Under the care of Buddhism and Taoism, he was imprisoned in contradictions, which also contributed to the emotional contradictions revealed by untitled poems. He has his own unique views on Buddhism and Taoism, and his Buddhism and Taoism have injected his personal consciousness. Therefore, the Buddhism and Taoism that his poems conform to is at the level of life experience and spiritual perception, not just literal words, names and meanings. At the same time, poetry is full of Taoist interest, which is an empty love tragedy and an empty Taoist interest. From this point of view, the interweaving of Buddhism and Taoism dissolved the poet's life pain and injected his life fantasy, which made the poet still cling to the spiritual concept of "Buddhism and Taoism" and shocked the poet's kind and delicate soul by their distortion: introspection, experiencing emptiness, sadness and chewing loss are all reflections of his creative mentality. The poet's heart is always full of a desire to express, a desire to convey. Therefore, the poet's untitled poems are mostly created out of the ambivalence of wanting people to know and not wanting people to know everything. His poems are also hidden. Shattered glass, half hidden and half present, tends to succeed. Yishan was unhappy about losing his family's way. He tried to get rid of his troubles through Buddhism, which means that Taoism hides his heart, so there are both Buddhism and Taoism. Shang Yin has the heart to conquer the world and the idea of being born, but he also attaches importance to his own value and creation and opposes mechanical retro. This independent belief mentality is also related to Buddhism and Taoism.
(2) Under the integration of Buddhism and Taoism, Li Shangyin's feelings and desires are the destination of his sadness.
With his unique emotional experience, Li Shangyin realized the true meaning of Buddhism, absorbed Buddhist thoughts, transcended and melted the pain to a certain extent, and made his poems have the interest of Buddhism and added the beauty of sadness and detachment. But this is only partial and uncertain. When he was young, he was also influenced by Taoist "people-oriented" thought.
Tao and Tao examine the value of individual life, pursue individual liberation, care about human spirit, emphasize anonymity, and oppose any positive or negative way of reluctantly describing theory. Just like this, he tried to arouse people's deep reflection on the meaning and existence value of life and arouse people's deep attachment to life and sensibility through his "cuckoo-like singing". However, the purpose of his creation is by no means to "take poetry as a guide first, and then make it become Buddhist wisdom" (Bai Juyi's Ten Rhymes of Taoism). The poet himself has never gone through eroticism, but he has just reached the "first door", but he can't let go of his love for life and his feelings for passion as the soul of poetry. Poets always pursue a free realm without any constraints and restrictions, so the "ruthless abandonment of desire" in Buddhism is out of reach after all. Taoism has also influenced it in many ways. Li Shangyin's Thoughts on Zhuangzi's Philosophy of Life. Zhuangzi's thought of attaching importance to nature, rationality and non-service has a profound influence on him, which makes him have a personality spirit of "keeping the right and keeping the middle" and "dying independently" and a spiritual comfort in retreat. "The heart of spring is not * * * flowers competing for hair, even if this bright flame of love is only ashes? We can clearly feel the confusion and helplessness of his inner world, which is also full of sincere beauty. It can be said that it is under the collision of Buddhism and Taoism that poets hold high their precious individual values through despair and sadness. Accordingly, the useless and ineffective care and enterprising desire of Buddhism and Taoism have damaged, deepened and melted the spirit of human poetry, and even his love poems seem to be full of inner experiences that conflict with Buddhism and Taoism.
(3) Independent personality deepens the poet's understanding of Buddhism and Taoism and adds the hazy beauty of untitled poems.
The poet's understanding of Buddhism and Taoism stems from his own spiritual and personality experience. Depressed, sad, chanting, lamenting, shocking everywhere, resentful and sad, always suppressed by the sadness and expectation of ordinary love. All his experiences have enriched his sympathy and endowed him with a bright and cheerful mood. More often, gloomy and sad feelings contain nihilistic and eschatological thoughts, which are empty, quiet and far away, such as "you said you would come, but you didn't, and you left me no other trace". However, Li Shangyin's personal understanding of Buddhism is based on his personal life experience and is not thorough. The inner spirituality of Yishan suppressed his personal feelings and made him ashamed to express his feelings directly. But the poet can't stand it, so he has to vent his feelings. He can only express his feelings with tortuous expressions, ambiguous language and hazy artistic conception. Li Shangyin can only get rid of this kind of pain with the help of Buddhism and Taoism. "Although I don't have the wings of Cai Feng, I have the harmony of Kirin" is intended to sublimate Zen through Buddhism and express my support and care for the same kind. Based on Buddhism and Taoism, beyond Buddhism and Taoism, subjective feelings spread out in the sad and silent untitled poems, giving people a sense of confusion and disillusionment.
(4) The intersection of mind and Buddhism and Taoism constructs the tragic beauty of untitled poems.
Li Shangyin's poems are often vague but not specific, and they value emotion over form. "It is helpful to express the image with meaning as the main part, empathize with the natural image in need and take the poet's emotion as the core." The poet's sentimental heart is always full of sentimental emotions, and the religious tendency of "Taoism and Buddhism" is always full of immortal persistence. All kinds of thoughts can turn "the misfortune of Yan and love life, the ups and downs of life experience and even the anxiety about the fate of the Tang Dynasty" into a sad feeling. It can be said that it is the intersection of grief in the soul and Buddhism and Taoism that constructs the beauty of untitled. Such as untitled (southeast drizzle), drizzle, lotus pond, incense burner, spices, pulley rope, Jia's, Han Shou, Wang Wei, pillow, spring flowers, incense ashes and many other images mixed together, the scene is desolate and lonely, and it is difficult to write in mind. The poet expressed his expectations and turned them into clouds, but he also produced new expectations. He injected two subjective psychological images, pursuit and disillusionment, into the above natural images, and melted many feelings into the profound beauty, forming a sad beauty.
4. Appreciating the sentimental sentiment and interest of Buddhism and Taoism is an important way to interpret untitled poems.
Today, researchers pay more attention to whether untitled poems are entrusted, or focus on political and personal experiences, seek answers from the relationship between Li Shangyin and Niu Dang, or explore love from Li Yishan's love experience, or understand from the philosophy of life, and think untitled poems are difficult to answer because of ambiguity. In any case, "multilateral metaphor" certainly has its reasonable side, but it ignores the exploration of the deep reasons of untitled poems.
(1) Sentiment is an important feature of untitled poems and the main line to interpret untitled poems.
A man is a perceptual animal, and a mountain is a perceptual stunner. The ambiguity of his poems often provides readers with the possibility of multiple interpretations, which constitutes the ambiguity of interpretation. However, there are always feelings of depression, sadness, loneliness, yearning and disappointment in the poem, which is the spiritual image of the depressed poet. Of course, the "image and metaphor" in untitled poems are not closely related and are hazy. We can still see that "the obscurity of Li Shangyin's poems is often unified with his kindness and emotional feelings." In some cases, polysemy is also related to the unique choice of its image. The images in the poem are full of unrealistic colors, such as beads and tears, jade smoke, Pengshan, Jade Bird, collecting wind, Bi Cheng, Lingfeng, Dream Rain, etc., which are difficult to refer to reality. Such spiritual images are spiritualized by them and are a combination of various experiences. The spiritualization of images and the sentimentality of emotions make its connotation far more complicated and changeable than that of ordinary images. In Untitled (Last Night's Stars and Last Night's Wind), the spoony poet looks at midnight for the woman in his heart, telling endless thoughts. The poet's mentality and personality are undoubtedly revealed here, which also makes his poems profound and beautiful, serious and romantic. At the same time, his sincere feelings and persistent mentality make readers look at untitled with great compassion, which creates all preconceived conditions. From this point of view, the existence of this attraction makes readers unable to be independent, or addicted to "but I feel the harmonious heartbeat of the sacred unicorn", or obsessed with "there, group after group, we roll dice under the crimson lamp". There is no doubt that untitled people refer to things with the help of the environment, but "those who solve untitled people, or they are all fables, or they are all endowed with abilities, and everyone has their own prejudices and common decisions." I read the complete works carefully, but I know that there are many things to trust, and few people do erotic love directly. It's confusing to mix together. "Because of this, grasping the sad thoughts is helpful to peep into the poet's mind and solve the ambiguity of untitled poems.
(2) The deconstruction of Buddhism and Taoism can deepen the understanding of the theme of untitled poems.
The meaning of Buddha is difficult to understand, and the interest of Tao is difficult to understand. The profoundness of Buddhism and Taoism and the profusion and complexity of interest add to the obscurity and sadness of untitled poems. Correspondingly, the introduction of Buddhism and Taoism has deepened the difficulty of reading untitled poems. Most untitled poems are mainly erotic. The reason why they are untitled is that poets pretend to be mysterious. So the surface of the poem is said to be a metaphor, suggesting that this untitled poem must be meaningful. On the other hand, the poet deeply believes in Buddhism and Taoism, winning the subtle charm of Buddhism and Taoism, and explaining the spirit of Buddhism and Taoism with allusions in endless lament, which reveals the poetic purpose of untitled poetry to some extent. In Four Untitled Poems (a misty rain is blowing from the east wind), the poet combines metaphor, symbol, historical allusions, myths and legends without leaving a trace. The first couplet renders a fascinating environment and atmosphere; "Light Thunder" implicitly uses the argot of "Thunder is faint, which sounds like the sound of a gentleman's car" in "Changmen Fu". The sentence of "Jia Shi" gives a new story, and the sentence of "Fu Fei" gives an anthology? Luo Shen Fu recorded Cao Zhi's feelings. The historical legend of Jia's love with Han Shou and the mythical story of Cao Zhi's meeting with Luo Shen symbolize the ideal meeting between Ma and literati. In this untitled poem, the poet hides endless mystery in limited words, and it is inevitable that the theme of his untitled poem is hard to find. It can be said that the understanding of Buddhism and Taoism can accelerate the readers' overall grasp of Untitled.
(3) Paying attention to sorrow and Buddhism and Taoism is an important part in the interpretation of Untitled.
Sentiment and Buddhism are Li Shangyin's main emotions and interests. The combination of the two constructs the tragic beauty of untitled poems, and also conveys the contradictory psychology that the poet can't get what he wants in his heart, reflecting the poet's value tendency. The poet regards the spiritual world as the world of expression, and the whole mood is very complicated. When expressed with complex images, there is no sense of certainty, and this spiritual reference is diverse and contradictory. The integration of sentimentality and Buddhism and Taoism is the externalization of his mind and a kind of care for it. Therefore, this feeling of Buddhism and Taoism is bound to be reflected in its long-term inexplicable sadness, showing the suffering of the whole poem without a title. Untitled (centered on Mochou Hall) also uses symbols, comparisons, legends and myths, and descriptions of natural scenery to express feelings and convey hatred, but it is also different. The phrase "Goddess" in the Second League of China uses Gao Xiang's "Five Dreams Meet Goddess" and the phrase "Sister-in-law", which comes from GuYuefu's "Sister-in-law Song of Qingxi" and refers to many things. When Ganoderma lucidum is weak, the storm is destroying it, and when laurel leaves are fragrant, the moon dew is a boon. Here, the poet extended the untitled poem to a more subtle height. More often, the poet gave Buddhism and Taoism a difficult situation, which we have to inspire.
Fifth, the characteristics of untitled poems and their influence on sentimentality and Buddhism and Taoism.
It is obvious that Li Yishan deliberately pursues the beauty of poetry. His untitled love poems have reached a melancholy aesthetic height and contain touching aesthetic vitality. Li Shangyin's untitled poems are subjective and sentimental, trying to express the original state of emotion. The poet tries to express his sincere feelings by expressing deep feelings in the emotional field, creating artistic conception and rendering the tragic atmosphere. He expresses grief without indulging, comforts Buddhism and Taoism without superstition, attaches importance to personal value and inner experience, and mixes unspeakable and confusing inner feelings with deliberately carved objects to convey a melancholy mood. So the sadness of his heart is a combination of various experiences. Both the spiritualization of images and the sentimentality of emotions make the connotation of Li Shangyin's untitled poems far more complicated than the general images, and the readability is bound to be stronger.
The creation of Untitled by Yishan has a great influence on later generations. He created a new realm of poetry creation in the late Tang Dynasty. On the one hand, it has expanded the spiritual world in an unprecedented depth. His untitled poems get rid of the vulgar sentiment characterized by satisfying sensory desires, and push this poetic realm to a peak with its "deep affection". His unique contribution lies in his rich spiritual world level and the delicate display of the complexity and mystery of emotional changes. On the other hand, it opens up the artistic expression field of full production, the combination of illogical jumping images, the creation of hazy feelings and hazy realm, which makes the poetic realm empty and becomes a new realm in Tang poetry. Furthermore, it summarizes the sentimental artistic conception in a standardized form, and its poems are delicate and profound, which weakens the specific era of poetry, reflects the universal aspirations of different times, and highlights the leap of love in the times. At the same time, sublimation of emotion, communication between ancient and modern, persistent pursuit, so that untitled poetry has immortal artistic appeal.
Wu Qiaoyun in Qing Dynasty: "The only person who can make his own universe in Tang Dynasty is Du Lichang Liyishan." (Introduction to Xichang) Li Shangyin's achievements, especially those of untitled poems, are enormous, which is of course inseparable from his personal struggle, talent and sentimental feelings. The poet's unique emotional experience and ingenious brushwork can win with untitled poems, which is also related to his interest in Buddhism and Taoism. To some extent, this adds to the sadness and detached beauty of poetry. However, this kind of religious transcendence is a kind of personal emotional transcendence, which is far from the ideal realm of understanding Zen and Buddhism. His untitled poem itself does not simply integrate Buddhism and Taoism, but he is a person who deliberately focuses on the present. It can be said that the interest of Buddhism and Taoism and sentimental feelings are just relatively direct things revealed by untitled poems. On the other hand, Yishan's tendency of Buddhism and Taoism and his sad mood run through him all the time, which is also the beginning of this complex. His untitled poems are bound to gain an interesting and poetic beauty.