Text: Humility talks about the style of writing
Editor|Humility talks about the style of writing
Yang Wanli's poems have attracted the attention and imitation of the world with "living as poetry", and Lu You's "Yang Tingxiu Sends the South China Sea Collection" cloud: "The vulgar and the people are separated from the dust, and they meet the wind and horses." Reading Yang Qing's Nanhai sentences at night, I knew that there was a high stream in the world. Feiqing counted Que Qiao Nanqu, and Liu Lang was not allowed to praise the bamboo branches. Lu's self-note: "Wen Feiqing's "Nanxiangzi" has nine songs, and his work is not reduced in "Bamboo Branch Words". ”
Comparing the folk songs proposed by Wen Tingyun and Liu Yuxi, it can be seen that Lu thought that the poetry of Chengzhai was the same as that of folk songs, and it also surpassed everyone because of its folk song characteristics.
In fact, Yang Wanli likes to use more reasoning and judgment to enhance the rational meaning of poetry when narrating lyricism. However, the cultural heritage contained in it may be far more than the simple of ordinary judgment and reasoning, but the process of using the logical form of the three-branch method of cause and clarity to break the common view and introduce the correct view.
Therefore, his poems often contradict the normal narrative logic, turn around and narrate, and seem to be a game, but in fact use Buddhist concepts and methods to observe the process of observing the things around us.
"Living as poetry" and Zen logic
First of all, Yang Wanli's poems adopt the form of logical deduction of the three branches of cause and clarity to strengthen the reasoning of the poems. For example, the cloud of "Sitting and Mocking the Stars and Moon": The east is born and the west returns, and the moon does not know the road (zong). Why do you need to be Qianchang Geng, lead the way night and night.
The stars don't live in the moon, and the stars don't live in the moon. No one asked my sister who was in charge of this matter.
I don't know how to listen to the golden toad, but not by the jade rabbit. Come and steal this star at night, and see where the moon returns (metaphor).
In the poem, the relationship between the moon and the stars is personified and then reasoned, which not only seems to be in line with human common sense, but also reflects the reasoning and speculation, so as to explain the philosophy of the avenue. However, in the context of the prevalence of Zen culture, this poem is more likely to use the Buddhist logical form of cause and clarity, that is, the three branches of cause and clarity (zong + cause + yu) composed of three parts: zong, cause and yu.
"Zong" is the topic, "cause" is the basis or reason, and "metaphor" is the example or derivation. It should be noted that the structural characteristics of the three branches of the cause and the syllogism are very similar, but they are different in the order of conclusions and premises, and the composition is also different, because the derivation form of "metaphor" has no correspondence in the syllogism.
The whole poem has a strange imagination, and the reasoning process is full of humor. First of all, put forward the conclusion (Zong): "The east is born and the west returns, and the moon does not know the way." Further elaborate that the east and west setting of the moon is the reason (cause) for Chang Gung Xing to lead the way: "Why do you need to Qian Chang Gung, night and night lead the way." The stars can't live in the moon, and the stars don't live in the moon. ”
Then he further expanded and said that no one asked Sister (Chang'e) about the relationship between Chang Gengxing and the moon, only the Jade Rabbit stole Chang Geng Xing every night and decided where the moon would live (Yu).
From the conclusion of the moon's "east is born and the west returns", the reasoning is deduced to the final "see where the moon returns", which is precisely the application of the three branches of reasoning in poetry. The whole poem analyzes the relationship between the movement of the stars and the moon between affirmation and negation, breaks through the common theory, and draws the ultimate conclusion. In the process of dynamic reasoning, the whole poem shows a strong philosophical and poetic meaning.
Another example is "Ten Quatrains of the Rain on March 3" (the ninth) cloud:
Repay the spring wine (zong), and there is no wine in the poor to deceive the spring (because).
Writing poems and the east wind road may not be willing to poetry (metaphor) of the east wind.
Here constitutes a three-branch reasoning of cause and clarity: put forward the conclusion (zong) "repay the spring light wine"; The second reason (because) "there is no wine in the poor, and there is spring deception"; In the end, it is deduced (metaphor) that "composing poetry and the east wind is not necessarily willing to be poetic", so that the poetry is further sublimated.
The three narratives of this poem are concise and clear, and the poetic twists and turns change, so that the relationship between people and the beautiful scenery of spring is connected by the details of spring, wine, no wine, being bullied, and bargaining with the east wind, so that the reasoning is rich in plot, swaying and colorful, vivid and interesting.
Secondly, Yang Wanli's poetry reasoning adopts the form of reasoning of the three branches of cause and Ming, so that the reasoning becomes more adequate and affirmative. For example, "Gift Peng Yunxiang Long Sentence" cloud:
The scholar on the side of the reading platform is like a cloud, and the corporal of Lu Ximen is like a lin. Knowing that it is difficult to be a scholar here, the later show said Peng Zi (Zong). The snow can visit me for, when the stairs are full of snow. There are all the articles that give me them, in and out of Ousu and Han Liu (because). Now the writer of the field house number, Xiangzhou red Valerian Luo Zhonghua.
How can it be that Peng Zi has a law, and he will take Zhang Jing as a book, who is the master of the handle (metaphor) this year.
This also includes a discussion process of reasoning from the three branches of the Ming Dynasty, first putting forward the conclusion (Zong): "The scholar on the side of the reading platform is like a cloud, and the corporal of Luximen is like a lin." Knowing that it is difficult to be a soldier here, the later show said Pengzi. ”
Then put forward the reason (because): "The snow can come to visit me, and the horse is full of snow when the stairs are full." Give me all the articles, in and out of Ousu and Han Liu. This is a deductive reasoning based on conclusions, which is actually in the form of a minor premise in a syllogism.
Finally, there is the extension and reasoning of reasoning (metaphor): "Now the writer of the field house, Xiangzhou red valerian Luo Zhonghua." How can it be that Peng Zi has a law, and he will be a book to take Zhang Jing, who is the master of the handle this year. ”
The word "definite knowledge" in the conclusion strengthens the tone, makes the tone of the conclusion appear decisive, and becomes unquestionable in reasoning. This structure seems to be a precursor to the conclusion of the syllogism, which is the form of the practice of the three branches of Buddhism.
Another example is "The title Taihe Zai Zhuoshi directly sent the original poem of the new carved valley fast pavilion" (the second) cloud: "Taishi left the title of the fast pavilion poem (zong), and the old tablet may not be the real title (because)." Liuding searched out Yan Jiamo, and the sky was blue and purple (metaphor). ”
Here is also a three-branch reasoning of the cause and the Ming: putting forward the conclusion that the Kuaige poem exists (zong), denying the authenticity of the old tablet (cause), and promoting the praise of the ink color like a purple rainbow, in order to further affirm that the newly engraved Huang Tingjian's calligraphy works are authentic (metaphor).
Another example is "The trees in front of Nansai are rampant, and the red plum is not wanton in the middle because of the scissors" cloud: "The Tao is the flower of the Si, there must be a god, and the yuan comes to create in the poet (Zong)." Sweep away the ruthless flowers of the green tree (cause), and release the unbridled spring of red plums (metaphor). This is also a logical judgment, in which "the Tao is the flower must have a god, and the yuan comes to create the poet" is the conclusion, and the last two sentences serve as the basis for reasoning and the extension of the narrative.
Finally, Yang Wanli adopts the form of the three branches of cause and ming, and uses semantic reasoning in the context of the poem, which makes the reasoning turn and change, highlights the contrast between movement and static, and enhances the sense of poetic flow.
For example, "Jade Pot Guest, Du Zhao Daming to the end of the Ming Dynasty, Yun Yu patriarch is in Longshan, and talks about Chinese affairs, and the play is Jizhi" cloud: "The son came from the fire umbrella (zong), and the undressing was undecided in a hurry (because)." What is the matter with the hot end of the mountain line, and the bayberry tree is red (metaphor) on the road. ”
The dynamics of the characters are contrasted with the static bayberry on the roadside to highlight the poetic vividness. Among them, the words "come", "undecided" and "hurried" all show a kind of dynamic interest, with the static bright red color of bayberry as the reason why the son feels hot and undresses when he returns from a trip, the semantics are accessible, and the turning reasoning makes the poetry lively and full of humor.
Another example is the cloud of "August 12th Night Cheng Zhai Looking at the Moon": "It is just about the Mid-Autumn Festival and the moon has been cleared (Zong), and the crow blue curtain hangs a cloud of ice (because)." Suddenly felt that tonight moon, Yuan is not sticky to the sky alone (Yu). It is to use the reasoning form of the three branches of cause and Ming to compare the dynamics of the moon with the static of the sky, showing the unique state of the moon, poetic and picturesque, jumping on the paper, which is actually the specific expression of "living as poetry".
In short, combined with Yang Wanli's life and the composition of the social culture of the Song Dynasty, the conclusion that Yang Wanli was influenced by the concept and method of Buddhist culture may be valid.
Living method "penetration" and Zen enlightenment
Yang Wanli lamented in the "Preface to the Collection of Jingxi in Chengzhai" that "the more you learn, the more you do", and realized that "the poet covers different diseases and has the same origin, and he is unique"! After the enlightenment during the Wuxu period, the style of poetry changed, and there was no longer such an obstacle:
Since then, every afternoon, the officials scattered the court, that is, with a handy face, step back garden, climb the ancient city, pick up the chrysanthemum, climb the flowers and bamboos, Vientiane is finished, dedicated to the poetry, cover the Lu does not go, the former has not left, the latter has been forced, Huan Ran did not feel the difficulty of composing poetry, cover the poet's disease, to the body will have a day.
When Fang is the time, not only did he not realize the difficulty of writing poetry, but he also did not realize the difficulty of being a state. What is the underlying reason for the change of Seisai's poetic style? This question may be combined with the cultural background of the Song Dynasty and start with the relationship between poets and Buddhism.
Although it is different from Wang Anshi, Su Shi and other predecessors in the way of entering Buddhism, Yang Wanli's interaction with monks and Taoists is actually very close, and there are many works of socializing with monks and Taoists in his poems.
In addition, Yang Wanli has a poem titled "Dream of Dead Friend Huang Shiyong Dreams of Talking about Buddha, Feeling, Feeling, Feeling Endlessly, Because of the Dream Li Baiyun to Remember", literally, it can be seen that Yang Wanli and his friends often discuss Buddhism.
Enlightenment comes from the words of the Buddha. Buddhism has a saying of breaking the three levels, which means that people who have just entered Buddhism, if they seek to improve, they will have three layers of difficult to understand the diaphragm, and once they break through, they will enter another new realm. Yang Wanli uses "Guan" to discuss poetry, that is, in Buddhist language, there is the meaning of epiphany, and "penetration" means that Buddhism clarifies the realm of enlightenment.
Ye Shi realized that Zhu Wengong (Xi) quoted Lu Ji's "Wenfu" "The fragrance of the six arts", and the starting point may be different from Yang Wanli's statement, and added that "this cloud pass should be different from Yang Zhi's theory", and his judgment is more reliable. Because Zhu Xi said that only by familiarizing himself with the six Confucian classics can he "seek truth", while Yang Wanli's theory is related to Buddhism.
Song Dynasty poets had close contacts with Buddhists, and Yang Wanli was no exception. He was in "And in the same year Liang Shaozhou Temple Cheng Ci Zhang Ji Poems" cloud: "The old man is not for three years, who talks more about Zen with poetry." "It is common for Yang to discuss poetry and Zen with monks. Another example is "Huiquan Divides Tea, Elder Zhengfu" cloud:
Han Hong has been around for less than ten years, and the old eyes are confused. Rinse the mouth of the jade dragon of the cliff and fall into a clear mirror snowflake sky.
You have to worry about the samadhi hand of the Buddha world, and pull out the second spring of the tea scripture. Cherish the praise of the public for a long time, and talk about poetry without talking about Zen.
The first sentence says that they have not met for more than ten years, and the last sentence says, "Let's talk about poetry but not Zen", which can just show that literati and monks talk about Zen and poetry, and it is enough to show the penetration of Buddhism into poetry. There is also "Supervising the Army to Seek Theft of Meizhou Su Cao Xi Cheng Ye Jingbo, Chen Shouzheng, Pu Zen Master" cloud:
Nandou is the first mountain in the east, and the white head has to buckle the Zen pass at the beginning. The ancestral clothes are half as thin as a cloud, and the golden key is only open to the fog.
A bowl may be a thousand feet, and thousands of people will see it for a thousand years. Tonight's snow milk is baked, and tomorrow's yellow mud is saddle.
This was done by Yang Wanli in the eighth year of Chunxi (1181) when he was sentenced to prison in Shaozhou. Cao Xi and the six ancestors of Zen Buddhism have a deep origin, so the cloud "Zen pass", and "ancestral clothes" and "a bowl" are the "mantle" of the description, the six ancestors are the authentic descendants of Zen, and the poem is not without reverence and emotion.
"The golden key opens the fog as a group", which means that you have to knock on the Zen door of Caoxi and learn the Dharma of the Six Ancestors, so that you can follow this good path and dissipate the fog in your heart. "A bowl may be a ruler Xu" Although the method of the six ancestors of the epiphany is simple, "there are thousands of people who have the bottom of the millennium" said that the root of Zen Buddhism has been there for thousands of years, and everyone has come to learn its essence.
The "snow milk" of "tonight's snow milk is divided into dragon roasts" is not only the foam when drinking tea, but also can be understood as the metaphor of the Buddhist Daigo empowerment, where there is a sudden enlightenment, and also contains the meaning of sharing tea and talking about Zen with the Zen master.
epilogue
Since the introduction of Buddhism to Middle-earth, literati throughout the ages have loved and deeply studied Buddhist scriptures and participated in Buddhist teachings. For example, Wang Wei in the Tang Dynasty, Su Shi in the Song Dynasty, Huang Tingjian, etc., are the most typical, they are well versed in the internal classics, study Buddhism, participate in Zen meditation, and communicate with monks, and there are often obvious Buddhist cultural imprints in their daily creations.
The poetry of the Song Dynasty was generally characterized by good narrative and argumentation, but in terms of content and form, it was also influenced by the widely spread Zen culture. From the perspective of linguistic logic, this paper examines the internal theoretical characteristics of Yang Wanli's poetry and analyzes the details of his poetry creation under the influence of Buddhist concepts, which may achieve the goal of correctly interpreting his poetry creation.