1. This is significant. The wording is very simple and clear. "Literally, it is very dull and useless. If a scholar talks to his friends, it will be endless and meaningful.
2. Simple and natural. Emotionally, Nineteen Ancient Poems is pure and sincere, without affectation; In artistic expression, it seems that his writing and words are handy, and there is no wrong processing of golden eagle, but a natural poetic feeling like lotus.
3. Scene fusion. The scenery, scenes and feelings described in Nineteen Ancient Poems are very consistent, and the artistic realm of scene blending is often formed through sketching, comparison and symbol. 4. The language is concise. The language of Nineteen Ancient Poems is simple and natural, but it is extremely refined and accurate. Expressive and meaningful.
In addition, Nineteen Ancient Poems often use reduplication, or depict scenery, or depict images, or describe scenes, which are vivid and vivid, and also increase the beauty of rhythm and rhythm of poetry.
Because of its richness and complexity, the analysis of Nineteen Ancient Poems has always been a matter of opinion. Many articles agree with Ma Maoyuan's view that Nineteen Ancient Poems, with the theme of "Songs of Wandering Wandering Wanderers" and "Words of Thinking of Women", reflect the bumpy life experiences of middle and lower-class literati in the turbulent years at the end of Han Dynasty from different angles, and express their secular feelings, such as the sadness of leaving Acacia, the sorrow of short life, the sadness of meeting a bosom friend, and the feeling of grieving for the world, which is universal and typical in ancient China. Zhang Ruqian and Zhang Qicheng first combined Liu Xie's comments on Nineteen Ancient Poems "The Parting of Ancient Poems is full of affection", and thought that Jiang Yan's Parting of Ancient Poems accurately summarized the main ideas of Nineteen Ancient Poems, and after careful analysis of each poem, they reached the following conclusions: 1, 2, 6, 8, 9, 66. Third, 1 1, 12 hurt themselves when they sighed; 13 and 15 are carpe diem. The theme of Nineteen Ancient Poems is mourning and parting, and only two of them advocate carpe diem.
Many papers focus on the description of the background of the times, the grasp of the fate of the characters, the speculation of psychological activities, and the evaluation of the artistic characteristics reflected by the two themes of "feeling sad at the time and lovesickness leaving", with less originality and more emphasis on Chen Xiang. Papers that can represent the research level of this period are no longer satisfied with the superficial description of natural phenomena, social phenomena and poetic style, but shift the research focus to the analysis of the inner world and the interpretation of spiritual connotation of the authors of Nineteen Ancient Poems from the height of life philosophy. They successively put forward serious propositions such as philosophy of life, value of life, life form, return of human nature and spiritual image, which fully reflected the characteristics of research in the new period: return to human nature and attach importance to human life value.
Philosophy of life. Wang Lisuo analyzed the philosophical connotation of Nineteen Ancient Poems. As the forerunner of the era of literary consciousness, it contains rich and profound philosophical spirit and profound insights into life. Its deep psychological consciousness, that is, the deep sense of anxiety, crisis and urgency for short life, is the core of this philosophical spirit. Liu Qi analyzes Nineteen Ancient Poems from the perspective of literary history, and holds that it "truly shows the life state and spiritual process of the lower-class literati in the late Han Dynasty, expresses the historical and social reasons for the formation of their life values, shows the spiritual emptiness of the disillusioned Confucian life values and the rise of Taoist negative outlook on life, and broadens the life theme of literature in the history of China literature". Xie Defeng's exploration of the spiritual connotation of Nineteen Ancient Poems is unique. He believes that the authors of Nineteen Ancient Poems express the proposition of life and death so strongly and intensively, and their life choices in the face of outlook on life, outlook on life and individual life are reflected in their keen sense and fear of time and order. The sense of drift and nothingness caused by the insignificance and helplessness of human beings in the eternal time and space framework; The sober and painful understanding and meditation on individual life death has become the main theme of the poem, making individual life consciousness a universal consciousness of an era and a theme song of a century.
Yang Degui believes that Nineteen Ancient Poems is a profound song of life, which is the forerunner of a generation in both content and form. The reason why it can produce a power of "making the gods cry" is because it takes "people" as the theme and embodies the exploration of the life value of "people". The poet attaches importance to the value of life, actively embodies the value of life, and permeates a deep anxiety about life consciousness in cherishing the existence of life. The real awakening of China literati's life consciousness was in the late Han Dynasty and Wei and Jin Dynasties. Ancient literati suddenly realized that individual life was short and perishable and life was bumpy and chaotic. Nineteen Ancient Poems is a typical expression of this sense of life. They seek the value of life from the perspective of self, which has profound life connotation. In short, issues such as "life value", "life consciousness", "return of humanity" and "humanistic spirit" have become hot topics for a while. Jiang, Zhang Zhenlong and others all participated in the discussion, and put forward profound and original opinions on one aspect.
The Theory of Life Forms. When analyzing the life state of the authors of Nineteen Ancient Poems, Guo came to the conclusion that "they can't increase the length of life, but they can make up for it by increasing the density of life". This statement appears in many papers in different ways. Xuan Lihua wrote twice to deeply analyze the life state of the authors of Nineteen Ancient Poems: their unique lyrical way was full of the unique depressed mood of the literati from beginning to end, and what we felt from Nineteen Ancient Poems was an independent discourse contrary to the mainstream culture at that time, or as a way to make up for the regretful life length through the unique way of life of unknown literati groups, and it was externalized into various states of throwing life. Wine and beauty, feasting and traveling constitute the author's life form of exploring life and enjoying life in time. They created a unique spiritual refuge in their frustrated lives, and their impermanence and short-lived worries about life eventually turned into a state of swimming by candlelight.
The theory of psychological images. Between the lines of ancient poems and in the poet's mind, Angie saw the unremitting image of a group of depressed and confused pursuers through the surface of depression and decadence, which infected their deep attachment to real life. Anji believes that Nineteen Ancient Poems added new qualities to the history of spiritual phenomena of the Chinese nation, shaped a brand-new spiritual image of self-awakening, and the poet explored new life values. Re-examine the eternal universe, short life and the meaning of life from the philosophical height of life value. Similar to the theory of spiritual image, there is also the theory of spiritual loneliness. From the poet's "special context of living in a foreign land", Liufangxi grasped the true meaning of his feminine thinking poems, and analyzed that the author of Nineteen Ancient Poems was a wanderer far from the material space of his hometown. On the spiritual level, they also lost their spiritual home. Nineteen Ancient Poems is a sincere singing of the author who lost his sense of identity and home because he was not accepted spiritually. Liu Zeming also holds the same view. He thinks that the emotion expressed in Nineteen Ancient Poems is a heavy sense of loneliness. This sense of loneliness in time and space and the world haunts every poet's heart and is revealed between the lines of every work. The ancients were in a state of anxiety because they were confused about their future and social destiny. They want to solve it through love, friendship, affection, homesickness, eating and drinking, dreaming, death, sober and crazy poetry, and finally sang this eternal swan song.
Eat, drink and be merry. The idea of "eat, drink, and be merry in time" in Nineteen Ancient Poems has been criticized and denied, saying that it is the decadent philosophy of the declining class, the pursuit of wealth, the enjoyment of longevity, the expression of personal grievances, and the sentimental sentiment of leaving sorrow and not hating. The shadow of Ma Maoyuan's criticism still lingers for quite some time. Therefore, the academic community has always adopted a low-key attitude and treated it cautiously. Or simply use "negative decadence" to summarize, or avoid talking about it. After 80s, there are still two different views on this issue: one holds a negative attitude, thinking that the authors of ancient poems are not sure about their outlook on life and cannot blindly praise the so-called "true feelings". We should deeply analyze the thoughts and feelings expressed in these poems, and don't blur the boundaries between times and classes. With the emancipation of the mind, people gradually get rid of prejudice and realize the duality of this problem. Combined with the background of the times at that time, they dialectically analyzed and evaluated the bumpy fate and awakening of life consciousness of the middle and lower intellectuals at that time, as well as their rediscovery, thinking, grasping and pursuit of their own life meaning and personal destiny. In Wang Li's view, hedonism is nothing more than wanton indulgence of illusion, and what is behind it is the anguish that the human body can't find a way out after awakening consciousness. In the process of pursuing the value of life when awakening, hedonism should also be regarded as an indispensable part. They realize that life is limited and demand to cherish life in a limited time. Therefore, they try to increase the density of life to make up for the short life and realize their life value in the density of life and their own light. Guo also pointed out that poets do not feel sorry for others in the short sigh of life, nor do they want to appeal to gods other than things. It is natural for them to pursue worldly pleasures, because poets don't want to waste their lives worrying about their own. Luo and very bluntly believe that the pursuit of happiness is human nature. Nineteen Ancient Poems is a propaganda of a new concept of life, and all kinds of expressions of "eat, drink and be merry" are full of strong attachment and helplessness to life. The poet aims to set out objectively and establish a life attitude of enjoying life and letting nature take its course. This is another world and another life that poets admire.
Nineteen Ancient Poems is a short lyric poem written by a group of unknown poets in the late Han Dynasty. Selected works of Zhao Ming? Miscellaneous poems? Bet on the title of Nineteen Ancient Poems: "Parallel Poems, I don't know the author", which is very clear. It is customary to use the first sentence in turn to call:
Travel again, the grass by the Qingqing River, the cypress in Qingqing Mausoleum.
Today's Good Banquet and High-rise Buildings in Northwest China
Picking hibiscus on the river, moonlight night lights.
Solitary bamboos and strange trees in Ran Ran yard
The distant Altair, get into the car and talk.
Dongcheng is tall and long, driving to the east gate.
"Death is rare" and "birth is less than 100"
Lin Linnian Mu Yun, Meng Donghan.
"Friends come from afar" and "When will there be a bright moon"
In the history of poetry, Nineteen Ancient Poems is regarded as the power of five-character ancient poems, such as:
1 Wang Mingshizhen said that "(nineteen) is not as good as" Three Hundred ",but it is the ancestor of five words through the ages.
Lu Shiyong said, "(Poem 19) is called the wind, and it is called the mother of poetry."
Third, there were not 19 ancient poems in the Han Dynasty, or even "archaic poems". As for the Western Jin Dynasty:
1 Lu Ji has fourteen poems, including Travel Again, of which ten are planned in Nineteen Today.
Liu Shuo's two poems, Yuanyou and Fuyou, are also among the nineteen ancient poems, but neither of them uses the name of "Ancient Poems" nor the name of "Nineteen Ancient Poems".
The term "ancient poetry" first appeared in Liu Xie's Wen Xin Diao Long, and later appeared in Zhong Rong's Shi Pin. According to Shi Pin, there were about 60 such ancient poems at that time.
When Prince Liang Zhaoming compiled Selected Works, he first listed Nineteen Ancient Poems in Miscellaneous Poems, and then made Twelve Ancient Poems written by Lu Ji into Quasi-Ancient Poems, which have been used by later generations to this day.
It can be seen that the name "Guti Poetry" was formed after a long period of brewing in the Six Dynasties, with the gradual refinement of stylistic classification at that time. Nineteen Guti Poetry was repeatedly screened out among many anonymous Guti Poems circulating at that time, and it did not appear as a group of poems until the middle and late Liang Dynasty. These are of course related to the literary thoughts of the Six Dynasties, and more importantly, they are determined by the nature of these nineteen poems.
Fourthly, there is no essential difference between Nineteen Ancient Poems and Five-character Songs of Han Yuefu except for musical factors.
1 There are many overlapping titles in the records of the Six Dynasties and even the Tang and Song Dynasties, such as:
1) The ancient poem "The year of birth is less than 100" is also called "Ximenxing" by Yuefu;
2) Words and expressions are more similar. For example, the ancient poem Meng Donghan said, "Guests come from afar and leave me a letter. On the one hand, it is Sauvignon Blanc, and on the other hand, it is a long separation ";
3) There is a cloud in "Drinking Horses in the Great Wall Grottoes" by Han Yuefu: "Guests come from afar and leave me a pair of carp. ..... words with rice, words seem to be memories. "
It can be seen that the relationship between ancient poetry and Yuefu was two in one in the Han Dynasty. Entering music is a Yuefu, while not entering music or losing one's reputation after entering music is an ancient poem. Therefore, Zhu Gan's Yuefu Justice in Qing Dynasty said: "Nineteen ancient poems are also ancient Yuefu."
This nature of Nineteen Ancient Poems determines that it, like the Han Yuefu, inherited the characteristics of "feeling sorrow and joy, starting from things" since the Book of Songs, so it is called "wind surplus".
Fifthly, Nineteen Ancient Poems, as a group, is another distinctive type among many anonymous poems in the Han Dynasty. Compared with the general folk songs of Han Yuefu, there are the following similarities and differences in style:
(1) Perception: Both of them are a poem about the same thing, and the situation is mixed.
Folk songs are more narrative, and narrative looks at feelings;
Ancient poetry is more important than lyric, and it melts things with emotion.
(2) Structure: Both of them are muddy structures with no gouge marks.
Folk songs are based on the natural order of things;
Ancient poetry is driven to cut the facts according to the rhythm of emotional ups and downs.
(3) Language: Both are natural and infectious.
Folk songs, as Hu Yinglin said, are "quality without contempt, shallow and profound";
Ancient poetry is "rhyming with words, making it interesting", which was called "a scholar speaks everyday words" by Xie Zhen in Ming Dynasty.
(4) Realm: It is determined by the above three, both of which have profound style and far-reaching realm.
The folk song Shen Jin Shen Jue (Wang Yuyang dialect) has a profound environment;
The ancient poem "I am disappointed in my feelings" (in Liu Xie's language) has a vast territory.
The fundamental reason for these similarities and differences is that the authors of Nineteen Ancient Poems, unlike Yuefu folk songs, are mostly laborers, but lower-level intellectuals with considerable cultural literacy. In order to better express their grievances caused by oppression, they rebelled against the fact that the upper rulers regarded literature as a minor art at that time, broke the habit of formally respecting the Book of Songs and Songs of the South only returning to sound and prose (and its flowing Han Fu), and boldly borrowed folk songs, thus separating the written language of literati from the written language of the people for more than 300 years. Taking the emerging five-character song poem-a kind of popular poem regarded by the upper-class literati as "self-cultivation, advocating music and multi-purpose" as the main creative means, and further developing the existing tendency of separating narrative and lyric in Han Yuefu, so that their own creation shows the similarities and differences compared with Han Yuefu, thus producing a new generation of "thrilling, one word is precious" (Zhong Rong language) poetry style and its expression techniques. Since the Middle Ages,
Seven characteristics of the times: Nineteen Ancient Poems have both the characteristics of "feng ying" and "poem mother", which actually shows that it plays an important role in the great transformation of classical poetry from ancient times to middle ages (bounded by Jian 'an period at the end of Han Dynasty).
1 Pre-ancient poetry, from an aesthetic point of view, whether it is the Book of Songs, the Songs of the South or the poems of Han Yuefu, is a simple and natural beauty, which is the natural expression of the author's voice and rarely embellished. As a literary work, it can be called a literary work without self-awareness.
In the words of Jiao Ran in the Tang Dynasty, it is "God-given truth, and words are high". In this 19 poem, you can already see the signs of refining words and sentences, which, in Jiao Ran's words, is "a work that has achieved initial results"; On the other hand, it is different from the extravagance of Han Fu, which has no substantive meaning, and always expresses the center of creation with lyricism such as poetry and Sao.
In this way, it actually created the excellent tradition of paying equal attention to talent and emotion, controlling talent with qi and achieving talent with qi in China's ancient poems.
It is precisely because of this that these anonymous ancient poems are paid more and more attention by poets and critics. Lu Ji first drafted it, and Liu Xie and Zhong Rong revived it, thinking that it was "the crown of five words" (Liu Xie's language). Prince Xiao Tong of Zhaoming took 19 of them, especially their literariness, and made them a group, which became a model of five-word ancient poems in later generations.
Eight general comments:
Things in 1 always have two sides, because the relationship between emotion and talent is a major contradiction in the history of poetry after the Middle Ages, and Nineteen Ancient Poems perfectly handles this contradiction. Therefore, whenever the formalistic poetic style rises in the future, progressive poets always take Nineteen Poems as their own banner, juxtaposed with Poetry, Sao and Han Yuefu, and the main role of Nineteen Poems in the history of poetry is positive.
However, because the author of Nineteen Poems has a certain distance from the working people, the social life it reflects is not broad enough, and its poetic landscape is mainly implicit. Therefore, when later generations appeared in the history of thought, they all pointed to reality and were sharp; Or carry forward vigorous works and schools in style, some conservative poets and critics have raised the banner of Nineteen Poems as their weapons against these new things in the poetry world.
The author of Nineteen Poems is full of anger at reality and often confronts it with decadent and dissolute attitude, which has also become an excuse for some later poets to escape from reality. In these aspects, it also shows negative effects.