Ruan Ji's "Yong Huai": the emergence of political lyric poetry: the eternal taste of depression and broadmindedness and the faint and tortuous style
In the late Cao Wei period, the political situation was chaotic, and emperors such as Cao Fang and Cao Mao were both dissolute and incompetent. Sima Yi's father and son master the failure of state affairs to kill Cao Fang and Cao Mao and kill dissidents. At this time, the fate of literati was completely different from that of Jian 'an. Those who supported Cao were killed. Ji Kang refused to cooperate with Sima's family and was also killed. Ruan Ji had the ambition to help the world, but he was dissatisfied with Sima's rule, so he escaped persecution by drinking and pretending to be broad-minded, and finally died of depression. Dan Tao was friends with Ruan Ji, Ji Kang and others. He was one of the "Seven Sages of Bamboo Forest" and later took refuge in Sima's family. Poets in Zhengshi period experienced a sense of crisis and disillusionment when their political ideals faded. Poetry at this time is also very different from Jian 'an poetry circle, with fewer works reflecting people's sufferings and expressing lofty sentiments, and more poems expressing personal worries. Therefore, Ruan Ji's poems are full of love stories (Zhong Rong's poems) and "worrying about life" (Shan Li's Notes on Selected Works), and Ji Kang's poems are also full of feelings (. Influenced by the metaphysical style of Zhengshi, poetry gradually combined with Hyunri, and the style of poetry changed from generosity and tragic in Jian 'an period to profound meaning. Therefore, Zhengshi poetry also embodies its unique artistic style. Yan Yu's "Cang Lang Shi Hua Shi Feng" said: "In time, there is a ... beginning style." Note: "Wei Nianhao, Ji Ruan's poem."
Ruan Ji's masterpiece is "Eighty-two Poems about Love". These poems were not written at one time, but a record of their political feelings. These poems express feelings, opinions and ideals, which created a precedent for political lyric poetry in the history of China literature and had a great influence on later generations.
Ruan Ji's poems are full of depressed and lonely feelings. His poems either describe how time flies and life is impermanent, such as: "Trailer in the southwest, why are you about to fall?" Flowing around the world, suddenly in the evening. The DPRK is proud of being a salt lake. " (18) "Asahi is no longer prosperous, and the west is quiet. If you pitch here, how can it be like nine autumn? " (32) Or write that flowers and trees turn from prosperity to decline, which is a metaphor for the repetition of things, such as: "Peach and plum in the East Garden. The autumn wind blows Hopkins, starting from here. There is embarrassment in the prosperous times, and there is Jingji in the class. " (3) "Yao Lihua, burning with a glow. Happy September is like autumn frost. " (12) "Clear dew is frost, and Chinese grass becomes Artemisia." I can't see the sunset, but I will fly to the side of the road. (53) Or writing about the helplessness of birds, animals, insects and fish to their own destiny, such as solitary birds, cold birds, solitary rainbows, leaving animals and other images often appear in poems, especially crickets that live in spring and die in autumn, and become the object of repeated singing by poets (such as its fourteenth, its twenty-fourth and its seventy-first). Or directly lament all kinds of profound pains in life, such as young people suddenly becoming ugly and old (such as old four, old five and old six), fame and fortune are hard to protect (such as thirteen, fifty-three and fifty-nine), and women are unreliable in treating people (such as twenty, twenty-seven and thirty). Due to the suffering of natural personnel, Ruan Ji's heart is hard to get rid of. The first sentence in Huai Nan Zi:
Can't sleep at night, sit up and play the piano. Thin curtains look at the bright moon, and the breeze blows on the chest. Lonely in the wild, birds are singing in Beilin. What will you see when you are wandering, and you will be sad when you are worried.
The last two sentences can be regarded as all poems about pregnancy. Fang Shudong, a A Qing dynasty man, said: "This is the starting point of 8 1, but it always says that we can't be nostalgic." ("Zhao Wei Zhan Yan" Volume III) is another example:
Sitting alone in an empty classroom, who can be with happy people? Going out on Lin Yong Road, there are no horses driving. Looking up at Kyushu, you can divide the wilderness. Lonely birds fly northwest, leaving animals southeast. I miss my relatives and friends day and night. I write my own words.
This poem is about sitting alone, going out, climbing high, only seeing lonely birds and beasts, and the feeling of ownerless overflows on the paper. In this case, the poet further felt that his ambition and ideal had become a bubble.
The 19th poem of Huai Shang depicts the ideal with beautiful women. Although people take pleasure in writing poetry, it shows the pain that the ideal cannot be realized. Its 80-year-old life span is similar, only with a layer of short-lived sorrow. In his seventy-ninth novel, he wrote the tragedy of the Phoenix, which stood upright and clean, with lofty aspirations, but its wings were injured by the autumn wind and could never fly again. "But hate is out of place and hurts people's hearts", which is simply Ruan Ji's own situation. In Huaihai's poems, the sadness of death and the sense of impermanence of fortune and misfortune are everywhere, reflecting his deep and extensive feelings of anxiety and anger. There are many words in Ruan Ji's poems, such as sadness, sorrow, tears, pity, bitterness, sorrow, resentment, and sorrow, which fully reflect his extremely depressed mood.
Facing the dirty society and short life, Ruan Ji could not find a real way out, so he had to pretend to be broad-minded. In his life, he did many shocking things. In poetry, he also designed a spiritual outlet for himself, that is, wandering immortals and seclusion. There are many chapters of wandering immortals and seclusion in Ruan Ji's Poems of Ode to Huai, while others are the combination of wandering immortals and seclusion. In his poems, he often praises hermits such as Nest Friends, Qi Yi, Shao Ping and Si Hao, and satirizes Su Qin and Reese, who were killed for their greed for profits. Ruan Ji's praise of wandering immortals' seclusion is just a way for him to relieve his depression. In fact, he has a great ambition to help the world. According to the legend in the Book of Jin, he said: "He once had the ambition to help the world and belonged to Wei and Jin Dynasties. There are many reasons in the world, and few celebrities have all the people. The reason is that they don't touch the world, so they drink alcohol. " Therefore, while writing about his resentment and origin, he also showed his concern and embrace for the current situation. For example, the 31st poem of Huai Shang criticizes the decadent Cao Wei regime and points out its doomed fate:
Driving words makes Wei Du, looking south to attack Taiwan. Xiao Guan has a legacy, and Liang Wang is here. Soldiers eat chaff, saints live in Artemisia. Before the song and dance is over, Chi Bing has come back. I have no forest, but Zhu has dust. The army was defeated by Huayang and turned out to be dust.
Some poems expose the hypocrisy of etiquette, such as its sixty-seven:
Hong shengzi system, clothes are always. Set the order of precedence, and things will be in order. Let the whole color be decorated and folded. Xuan wine is often placed on the table, and the room is full of rice and rice. Li talked outside, and the incense went out indoors. Speak your mind and say the right side again. I'm worried about my attitude and my intestines.
Some poems express their ambitions, such as their thirty-nine:
How generous a strong man is, aiming at conquering the Eight Wastes. Driving far away, I was ordered to forget myself. A good bow carries a black number, and there is nothing left in the armor. In the face of difficulties, regardless of life, the body is dead and the soul flies. Are you a whole person, fighting for the battlefield? Loyalty is eternal glory, and righteousness makes the name. Hang down the voice to thank future generations, and the integrity is always there.
Ruan Ji's poetic style is vague and tortuous, which is mainly determined by his time and life experience, such as "words are in the eyes and ears, feelings are in the table of eight shortages" and "profound meaning is hard to find" (Zhong Rong's poems). He sympathized with Cao Wei and was dissatisfied with Sima Jia. However, he is in chaos and is often afraid of disaster. Therefore, he is extremely cautious in life. "His words are lofty and don't hide his nature" (Biography of Ruan Ji in the Book of Jin). When writing poetry, I dare not make any noise. I often use metaphors and symbols to express my feelings and arm in arm. Or borrow the ancient to satirize the present, or borrow the fairy to satirize the vulgar, or borrow the beauty vanilla to write a hug. Shan Li analyzed this situation in Notes on Selected Works, saying: "If the heirs are in disorder, they are always afraid of being slandered and encountering disaster. Therefore, he will worry about his life. Although I am determined to ridicule, the words are often obscure and unpredictable under a hundred generations. " However, as far as the spirit of poetry is concerned, Ruan Ji's "Poems on Huai" is still in the same strain as Jian 'an's poetic style. For example, Yan Yu's Poems on Canglang says: "After Huang Chu, Ruan Ji's Poems on Huai is extremely ancient, with the style of Jian 'an and the inner bones. "
On Ruan Ji's Poems about Memories
Ruan Ji (Heizong) was a famous writer in Wei and Jin Dynasties, especially his 82 love poems, which enjoyed a good reputation in China literary world. However, it is these poems that have caused great controversy in the history of China's literary criticism.
Since Liu Xie put forward "Ruan Zhi Shen Yao" in "Wen Xin Diao Long", later theorists have contributed to this idea. "Preface to Poetry" says that "it is far-reaching and difficult to find interest"; Shan Li's Notes on Selected Works has the saying that "under one hundred generations, it is unpredictable"; Zhang Pu called it "memorizing all the articles and keeping Wen Yuan's finger steady" (the inscription annotation of 130 Records of the Han, Wei and Six Dynasties). Later, critics mystified the content of Ruan's poems and even made its expression absurd. Liu Xizai even said: "Ruan Sizong's love is profound and profound, and it is a wonderful poem. It comes and goes without a reason and cannot be traced. Later, such as Shehong's Sense, Taibai's Ancient Style still looked forward to Fu and Yi (Yi Wen Zhi). Mr. Huang Jie and Mr. Xiao Difei also think: "The toddlers in Handan are not impressed, while the shallow ignorant are dazzled by the truth, difficult to judge and fearful." Therefore, the mourning work is a masterpiece of the ages. (Reading Notes on Poetry 3) It is right to say that Ruan Sizong's poems are profound and obscure, but it is wrong to regard them as "masterpieces of the ages".
When Liu Xie said "Ruan Zhiyuan", he put forward that "words and followers are superficial" in contrast to "Wen Xin Diao Long Shi Ming". Zhong Rong once said, "It originated from elegance, but it was futile to carve insects" (On Poetry). In this way, we put China's Huai Poetry into the big structural system of poetry development, and make a vertical and horizontal comparative study. I'm afraid it's against their original intention to let future generations follow in their footsteps and hold only one end.
In fact, Ruan Ji's Poem of Ode to the Huai Dynasty developed along the development logic of China's classical poetry creation. It not only inherits the essence of the previous generation's poetry creation, but also is one of the standards for the younger generation to learn. In the history of China's poetry development, it plays a connecting role. The "remoteness" of Ruan's poetry is the inevitable product of the development of literary thought and philosophical thought in that era, and it is the embodiment of his metaphysical literary view in Wei and Jin Dynasties. Starting from this line of thinking, Ruan may be less "unpredictable".
The philosophical proposition of "words don't mean everything" was formed as early as the Zhou Dynasty. There is a saying in the Book of Changes, "Confucius said:' Books are not full of words, words are not full of meaning', and the meaning of saints is obvious"; "Zhuangzi Foreign Things" said: "Those who are full of fish forget the fish because they are trapped in the fish; Hooves are such in rabbits, he got rabbits but forgot hooves; Forget what you said. " Metaphysics rose in Wei and Jin Dynasties, advocating inaction, and philosophers argued between words and meanings. The owner should be Wang Bi. He said: "However, those who forget the image are honored, and so are those who forget the words." I am proud of forgetting my image, but I feel that I am forgetting my words, so I set up an image and try my best. The image can be forgotten. Re-painting to reward, but painting can be forgotten "(Yijing Xiangming). ""Image "is an object image. Wang Bi added an object image between words and meanings, which not only showed that speculative philosophy had a new development, that is, people realized the existence of appearances and the essence of things was from the outside to the inside; Moreover, it also shows that the philosophical view of "not saying enough" has found a joint point where thinking in images permeates literature, so it is very natural for the literary view of "forgetting words with pride" to stand out.
In the Wei and Jin Dynasties, it became a fashion to forget what you said and proudly forget what you said. In Shuo Wen Jie Zi, Lao Zi Zhu and other works, Wang Bi swept away the tedious textual research of Confucian classics in the Han Dynasty, explained it with false words, and pursued the philosophical realm of thinking instead of sticking to superficial words. For example, when he explained what Confucius said, "Be quiet if you want to be quiet," he said, "If you want to understand this book, you should end it with this book to show the extreme." I was so complacent that I forgot to say anything.
Ji Kang said in "Sound without Sorrow and Music": "The mouth is full of flavor, and the music is not very loud. It is advisable to slap the beginning and be wise and foolish." What I'm talking about here is complacency and forgetting the sound.
Gu Kaizhi said in Wei Jinsheng's Painting Praise: "It is actually right to write about God in form, but it is used for life. If it spreads well, it will be lost." In fact, if you are right, you will lose a lot, and if you are irregular, you will lose a little. This is an incredible force. In fact, this tells a main line in the creative thought of Wei and Jin painting circles: "Painting is everything", which is what Wang Bi said: "Painting is for enjoyment, and painting can be forgotten. "
How can vibrant literature be indifferent in such a fashion of "forgetting words with pride"? The information of new ideas from all directions will inevitably have a strong reaction in the most sensitive poetry circle. Ruan Ji took the lead in expressing his attitude: "I think the form is visible, the color is beautiful, and the sound can't be heard" (Ruan Ji's Fu on Qing Ji), which fully shows what he will pursue and abandon in his literary creation. Later, Liu Xie sublimated it into "feelings are hidden in words and overflow in the present" and put forward the theory of "hidden show", and Ruan Ji was the pioneer of the theory of hidden show.
Ruan Ji's Poem of Ode to the Huai is a masterpiece of his practice of "forgetting words with pride". Mr. Xiao Difei said: "The characteristics of inherited poems are: (1) the change of allusions. (2) Will is bent. (3) The joys and sorrows occur at the same time. (Notes on Ruan Infantry Poems) Unfortunately, Mr. Xiao isolated the three, making it impossible for people to ask for help. If you use the creative idea of "forgetting the words with pride" to run through it, you will suddenly be enlightened. Because the use of allusions in poetry can achieve concise results, it is the most effective means of "forgetting words with pride". There are a lot of allusions in Huai poetry, and often an allusions is a colorful story. For example, there are two stories in the poem, "A tall bird flies up the mountain and a sparrow perches in the forest" (Ode to Huai (47)). First, in Wu Yue Chun Qiu, Fan Li advised Wen Zi: "The high bird has scattered, and the good bow must be hidden", asking him to collect it when he is well; First, Chen Sheng's eternal swan song "The sparrow knows the swan's ambition" recorded in Historical Records Chen She Family. As soon as the two allusions are interpreted, the meaning suddenly jumps to the paper. As long as readers forget the superficial meaning of the text and think along the connotation of the poem, they can taste Wan Wan's true feelings. He is uneasy, eager to help the world and the country, and afraid of becoming a cooked "running dog".
Ruan Ji's poems are mainly written for himself. So when using allusions, it is very casual. Therefore, to read Ruan's poems, we should not only study them literally, but also make more efforts in interpretation in order to get a glimpse of the author's inner world. For example, "when I was a teenager, I was frivolous and good at string songs. In "Journey to Xianyang", Zhao and Li Xiang passed by "(5) this poem, because Zhao and Li were regarded as Zhao He's wife, even such a great scholar made a mistake. Later generations found four explanations in Biography of Han Heyi, Biography of Han Xing, Biography of Han consorts and Biography of Han Gu Yong (see Three Poems of Reading and Xiao Difei). As far as its meaning is concerned, Ruan Ji, who was born as a landlord in Buyi, hoped to save the world, while Wang Shizhen's explanation was the hottest: Zhao and Li, the junior ministers in The Biography of Han Gu Yong, went from humble to expensive. Emperor Cheng often worked with Wissing. Zhao, here it is. "Thus, Ruan Ji's poems are really written for understanding, not for people to see. Perhaps in his view, meaning is the most valuable. As long as it can express meaning, I'm afraid it doesn't matter whether others read his poems or not. Another example is the poem "I miss my usual residence and miss my enchantress" (64). If shouyangshan's canon had not been used before, it would be difficult for readers to understand that the enchantress in the poem is Yin Zhou Wang, a bad king who forced Boyi and Shu Qi to starve to death and live in seclusion. As Ruan Ji himself confessed: "whoever can't see what he said, the bluebird knows my heart" (22), since he put his heart on the heavenly queen, he didn't expect ordinary people to understand it. Without this fetter, he can let go of his hands and feet and "get carried away."
Previous theorists often said that Ruan's poems were good at using metaphors. Chen Ling once said that Ruan's poems are "dedicated to the deepest, expressed in style, compared with xing, praised more, and reached his metaphysical thoughts" (Volume II of "Poems on Bi Xing Jian"). The Book of Songs focuses on laying out the details, while Bi Xing emphasizes that "the words are exhausted but the meaning is not exhausted" (Preface to Poetry), which conforms to Ruan Ji's creative principles, so it is more than the Book of Songs. Later generations also blamed Ruan Ji for his improper use of Bixing, and he was lost in obscurity. This is because he didn't understand that Ruan Ji used metaphor for better "forgetting words", not for metaphor. If you insist on the internal logic of metaphor and xing, you will either pass the meeting or be at a loss.
Ruan Ji also uses Tibetan words as rhetorical devices, which is consistent with his aesthetic principle of "forgetting words with pride". For example, in the poem "A yellow bird flies to the southeast, leaving a message to Xie Yousheng" (30), he skillfully put two allusions, "Peacock flies to the southeast" ("Peacock flies to the southeast") and "Although you have brothers, you are not as good as friends" ("Notes on Mao's Poems"), so that people can't glance at them when they first read them, but they can appreciate them after reading them several times. This kind of poem, which can fully arouse readers' subjective initiative and artistic accumulation, is really beautiful! Another example is the poem "Warriors eat chaff, sages are in Artemisia" (3 1), which contains two sentences: "Men and women are rich in meat, scholars are tireless in chaff" (Biography of Historical Records of Meng Changjun) and "Yuan Xian Lu Jun, surrounded by rooms, followed by Artemisia" (Biography of Korean Poetry), which not only hides the author's sudden arrival.
Mr. Xiao Difei called Ruan's poems "sentimental, mixed with sorrow and joy" the most peculiar feature and the most difficult to read everywhere. In fact, this is just a stroke of genius when Ruan Ji applied the aesthetic principle of "forgetting words with pride" to the extreme, and it was by no means intentional. Ruan Ji's poems are natural and smooth, without affectation. In such an unprecedented social environment of Wei, Jin and Yi dynasties, it is natural for a sensitive and sober poet like Ruan Ji to share joys and sorrows every day. This kind of emotion of joys and sorrows is naturally revealed in the poem of "sentimental with joys and sorrows". Ruan Ji vividly expressed his feelings of joy, sadness, anger and joy in his poems based on the principle of "forgetting the words with pride", and then wrote "If you are in spring, you will feel like autumn frost" (13), "Seeing sadness from a distance, you will feel my heart in spring" (1 1), and. Some of these poems are instantaneous "Auspicious Sha Ou" and "Evil Wind Howling"; Some are "turbid waves emptying" and Russian "jinyi scale swimming", which makes us infected by the ups and downs of Ruan Ji; I was shocked by the great mental pain he suffered; Angry at the torture of people's thoughts in feudal society; I am deeply impressed by the spirit of self-improvement of people with lofty ideals. There is really no so-called "internal logic" in such a poem. Because when we read Ruan's poems, what else can we get, besides always appreciating his mood of being angry because of depression and resentment and his feelings of avoiding disasters and stealing happiness because of occasional venting?
Ruan Ji is both a writer and a philosopher. Because he deliberately pursues "getting carried away" and regards "meaningful" as the highest realm of writing poems, this makes the 82 poems of Yong Huai have strong philosophical and enlightening functions. "Huai Shi" (60) is because the author surveyed the past and present and realized the smallness of life and the grandeur of the universe, so "the resentment was lifted from now on"; "Teenagers learn to stab, and be clever at crossing the city" (61) expressed his inspiration to feudal society. We can only understand this kind of poem, but we can't get through it.
"Huaishi" appeared in China's poetry circles with its unique artistic style and aesthetic taste, which aroused strong repercussions at that time. After Ruan Ji, poets scrambled to imitate his poems, which had far-reaching influence. Far away are Zhi Dun, Zhang Junzu, Jiang Yan, Yu Xin and others in the Southern and Northern Dynasties. However, due to the unclear principles of Ruan's poetry creation, later generations only pursue the "distant" and "unpredictable" side, which makes the art form of chanting things mostly used for expression, losing the truth of Ruan's thoughts and emotional enthusiasm. Look at things like "wandering" and never see the whole cow. The metaphysical poem "Mao Lin Gui, Jun forgets to learn" ("Hong Guang Ji Ji") is mysterious and ethereal, and it is like chewing wax. For example, Zhang Junzu wrote, "Why is seclusion a play? It's so exquisite and unconventional. The poem "A hundred years old is demanding, but it was not promoted yesterday" (Hong Guangming Ji) eliminated decadence and lost the depth and persistence of Ruan's poetry. Although Jiang Yan deeply understands the heart of the heir, it is difficult to compare with Ruan Ji because of his limited skill. As a result, his Xiao Ruan Gong Shi was too clear to taste. Only in the poems and songs with Li Bai can we see the development of Ruan's poems.