According to the arrangement and research of Liu and Yu Shucheng [7], there are 594 poems handed down by Li Shangyin, of which 38 1 basically determines the writing time, and 2 13 cannot be classified as a specific year. In addition, there are more than a dozen poems suspected to be Li Shangyin's, but the evidence is insufficient.
Judging from the theme of chanting, Li Shangyin's poems can be mainly divided into several categories:
Politics and reciting history. As an intellectual who cares about politics, Li Shangyin wrote a lot of poems in this field, and about 100 poems have been handed down. Among them, Bai Yun in the Western Suburb, Shi Dong Sui and Two Feelings are more important works. Li Shangyin's early political poems were mostly based on Chen's current situation, and their harsh tone of grief and indignation and sense of self-expectation reflected his mentality at that time. In poems about political and social contents, it is a feature of Li Shangyin's poems to borrow historical themes to reflect his views on contemporary society. Fu Hou, two poems of Northern Qi Dynasty, Mao Ling, etc. It is a representative.
Express one's feelings and recite things. Li Shangyin's career was bumpy all his life, and his ambition could not be realized, so he used poetry to dispel his depression and anxiety. Ding An Tie Tower, In Spring, Happy Garden and Du Gongbu in the Middle of Shu are the most popular songs. It is worth noting that many seven-character poems in this kind of works are considered as important successors of Du Fu's poetic style.
Emotional poetry. The works that chant inner feelings, including most untitled poems, are the most distinctive parts of Li Shangyin's poems, and they are also the most concerned parts of later generations. Jinse, Poems of Yantai Mountain, Three Poems by Bi Cheng, Return to the Temple of Our Lady, etc. , has always maintained a style similar to untitled poetry. Five Willow Branches, Sending Friends to the North on a Rainy Night, Mourning for the Past and Going East, Three Passes of Snow, etc. It embodies the artistic conception of another style of Li Shangyin's emotional poems.
Socializing and communicating. Among Li Shangyin's poems used for communication, several poems addressed to Hu Ling Mao (seeing off to fill a vacancy, sending a message to Secretary Ling Huchong, paying for a doctor, sending him to be a bachelor, dreaming of being a bachelor, and Hu Ling Scheeren saying that the drama on the moon last night was a gift) are particularly eye-catching, which provides an explanation for his relationship with Hu Ling Mao.
Shi Li absorbed the strengths of predecessors, inherited the depression and frustration of Du Fu's Seven Laws, integrated the splendor and wealth of Qi Liang's poems, and imitated the ghostly fantasy of Li He's poems, forming his affectionate, lingering, aesthetic and delicate style. Shi Li is also good at using allusions and appropriate historical analogies to express hidden and unspeakable meanings.
Poetic style
His poems reflect his thoughts, and his basic thoughts on human nature basically belong to Confucianism, but he takes a fancy to practicality and has a certain critical spirit to Confucianism. He believes that it is not necessary to take Confucius as a teacher and "forbearance" as the holy thing. He also has Buddhism and Taoism, advocating "nature" as his ancestor.
Li Shangyin's poems have a distinctive and unique artistic style, beautiful words and profound meanings. Some poems can be interpreted in many ways, while others are obscure. There are about 600 existing poems, especially untitled poems, the most prominent of which is his love poems. Li Shangyin is good at writing seven laws and five-character laws, and there are also many excellent works in seven-character poems. Ye Xie, a poet in the Qing Dynasty, commented on Li Shangyin's Seven Musts in his original poem as "affectionate entrustment, tactfully worded, but unparalleled in a hundred generations."
His metrical poems inherit Du Fu's tradition in technique, and some of his works are similar to Du Fu's in style. Similar to Du Fu, Li Shangyin's The Book of Songs often uses allusions, which is more profound and difficult to understand than Du Fu's allusions, and every sentence often uses allusions. He is unique in the use of allusions, likes to use various symbols and metaphors, and sometimes he doesn't know what the purpose is when he reads complete poems. The meaning of allusions themselves is often not what Li Shangyin wants to express in his poems. For example, "Chang 'e", some people intuitively think it is a work praising Chang 'e, Ji Yun thinks it is a work mourning, some people think it is a description of a female Taoist priest, or even a poet's self-report, and there are different opinions.
It is also his style of using allusions that forms his unique poetic style. According to Huang Jian's note "Yang Wengong Yuan Tan" in Song Dynasty, every time Li Shangyin wrote a poem, he would consult a large number of books, and the room was littered with stalls, which was compared to "Rex sacrificing fish". Wang Shizhen of the Ming Dynasty also said in a joking tone: "Rex Festival was once held in Ao Yun, and it was a piece of brocade." Criticism [8] thinks that he sometimes uses too many allusions and makes obscure mistakes, which makes people unable to understand his poems. Mr. Lu Xun once said: "Yu Xi was born with clear pronunciation and beautiful sentences. How dare he compare with others? I am dissatisfied with too many allusions." (Letter to Yang Jiyun in February 1934)
In addition, Li Shangyin's poems are gorgeous and good at describing and expressing subtle feelings.
Untitled poem
Li Shangyin is famous for his untitled poems. According to statistics, the poems included in Li Shangyin's Collection of Poems [7] can basically confirm that there are 15 * * poems written by poets with untitled names:
Untitled (looking in the mirror at the age of eight)
Untitled (according to Liang)
Two Untitled Poems (Stars last night; Wendao Luomen)
Four Untitled Poems (empty talk; Southeast; Affectionate spring night; Where to mourn Zheng)
Untitled (after a brief encounter)
Untitled (immortal son)
"Untitled Two Songs" (Feng Luo; The curtain falls)
Untitled (near the famous Ahou)
Untitled (white roads)
Untitled (Wan Li Storm)
The other five poems (Five Laws, Lover's Forever, Seven Poems, Painting with Long Eyebrows, Princess Shouyang, Waiting for Lang Lai, Chanting in the Outdoor) which are often marked as untitled in current poetry collections are considered by Feng Hao, Ji Yun and others to be mostly untitled poems because they have lost their original titles.
Some researchers (such as Liu Yang [9]) think that some poems with questions in Li Shangyin's poetry collection should also belong to the category of untitled poems, on the grounds that the titles of these poems are often based on the first few words in the first sentence of the poem (such as Yesterday, The Sun shines, etc.). ), or the title of the poem has nothing to do with the content itself (for example, for you, a song, etc.). ). However, according to this standard, nearly 100 of Li Shangyin's poems can be classified as untitled poems. So this statement has not been supported by most people.
On the other hand, many people tend to compare poems such as Jinse, Bi Cheng San and Yushan with untitled poems, thinking that they are similar in style and artistic conception, and they all express a subtle and complicated feeling through obscure brushwork. In fact, it is this complicated situation that makes untitled poems attract many researchers, who try to explain the true meaning of these poems. However, no one's comments can explain the meaning of this poem very convincingly.
Feng Hao summarized the previous annotation work on untitled poems in Notes on Poems Born in Yuxi [10], from which we can see that there are great differences among different schools: "Those who solve untitled poems by themselves are either fables or endowed with all the abilities. Each has his own prejudices and his own decisions. I read the complete works carefully, and even many people actually have sustenance, and few people are erotic and confused. "
parallel prose (prose written in the parallel style)
Few people talk about Li Shangyin's writing achievements other than poetry. In fact, he was one of the most important parallel prose writers in the late Tang Dynasty. This style pays attention to the antithesis of words and uses a lot of allusions, which is widely used in official documents of the Tang Dynasty. Under the training of Ling Huchu, Li Shangyin became an expert in parallel prose, drafting memorials, letters and other documents for many officials. Old Tang book? Biography of Wen Yuan said that Li Shangyin was "particularly good at funeral". At that time, the parallel prose used in the performance of the text required gorgeous words and accurate expression, so it had high requirements for allusion. Li Shangyin, who is good at writing parallel prose, has developed the habit of using allusions, so this is considered to be the reason why he likes to use allusions in poems [3].
Li Shangyin once compiled his parallel prose works into 20 volumes of Fan Nanjia Collection and 20 volumes of Fan Nanyi Collection, with a total of 832 articles. According to New Tang Book? Yi, Song Shi? Besides two self-compiled collections, there are other collections in the Collected Works of Yi and Li Shangyin. However, none of these collections have been handed down. At present, there are Zhu, Xu Jiong, Qian Zhenlun, Qian Zhenchang, Zhang Caitian, Cen, Liu and Yu Shucheng who can see Li Shangyin's articles. It has been compiled and verified by books such as Quan, Wen Yuan and Tang. The newly compiled Notes on Li Shangyin's Chronicle (Liu Xueyan and Yu Shucheng, Zhonghua Book Company, 2002) contains 352 articles, most of which are parallel prose, and a few of them are called "ancient prose".
Fan Wenlan spoke highly of Li Shangyin's parallel prose in A Brief History of China, thinking that it would be a pity if all the parallel prose in the Tang Dynasty were lost as long as the Collected Works of Fan Nan was still there.
Notes of various schools of thought
Because Li Shangyin's poems are obscure, some lovers of Li Shangyin's poems try to annotate these obscure poems. In Song Dynasty, Cai Tai mentioned Liu Ke's comments on Li Shangyin's poems in Xi Qing Shi Hua. Jue Yuan mentioned Li Shangyin's Selected Poems compiled by Zheng Qian in Yuan Dynasty in Rong Qing Jushi Collection. It is mentioned in Jintang Yanzhou Notes in Ming Dynasty that Zhang Wenliang annotated Li Shangyin's poems. But none of these notes or anthologies have been handed down. In fact, before the end of the Ming Dynasty, there were not many comments on Li Shangyin's poems. Yuan Haowen, a writer in the Jin and Yuan Dynasties, once lamented: "Poets always love Quincy, and wish that no one could write about Jian Zheng." At the end of the Ming Dynasty, monks in Taoist schools also commented on Li's poems. At the beginning of Qing Dynasty, Zhu completed three volumes of Notes on Li Yishan's Poems by deleting less and supplementing more on the basis of Notes on Daoyuan. This is the earliest complete annotation of Li Shangyin's poems that can be seen at present. Since then, through the annotation and textual research of Lv Kunzeng (Shi Pin Jie), Yao Peiqian (Shi Pin Zhu), Qu Fu (Shi Pin Zhu), Mengxing Cheng (revised version of Shi Pin Zhu) and Feng Hao (original version of Shi Pin Zhu), we have been able to roughly understand the allusions in Li Shangyin's poems, but the meanings of many poems are still inconclusive.
In the aspect of article arrangement, Li Shangyin once edited Fan Nanjia Collection and Fan Nanyi Collection, which no longer exist. In Qing Dynasty, Zhu compiled Wen Yuan and other books into the anthology, but there were obvious omissions. On this basis, Qinghe Xu Jiong supplemented and shared the work of writing and annotation, and published the first relatively complete Annotation of Li Yishan's Collected Works. Later, Feng Hao revised and adapted Annotations to Li Yishan's Collected Works, and wrote detailed annotations for Fan Nan's Collected Works. Qian Zhenlun and Qian Zhenchang found more than 200 lost articles in All Tang Wen that were not included in Xu Zhu Ben and Zhu Fengben, and compiled them into the supplement of Fan Nanwen Ji.
Poetry influence
Shi Zhecun believes that although the social significance of Li Shangyin's poems is not as good as that of Li Bai, Du Fu and Bai Juyi, Li Shangyin has the greatest influence on later generations, because there are more people who like Li Shangyin's poems than Li, Du Fu and Bai Juyi. Among the 300 Tang poems edited by Sun Zhu in the Qing Dynasty, 22 poems by Li Shangyin were included, ranking fourth after Du Fu (38 poems), Wang Wei (29 poems) and Li Bai (27 poems). This anthology of Tang poems is a household name in China, from which we can see Li Shangyin's great influence on ordinary people.
In the late Tang Dynasty, Han Wo, Wu Rong, Tang and others began to consciously learn Li Shangyin's poetic style. In the Song Dynasty, more poets studied Li Shangyin. According to Ye Xie, "There were seven unique poets in the Song Dynasty, probably/kloc-0 studied Du Fu in 1967 and/kloc-0 studied Li Shangyin in 1934." (Original Poetry) In the early years of the Northern Song Dynasty, Yang Yi, Qian and other clansmen, Li Shangyin, often sang in harmony with each other, pursuing gorgeous rhetoric and neat antithesis, and published a collection of Kunxi Appreciation, which was called Titi. It was quite influential at that time. In addition, Wang Anshi also spoke highly of Li Shangyin, thinking that some of his poems were "unbearable for Lao Du" (Cai Kuanfu's poems). Wang Anshi's own poetic style is also obviously influenced by Li Shangyin.
Poets in the Ming Dynasty were all influenced by Li Shangyin from The First Seven Sons to Qian and Wu. People who like to write erotic poems in Qing Dynasty specialize in Li Shangyin's untitled poems, such as Wang Yanhong's Doubt Clouds and Rain. Romantic poetry in the novels of Yuanyang Butterfly School in the Republic of China was also influenced by him.
Regarding Li Shangyin's influence on later generations, we can refer to the influence of Wu Diaogong on poetry in the Northern Song Dynasty, Li Shangyin's Sunset Red in the Qing Dynasty, the influence on the formation of Li Shangyin's poems, and the graceful and restrained poems of Liu Xueyan in the Tang and Song Dynasties.
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