Yu Xin [North and South]

This is a sad night. Looking at the cold stage. Wet court condensation and dew. The wind blew away the locust tree. The weather is oblique and cold. Clouds at night are more hazy. Poor goose population. It's a little far.

Writing skills

As far as its literary origin is concerned, Yu Xin's early poems with colorful styles are in the direction of eternal rhythm and rhetoric, and further "turn rhyme into rhyme, which opens the way for the development of Tang Shiyun." The experience from south to north has made Yu Xin's artistic attainments reach the height of "the victory of poor north and south", which is of typical significance in the history of China literature. Yu Xin used the rhetoric skills of Qi and Liang literature for reference, accepted the vigorous style of Northern Dynasties literature, developed and enriched the aesthetic mood, and made necessary preparations for the formation of new poetic style in Tang Dynasty.

Yu Xin is a poet who combines the poems of the Southern and Northern Dynasties. There are about 320 existing poems, most of which are late works, and the number of early works is small. As Geng Xin was an early literary courtier, the few existing works generally reflected some style features of the palace poems in the Liang Dynasty. Its content is rich, appropriate and beautiful. But there are also some poems that show fresh talent. For example, "Wind and Mountain Pool": "The lotus wind scares birds, and the bridge shadows gather fish. After sunset, the mountains are full of gas, and the clouds bring rain. " It can reflect the characteristics of Liang's poems, which are very expressive and difficult to innovate.

What truly represents Yu Xin's literary achievements is his later works. During this period, due to the change of life and mood, his works are obviously different from those in the previous period in content and style. To sum up, "homesickness" became the most prominent content in his later works, and in terms of artistic style, he used the skills of paying attention to sensuality and being good at comparing allusions in the Southern Dynasties to describe the majestic and cold war atmosphere, the desolate and open northern scenery and the simple and simple frontier life, thus integrating the literary styles of the North and the South, forming a bold and unconstrained, desolate and tragic style.

The homesickness in Yu Xin's poems was first seen in Zhou Shuzhuan. As the saying goes, "Although the location of the letter is obvious, I often want to go to the countryside." Specifically, "homesickness" contains two meanings: one is the pain of national subjugation, and the other is the worry of traveling. These two aspects constitute the center of Yu Xin's inner contradiction and pain in his later period, and his masterpiece Twenty-seven Loved Poems best reflects his thoughts and feelings. Although these twenty-seven poems are not temporary works, their themes are similar, mainly self-mutilation and mourning for the national subjugation of Liang Dynasty. This artistic elegance, vigor and desolation are the signs of his mature poetic style in his later years. It can be said that "Twenty-seven Poems of Love" is a masterpiece that combines the rhetorical skills of Southern Dynasties literature, especially the use of melody, classics, parallel prose and other means, with deep and true feelings.

Thoughts and feelings

Yu Xin's works describing autumn geese also reached 18, and many geese in the works suffered from the loss, loneliness and no return of the group. Yu Xin applies his unique spiritual experience in the north to the description of geese, so that the geese in his works no longer have the natural characteristics of geese, but mostly live in an abnormal state. For example, it is full of sadness to write that the geese returning from autumn are "poor rows of geese, little by little in the air" ("Late Autumn"). The image of stray birds described in the works is in line with the situation that Yu Xin went through troubled times and ran around, and then became a minister of national subjugation. It also metaphorically reflects his painful thoughts about his motherland, which is a reflection of his real experience of painful life.

Besides these twenty-seven poems, Yu Xin's later works are also diversified in genre. One of the most noteworthy is some of his five-character poems, which constitute a profound and touching artistic realm, with strong feelings and a style very close to the five-character quatrains of the Tang Dynasty, such as "Sending Wang Lin":

Guan Yu Road is far away, but there are few messengers in Jinling. I shed a thousand tears and opened a book for you, Wan Li.

Another example is Farewell to Zhou Shangshu:

Guanyang people are thousands of miles away, and no one goes south. Look at the river, look at the geese, and travel to and from the south in autumn.

The profound emotion and implicit expression of these poems are rarely achieved by contemporary people. Therefore, Yu Xin made an indelible contribution to the development of the Five Wonders. In addition, some of his early seven-character poems, such as Night Cry, Looking Alone at a Wild Goose in Autumn Night, and Two Poems on behalf of Injuries, can also be regarded as the pioneers of the seven laws and four unique poems in Tang Dynasty in terms of syntax, composition and antithesis. Therefore, judging from Yu Xin's creation, he was a poet who combined the poems of the Northern and Southern Dynasties, made contributions to the exchange and integration of the styles of writing between the North and the South, and had a direct impact on the poems of the Tang Dynasty. Yang Shen, a poet from Amin, commented: "The poem of Yuzishan is the crown of the Liang Dynasty and the vanguard of the Tang Dynasty". The poet Liu Xizai wrote "Outline of Poetic Arts" and said: "Yuzishan's" Yanxingge "started seven times before the Tang Dynasty, and" Wu Ye Style "started seven laws in the Tang Dynasty. Other styles are based on the five unique, five laws and five behaviors in the Tang Dynasty, which is particularly invincible." All these show Yu Xin's important position in the history of literature.

Yu Xin's status as a link between the past and the future.

As far as its literary origin is concerned, Yu Xin's early poems with colorful styles are in the direction of eternal rhythm and rhetoric, and further "turn rhyme into rhyme, which opens the way for the development of Tang Shiyun." The experience from south to north has made Yu Xin's artistic attainments reach the height of "the victory of poor north and south", which is of typical significance in the history of China literature. Yu Xin learned from the rhetoric devices of Qi and Liang literature, such as rhythm and antithesis, accepted the vigorous style of northern literature, developed and enriched the aesthetic mood, and made necessary preparations for the formation of the new poetic style in Tang Dynasty.

Comment on Yang Shen's improvement in the Summary of Four Ku Encyclopedias: "Be careful to hold the title with Bo Qia later. His poems include "Tucao Six Dynasties" and "Becoming an Independent Portal of Ming Dynasty". The author believes that Yang Shizong had a strong atmosphere in the Six Dynasties, but he was more faithful. Yang Shen was a great scholar in the Ming Dynasty. The legend in the history of the Ming Dynasty is that "the Ming Dynasty is rich in knowledge and works, and prudence is the first". 24 years old, the top scholar. At the age of 35, he was stationed in Yongchangwei, Yunnan Province, after being wooed by the court staff, because he pleaded with courtiers and forced Zuo Shunmen to remonstrate, and "cried at the shock of the door" (Biography of Yang Shen in the Ming Dynasty). After being abandoned for 35 years, he is homesick and wants to go home. The bitterness of "living a dream" always torments his feelings. In the thirty-eighth year of Jiajing (1559), he died in the garrison. Yu Xin was a poet in the Southern and Northern Dynasties. Emperor Liang Yuan was holy for three years (554). He was ordered to go to the Western Wei Dynasty, just as the army of the Western Wei Dynasty invaded Jiangling. He was detained in Chang 'an and surrendered to the enemy. Later, he became an official in the Northern Zhou Dynasty. Some countries can't go back, some can't go home, and they will die in the north. From this, we can find some reasons why Yang Shen fell in love with Yu Xin, that is, their expectations for the second half of life have something in common with their desire to return to their roots.

Yang Shen's acceptance of Yu Xin is first reflected in his theoretical research on Yu Xin. Yang Shen thought that Yu Xin's poetic style in his later years was fresh and mature, and reached a high artistic level. Yu Xin's poem, Volume 9 of Poems on the Temple, said: "Yu Xin's poem is the crown of Liang and the whip of Tang Dynasty. Historians say his poems are rich and colorful, while Du Zimei calls them fresh and mature. Everyone knows that it is gorgeous and fresh, but its age and the beauty of its only child can be wonderful. I have tasted the combination, and derived this saying: Qi is more harmful, Yan is more boneless, clear and thin, and new and sharp. Zi Shan's poems are rich in color and quality, bright and bony, clear but not sparse, new but not sharp, so they are also mature. If the poems of Yuan people are not gorgeous and fresh, they lack maturity. The poems of Song people are forced to mature, but they are colorful and fresh. If you are a mountain, you can have both. Otherwise, why is Zimei so convinced? " The literary theory of Du Fu's poem Yu Xin's writing is more mature has been sublimated. Yu Xin's poetic style in his later years has changed from the light and pale in his early years, and he has expressed the complex situation of life with skillful artistic skills, which very aptly shows the characteristics of the poetic style in Qing Dynasty. In the same volume, "Fresh in Kaifu", there is a cloud: "Du Gongbu said that fresh in Kaifu. The pure is beautiful but not turbid, and the new is original but not stale. " It is very accurate to interpret Du Fu's "freshness" as flowing, bright and beautiful, and ingenious. The number of poems listed in this paper, such as Ode to a Apricot Flower and Message to Wang Lin, really represents this style of Yu Xin. Yang Shen also thinks that the fresh and natural style of Yu Xin's poems, "All quatrains in the Tang Dynasty are imitated", is of far-reaching significance. This judgment is not groundless. Especially, many poems written by Yu Xin after his arrival in the North became the standard five laws of the Tang Dynasty, such as Xi Qing, Late Autumn and Looking at the Moon in a Boat. Yang Shen's accurate grasp of the aesthetic style and language pursuit of Yu's poems, even the whole poems of Qi and Liang Dynasties, is inseparable from his literary view of "discussing poetry with art". In his letter to Zhu, he said: "Anyone who is tired of learning Du Fu is not helpless to shake the past customs, but specializes in copying and suppressing the past customs ... The new law was effective in the Six Dynasties and the early Tang Dynasty, dating back to Zuo Jin. It is gorgeous and has backbone, beautiful and regular. Naughty in ancient times, different people will be handed down today. Walking in an art paper is called choking and cold-eyed, but it doesn't matter. For those who say this, do you rely on Keiko's understanding of me to make a harmonious cloud in the future? (Appendix to Zhu's "Mountain Pavilion Collection", the fifteen-year school journal of Daoguang). Between the lines, it is not difficult to see that Yang Shen spoke highly of Zhu's poems, which are "gorgeous and bony, beautiful and elegant", and also revealed his clear position on art. He clearly pointed out in the Preface to Selected Poems that although the poems of the Six Dynasties violated ethics, it was quite desirable to "discuss them with art." With the theory of art, Ling Du's poems will be solid, the freshness and elegance of a lady will be rewarded, and the advice of later generations will be handed down. It is a work of six generations. Although it is not interesting enough to affect elegance, its genre, the pioneering work of the real-life cloud tag building and the origin of Tianbao Kaiyuan are also indispensable! "It can be seen that Yang Shen understood Yu Xin and even the poems of the Six Dynasties with the aesthetic characteristics of literature itself, showing a valuable theoretical consciousness of attaching importance to art, which promoted the richness, beauty and freshness of Yang Shen's poems.

In creative practice, Yang Shen's acceptance of Yu Xin also shows obvious signs. In Yu Xin's five-character poems, most of them are written about Ji Xing (I will order him to cross Guabu River from the north and enter Pengcheng Pavilion and Ximen Bao Temple, etc. ), away from home (don't be Hong Zheng, a senior minister, don't wash the horse's head), and offer peace (ten poems by His Highnesses Fenghe Shanchi, Fenghe Yongfeng, Wandering Immortals, and Poems by Yusi). Yang Shen's five-character poems are also full of stories and feelings, describing the scenery and cherishing feelings (observing harvested rice in Zitong Road, Shahe County, Baiya, Tietai Post, Storm, Woyun 'an, Wusa Xiqing, boating in Dianchi Lake, watching new geese, etc.)) and answering (answering two questions) —— A comparative analysis of Yu and Yang's two poems;

Guan Yu broke the news, but Ambassador China never passed. Hu eggplant tears song, Qiangdi heartbroken song. Thin waist and reduce beam, don't tear and cut waves. Hatred will never stop, and there will be no more beauty. Fill the sea in the dead wood period, and the green hills will see the broken river. (Yu Xin's "Zhun Yong Huai" No.7)

Suddenly I saw the geese walking. I came from my hometown. There are many roads in the end of the world, and there are several frosts between the clouds. Yunnan Sea is full of lush crops, and Yushan is full of rice and rice. Kim's love for him is over, but he is infinite. (Yang Shen's "Boating in Dianchi Lake to See the New Wild Goose")

The first four sentences of Yu Xin's "I want to sing for my bosom" (the seventh part) were written in a foreign country, and my heart was lonely and painful in my hometown. The last four sentences take women as metaphors, and write that I miss my hometown physically and mentally, and my beauty is aging. The last two sentences expressed my despair and sadness when I returned to China, and my feelings were strong and sad.

In the spring of Jiajing four years, Yang Shen moved from Yongchang to Anning, and sometimes traveled to Kunming, boating to see geese and coming from the north. Because of his own life experience, he showed long-term suffering and homesickness. Among them, the phrase "Jade Mountain is full of rice beams" is dedicated to geese, and Yu Xin's poem "Yan Yong" is also used.

Yu Xin's metaphor for women is similar to Yang Shen's metaphor for geese.

Yang Shen's Answer was written by Shen Chuchu when he visited Yongchang and talked about the imperial court at a banquet. The lines between the lines are full of reflective grief and indignation, which is somewhat similar to Yu Xin's Zhun Yong Huai (Part 11). The former reflects on life with its own ups and downs, while the latter expresses its reflection on the old country with the death of Liang:

Rivers and seas meet with joy, and smoke and frost worry for many years. Luxury is like a dream, which side is gaunt. When heaven and earth bet, the wind and thunder surprised the four feasts. In the name of foreign affairs, and as Brewmaster. (Yang Shen "Answer Zhang Yushan")

Shake the autumn to be angry, desolate and resentful. Weeping dry Hunan water bamboo, crying bad Qi Liangcheng. When the sky dies, it will be angry, and the day will be sad. The rainbow shines on the base, and the starry night falls on the camp. Chu songs hate songs, and the south wind dies. A glass of wine in front, who is famous behind! (Yu Xin's Zhun Yong HuaiNo. 1 1)

Even some of Yang Shen's Ji Xing poems have the fresh and beautiful features of Yu Xin's early poems. For example, in Yang Shen's Zitong Road, "The forest is unique, and the brocade wears cold flowers. Don't close the door to the river, but rely on high hopes to get credit. Go to the pavilion tonight and dream back to your hometown. " And Yu Xin's "Wind and Mountain Pool", "Osmanthus fragrans has not fallen, and the leaves of the same door are semi-sparse. The wind scares the birds, and the bridge shadows the fish. The sunset is full of mountains, and the clouds bring rain. " Sentences with words, steady but not rich, painting scenery, exquisite and fresh, are the same for several people.

Of course, Yang Shen's research on Yu Xin's five-character poems is flexible, focusing on understanding its charm. Unlike his research on Xiao Gang's palace poems, he likes to imitate Ceng Hua directly on the basis of the original works, such as "An Introduction to China Candles". Zhang Han said: "The works of the Six Dynasties and the Early Tang Dynasty have a long-standing reputation. A few years ago, my friend He Zhongmo tasted the cloud:' Three hundred begins with pigeons, and its six meanings are related to the wind. In the early Tang dynasty, syllables were often sung, which meant the beauty of sick children and the lack of wind. "Yi Ming also said. Pretending to draft the article "Bright Moon" and "Firefly", however, there are slightly tired sentences that cannot be rounded up. Emperor Tai Shigong of Sheng 'an added and lost one article to Liang's Introduction to China Candles, and another one was drafted. In these two articles, intimate feelings are coated with seaweed, and secrets are swaying in the spirit. The tone of Yongming and Datong is not mixed with the language after Jingyun. ..... Andrew Kai Zhongmou Jiuyuan * * * reward? "This is also different from his poems written by Xie Lingyun. For example, "Red Shore Farewell to Xie Lingyun", Juck Zhang commented on "Friends in Houjiang Township", "The whole article does not reduce entertainment." Rain in Daning Pavilion ",Zhang Han commented on Near Xie Lingyun. "Rain in Daning Pavilion" says: "It is windy in the morning and rainy in the evening. The pillow holds the peak, and Jiang Tingxi returns to Hu. The empty water phase is fresh, and Lin Fei swallows it. The music of nature is singing and the smoke is dancing. I wish I could feel my hooves and look forward to Joe's pity and stagnation. I sing happily, and I'm tired of sadness and sorrow. Frost-edged wild clock, heavy cold drum. It is a pity that there is no one with the same bosom, and the frozen mash becomes a single pen. "The formal system and content style are exactly the same as Daxie, and the degree of stagnation is not inferior to entertainment.

It is worth mentioning that Yang Shen made a thorough study of the poetic theory and poetic language skills in the Six Dynasties, and he was born out of imitation and absorption in his creation. Yang made an important contribution to the revival of poetic style in Ming Dynasty and Six Dynasties. The Six Dynasties School, represented by Yang Shen, almost completely abandoned the position of political and moral criticism, and examined the poems of the Six Dynasties from the perspective of pure art ... Yang Shen's Five-character Fazu, Selected Poems and Xu's Six Dynasties Music Couples refuted the prejudice that the former seven sons respected the Tang Dynasty and were inferior to the Six Dynasties, emphasized the historical significance of Qi Liangli's ci at the beginning of the Tang Dynasty, and improved the theoretical and practical grasp of the aesthetic characteristics and epic status of the poems of the Six Dynasties. Wang Shizhen compared Yang Shen's poetic style to "making a fortune and fooling around", saying that "Xu Changgu had the talent of six dynasties but didn't learn, and Yang Yongxiu had the knowledge of six dynasties but didn't learn." Hu Yinglin compared Huangfuba and Yang Shen: "Huangfuxunzi entered the Middle Tang Dynasty in the Six Dynasties, and there was no one; Yang Yongxiu took the Six Dynasties language as the tone of the early Tang Dynasty, and the sculptor was full. " All these show Yang Shen's love and attention to the poems of the Six Dynasties.

This is a summary of some materials about Yu Xin's Late Autumn. I hope I can help my parents ~