Cover news reporter Zhang Jie
"There are tears in the pearls of the sea and the moon, and the blue field is warm and the jade is smoke"; "The red chamber looks cold across the rain, and the bead foil fluttering lamp returns alone"; "It was once a lonely golden ember dark, and there was no news of pomegranate red"; "A spring dream rain often flutters tiles, and the spirit wind is dissatisfied with the flag every day." Li Shangyin's poems, with gorgeous words and sentences, dig deep into the spiritual world, and exude a deep feeling of deep affection, deep mourning, and hazy and vague breath. For more than a thousand years, it has been obsessed with many people. At the same time, due to its profound interest and unprovoked solution, many of Li Shangyin's works have also become unsolvable poetic mysteries. Even Liang Qichao, a scholar, said: "I can't pay attention to Yishan's poems such as Jinse, Bicheng, and The Shrine of the Holy Daughter. Taking it apart and asking me to explain it sentence by sentence, I couldn't even understand the meaning of the text. But I find it beautiful, and it gives me a fresh and pleasant read. ”
Even if a poem as easy to understand and fresh in style as "Night Rain Sends north", it is still difficult to know exactly who this poem was sent to: his wife Wang Yanyue, or the so-called female crown Song Huayang, lover, willow branch, and concubine of the curtain master? Or friends Ling Fox, Wen Tingjun, Du Mu? For nearly 1,200 years, opinions have varied and varied.
It is precisely because of this purity, this deep concealment, that Li Shangyin's works transcend the limitations of time and space in which he is located, and have a broader and longer-term vitality. Appreciate Li Shangyin, understand Li Shangyin, try to get closer to his inner world, and also attract the efforts of literati and scholars of all generations. For more than 1,000 years, Li Shangyin's collections of writings and poems have been interpreted by generations of readers, and have been countless acquaintances across time and space, becoming another extraordinarily rich literary world. In the Song Dynasty, the Xikun style imitating Li Shangyin's poems appeared, which had a great influence. The Qing Dynasty's evaluation of Li Shangyin's poems was incomparable, from the most popular poetry selection, "Three Hundred Poems of Tang", selected seven laws and forty-nine poems, Du Fu alone accounted for nine, followed by Li Shangyin eight, which can see the readability of Li Shangyin's poems and the degree of circulation. In contemporary times, As a very chewable Li Shangyin poetry, it is still delivering spiritual nutrition to readers and becoming a source of living water for culture.
The writer Wang Jun began to love ancient poetry from middle school, and was fascinated by the poetry world of Li Bai, Du Fu, Li Yu, Su Shi, Li Shangyin, Naran Zhide and others. As a poetic mystery, Li Shangyin's writing is the key object that he usually thinks about and understands: what does the real Li Shangyin look like in history? How vast and deep is his spiritual world? How many untitled secrets are hidden in his poems? In the spring of 2021, Wang Jun's long historical essay "Li Shangyin" was published by Changjiang Literature and Art Publishing House. He recorded in 200,000 words the experience of studying Li Shangyin's poems over the years and trying to explore the trajectory of Li Shangyin's rich psychology and the spiritual pulse of the times in which he lived. He reasonably and carefully interpreted the writing time of Li Shangyin's important poetry articles, the specific reasons for their writing, the personnel disturbances at that time, the atmosphere of the late Tang Dynasty, and the allusions and connotations contained in their poetry articles. The whole book is divided into five levels from life, family affection, politics, faith, spiritual sustenance, etc. gradually deepening, stripping away the cocoon, writing Out Li Shangyin's life background, writing poems and articles for a person's peace of mind and life is useless, which helps readers to get out of the labyrinth of Li Shangyin's poetry and get closer to Li Shangyin in that historical reality.
Deba Shan Shu Shui Zhi, left nearly a hundred poems
It has achieved another peak in the history of Chinese poetry
The environment in which a person lives, the places he has walked, and the mountains and rivers he has seen will deeply affect his existence. This is especially true for poets. Li Shangyin was originally from Qinyang, Henan, and his grandfather Li Fu moved to Xingyang, Zhengzhou, and became a native of Xingyang. In Li Shangyin's life, he entered Sichuan twice, a total of 5 years. Before Li Shangyin stepped onto the poetry scene, Li Bai, Du Fu, Wang Wei, Meng Haoran, Bai Juyi, Han Yu, Li He, etc. praised the poetry world, forming the peak of the two poetry creations of the Sheng Tang and The Middle Tang Dynasty. The late Tang Dynasty literary circle, represented by Li Shangyin, rose to the third peak in the creative mileage of Tang poetry. In Wang Jun's view, Li Shangyin's achievements are inseparable from the fact that he has lived in Sichuan for 5 years and has been nourished by the water of Bashan Shu.
Li Shangyin first entered Sichuan in the second year of Da Zhong (848 AD), when he accompanied Zheng Ya to Guilin, Zheng Ya was demoted, and he passed through the Three Gorges on his way back north, from June to August. Only two months. Three years later, in the fifth year of Da Zhong (851 AD), Li Shangyin was hired by Liu Zhongyin to enter the curtain. This time it was he who really had close ties with Sichuan. Liu Zhongyin was the nephew of the great calligrapher Liu Gongquan, who had just been appointed as the envoy of Dongchuan Jiedushi, and the prefecture was ruled in Zi Prefecture (梓州, in modern Santai County, Mianyang, Sichuan). Liu Zhongyin went to Zizhou first, and he instructed Li Shangyin to rush to his post after settling down in the family affairs. Li Shangyin traveled west to Dasanguan, then down the Jialing River to Lizhou (present-day Guangyuan). Leaving Lizhou, Li Shangyin crossed the Sword Pavilion, then headed southwest, down the Fu River, and arrived at Zizhou, the seat of the Dongchuan Jiedu envoy. At that time, Dongchuan Jiedu had jurisdiction over the prefectures of Zi, Mian, Jian, Pu, Rong, Sui, He, Yu, and Lu. According to Wang Jun's research, "Liu Zhongyin treated Li Shangyin very well. At that time, the annual salary of the jiedushi was 300,000 yuan, while Liu Zhongyin's salary to Li Shangyin was 350,000 yuan. Liu Zhongyin originally arranged for Li Shangyin to serve as the shogunate secretary, but due to Li's late arrival, he was sentenced to shangjun. The following year, Li Shangyin also served as a representative office. Later, Liu Zhongyin also asked Li Shangyin for the title of Inspector General Langzhong, which was from the rank of Wupin, although it was an honorary title, it was also the highest position in Li Shangyin's life. ”
In Zizhou, Li Shangyin also wrote many poems. Among them, "Xin Wei Qixi", "Nongshen Qixi", "Nongshen Leap Autumn Title Gift to Black Magpie", "Galaxy Blowing Sheng", "Tanabata", "Xixi", "Night Drink", "Freehand", many of which are missing their dead wives and hometowns. Li Shangyin went to Dongchuan for about a month, and went to Xichuan Jiedu to make a business trip to Yizhou (present-day Chengdu). During his stay in Chengdu, Li Shangyin visited the Wuhou Ancestral Hall and wrote the "Ancient Cypress of the Wuhou Temple". Wang Jun found that when Li Shangyin was in Sichuan, he used the word "send" a lot. For example, "Can you send it to the bottom of the affection?" ("Send Pei Heng"), such as "Southwest Line Sender", "Zizhou Strike Yin Send Tongshe", "Line to the Golden Bull Station To Send Xingyuan Bohai Shangshu" and so on.
During his time in Sichuan, Li Shangyin missed his children and took a leave of absence to return to Chang'an. On the way back to Beijing, I couldn't sleep all night, and when the sky was about to dawn, I made "Chang'e": "The mica screen candle shadow is deep, and the long river is gradually falling and the stars are sinking." Chang'e should repent of stealing the elixir, the blue sea and the blue sky and night heart. ”
In the ninth year of da zhong (855 AD), Li Shangyin was 44 years old. In November, Liu Zhongyin was transferred to the position of official waiter. Li Shangyin also ended his 5-year career as a shogunate envoy to Dongchuan and returned to Beijing with Liu Zhongyin.
Li Shangyin left nearly a hundred poems in Sichuan. In Wang Jun's view, these poems have reached the level of pure fire in their creative skills, and many poems have been created that have reached the highest level of art, "which also allows him to gain temporary spiritual peace, liberation and freedom." With the help of The Mountains and ShuShui, Li Shangyin, with the help of his own strength, finally led and achieved another peak in the history of Chinese poetry. ”
The flashback technique of "Night Rain Sends North"
More than a thousand years before Márquez's One Hundred Years of Solitude
Although Li Shangyin lived in the Tang Dynasty, his artistic techniques were extremely "modern". "Junwen returned to the autumn pond at night. He Dang cut the candle in the west window together, but when it rained at night. In the poem "Night Rain Sends North," Li Shangyin uses flashbacks from a futuristic perspective, reminiscent of "Many years later, in the face of the firing squad, Colonel Aureliano Buendia will recall the distant afternoon when his father took him to see the ice," and more than a thousand years before "One Hundred Years of Solitude."
This modernity is also reflected in Li Shangyin's other poem "Tianya". "Spring is at the end of the world, and the day at the end of the world is oblique." The warbler cries like tears, for the wet highest flowers". Wang Jun believes that this is similar to the work of Wilde, the representative figure of Western aestheticism. Li Shangyin's modern approach has reached the realm that the Symbolist poetic school aspires to. The obsessive boy in "The Nightingale and the Rose" was lost because there was no rose to confess to the beloved girl, and the nightingale in the garden heard his heart and dyed a most bright red rose with his own blood, helping the boy win love. This is similar to Li Shangyin's infusion of the spirit of life into the poetry of The Poetry, in which they all have their own lives and shadows, and all have their own spirits and lives. ”
Li Shangyin has many fans and many biographies about him. Wang Jun's "Li Shangyin" also has its own characteristics. For example, in terms of structure, the whole book is divided into seven chapters and 47 sections, and Li Shangyin lived for 47 years, taking the meaning of one string and one pillar Sihua Nian. Modern vernacular translations of the key poems are attached, and this neat, rhyming style of language is unique in the biography of Li Shangyin, which has been published. The book also uses prose, poetry, novels and other genres of writing techniques, which is very readable. For example, the book writes that Li Shangyin was on the road, "The official ship gradually drifted away, the sheng song was not heard, and the lights of Yangzhou escaped from sight." Lights were hung on the bow of the ship, light was fluttering in the rain, and spring water was lapping at the shore. The messenger came to the bow of the ship and shouted for Li Shangyin to go in to avoid the rain, and Li Shangyin did not seem to hear. The sound of this rain is like the night rain of Bashan. That was when he was in the Shogunate of The Higashikawa Festival, and he often listened to the rain at night. The land of Prachuap Khiri Khan is rainy in autumn, long and lingering. In some areas, it even rains two-thirds of the time of the year, and seventy percent of the rain falls at night. ”
Wang Jun has an in-depth study of the Dream of the Red Chamber. In "Li Shangyin", it can also be seen that he integrated his own view of red science into his understanding of Li Shangyin. In "Dream of the Red Chamber", when she heard that the residual lotus in the Daguanyuan Lake should be removed, Dai Yu said: "I dislike Li Shangyin's poem the most, only like his sentence, 'Leave the dry lotus to listen to the sound of rain'". Wang Jun believes that "Daiyu's mind is intrinsically connected with Li Shangyin, and she refuses to reveal her secret state of mind." The lotus has dried up, and it has been hit by rain, which is easy to cause sadness. Dai Yu sent people to the fence, and Li Shangyin served as an aide for twenty years. They never violate their principles, and they are dependent on others, and this "truth" is the same. ”
"Poetry has become the salvation of Li Shangyin's life, and poetry has become his way of life"
The purity and unworldliness of Li Shangyin's poetry also carries Li Shangyin, who is in the cracks of a certain historical era, leaping over the time and space limit. It can be said that Li Shangyin's works can be called the real pure literature of ancient society. But this does not mean that Li Shangyin's poetry does not reflect the shadow of his time.
Li Shangyin lived in the late Tang Dynasty, in the era of eunuchs usurping power. But he lashed out at the eunuchs, and even directly satirized the emperor, without any scruples. In the era of the division of the domain at that time, in the 20 years of shogunate, Li Shangyin always faced the wrong path of loyalty and betrayal. Wang Jun said, "Li Shangyin's whole life coincided with the Niu-Li party struggle, but because he was impartial, he was misunderstood twice. His era shrouded the cattle and Lee party struggles of the late Tang Dynasty for forty years. This point is very similar to Su Shi, whether it is Wang Anshi's new party or Sima Guang's old party, Su Dongpo does not agree, does not side with any party, and only bases itself on merits. ”
Li Shangyin's father named him "Shangyin" in the hope that he would become a monk like Shangshan Sihao, but Li Shangyin repeatedly regarded himself as a Tang Dynasty patriarch, eager to enter the center of the imperial court, hoping to reverse Qiankun and then return to The Hidden Boat. He was a young man with a talented name, young and vigorous, Geng Jieqing was high, and he did not take the entrance examination on time and asked for support, and he took the exam for ten years.
Poetry is a reflection of the world. In Li Shangyin's body, there is a whole era of rain, snow, wind and frost. It cannot be unrelated to the verses I write. After carefully analyzing Li Shangyin's surrounding world, Wang Jun also realized, "Li Shangyin injected the spirit of life into the poetry of The Poetry, in which they all have their own lives and shadows, and all have their own spirit and life. Each of Li Shangyin's poems has its own shadow. "Chang'e should repent of stealing the elixir, the blue sea, the blue sky, the night heart" "Five more neglectful, a tree is merciless". Chang'e is him, and cicadas are still him. The labyrinth of poets is inseparable from his time, Li Shangyin's poems are affectionate and untitled, with advanced modernity and symbolic techniques, but in the most appropriate literary art form, they reflect the spirit of the times in the late Tang Dynasty. ”
Despite the twists and turns of the world, poetry has become the salvation of Li Shangyin's life, and poetry has become his way of survival. His poetry expresses a kind of loss, but it can never be pursued. His pure poetry gave him temporary spiritual peace, liberation and freedom. Poetry cannot satisfy man's appetites, but it can provide peace of mind for individual people and for humanity as a whole. What his time did not give him, he got in poetry and is still alive today. Wang Jun said.
Dialogue with Wang Jun:
Take inspiration from Li Shangyin
Poetry can be the self-salvation of life, finding the foundation of life and the power of wisdom
(Wang Jun, male, Han ethnicity, native of Junan, Shandong, is currently the deputy director of the General Office of the China Writers Association, and a member of the Standing Committee and vice mayor of Ya'an Municipal Party Committee.) He is a member of the Chinese Writers Association. He is the author of "Poetic Heart: From to", "Notes on the Life of Nine Deaths", "Biography of Gao Yuhan", "Gao Yu Han Chronology" and so on. )
Cover News: In recent years, there have been many excellent works by writers interpreting traditional cultural figures. For example, Ha Jin's "Biography of Li Bai", Zhang Wei's "BanHuanzhi" written by Su Dongpo, Li Yibing's "New Biography of Su Dongpo" and so on. What do you think of this phenomenon?
Wang Jun: I noticed that you mentioned the phenomenon of writers interpreting the excellent works of traditional cultural figures. The continuation of culture is like the transmission of signals, receiving the signal and then amplifying it, and correcting the distortion part, and then passing it on one stop at a time. This is the so-called afterword. Cultural self-confidence is the most moving spiritual background of a nation, a more basic, deeper and more lasting force. Once a good work of traditional cultural figures is born, it is the day of its end – I mean the end in the sense of "completion". There are always people who will read, recall, and awaken, including writers. The interpretation of excellent works is, in the final analysis, just a "knowing heart". In this sense, excellent works are not completed by traditional cultural figures, but by the participation of readers and the construction of the meaning of writers' interpretation of excellent works.
Cover News: You should have a soft spot for the character of Li Shangyin. When was the first time you read Li Shangyin's poem? What was it like at the time? Reading Li Shangyin, what attracted you the most?
Wang Jun: The ancients said that teenagers read books like peeking at the moon in a gap. The first time I read Li Shangyin's poems, including those of other ancient poets, was in middle school. The power of the ancient poems that moved me made me indulge in low wandering from the bottom of my heart, and I also tried to write old style poems myself. The poets I liked in my youth were Li Bai, Du Fu, Li Yu, Su Shi, Li Shangyin, Naran Zhide, and so on. When he is a little older, he prefers poems from the source of China's excellent traditional culture, such as the Book of Poetry. I once wrote a book called "Poetic Heart: From the Book of Poetry to the Dream of the Red Chamber", which included Li Shangyin's "Spring Rain", and of course, many poems by other poets such as Qu Yuan and Tao Qian. Middle-aged reading, such as looking at the moon in the court. As the experience increases, the reading of the world deepens, and constantly integrates into the taste of life, and then experiences, and then regurgitates, it will add an understanding and sympathy to the ancients.
Cover News: Li Er said that Li Shangyin's road is the dangerous road of Chinese literati, and Li Shangyin's fate is the hidden fate of Chinese literati. Do you agree with him? How do you understand his point of view?
Wang Jun: I agree with Li Er's statement. Every true Chinese literati can be said to have this characteristic, and Li Shangyin is more typical and more concentrated. In fact, Li Shangyin has been wandering all his life in "forever remembering the rivers and lakes and returning to white hair, wanting to return to heaven and earth and enter the flat boat". There is gravitational force in the universe, and the earth also has centrifugal and centripetal forces. "Forever remembering the rivers and lakes and returning to the white hair, wanting to return to heaven and earth into the flat boat", reflecting the tension between the poet's inner morality and emotions. Traditional Chinese culture, just as the poems call "happy but not obscene, mournful but not hurtful", "passionate, stop at etiquette", best reflect such a tension. Beginning with the Book of Poetry, the tradition of the Chinese literati is a moderate culture that embodies this tension structure: the da is both good for the world, the poor are good for themselves; they can do what they use, and they can hide what they give up. "From Confucius, Mencius, Sima Qian to Li Shangyin, Wang Anshi, etc., with the same ideals and ambitions, similar encounters, they are spiritual confidants. His character, virtue and integrity have formed a historical tradition and left a kind of illumination for future generations.
Cover News: Why do you think Li Shangyin's art can have characteristics that transcend his own era? Is this related to his talent or unique personality?
Wang Jun: All epoch-making people have a common destiny, which is the understanding of being late. Because of the forerunner of insight and revelation of human beings and their destinies, it is difficult to be understood and recognized by the public, and it is inevitable to face the situation of loneliness and loneliness. Li Shangyin perceived with the sensitivity of a poet that the spring of the Tang Dynasty was gone and that ZTE was hopeless, and his poems reflected a spirit of the times in which the rivers were falling and dusk was approaching. He soberly saw that under the rule of Xuanzong, who was known as "Little Taizong", the Tang Dynasty was only the afterglow of the sunset, and sooner or later it would disappear into the trend of history: "The sunset is infinitely good, but it is only near dusk." His poems give the spirit of the late Tang Dynasty the most appropriate stylistic expression. In Li Shangyin's body, there is a whole era of rain, snow, wind and frost.
Cover News: In "Li Shangyin", you can see that you have made a comprehensive introduction and interpretation of his love, friendship, family affection, career, and spiritual world, which is of great help for readers to further understand this riddle-like character. After so much effort and writing so many appreciative texts, how rich and improved do you think your understanding of Li Shangyin has been?
Wang Jun: Reading Li Shangyin's poems is like peeling an onion, peeling the onion layer by layer, and still not seeing the onion heart. But Li Shang's hidden poems themselves have a source of living water. This is the Book of Verses. The Book of Poetry, known in ancient times as "Poetry" or "Three Hundred Poems", is a hundred grasses and flowers in the rural fields where the ancestors lived, with sounds, colors, lives, feelings, thoughts, spirits, and real lives. Reading Li Shangyin's poems, we can also get such inspiration: poetry is the self-salvation of life, a way of survival, from which to find the foundation of life and spiritual conversion, from the tradition to find the strength and wisdom to cope. This writing has such a harvest: Li Shangyin's indiscriminate love is the biggest misunderstanding, and his loyalty to love is almost incomparable to his contemporaries. Dongchuan Jiedu made Liu Zhongyin see Li Shangyin lose his wife in middle age and was very sympathetic. At that time, there was a beautiful and skilled kabuki in the shogunate, Zhang Yixian, and Liu Zhongyin intended to match up and prepare to give Li Shangyin to help cook and live. However, Li Shangyin missed his deceased wife and politely refused Liu Zhongying's kindness. At that time, there were generally camp prostitutes in the shogunate. The scribes such as Wen Tingjun, Duan Chengshi, Du Mu, Zhao Gao and others had frequent contact with prostitutes, and there are many records in the notes of the Tang and Song dynasties about their close interaction with prostitutes. However, Li Shangyin could not find Li Shangyin's interaction with prostitutes. Li Shangyin said that he had some descriptions of beautiful women in the article, but in real life, he was not a casual person: "As for the southern demon Ji, Cong Tai Miao, although it is involved in the article, it is really not connected to the wind. This is also the best footnote to all of Li Shangyin's love poems. Li Shangyin's single-minded attitude towards love is not in the amount but only in the presence or absence, as long as one person does it is enough, because it proves this possibility. Only people face the duality of whether to escape in a lifetime whether to save or sink. This is a situation peculiar to man. In this regard, Li Shangyin portrayed a real capital "person" for us!
Cover News: In "Li Shangyin", there are many scene details, historical customs, and social customs depicted. The source of this detail certainly requires reading a lot of relevant historical information. In addition to your usual accumulation, what other related reading preparations have you made?
Wang Jun: Writing this book is a comprehensive study and tribute to China's excellent traditional culture. At present, Li Shangyin's research materials are very rich and well obtained. I also consulted a large number of relevant historical materials. For example, the spread of printing and the development of papermaking can help understand the background of Li Shangyin's young copying books to support his family. Understanding the salary system at that time can help us understand why Li Shangyin repeatedly moved. In order to better understand Li Shang's hidden entry into Shu, he went to read the "Huayang Guozhi", "Old Book of Tang Geography", "Yuanhe County Map" and so on.
Cover News: Will some details in "Li Shangyin" also have reasonable artistic fiction?
Wang Jun: This book is basically non-fiction, and it is also in line with its positioning as "cultural prose". Except for the opening and closing, the very small parts are reasonable fictions, and the others are well founded. The attitude of this book is no different from that of my creation of "The Tale of High Language". Du Fu said: "The beauty is carefully ironed and flat, and the tailor destroys the needle and thread." "This book can be said to be a hundred clothes, and most of the needle and thread materials are picked up from Li Shangyin's old writings, and he never dares to wear a chiseled attachment to reverse his authenticity." Among them, needle leads, roads and bridges, occasionally can not be connected to the mortise, the party with the help of other historical materials, as for the craftsmanship is clumsy, in the calculation.
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