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An article praising Su Shi
Su Dongpo's poems are great because he has never been politically proud in his life. He was down and out all his life, and all the twists and turns were seen in the poem. However, Su Dongpo's Confucian realm is not high, but his personality is great in the harsh environment elsewhere, like his parts in Huangzhou and later in Huizhou and Qiongzhou. At that time, all the poems were good, but once they were at ease, some of them were not, and the poetic environment was sometimes conventional.

The strength of Dongpo's poetry lies in its lofty sentiments and interest. Its quietness is not as good as that of a king, and its loyalty is not as good as that of a king. They (the Su brothers) are covered with a strong color of releasing the old, so they think that there is no positive and ideal standard for world affairs. They are quite sophisticated in dealing with world affairs and respond according to their own cleverness.

They also don't believe that one system is better than another. On the other hand, they like rhetoric, so they tend to exaggerate their arguments. When they say it, they talk about it as much as possible. Close to the ancient counsellors.

From Qian Mu's Outline of National History.

Extended data:

History's Evaluation of Su Shi

Su Shi has high attainments in literature and poetry, and can be called the representative of the highest literary achievement in Song Dynasty. Moreover, Su Shi's creative activities are not limited to literature. He has made outstanding achievements in calligraphy, painting and other fields, and also made contributions in medicine, cooking, water conservancy and other skills.

Su Shi is a typical representative of the cultural spirit in Song Dynasty. Judging from the scope of literary history, Su Shi's significance mainly has two points: First, Su Shi's attitude towards life has become a paradigm respected by later scholars: advancing and retreating freely, not being shocked by humiliation. Because Su Shi integrated the two attitudes of feudal scholars on the same value scale, he was able to keep calm and go all out.

Of course, this paradigm is more suitable for scholars who have suffered from ups and downs, and it can lead to a life of integrity and abundance, which is exactly what scholars in the past dynasties after the Song Dynasty hoped to do.

Secondly, Su Shi's aesthetic attitude provides an enlightening aesthetic paradigm for later generations. He embraces the world with a broad aesthetic vision, so everything is considerable and beauty is everywhere. This paradigm has opened up a new world for future generations in subject matter, content and expression. Therefore, it is a historical necessity that Su Shi is universally loved by later literati.

Su Shi enjoyed a high reputation in the literary world at that time. He inherited Ouyang Xiu's spirit and attached great importance to discovering and cultivating literary talents. At that time, there were many young writers around him, such as Huang Tingjian, Chao and Qin Guan, who were collectively called "Four Bachelor's degree in Sumen".

Together with Chen Shidao and Li Zhi, they are called "Six Gentlemen of Sumen". In addition, Li, Li Zhiyi, Tang Geng, Zhang Shunmin, Kong, He Zhu and others were also directly or indirectly influenced by Su Shi.

Su Shi's achievements include all kinds of literary styles, and his own creation has no fixed norms to follow, so Su Men writers present different faces in their creation. Huang Tingjian is good at poetry, Qin Guan is good at ci, Li Zhi is good at classical Chinese, and Zhang and Chao are good at poetry. At the same time, their artistic styles also have their own personalities. For example, Huang's poems are innovative, Chen's poems are simple, and their styles are not good. Later, Huang and Chen also opened another school.

Su Shi's works were very famous at that time and were very popular in Liao countries, North Korea and other places. At the end of the Northern Song Dynasty, the court once banned the circulation of Su Shi's works, but the stricter the ban, the wider it spread. By the end of the Southern Song Dynasty, Su Shi's collected works were widely circulated with various versions, and were repeatedly engraved in later dynasties.