In the early Tang Dynasty literary circles, there were the rise of the "Four Masters": Lu Zhaolin, Luo Binwang, Wang Bo, and Yang Jiong, all of whom were famous for their poetry and longevity. Among them, Wang Bo even had the courage of "opening up the Han garden and sweeping the literary field", "every time there is a text, the sea is shocked", sweeping away the broken wind of the literary circle at that time, "the bones are exhausted, and the rigidity is not heard", showing the "heroic posture of the early Tang Dynasty" of vientiane renewal.
Not only that, Wang Bo was even more skilled in Piao Wen. His outstanding representative of Piao Wen is the "Preface to the Tengwang Pavilion", which shows his outstanding talent in terms of both ideological content and artistic characteristics, seeing the truth between the classics and the beautiful, showing changes in neatness, all representing the highest achievements of the Tang Dynasty's Piao Wen creation.
When the talented Wang Bo met the Tengwang Pavilion, the masterpieces of the ages came into being
Wang Bo (650– 676), courtesy name Zi'an, was a native of Longmen, Daizhou (present-day Hejin, Shanxi), and was the grandson of Wang Tong, a famous scholar of sui and Tang dynasty literature. Wang Tong lectured and wrote books throughout his life, and after his death, he was called "Wen Zhongzi" by his disciples. The famous poet Wang Ji of the early Tang Dynasty was his uncle. Because of his deep family roots and talent, he showed his talent very early, "six years old can belong to the literature, clean talent and handsome hair, the concept is not delayed." At the age of fourteen, he held up Yusuko and taught Lang Sanlang. At the age of nine, he read Yan's Book of Han and wrote ten volumes of Finger Flaws. Ten years old bao comprehensive six classics, into the period of the month, hanging in the sky, self-symbol music training. The learning of the teacher for a hundred years, the day and day, the opportunity of the past generations, the standing talk can be seen. It is easy to live in difficulty, and it is easy to pass in Sai; there is no delay in the art, and there is nothing flawless in the word. Young has the strategy of balance and balance, and is used for sailing alone. There are four years in the tenth year, and the time is prestigious. Tai Chang Bo Liu Gong patrolled the customs, and saw different things: 'This prodigy is also'. "The king of Pei heard his name and summoned him to the government to repair it. At the age of twenty-seven, he crossed the sea and died of drowning in shock.
In the course of his life, Wang Bo only spent twenty-seven spring and autumn seasons, which can be described as short. In the history of Chinese literature, his name will last forever, but the chapters he left behind are shining. When people are reciting "The Yangtze River is stagnant, the thousands of miles will return." The situation is high wind late, the mountain yellow leaves fly", "the city que auxiliary three Qin, wind and smoke side five jin." Parting ways with Jun, the same eunuch. Confidant in the sea, the end of the world is like a neighbor. When doing nothing is in the wrong direction, and the children are sharing the towel", how can we not be impressed by the wisdom and wisdom of this young talent! In particular, his famous passage "Preface to the Tengwang Pavilion" has a magical legend.
Wang Bo
It is said that this Tengwang Pavilion was built by li yuanbao, the emperor of the Tang Dynasty, Li Yuanbao (the son of Li Yuan, the emperor of Tang Gaozu, who was crowned King Teng). In Yonghui, when Li Yuannian was the governor of Hongzhou, he built this majestic pavilion on the shore of the Ganjiang River, known as the Tengwang Pavilion. Emperor Gaozong of Tang's governor and duke of Yan rebuilt it, and on September 9, 674, the day of Chongyang Festival, the second year of Emperor Gaozong's reign (674), a banquet was held for local literati and celebrities. Wang Bo happened to go to the provincial father, passing by this place, and had the honor of attending the banquet and composing poems. However, it is such a passing young man, in the feast of celebrities and crowns, without the slightest fear and restraint, the guests, immediately, not adding points, full of surprise. What a grandeur, how dashing, what a sight!
Many people were impressed by this magnificent work, and even Han Yu, who "rose to the decline of the Eight Dynasties", also admired it, and this "article giant" said in his "Record of the New Xiuteng Wang's Pavilion" that "the less he hears the beauty of Jiangnan, and the Tengwang Pavilion is the first, which is known as a gem." and the preface, endowment, and note of the three kings, etc., and strengthened their words. He also praised: "I also want to look at it and read it." The work is done, and the public is drunk by the multitude, and the book is healed by the day: 'The Son remembers it for me.' 'The more he lamented that he had not yet been created, and the more he slept in his name, the word was listed second among the three kings, and there was glory. Many subsequent anthologies of prose, including important anthologies such as the Ancient Literature Guanzhi, have selected the Preface to the Tengwang Pavilion as exemplary works. With Han Yu's reputation and status in the literary world, he still respects his people and his literature so much, and is proud to be ranked second, not to mention others.
With affection, even Shaohua's talent of Wang Bo, who died early, has been passed down through the ages with the "Preface to the Tengwang Pavilion"
Although Wang Bo died early in his life and his life was short, his life path was also very bumpy and arduous, and the thoughts and feelings that arose were bound to be ups and downs. This is fully expressed in the "Preface to the Tengwang Pavilion", Wang Bo used condensed and elegant notes to describe the banquet of the Tengwang Pavilion and the beautiful scenery around it, and then naturally sprouted and began to play with the theme, raising the article to the height of life, history and society, issuing a wonderful sigh and discussion, making it a thought-provoking and thoughtful literary work.
Han yu
As mentioned earlier, Wang Bo, with his otherworldly talent, was only fourteen years old, that is, the countermeasures and the first, like a new star to attract the world's attention. And he himself is also very conceited, and he is not afraid of the worldliness of the powerful and the worldly, thinking that "he picks up the blue and purple in the pitch, and takes the secretary of state in the morning and night", "he has the reputation of the invitation, forgets the shame, and is willing to get it, and sets his back to the imperial court, and stands up to the snobbery." Raise three inches of tongue, humiliate the magnates, and serve the book of the foot, and patrol the seat. They all claim that the material is enough to move the world, and the wisdom is enough to save time. Zhong Dinghui is his care, and the crown covers his life. Don't you know that the gentleman of the world is ashamed of him? Five feet of micro children, so it is inherently poor and not for it."
Because of this, when he was repairing in the Ren Pei Palace, he was deposed and dismissed from his post because of the game text. According to the New Book of Tang Dynasty, "When the kings fought cocks, the drama was Wen Tan Ying Wang's chicken, and Emperor Gaozong angrily said: 'Yes and cross-structure.' 'Rebuke the house. Bo is abolished, Ke Jiannan, taste the mountain of Ge Yu, think of Zhuge Liang's merits, and give poetry to see love. Smell the many herbs in Yuzhou, and ask for supplements to join the army. Rely on the talent of the mausoleum, and be jealous of the officials. ”
Just when he joined the army in Yuzhou, he was sentenced to death for killing officials and slaves, and later survived death after receiving amnesty. However, his father Fu Domain was implicated, and the yongzhou sigong who joined the army was demoted to jiaozhi county order.
Wang Bo, who had just revealed his talent, was successively subjected to cruel life blows and political persecution, "a heroic man who was slightly depressed by poverty," "who was highly qualified to succumb to a lowly position," and "who had a long-term ambition and a long heart, so that he was high and inferior." How could this not make him sad and indignant and depressed? In the "Preface to the Tengwang Pavilion", he lamented even more that "happiness and sorrow come, and there are many people who know the number of things", "It is difficult to cross the mountains, who are sad and lose their way", "The times are uneven, and the fate is uncertain". Huai Cai did not meet, political frustration, career was hindered, my heart was difficult! In the midst of bitter struggle and contemplation, he attributed the cause of this loss to the fatalistic concept of "surplus and emptiness" and "number"; in the midst of hardship and confusion, he helplessly comforted himself with "a gentleman is poor and the master knows his destiny" in order to obtain a temporary psychological balance. At this moment, he even "looked at Chang'an from afar under the sun" and "Emperor Huai did not see him, what year was the Fengxuan Room?" ", pinning his hopes on Emperor Gaozong, hoping for the promotion and recommendation of celebrities, and fantasizing about entering the career again and joining the imperial court.
Li Zhi
It is true that a young man who has been hit and tortured by fate twice is also unrealistic and unreal without a little twist and turn in his thinking and a negative element. However, Wang Bo was, after all, an open-minded and accomplished man. Although he was in adversity, he had great ambitions and was bright and clear, and his emotions did not stagnate in the sadness of Luotuo. "When old and strong, would you rather move the heart of the white head?" Poor and strong, do not fall into the ambition of the clouds. "Although the North Sea is on credit, it can be shaken; the east corner is dead, and the mulberry is not late." His enthusiasm and pride finally broke through the faint grief and spewed out. This is the most powerful indication of his hard-working and enterprising spirit. In the face of reality, he can keep "feeling refreshed by drinking the spring, and being happy in the middle of the road." Gao Jie's sentiments, and clearly stated: do not follow ruan's "poor way cry", do not change the original intention, embrace the wish to serve the country: "There is no way to ask for help, waiting for the weak crown of the final army; there is a long wind of carrying a pen and Mu Zongwu." "His lofty ambition and high spirit have inspired and spurred many scholars to go through hardships and forge ahead for thousands of years. As an intellectual of the feudal era, it is indeed rare and precious to have such a broad feeling and noble discipline.
The crown of Piao Wen, "Preface to the Pavilion of King Teng", breaks away from the shackles of "court literature" and expands the realm of Piao Wen art
From the content point of view, through the majestic momentum and gorgeous words, the author fully rendered the grand situation of the banquet, the magnificence of the Tengwang Pavilion and the three autumn scenes in the overlook of the Pavilion, and at the same time, intertwined the author's own conceited arrogant mood and the depression of not meeting the talent and serving the country, and the scenery, fully expressing the author's ideological feelings and spiritual outlook - positive and enterprising.
But more importantly, "Tengwang Ge Preface" "when immortal" is a stylistic value, as a poem written in piao style, it changes the previous people's "pile words, less words more" atmosphere, the pen is bright, the style is fresh, the momentum is magnificent, and it can be called a model work.
1. "Court Literature" - Piao Wen
The main features of this style are required to be symmetrical in the syntactic structure of the whole article, the duality of words, the level of rhyme, the harmony of the rhythm, the emphasis on rhetoric, the use of dictionaries and so on. Because of the requirements of the text, it is indeed easy for writers to devote a lot of energy to the arrangement of words and sentences, thus sliding towards the road of focusing on form and giving up the end of the book. Taking the creation of the Northern and Southern Dynasties as an example, although the development of the Piao wen reached a climax at this time, due to the lack of profound thoughts, sincere feelings, and lofty ambitions, some Piao Wen had a gorgeous appearance and empty content. It is also called "court literature" because it is mostly used in the imperial court's edicts, as well as congratulatory tables, sacrifice texts, etc.
Tengwang Pavilion
2. The First Horse in the World - "Preface to the Tengwang Pavilion"
There are all kinds of formal constraints, and it is not easy to write beautifully and freely. However, this article can skillfully control the various formal skills of the piao text, the article is unrestrained and smooth and has a sense of ease and nature, and there are many new developments in the form of the piao script, such as more processing of the battle, paying attention to the harmony of sound rhythm, and the appropriate use of allusions.
First, the use of duality varies widely. Duality is the pairing of double sentences, which is one of the modification techniques, but it is the basic formal feature of the text. This article has the following changes:
First, up and down, this is the most commonly used duality, such as "Nanchang Old County, Hongdu New House", "Xiongzhou Fog Column, Juncai Xingchi", "The water is exhausted and the cold pool is clear, the smoke is condensed and the twilight mountain is purple", "The wat is in Bailing, and Fengchen is in the ten thousand miles" and so on;
Second, the interval sentence is relative. This category is also called fan face, because the upper and lower sentences are not neat, they are crossed pairs, that is, one three, two and four sentences are opposite. For example, in the text, "Wuhua Tianbao, the ruins of the dragon light shooting bull fighting; the spirit of the people, Xu Wei under the bed of Chen Fan". There are also some sentences that seem to be neat, the number of words is the same, it is not dual, it is also one, three, two or four opposite, such as "ten decades of leisure, victorious friends like clouds; thousands of miles to welcome, high friends full of seats." This is fundamentally different from what is said above.
Third, when the sentence is relative. It is also called the middle pair of sentences, that is, the front and back parts of a sentence are opposite, such as "three rivers and five lakes, control the wild thorns and lead to Ouyue" in the "three rivers" to "with five lakes", before and after the dynamic guest structure, this sentence and the next sentence to "control the wild thorns and lead to Ouyue" to form an upper and lower pair.
Fourth, the words are relative. The same position of the two sentences before and after, noun to noun, verb to verb, adjective to adjective, conjunctions, prepositions are also opposite to conjunctions and prepositions. For example, "Yang Yi did not meet, caressed Lingyun and regretted himself; when the bell period was encountered, how ashamed was it to play the flowing water?" Yang Yi "to "Zhong Period", personal name to person name; "not" to "both", adverb to adverb; "feng" to "encounter", "fu" to "play", verb to verb; "Lingyun" to "flowing water", noun to noun; "to" to "to", conjunction to conjunction; "self" and "He" opposite, pronoun pair; "pity" to "shame", verb pair.
Second, the use of allusions is frequent and diverse. The use of the text is not as occasional as prose, but frequently used, this article is sometimes high-spirited and exciting, sometimes suppressing low-back feelings, the ups and downs of which are mostly expressed by a large number of historical allusions, ingenious ideas, and free dispatch. The canonical forms used in this article are:
First, Ming Yong, "Feng Tang is easy to be old, Li Guang is difficult to seal." Qu Jiayi is in Changsha, not without a holy lord; is it not clear when Liang Hong is in Haiqu? The meanings mirror each other and express feelings of self-hatred and self-lamentation.
Second, the use of secrets. "The gentleman who depends on him is poor, and the master knows his destiny." When old and strong, would you rather move the heart of the white head? Poor and strong, do not fall into the ambition of the clouds." The first two sentences are derived from the "gentleman is poor" in the Analects and "Lotte knows his fate and is not worried" in the "I Ching", and the last four sentences come from the famous words of Ma Yuan and Ji Kang, two historical figures, but they are not marked literally, and they naturally express the meaning of masturbation and self-encouragement.
Third, the use of positive use. "Meng tastes high purity, empty heart to repay the country" uses the Eastern Han Hermit Meng tasted the allusion that was not reused to illustrate his bumpy situation.
Fourth, reverse use. "Ruan Is rampant, and he is crying in vain!" The allusion to Nguyen's poor weeping is used in reverse. The two sentences before and after are positive and negative, which just combine the meanings of self-hatred and masturbation and self-encouragement, showing the author's mixed feelings of disappointment and hope.
Nguyen Nationality
Again, the brilliant scenery. The author of this article uses magnificent and colorful writing to express the autumn scenery as beautiful and flying. The features of this article are:
First, the change of color intensity. "The water is exhausted and the cold pool is clear, the smoke is condensed and the twilight mountain is purple" two sentences, this is always written autumn scenery, very general, but there is a distinct image, the predecessor said "write the scene of September". The author captures the characteristics of autumn scenes and deliberately uses contrasting colors. The previous sentence writes that the autumn water is clear and cold, and the color is light. The latter sentence writes that the twilight of Akiyama is dull and the colors are thick. The words "Qing", "condensed" and "purple" can all reflect the texture of the landscape.
Second, the pitch change of the angle. In order to highlight the extraordinary momentum of the Tengwang Pavilion, the author described it with exaggerated brushwork: "The layers are towering green, and the upper mountains are heavy. Fei Ge Liu Dan, down to the groundless". The first two sentences look up, so use "shrugging", the last two sentences look down on the angle, so use "near", on the one hand, to give people a sense of being high into the clouds, on the other hand, to give people the illusion of not seeing the ground. Leaning up and down, like a panning shot from top to bottom in a movie. This intentional contrast of visual angles is very appropriate for expressing the height of the building.
Third, the change of the level of near and far. The two sentences of "draped in embroidery and carved from the top" make the scenery gradually extend from near to far, with a clear hierarchy. "Crane Ting, Poor Island Haunting, Guidian Lan Palace, Liegang Luan's Posture" four sentences, writing the surrounding scenery of the pavilion, back to the mountains and water, this is a close-up view outside the pavilion. Yamahara was wide-eyed, and Kawazawa was horrified. The house of Zhong Ming Ding. Ship maze, the axis of the green sparrow and the yellow dragon", the field of view is more open, the depth of field is more distant, and the right and wrong scenes are in the middle of the scene. "The clouds are raining, and the colors are through the clouds." The sunset and the lone bird fly together, and the autumn water is long and colorful. The four sentences are written in the distance, the water and the sky are vast, and the depth of the space is very large.
Fourth, the sound change of feeling. Above the "cloud pin rain ji, color through the clouds." The sunset and the lone bird fly together, and the autumn water is long and colorful. The four sentences write the vision, still within the visual range, this is the color, therefore, it seems that it can no longer be written, unexpectedly the author from the real and virtual, breaking through the visual limitations, with the help of hearing, so that our nerve tentacles from the front of the "fishing boat singing late" and "goose array frightening", extended beyond the picture, until "Peng Li's coast", "Hengyang Pu", so that not only write color, but also write sound; not only write the scene in front of you, but also write the imaginary scene, thus creating a long and infinite artistic conception. The above changes in color, angle, layer, and feeling organically combine a magnificent, bright color, clear layer, sparse and empty picture.
Wang Bo's "Preface to the Tengwang Pavilion" can get rid of the obscure and obscure accumulation of the piao style text, promote its strengths, promote its strengths and avoid the shortcomings, and make the piao style text tend to be bright and smooth, which is not easy. Not only that, he also worked with Xue Yuanchao, Yang Jiong, Lu Zhaolin, and others in the literary circles to resist and criticize the "Shangguan body" represented by Shangguan Yi, which is "based on comprehensiveness and elegance.". This is precisely the indelible merit that Wang Bo has made for the development of Chinese literature.
The Preface to the Tengwang Pavilion is not only a new change in the Six Dynasties Piao wen, but also a precursor to the popularization of the Tang Dynasty Piao wen. The whole text adopts a unique artistic perspective and uses a strict and neat sentence pattern to express the beauty of the natural world, the true feelings of the human world, and the changes in society to the fullest, so that readers can feel the infinity of heaven and earth, the humor of nostalgia for the ancients, and feel the lush spirit and rational power in the twists and turns of the emotional world.