<h1 class="pgc-h-arrow-right" data-track="2" > preface</h1>
I saw a question the other day: Do you need so many allusions to write poetry?
Let's talk about the old street itself, in general, the use of the dictionary is less, or simply do not use the dictionary. However, the five laws and seven laws are relatively more used.
The same is true when filling in the words, and the small order uses less codex, or does not use a dictionary. The middle tone will be a little more, and the long tone will almost always be used.
To put it simply, the length is small, and the use of codex is small. It is long and used in many dictionaries.
In addition, in terms of content, nostalgic poems are used more. Simply writing scenes, naturally there are fewer. But there are also no particularly clear standards.
From the perspective of the form of the dictionary, some poets use the dictionary is relatively hidden, the reader can see that it is a dictionary, and if they can't see it, they will think that there is no dictionary.
There is also a situation, that is, the poet may not consciously use the dictionary, but the words themselves have multiple meanings, and if they must be interpreted, the words may have a source and the sentences have allusions.
In short, whether or not to use the canon, that is the freedom of the poet. To learn poetry, we must first learn to use the codex, and then learn not to use the canon.
<h1 class="pgc-h-arrow-right" data-track="7" ></h1>
When evaluating the dictionary of the "Yu Yin Cong Dialect of The Fishing Hidden Story of The Dragon Creek", it said a situation:
The use of poetry should be as the Zen family says: salt in the water does not know, drinking water knows the taste of salt. "
Use things, that is, use codes. Du Fu's Seven Laws of the Pavilion Night:
Twilight yin and yang short scene, the end of the world frost snow Ji cold night. The sound of the five drums and horns was tragic, and the shadow of the Three Gorges Galaxy wavered. Wild weeping a few heard about the war, yi song several fishing trees. The Crouching Dragon Prancing Horse ends in the loess soil, and the personnel are lonely.
The jaw of this poem is: The five more drums and horns are tragic and majestic, and the three gorges galaxy shadow shakes. These two sentences seem to be purely written scenes and do not use any allusions, but the Southern Song Dynasty poet Zhou Zizhi said in the "Poetry of Zhupo":
Whoever writes a word, let the matter be in the language and not be known.
Yu read Tai Shi Gong's "Book of Heavenly Officials": "Tianyi, guns, poles, spears, shields shake, horns are large, and soldiers rise." Du Shaoling Shiyun: "The sound of the five more drums and horns is tragic, and the shadow of the Three Gorges Galaxy is shaken." "Gai secretly uses the language of migration, and the language means to use soldiers. As for this, the poem can be a worker.
Zhou Zizhi said that Du Fu's two poems also have sources, from Sima Qian's "Records of History, Eight Books, and Tianguan Shu" (史記· Du Fu used the canon, and the reader did not feel it, which was the brilliance of the poet.
There is also the great writer Su Shi's "Pork Eating Poem" cloud:
"Huangzhou good pork, cheap and other dung soil." The rich refuse to eat, and the poor do not cook. Slow fire, less water, when the fire is enough, he is beautiful. Get up every day and play a cup, and be full of your own junmo. ”
Zhou Zizhi said that there are also sources:
After reading the "Yunxian Scattered Records", it is said that Huang Sheng ate two pounds of venison, and cooked from the morning to the west gate under the shadow of the sun, it is known as "fire waiting foot". He knew that although this old man cooked meat, he knew it.
It seems to be Su Shi's teasing sentence, but I didn't expect it to have a source.
There are many situations that the poet uses to use the book that the reader does not know. When we read poetry, we ignore the past without looking at the commentaries, but it does not seem to affect our reading.
But people who are deeply learned, who understand it a little further than ordinary readers, can also appreciate the depth of the author's poetry.
This is to say that the author deliberately used the codex.
<h1 class="pgc-h-arrow-right" data-track="71" > second, the author does not use the dictionary, the reader thinks that the author used the dictionary</h1>
That's interesting. The author may not have used the codex, but the reader thinks that the author used the dictionary. Similarly, the poet may not have this meaning, preferring the reader to think that the author has an implicit meaning.
For example, the Qing Dynasty poet Xu Jun wrote: Qingfeng is illiterate, why turn over books. As a result, some people said that he satirized the Qing Dynasty, and as a result, the poet was executed.
The same is true of the poet's use of codex, especially when using dark canons.
Sumen scholar Huang Tingjian's "Reply to Hongju's Father's Book" commented on Han Yu and Du Fu:
"Old Du composed poems, retired essays, no word and no place. Later generations read little, so han and Du made this statement by themselves. The ancients can be an article, really can cultivate all things, although take the ancients Chen Yan.............《Reply to Hongju Father's Book》
Huang Tingjian said that Han Yu Dufu read a lot, and the poems and words of the two people have a history, but the reader's knowledge is too shallow, and he does not know the dictionary used by the two.
For this phenomenon, the Southern Song Dynasty poet Lu You said in the "Notes of the Old Scholar's Temple":
Today's people interpret Du Shi, but looking for the source, I don't know the meaning of Shaoling, and it is better at first. .......... And the poetry of today's people is not without provenance. Qu zi does not know, if it is a note, there is also a source of words, but it may as well be... "Notes of the Old School"
Lu You said that readers who interpret Du Fu's poems always like to find sources (dictionaries), but Du Fu may not intend to use the dictionaries. It's just that the reader forcibly understands.
Lu You also said a truth: if you look deeply, almost everyone's poem can say that "words have a source."
One of the poems "Bodhisattva Man" by the late Tang Dynasty poet Wen Tingjun is very interesting, and two famous readers express their opinions:
The hills overlap the golden ming extinction, and the sideburns want to burn the snow. Lazy to draw moth eyebrows, make up and wash late.
Look at the front and back mirrors of the flowers, and the flower surfaces are mirrored. New post embroidered grosgrain, double golden partridge.
Zhang Huiyan of the Qing Dynasty was a famous scholar and lyricist, and he believed that this poem had the meaning of "first service" in Qu Yuan's "Departure from Sorrow". In the late Qing Dynasty and the Republic of China, the master of traditional Chinese studies, Wang Guowei, said that Zhang Huiyan was "deeply literate and weaving", and it was made out of nothing.
Gu Zhao, Gao Wenzhi is also a word. Fei Qing's "Bodhisattva Man", Yong Shu's "Butterfly Loves Flowers", and Zi Zhan's "Bu Operator" are all works that have been revived, what is the fate? All are woven by gao wen deep text. "Words on Earth"
Regarding this phenomenon of "whether there is or not", a passage in the late Qing Dynasty Tan Xian's "Preface to the Dictionary of Futang" has been well interpreted:
Moreover, the author's intention is not necessary, and the reader's intention is not so.........
Meaning, yes or no, it makes sense.
To put it simply, the writers may not have this meaning when composing poems, but after reading it, the reader can think of the meaning behind it and think that you have this meaning, and there is nothing wrong with it.
Therefore, Zhang Huiyan was not wrong, and Wang Guowei was not wrong.
Xu Jun, who was executed, was not wrong, nor was the person who convicted him.
<h1 class="pgc-h-arrow-right" data-track="19" > third, too many dictionaries, I am dissatisfied</h1>
Yuan Ming said in "Poetry with the Garden":
"But Li Yishan's poems have a little more allusions; however, they are driven by talent and affection, and they are not specially filled in."
Li Shangyin composed poems that were easy to use allusions, so he was ridiculed, and Yang Yi said in "Yang Wen Gong Tan Yuan":
"(Li Shangyin) Each genus is embellished, more books are reviewed, left and right scales, and otters are sacrificed to fish."
Li Shangyin composed poems, listing the books one by one in front of his eyes, which were used to find allusions and nouns for fighting. For example, his Seven Laws of Tears is not just "a little more allusions", almost a sentence of allusion.
YongXiang has been complaining about Qi Luo for many years, and he has been thinking about the storm all day long. The bamboo marks on the Xiangjiang River are infinite, and there are a few sprinkles in front of the Da Shou Monument. People went to Zitai autumn into the jam, and the soldiers were crippled and heard songs at night. Asked by the side of the Bashui Bridge, he did not arrive at the Green Robe to send Yuke.
Yongxiang, in the "History of Lü Hou Benji", records that "It is the lady of The Prisoner of Yongxiang"; on the bamboo of the Xiangjiang River, it is the tears of Sifu of Emperor E and Nüying; the Da Shou Monument is the tears of the people's remembrance of Yang Hu; the people going to Zitai are the tears of Wang Zhaojun's going to the country; the remnants of the soldiers are the tears of Xiang Yu's hero's last road; by the Bashui Bridge, are the tears of parting relatives and friends;
Cheng Mengxing's "Notes on the Re-ordering of Li Yishan's Poetry Collection" said that "eight sentences of seven kinds of tears, only one tear is the pain of the skin." Six of the seven tears use allusions, and the last tear is one's own.
Even Lu Xun, who liked Li Shangyin, said:
"Yuxi is born with clear words and beautiful sentences, how dare I compare shoulder to shoulder, and there are too many dictionaries, which is my dissatisfaction."
<h1 class="pgc-h-arrow-right" data-track="28" > four, one person, one thing</h1>
Some verses use a dictionary, and some full poems refer to an allusion.
Yuan Ming said in "Suiyuan Poetry" that Huaigu poetry can be done by one person.
For example, Du Fu's "Yonghuai Ancient Monuments And Three", eight sentences use only one person (Wang Zhaojun) allusions:
The mountains and mountains went to Jingmen, and the village of MingFei still had a village. Go to the Purple Terrace Lianshuo Desert, leave the green tomb alone to dusk,
Draw a picture to recognize the spring wind surface, and return to the moon and night soul. Senzai pipa as nonsense, clear resentment in the middle of the song
Another example is Liu Mengde's "Jinling Huaigu", which only uses an allusion to Wang Jun's attack on Jinling:
Wang Junlou shiped down to Yizhou, and the King of Jinling was overwhelmed. Chihiro's iron lock sinks to the bottom of the river, and a piece of stone descends out of it. The past has been hurt several times in the world, and Yamagata is still cold. From now on, the four seas are the day of the family, so the fortress Xiao Xiao Lu Di Autumn. "
Yuan Mei believes that good poetry does not need too many allusions, only one person and one thing. After Liu Yuxi made this poem "Jinling Huaigu", Bai Juyi sighed: "The li zhu has been explored, and the remaining scales and armor are useless."
<h1 class="pgc-h-arrow-right" data-track="49" > ending</h1>
Poetry is not a dictionary, it is the freedom of the poet. But long texts do not need to be classic, and the content will be empty. However, too many dictionaries are difficult to control, in short, depending on the needs of content.
Try to use as few strange allusions as possible, and if you use them, it is best to be like salt in the water, leaving no trace. Understand naturally, do not understand and do not need to explain.
When fighting, the upper link uses the code, and the lower link is best used as well. Otherwise it is a small poetic disease.
Learning to create poetry, Lao Jie thought that he must learn to use the codex, and he also had to use the dictionary more. Add and subtract. Not being able to use and being able to use are two realms.
@Old Street Taste
Guan Song Filler 76 Who is Chen Ke? Why can it be compared with Yan Shu Ouyang Xiu Zhou Bangyan? Original poetry Guan Tang Absolute Sentence 76-80 Partridge language in the spring grass wind Like a person empty guarding the Yue Wangtai