preface
For the same poet, some people like it and some people don't. Chen Shidao's "Poetry of Houshan" says that Ouyang Xiu did not like Du Fu's poems:
Uncle Ouyang Yong was not good at Du Shi, Su Zizhan was not good at Sima Shi's "History", and Yu Every and Huang Lu sighed strangely, thinking that it was a strange thing.
For the same poem, some people say yes, some people say bad. Even if Li Bai Dufu's masterpieces have been passed down through the ages, someone will pick out the faults. Lao Jie selected a few poems, and let's see if these poetry critics have any truth.
I. Li Bai liu changqing The two alliances are heavy
Most of the poems are short, for example, there are only four sentences in the absolute sentence, and only eight sentences in the five and seven laws, so the repetition (repetition) is a more serious poetic disease.
Li Bai's famous work "Gift to Meng Haoran" has been pointed out that there is a serious problem:
I love Mengfuzi, and the world hears of it.
The red face abandons the crown, and the white head lies in the pine cloud.
Drunken moon frequent saints, lost flowers do not matter.
The mountains are safe and admirable, and the qingfen is in vain.
This poem is considered by many people to be repetitive in the middle of the binary meaning, which is the meaning of unwillingness to be an official. For example, the Ming Dynasty poet Xie Hao pointed out in the "Poetry of the Four Mings":
Taibai gave Meng Haoran poems, the former cloud "red face abandons xuan crown", and the latter cloud "lost flowers do not matter to the king", the two meanings are quite similar. Liu Wenfang's poem "The Former Residence of Lingyou Shangren" is both cloudy "floating for a few days to cry for the deceased" and cloud "rain and flowers weeping and weeping together", which is the same disease as Taibai. Boom, lost. The intention is heavy and the law cannot be followed; the two intentions are heavy, and the law cannot be followed.
Out of Li Bai's poem, Xie Hazel also mentioned Liu Changqing's Seven Laws of "The Former Residence of Lingyou Shangren", which is the same as Li Baishi's illness:
Sighing and turning over sorrow has this body, and the zen room is lonely and dusty.
For a long time, the behavior is empty and autumn grass, and a few days are floating and crying for the deceased.
The wind and bamboo groaned into the chime, and the rain flowers were wiped with tears.
It is still under the window of the remnant scriptures, and I remember the inquiry in the mountains.
The fourth and sixth sentences, written in the cry of the Spirit Lord, are also repetitive.
2. Du Fu ascends to the end
Du Fu's seven-word law "Ascending to the Heights" was evaluated by the poet Hu Yinglin as: It should be the first of the seven laws of speech in ancient and modern times. But there are also many who think that the beginning and end of the poem are not perfect.
The wind was rushing, and the tall apes roared, and the white bird of Nagisa Qingsha flew back.
Boundless falling wood Xiao Xiao, not endless Yangtze River Gungun to come.
Wanli Is often a guest in the autumn and has been sick for more than a hundred years.
Hardship hated the frost sideburns, and poured out the newly stopped cloudy wine glass.
Qing Dynasty Wu Changqi 's Deletion of Tang Poetry Commentary》 critic: "Too white is too scattered, Shaoling is too neat, so the poem is too solid, and the knot is also delayed." ”
From too realistic, Du Fu pursued the neatness of the rhythmic poems too much, and the first link was against each other, and the real scenes were too much and too complicated. The knot is also stagnant, shi Jingcun explained in the "Hundred Words of Tang Poems": stagnation, that is, Shen Deqian's so-called "exhaustion of exhaustion", lack of aftertaste.
Wang Fuzhi's "Selection of Tang Poems" in the Ming and Qing dynasties pointed out:
The conclusion is stiff, not evil, and it is necessary to break the body and not make rigid words.
There was also criticism of the ending, which was too rigid.
The Five-ColorEd Commentaries on du Gongbu's Collection also criticize the opening and ending sentences of this poem:
The knots are bloated and stagnant, the knots are short and short, the sentences are solid, and they are dissatisfied with the ears.
The wind is urgent - the sky is high - the ape is wailing, Nagisa - Shabai - the bird flies back, the festival is urgent, the imagery is more, the rhythm is too tense and urgent, the sentences are realistic, and the emotional aftertaste is not long.
3. Meng Haoran
Among the Five Laws of Meng Haoran, the jaw link of the famous "Wangdongting Lake Gift to Zhang ChengXiang" is the most praised, "Steaming Clouds Dream Ze, Waves Shake Yueyang City". This poem is also considered by some to be the work of Tang Lu' pressed scrolls:
August lake level, the meaning of the virtual mix is too clear.
Vapor cloud Mengze, waves shake Yueyang City.
If you want to help, you will be ashamed of the saints.
Sit and watch the anglers, and envy the fish.
But there are also many people who do not agree. For example, Mao Xianshu of the Qing Dynasty criticized almost the entire poem in his "Poetry Debate":
Xiangyang's "Dongting" is called a song, to the point of suppressing the Tang Law Scroll.
Yu said that the starting sentence was flat, three or four male, and the "steaming" and "shaking" words were too reserved, and the sentence had no spare strength; the two words of "wanting to help without a boat" were exhausted, and the conclusion was added, and the snake foot had no deep taste. And the upper section is too strong, and the lower cut is not symmetrical. The world appreciates the same thing, and does not dare to say it.
Even the jaw joint is considered to be "too reserved in tone, and the sentence has no power". The neck joint "wants to help without a boat, and the end is shameful" is considered to be too exposed (straight to the chest without implication). The tail link is even more snake-like, and there is no deep meaning and aftertaste.
The first four sentences of the whole poem are majestic, and the last four sentences are completely disproportionate. Because Mao Xianshu disagreed with everyone praising this poem.
Mao Xianshu believes that Meng Haoran's specialty of the Five Laws is "Qing Cang Shu", and "the chapter of "Dong Ting", against Suo Lu (too blunt)", is the failure of this poem.
In xu xueyi's "Poetry Source Debate" of the Ming Dynasty, there are also views that are not symmetrical:
Haoran "August Lake Level" article, the first four sentences are very majestic, the back is slightly unmarked; and "boat" and "shengming" are compared and not worked. Or use this as a Mengshi pressed scroll, so it is indicated.
In addition, Xu Xueyi believes that the neck joint is not very neat and is also a flaw.
The first four sentences of Meng Haoran's "Dongting Poems" are actually written to Zhang Jiuling's heart, I want to ask for an official work, help me, this is the routine of dry poetry. However, as a literary work, the last four sentences will inevitably have the problem of being too blunt and "humble (Evaluation of Tang Poetry").
Conclusion
For the same poem, different readers will have different evaluations. As a scholar poet, the various views of the predecessors are conducive to our multi-angle appreciation of the works of the ancients.
The importance of Li Bai and Liu Changqing is a problem that is relatively easy to avoid. Meng Haoran's before and after are not commensurate, and the requirements for poets are slightly higher. Regarding Du Fu's "Ascending to the Heights", it is also worth thinking about whether we want to list so many images.
The works of predecessors must be studied, and the criticism of the poetry critics of the predecessors must also be studied dialectically. Only by not superstitiously believing in famous masters and blindly worshipping can we learn better.
@Old Street Taste
The new number of ZTE years, the smell is like Chinese wine, the word in the pronunciation of the sound or flat sound?