"The original day is in the future, and Lin Hua does not keep his ways." From the Ming Dynasty literary scholar Li Mengyang's "Pastoral Miscellaneous Poems AND PART IV":
When the martingale is dusty, the old is the agricultural work. At the end of the Ashida affair, I felt the frost dew. The original day was in the future, and Lin Hua did not keep his reason. Severe frost net swimming qi, xianghu in the sky road. The eagles are excited about basil and peck at the dissatisfied. And what Yu actually said, rice cattle are now vegetarian.
Obviously, this is an ancient poem with a rhyme.
Li Mengyang was a literary scholar in the middle of the Ming Dynasty, a famous leader of the former seven sons, and a politician who dared to stand up to the bull. Since he joined the army, he has made countless enemies in his life: Marquis Jianchang, Marquis Of Shouning, Liu Jin, Empress, and King of Ning, and he was imprisoned twice or three times for his advice, and even almost framed to death. Fortunately, good luck, always fierce. However, after several tosses, he finally saw through the dangers of the world, no longer an official, drank and wrote, and lived in his old age.
In the era of Emperor Xiaozong of The Ming Dynasty, Prime Minister Li Dongyang led the national literary scene with the "pavilion style", and everyone in the world studied and admired Li Dongyang's literary style, and only Li Mengyang ridiculed the weakness of this style.
Li Mengyang advocated that writing articles should be based on Qin and Han articles as a model, and writing poems should be modeled in the Sheng Tang poetry style, that is, "Wen must be Qin Han, poetry must be Sheng Tang", while in poetry, ancient style poetry imitates Wei jin, and near-body poetics study Sheng Tang. As for the song poems of the same lineage, Li Mengyang was deeply disgusted, believing that the Song people did not know poetry:
The Song people were in charge, and they were rational, so Bo Fengyun and Moon dew, and everything was shoveled away. He also wrote poetry to teach people, and people no longer know poetry.
Although the view is extreme, it also has some truth.
Li Mengyang played a considerable role in the struggle against the pavilion style, but because it was too antiqual and lacked new literary thinking, the literary genre advocated, although there were many followers, was finally replaced by the "public security faction" that advocated "independent lyricism and informality" a hundred years later.
Looking back at this work.
Because it is an ancient poetry, coupled with Li Mengyang's own ancient atmosphere, the focus of appreciating this work is on the understanding of words, as well as the simple and clumsy artistic conception that is different from the grammatical structure of near-body poetry.
"Pastoral Miscellaneous Poems", the title is very retro, but it is easy to understand, that is, working in the field, or watching the scenery of the field.
"When the martingale is strong, the old is the agricultural work."
"Martingale" refers to the bondage of worldly affairs. Dust is dust, and martingale is the horse's neckband. The road is rushing, and by extension to all the mundane affairs. From Tang Mu rong's poem "Sending Feathers": "Let me float out of the dust and martingale, and I deserve a plate of huan." ”
When he was young, he was entangled in mundane affairs, and when he was old, he came to learn to farm.
"At the end of the Atsuta affair, I felt the frost dew."
"Zi", this. "dá" look, sad, frightened.
When the agricultural affairs were handled, the frost actually appeared, and I couldn't help but sigh that time flew by.
"The original day is in the future, and Lin Hua does not keep his ways."
"萋", lush. "Convergence", convergence, atrophy. "Hua", gorgeous, dazzling.
The grass on the field withers day by day, and the trees in the forest have lost their original turquoise flavour.
Time passes and things change.
"Severe frost purifies the air, and the birds fly on the heavenly road."
There was frost everywhere, it was empty, there was not a trace of cloud, only water birds flying in the sky.
"The parlor is excited about basil, and it is not satisfied with its pecking."
"Birds", birds, sparrows, quails and the like. "Whoops", "whoosh bags," bird food bags.
This link is not to write about the scenery in front of you, but secretly uses allusions from "Zhuangzi Getaway", compares himself to a bird without Kunpeng's great ambition, and at the same time uses the metaphor of "the rat drinks the river, but the belly is full" to compare himself to the current pastoral life.
I'm like a little bird jumping around on a basil, I don't care about eating, and I'm content to be safe in the world.
"And what Yu actually said, the rice cow is now vegetarian."
"Rice cattle" means raising cattle. From "Zhuangzi Jean King":
Lu Jun smelled the people who had attained the Tao, and made people take the lead in coins. Yan Yan guarded the ugly Lu, the cloth of Tho, and the self-rice cattle.
This means that the poet himself is like Yan Yan, engaged in agricultural production with peace of mind, worked freely, and no longer sought glory and profit.
Raising cattle, unconsciously, my hair is white, and in the face of the change of pastoral scenery, what else can I ask for?
After reading this work, we can vaguely read the taste of Li Mengyang's study of the Landscape Xuanyan poetry of the Wei and Jin Dynasties--after a large description of the scenery, and finally add a tail to summarize and sigh. This exclamation uses two allusions from Zhuangzi to reflect the poet's self-adaptation and peace of mind about the present state.
The writing method of this kind of landscape Xuanyan poem began to change by Xie Shuo, gradually removing the final summary and slowly becoming the writing method of Tang poetry that combines scenes and integrates feelings into scenes. Whether in terms of format or grammar, Sheng Tang's near-body poetry is definitely more suitable for public reading and creation than ancient poetry.
Wei and Jin poetry is of course good, but is it not good for us to directly appreciate the works of Tao Yuanming, Xie Lingyun, Xie Shuo, Yu Xin, Bao Zhao, and even Yin Hao and He Xun?
Li Mengyang's ancient works of mud are actually similar to some contemporary poets' works that highlight ancient meaning. However, he was much more advanced, and was able to lead the wave of poetry of the Ming Dynasty for hundreds of years in the criticism of the pavilion style.
Ming poems can also be regarded as disturbances, but unfortunately, except for Gao Qi and Liu Bowen in the early days, there are no great talents and masterpieces.
Ancient Chinese poetry also depends on the poems of Wei Jin, Tang, Song and Qing.