When autumn comes, crickets sing their bed curtains.
It's sad to feel things with sadness and sadness quietly.
The breeze is blowing and the bright moon shines brightly.
The cock crowed in the tree in the morning and life was driven back.
The sunshine in the morning is no longer bright, and the sky in the west suddenly quietens down.
Life is like dust, and heaven is endless.
Kong was in Changchuan, but he regretted his death.
Not enough people went, and those who came didn't stay.
Burning in the west, the afterglow shines on my clothes.
Return air blows around the wall, and cold birds depend on each other.
Is it praise for fame, haggard makes people sad.
It is better to fly with swallows than with orioles.
The green water is shining and the wilderness is boundless.
Walking with animals, birds follow.
First of all, I am good at lyric.
Ruan's poems, as the first batch of political lyric poems in the history of China literature, are not written in one place at one time, but a record of his political feelings all his life. Later generations pay attention to and evaluate it, such as:
Zhong Rong said: "Poems dedicated to the soul can be thoughtful, thoughtful, vivid, expressive, and expressive in the form of famine, which will make people forget their inferiority and self-esteem and have many emotional words" ("Poetry").
Wang Shizhen said: "Ruan Gong is in Yong Huai, between far and near, when the situation comes, he will stop, and when he is poor, he will stop. He can't sit in Jiaer" (Yi Yuan's Last Words, Volume III).
Say "eighty-two poems are full of worries" (Book of Songs, Volume VII, Wei, Fourth).
Zhang Xie said, "In the eighty-second episode of" Yong Huai ",I pulled the first sun, patted the tired Hunan, pitied the prosperity, pitied the early death, and pretended to ask for money, so I didn't survive and helped escape to the world. Sigh of martial arts, roar of Su Men, fear of the end of the road, mixed feelings of sadness and joy, crying bitterly, my husband was helpless (preface to Ruan Infantry Collection).
Wang Fuzhi said: "Infantry Loves Love" is a unique work ... and its wonderful support, or self-defense, or self-mourning, or the purpose outside things, or the thought of evil ... not only did the hero guess at that time, there was no resentment, but also let future generations find no place to stand "(Selected Ancient Poems, Volume IV).
Shen Deqian said, "Ruan Gong loves rebellion, and he likes and grieves for no reason, so he is caught in the middle" (The Source of Ancient Poetry, Volume 6).
Wu Rulun said, "The requirement of 8 1 chapter is by no means a temporary achievement. I doubt very much that his life's poetry collection is called Ode to the Ear (Reading Notes on Ancient Poetry Volume 2).
Ruan Ji, as a metaphysical scholar, lived in Wei and Jin Dynasties, when "there were many principles in the world, but few celebrities were complete" (Biography of Ruan Ji in the Book of Jin), and the poet was "in chaos, and he was often afraid of being slandered" (23 notes in Selected Works), so he "got the word to help the world" (Biography of Ruan Ji in the Book of Jin). Give the following examples to illustrate:
One of "Yong Huai":
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.
Fang said in Qing Dynasty, "This is the beginning of August 1st, but people always say that we can't forget what we said" (Zhao Mei Zhan Yan). This poem is the prelude to all his poems, which lays a rich and complex emotional tone for his poems. Throughout the poem, the hero of the poem puts on his clothes and plays the piano at night, sees the thin curtain of the moon, feels the wind blowing his skirt, and then hears or imagines the lonely birdsong. The poet observes the scenery with emotion, just as Wang Guowei said, "The words of all scenery are also emotional words" ("Words on Earth"), "Everyone's works will be refreshing; Its scenery will also attract people's attention "(on the volume of Ci Hua on Earth). The poet vividly shows unspeakable anxiety and resentment through bold imagination and layer-by-layer changes, which is a major feature of his lyricism.
The fifteenth part forever pregnant:
In the past 14 or 15 years, I decided to write good books and poems. Be brown and Huai Yu, Yan Min and photograph. Open the entrance, face the fields and think high. The mound tomb is covered with hills, and all generations live together. Long live in a thousand years, where will you get glory? I am enlightened and envious, but now I am self-defeating.
As can be seen from the poem, although the author advocates poetry and imitates Yan Min, due to social unrest, Sima Group cruelly framed people of insight in the world, so he just "looked up and thought" in an extremely depressed mental state. As for "thinking", what is it? Let future generations comment. Contact the place where he wrote "Thinking about People" in Yong Shi Huai, such as:
Visiting relatives and friends, suddenly returning to ghosts. (2)
Look at the road and you'll never come again. (3)
Climb high and look far, raise your arms to the morning sun. (15th session)
Walking in the third district, I feel blue. (XXIX)
Sitting alone on the rock, I'm afraid to think. (Thirty-seventh)
I miss my relatives and friends day and night. I write my own words. (It's forty-six)
You're lonely, you're sad. (58)
I feel sorry for Chu when I am near, but I miss you when I am old. (its sixty-four)
The people who "think" above are probably the people they admire. From his "thought", he sent out a deep inquiry about "after a thousand generations, share weal and woe", which shows how painful his heart is. I had nowhere to vent my anguish, so I gave a tragic cry of "I'm sorry now". "Biography of Ruan Ji in the Book of Jin" said: "When driving alone, you don't have to worry about the road and track, but you need to cry." The writer's complex emotions are obviously melted in these shouts of "thinking" and "calling", and the emotions flow in the words, so the writer is in reason and emotion, love and hate.
Yong Huai (33 years old):
Day after day, day after day. Change the color to normal and the spirit will disappear. There is soup and fire in the chest, and the change is the same. Everything is infinite, and seeking perfection despite difficulties is unforgiving. But I'm afraid that in an instant, my soul will drift away with the wind. I've been walking on thin ice all my life. Who knew I was worried?
Chen Ling's poem is better than Xing Jian's: "Life is on thin ice, a rough and humble person!" The whole poem is lyric and straightforward, and every sentence is like tears. "The color becomes normal and the spirit fades" describes the embarrassing experience of the lyric hero's haggard face and spiritual loss. "My life is treading on thin ice, but my heart is anxious" subtly expresses the inner fear of being nervous all the time. The writer's anxiety of being born in troubled times, his deep attachment to individual life consciousness and his lament for the impermanence of life are vividly expressed between the lines of the poem. Sima Shi said, "Ruan Sizong is very cautious. Every time he speaks, his words are far-reaching. Mouth does not cover others' eyes and ears "("Shi Shuo Xin Yu Ren Dan "). Because of this, writers only "write poems of their lives" when they can't talk with Sima Group (Liu Xie's Wen Xin Diao Long), so their words are fierce, their emotions are resentful and they feel a lot.
(four words) "Yong Huai" thirteenth:
The morning wind swept away the dust and sprinkled it on the rainy road. Fly like a dragon, whine and be careful. According to the policy, there is progress and retreat. I am happy in sorrow, but I am disappointed. Think of others, respect others, and care for others as soon as possible. It's been a year since the sun and the moon moved. Young people are stubborn and practical. It's hard to admire without reaching for it. Life is not a stone but a light body. I don't know Qiao Song, but I'm Tai Su. Outside the free zone, it's my birthday.
The wording of this poem is slightly mild and peaceful. From "Life is not a Stone" to "My Birthday", it not only expresses the feeling that life is short, but also expresses the admiration for seclusion. At the same time, the unrestrained pursuit of the spiritual world of "free and unfettered" is obviously in the same strain as Laozi and Zhuangzi's thought. The combination of poetry and metaphysics is another feature of Ruan's lyric poetry.
Another example is Song 34 (Day after day) of "Yong Huai": The poet realizes that everything is short-lived, and there is no right or wrong. This is obviously a nihilistic philosophy, which is not only the liberation of life sorrow, but also permeated with life sorrow in its roots; Fifty-two Poems of "Yong Huai" (Ten Sunrises in the Valley): The poet said, "If you know how to be poor, you can stop crying!" In Call Sign, Huang Jie commented on this poem: "Although the plan is good, there are many shortcomings. If you think about mourning, the mourning can stop "("Notes on Ruan Infantry Poems "); The fifty-fourth part of "Yong Huai" (fast-talking and resentful): this poem is incomprehensible at first reading, but after careful study, we can see that the poet's deep intention is to express the poet's painful state of mind that is not understood by the world; The seventy-first chapter of "Yong Huai" (the tomb of Furong Rongqiu): This poem sends out a deep and broad feeling that life is short and ancient and modern are worried together. The language is generous, the mood is sad, and there is an impassioned and uplifting vitality.
? From the above examples, we can see that Ruan's poems are good at lyricism, and their emotions are strong, moderate or profound, which is not unrelated to the sinister times environment in which the author lives and the national characteristics of China's aesthetics that attach importance to lyricism. In addition, the writer's heavy mental load, his admiration for Laozi and Zhuangzi's philosophy and his drunken and pretentious personality can be seen.
Second, work in comparison and symbol.
Regarding metaphors and symbols, Yuan Xingpei said: "China's classical poetry does have a tradition of placing symbols. Beauty vanilla and Chunlan Qiuju each have their established meanings. Sometimes poets are afraid or unwilling to express their political views clearly, so they reveal them to readers in subtle and tortuous ways. Sometimes, in order to make poetry implicit and deliberately hide its true meaning, it is more interesting to use other things. This technique is especially used in those works with the theme of "praising history, experiencing and feeling" (see Yuan Xingpei's article "Appreciation of China's Classical Poetry Art" and "An Introduction to China's Poetry Art"). From Yuan's explanation, we can see that Ruan's persistence in metaphor and symbol is more than the poet's pursuit of artistic realm. Ruan's poems are "profound and difficult to find interest" (Zhong Rong's Poems), which is also related to his time. He is dissatisfied with Sima's family, but he is often afraid of chaos in the world, so he is extremely cautious in life, and it is inconvenient to speak frankly when writing poems. He often uses metaphors to express his feelings, and it is probably reasonable to put his arm on him. Wang Fuzhi commented on Ruan's poems: "The national style is far from Nineteen Ancient Poems (Volume 4 of Selected Ancient Poems), Chen Ruoming commented:" The public poem taught Li Sao by itself, but later thought it was similar to Nineteen Ancient Poems ",and Selected Ancient Poems by Cai Jitang (Volume 8), Yan Yu said:" The public poem taught itself. The above examples show that Ruan's poetic art is the symbol of Bi Xing, and it also stems from his bold inheritance and development of China's classical literary tradition, and is a bold attempt of a man of insight in literary creation. The following is a concrete exposition of Ruan's poems:
Yong Huai (No.14):
When autumn comes, crickets sing their bed curtains. It's sad to feel things with sadness and sadness quietly. No matter how many words are spoken, who will be sued by countless words? The breeze is blowing and the bright moon shines brightly. The cock crowed in the tree in the morning and life was driven back.
At the beginning of this poem, Wu Qi said in "Yellow Festival" that "the ancients hated cricket, and cricket sounded from time to time, and people were sad because of the sound of cricket" ("Notes on Chen Bojun Ruan Ji" P265. Zhonghua Book Company. 1987.), from who will be sued by countless words? It can be seen that he feels that there is no one in the world who can speak in words, so "touching things with passion" (Ming and Li Yan Ji, Volume 18) is intended to show that his ambition and ethics are inconsistent with the secular.
Yonghuai (32 years old):
The sunshine in the morning is no longer bright, and the sky in the west suddenly quietens down. If you go here to pitch, how can it be like September? Life is like dust, and heaven is endless. Qi Jingsheng Qiushan was in tears. Kong was in Changchuan, but he regretted his death. Not enough people went, and those who came didn't stay. I want to climb Taihua Mountain and swim with pine nuts. The fisherman knows the troubles of the world and drives a canoe.
The first sentence of this poem begins with "sunrise" and "daytime", lamenting that life is short. "How can I be as good as nine autumn", "Life is like dust dew" and "Suddenly like dust", which uses image metaphor to write about the impermanence of things. Huang Kan said: "Human nature has been promoted since ancient times. Only by following the fisherman can we get rid of the world forever" (Chen Bojun's Notes on Ruan Ji P3 12). This poem uses metaphor to make it poetic and expresses passionate feelings in cold language, which is inseparable from the poet's mature use of metaphor. This is just like Ouyang Xiu's "Poems on June 1": "A difficult scene, such as the present, has endless meanings and can be seen outside the words." Sometimes poets directly use dusk to compare life, such as the eighties and eighties in "Yong Huai", so I won't go into details here.
Four words "Yong Huai" Part II:
There are few stars on the moon, and the sky is high and cold. Guijing, Ming Luan. Make spring with tassels and clothes with orchids. Thinking from the second daughter, it is suitable for him who is far fragrant. The spirit is quiet and listening to the micro, who looks at the jade. Burning Chunhua, green leaves contain Dan. There is no light in the sun and the moon, but I regret it.
Wang Fuzhi's evaluation of this poem is: "The style of writing is wonderful, better than opening and closing, and always the same color, so it feels seamless" (Selected Ancient Poems, Volume II, P89). Huang Yue said, "Song Yu's Nine Debates on Mourning Qiu Si's Poems says,' Look up at the bright moon and rest, and step out of the stars'. He also said:' Only when it is full of disputes will it fall, and I hate that it is lost at an inappropriate time. The heirs of this article feel the same way. (Huang Jie's Notes on Ruan Infantry's Love Poems) P 10 1. A large number of figurative words in the poem euphemistically and implicitly express the will of the poem. "The beauty of painting is more interesting here, which is different from that of poets" (On Flower and Bird Narration in Xuanhe Paintings, Volume II of Painting History Series, P 163), the poet made it very clear with the artistic skill of Bi Xing.
China's poems are rich in meaning. On the other hand, we obviously can't just regard it as an artistic skill. The vivid image and highly generalized description in the poem are inseparable from its profound ideological content and rich practical significance. Yuan Mei said: "Poetry is like chewing wax if it has no meaning" (Poems with Fate, Volume II, proofread by Gakan P4 1). It can be seen that the poet uses "Bi Xing" to express his feelings, in addition to the above-mentioned political reasons of "inconvenient to speak frankly", what is more important is that the poet writes his poems implicitly.
With regard to symbolism, Wu said in the article "An Overview of Chinese Classical Styles": "Western aesthetics attaches importance to the natural attributes of natural objects, while China aesthetics emphasizes the symbolic significance of natural objects. The influence of this national aesthetic on the creation includes the so-called beauty and vanilla in Chu Ci (The Study of Ancient Literary Theory, 9th Series, P59). Shanghai Ancient Books Publishing House. 1984). As an upright intellectual in feudal society, Ruan Ji was unable to save the world, but failed to save it. In order to escape political persecution, he learned Li Sao to vent his anger and anxiety. Fang said, "It is not enough to read Ruan's poems without understanding Li Sao in depth. "The images of vanilla, clouds, birds and beauties in his poems are symbolic and meaningful. In addition, he" takes Zhuang Zhou as a model "("The History of the Three Kingdoms "and" Wang Canchuan "by Shu Wei), advocates nature, and his poems are romantic, so the scenery and sounds in his works all reflect a feeling of being broad-minded and overtime. As Liu Xie said," Inherited charm. "
The eighth of "Yong Huai":
Burning in the west, the afterglow shines on my clothes. Return air blows around the wall, and cold birds depend on each other. Zhou Zhou is still wearing feathers. He is hungry. How to make a path and forget where to go. Is it praise for fame, haggard makes people sad. It is better to fly with swallows than with orioles. The oriole travels around the world, and the middle road will be safe.
"Yong Huai" 19th:
? There are beautiful women in the west, and if the sun is white. I'm wearing a robe and a yellow dress on the left and right. I'm graceful and fragrant with the wind. Climb high and look far, raise your hand like the morning sun. Send a swallow and fly away with your sleeves waved. Wandering in a trance, expecting my side. Pleasure does not pay, and the words are sentimental.
The seventy-ninth chapter of "Yong Huai":
There are strange birds in the forest, calling themselves phoenix. In the Qing dynasty, drinking and brewing springs, living in the mountains and hills. Clever to cut Kyushu, stretch your neck and look at eight shortages. It coincides with the rise of business, and its wings are self-defeating. I'll pay back the item when I go to Kunlun West. But hate is out of place. It breaks your heart.
The eighth part of Yong Huai symbolizes the poet's inner depression and pain in a confused society with many dusk images such as "returning air", "cold bird", "sparrow" and "oriole". Nineteen, beauty symbolizes the depression that the ambition to save the world cannot be displayed and the poet's eager desire for the ideal in the dark; His 79-shaped description of the Phoenix tragedy symbolizes the poet's lofty realm and lofty ambition, but due to the bitter wind and rain of the times, Lingyun's ambition cannot be realized.
Ruan's poems are full of depression and loneliness, and the poet turns the depression of the real society into poems. As Masaaki Shirakawa, a Japanese literary theorist, said, there is a conflict between "the vitality of seeking freedom and liberation" and "the power of compulsion and repression" in the poet's life, so his life is full of pain. Only literature and art are detached from this kind of life to observe and express the anguish of life, so a "symbol of anguish" is produced. Ruan's poems were born in the troubled times when people were in poverty. They either write about the fleeting and impermanence of life (18th, 32nd), or the withering of trees and flowers (3rd, 12th, 50th), or the helplessness of birds, animals, insects and fish to their own destiny, such as lonely birds, cold birds, lonely animals that leave, especially crickets born in spring and dead in autumn. Or writing about all kinds of profound pains in life (fourth, fifth, sixty-fifth), or writing about the difficulties of fame and fortune (thirteenth, fifty-third and fifty-ninth), all of them deeply lament from nature to personnel, and their anguish in their hearts has to be pinned on poetry. Faced with a dirty society and a short life, the poet "tries his best to create an image" and let it express his feelings and sustenance by symbolic means.
? Third, be good at using allusions.
As we all know, allusions are psychological, linguistic and cultural behaviors that people perceive, experience, imagine, understand and talk about current events, situations or environments under the hint of myths or historical events. Under Sima's high-handed policy, Ruan Ji's talents were not satisfied. Although "the voice of troubled times is resentful" (The Book of Rites and Music), as a cultural person, he has to use ancient events to express his thoughts and feelings in a subtle way, so it is inevitable to use more allusions. This is just like Zhao Yi in the Qing Dynasty said: "Poetry does not rely solely on the number of classics. However, ancient things have become allusions, and a canon has its own meaning. When writing poems, they naturally feel profound, so this generation of poets have to use books (Volume 10 of Ou Bei Shi Hua).
Five words "Yong Huai" Part II:
The second princess swims by the river and enjoys the wind. Gracefu is fragrant when making friends. Love and affection are unforgettable for a thousand years. The whole city was fascinated by Cai, so it was in the intestines. Thanksgiving worry, day lily tree orchid room. Whoever the frost is given, the rain complains about the rising sun. How to cross the stone and get out of the injury again.
This poem uses a lot of allusions: the first four sentences use the mythical love story of two daughters and Zheng Jiaofu, Song Zihou's poem "absolute beauty, I can't forget my feelings", Song Yu's poem "The whole city is fascinated by Cai" and "Lotito's erotic fu" and "The master's son laughs, but he is still fascinated by Yang Cheng." The allusions in this poem are slightly obscure, but not very clear, so its meaning is slightly vague, which has caused many poetic theorists to argue. Shen Yue thought it was ironic love, He Chao said it was Yu Junchen's suffering, and Liu Lv thought it was inherited from Zong Wanqi's words to satirize Sima's betrayal of Cao Wei's regime. This is the so-called "words in the eyes and ears, feelings send eight barren tables" (Zhong Rong's "Poetry"), which embodies
The villain counts his merits, and the gentleman knows his routines. I don't care that I will eventually become haggard and recite that chapter.
The sixteenth chapter of "Yong Huai":
? Wandering on the pond, still looking at the girder. The green water is shining and the wilderness is boundless. Walking with animals, birds follow. It's quail fire, and the sun and the moon are opposite. The north wind is cold and frosty. It's sad that there is no horse at home.
This poem uses allusions very well. From the beginning, the poet moved time and space to the distant Warring States beam, giving people the illusion of thinking about ancient love. Although the sentence "quail fire" is a dark clue, it is cleverly concealed by the allusions in Zuo Zhuan (five years in public), and the praise and criticism of "gentleman" and "villain" is too explicit, so the poet boldly used Xun.
In the third part of Yong Huai, the first two sentences, "Under a beautiful tree, there are peaches and plums in the East Garden", apply the allusion of "peaches and plums don't say anything" in Li Guangzan's Hanshu, and Zhang Yugu's Appreciation of Ancient Poetry: "The first sentence says that there are ups and downs in the world, it is better to avoid chaos while it is early", which just tells the story of the heyday of the world. The poet's mentality of seeking immortality and being broad-minded and refined has always been hidden in allusions; The eleventh part of "Yong Huai" (Zhanzhan Yangtze River Water) uses Chu Ci to describe the scenery of Chu and satirize Chu events, which is profound and tasteful. In the thirty-second chapter of Yong Huai, Qi Jinggong's visit to Niu Shan, Confucius' death is like this, and allusions in Shangshu, Zhuangzi, Songs of the South and Historical Records express serious themes with absurd style. As Wang Kaiyun said, "If you don't speak, you will be ashamed, but if you speak, you will be promoted" (quoted from the use of allusions, poems are subtle and intriguing.
Sometimes, in order to express his pursuit of the immortal realm beyond the world (see his ode to green silk), the poet uses the code name "climbing the forest" in many places in his poems. Wing Huai Part 10: "How to see Wang Ziqiao and travel around Deng Lin", Wing Huai Part 22: "Xia Hou rides Yu Ling and Kuafu is Deng Lin". The fifty-fourth chapter of "Yong Huai": "Speaking fast, disgusted, careless and annoying. The northwest is underdeveloped, and Deng Lin looks southeast. " The tenth part of Yong Huai is the theme of the whole poem, which covers anti-secular indulgence, while the main indifference is health preservation. The "boarding" here is undoubtedly related to the ideal of life. The twenty-second chapter of "Yong Huai" is based on Deng Lin, saying that the passage of time is short and everything will eventually pass away. Only the story of Wang Zijin's immortality was admired by many poets and writers in the past dynasties. In the fifty-fourth chapter of Yong Huai, the poet lamented the vastness of the universe and the shortness of life. With the classic "Deng Lin", he directly inherited the first two sentences: worldly filth makes people angry, and boasting can only delay the depressed mood. If they want to get rid of the pain completely, they can only travel far away from the world. The "looking at Deng Lin" here should be the realm of yearning for transcendence. In the poet's mind, the classic "Deng Lin" is the sustenance of his ideal life realm, which we can't ignore.
To sum up, the reason why Ruan's poems are profound enough to "transcend images" (Si Kongtu's Twenty-four Poems) is because the bitter rain of the era has struck the strings of the poet, as the saying goes: "Those who are defeated by Ruan Gong should have Ruan Gong Poems" ("Talking about Poetry"), and the poet said: "Although it is not formal,