On the Poetics Gate
Zhu Ziqing
The so-called poetry in this article refers specifically to the old Chinese poetry; the so-called poetics refers specifically to the understanding and appreciation of the old poetry.
Memorization is only the first step in poetics. In the end, it is not enough to memorize the poem; it is necessary to understand the way the poem is expressed, and the effect of the recitation is easy to see. Poetry is a special language, which has a special expression due to the limitation of the number of sounds (four, five, and seven words are the basic number). It must express a meaning or a layer of meaning or layers of meaning in a certain number of words; it is sometimes close to and sometimes far away from the language of nature, prose, but by no means identical. It takes artistic effort. In addition to the long law, the number of sentences in the near-body poem is fixed, the length is shorter, and sometimes it is dual, so this is even more so. Of course, this method of expression, the recitation of more poems, can also be compared with the same, gradually realized; but it is long, and may not be able to whip into it. Hence the need for a poet. There are three types of poetry: indicating the canon, stating the meaning of the text, and commenting on the practice. These three pieces are said to be what materials to use, what the table means, and what techniques to make. The above two pieces seem to have nothing to do with the way of expression; but without knowing these, how can we see the way of expression? There are also some poems that are not canonical, but the meaning and technique always need to be explained; beginners cannot figure it out on their own. I often think that it is better to have a book of "poetry examples", which slightly imitate the genre of Yu Quyuan's "Examples of Doubtful Meanings in Ancient Books", and explain the various syntaxes or lexicologies in the poems one by one. Books such as introductory poetics also happened to notice this, but they were too sketchy and ugly to be of little use. The only ones that are more readable and easy to obtain are Li Wei's "Brief Records of Poetry and Ease" (with lead prints) and Zhu Baoying's "Poetry Style" (lead printed by zhonghua bookstore). The "Poetic Yi Jianlu" is an ancient style poem, applying the sayings of Wang Shizhen and Zhao Zhixin, focusing on the tone side, and the discussion is quite exquisite. Yu's poems are concise and easy to understand, and they do not make confusing and confusing remarks, nor do they make far-fetched appendages. The "Poetic Style" is dedicated to five or seven words, all of which are fresh and simple works of the Tang Dynasty, and are commented on one by one. The commentary is too rudimentary and error-prone; the commentary discusses syntax and chapters in detail, which is very clear and cut, which is convenient for beginners. There is a paragraph in front of each body in the book (referring to the absolute sentence and the law sentence), and the tone of the near body should be avoided, and the essentials can be obtained. Beginners reading this book and the second half of the first book can enhance their understanding and appreciation of near-body poetry. As for the ancient part of the former book, it is advisable to read it after understanding the four sounds; it must be unclear if it is read early.
In addition, it is advisable to read more annotated and commentaries. The note book is easy to mix, the commentary is easy to be general, and it is very difficult to choose. I am advocating that we should read more anthologies, so I will talk about the selections. The five-character poems and lefu before the Tang Dynasty were naturally used in the Anthology of Literature li shanzhu (imitation of the Song Hu carved "Anthology of Literature" has a photocopy), Liu Lu's "Supplementary Notes on Selected Poems" (with a lithographic version), and Yu Guanghua's "Commentary on selected poems" (lithographed original title "Commentary on The Selected Works of Zhaoming"), which can also be seen. The Yutai Xin Yong (Wu Zhaoyi Notes, with a lithographic copy) is second only to the "Anthology of Literature", some famous Lefu only see this book, and the editor Xu Ling is after Prince Zhaoming, so there are more writers. Shen Deqian's "Ancient Poetry Source" can also be used, and there is a note of Wang Shu's father (the lead seal of the Chonggu Book Society), but the note is quite wrong. Tang poems can be used in Shen's "Tang Poems Collection" (with a lithographic version), which has Yu Ruchang's cited notes (engravings), which is an orthodox anthology. There are also five generations of Wei Yun's "Cai Tuning", with the late Tang Dynasty as the sect, with Feng Shu and Feng Ban comments, and Jian Dang can be read (there are lithographic copies); Yin Yuanxun and Song Bangsui made notes, and the lithographed version was not. The above two books are also available to the masses. Yuan Haoqing's "Tang Poetry Advocacy" specifically selects the late Tang Seven Laws, Yuan is a golden person, of course, under the influence of Song poetry, he did not take it with his hands. This book has Hao Tianting's notes, Liao Wenbing's interpretation, Qian Qianyi, and He Zhuo's commentary (the lithography of the Civilization Bookstore). Some people say that this is a forgery book, Qian Qianyi once made a preface to it, I have to see the preface of Mr. Yao Hua's collection of yuan periodicals, and I think what Qian said is correct. In addition, Xu Zeng's "Tang Poems of the AnnUn" (inscribed version), which is quite able to chew on words and enlighten people's minds, is also available in all bodies. There seem to be very few annotated poems in the Song poems. The Seven Ancients can be seen in Ren's "Notes on Ancient Poems" (originally selected by Wang Shizhen); the Seven Laws can be seen in Zhao Yanbo's "Notes on The Poetry of the Song Dynasty" (Yao Nai has the "Notes on the Poetry of the Present Body", and this book only notes the works of the Song Dynasty). But the first book is more expensive, and the back book is rare. Zhang Jingxing's "One Hundred and One Selected Poems of the Song Dynasty" (lithographed version, in the "Five Dynasties Poetry Collection") is prepared in various forms, but unfortunately there is no annotation. The commentaries on the anthology, in addition to those already mentioned earlier, are most written by Ji Yun's Yingkui Law. Although Ji's poems are inevitably too harsh, they are analyzed in detail and intriguing, and it is worth a closer look. The Civilization Bookstore has the "Commentary on the Poetry of Past Dynasties" (divided into ancient poems, Tang poems, Song Yuanming poems, and Qing poems), which are also concise and can be read. As for the poems before the Han Dynasty, it is natural to read the Book of Poetry and the Chu Ci. The Book of Poetry can be read in its entirety, using Zhu Xi's "Collected Biography"; the "Chu Ci" only needs to read Qu and Song, and zhu Xi's "Collected Notes" can also be used.
Poetry can be supplemented by annotated books and commentaries, and there are more fragments and fewer systems. Zhang Xuecheng divides poetry into two kinds: poetry and events and words, which are the most clear. The earliest poems in the book should be pushed Liang Zhongrong's "Poetry" (Xu Wenyu's "Interpretation of Poetry" is the best, sold by the Publishing Department of Peking University), which divides the authors of the five-word poems since the Han Dynasty into three products: upper, middle and lower, and the discussion is mainly based on words. In the Song Dynasty, there was the name of "poetry", and poetry was also flourished at this time. I only cite Wei Qingzhi's "Poet Jade Crumbs" and Yan Yu's "Canglang Poetry". The former collects the poems of the Southern Song Dynasty and is classified and compiled, which can be fascinating, and the latter created the saying that "poetry has different materials and fun", which has a great influence on future generations (all have lithographs, and the latter does not have notes). Yuan Ming's Poetry Series (with a stone print) is also similar to the Poet's Jade Crumbs, but the scope of the collection is as far as the Qing Dynasty. As for the monograph on poetry, there is Mr. Guo Shaoyu's "Poetry Series", which can be seen in the first, second and fourth numbers of the twenty volumes of the "Novel Monthly". In addition to poetry, if you are willing to know the history of some poems, I am willing to introduce Ye Xie's "Original Poems" (see "Qing Poetry", issued by civilization bookstore); "Original Poems" on poetics and the general trend of poetry in previous dynasties have special views. Mr. Huang Jie's "Poetics" is not boring, but it is out of print. Mr. Lu Kanru's "History of Chinese Poetry" I heard has been printed by Dajiang Bookstore, which will be a very good poetry history, and I have read some of it. In addition, each section of Shao Zuping's "General Theory of Tang Poetry" (Xueheng, No. 12) has new ideas; Xu Wenyu's "Synthesis of Tang Poetry" (sold by the Publishing Department of Peking University), although trivial and practical, can be used for reference. Song poetry has Zhuang Weixin's "Song Poetry Research" (Dadong Bookstore), which has few materials, but most of them are useful raw materials; it is better than Chen Yanjie's "Schools of Song Poetry" in "Novel Monthly: Chinese Literature Studies". Moreover, mr. Hu Shi's "History of Vernacular Literature" and "History of Chinese Literature" on poetry chapters, from the vernacular standpoint to talk about the trend of old poetry, is also worth reading.
This article is selected from
This book follows the flow of poetry and painting, collects the strengths of hundreds of families, compiles the creative lives of dozens of key poets, hundreds of classic poems, analyzes the key points and allusions of the poems, examines the words used in the poems, and integrates dozens of famous paintings of past dynasties with the scenes of Tang poetry, giving you unparalleled poetry and paintings on earth.
Chapters are trial read
Chang'an Guyi (excerpt)
Lu Zhaolin
Chang'an Avenue is even narrow and oblique, and the green cow and white horse seven-spice car.
The jade dragon crossed the main hall, and the golden whip rushed towards the Hou family.
The dragon treasure covers the morning sun, and the phoenix spits tassels with sunset.
A hundred feet of gossamer scrambled around the tree, and a flock of petite birds chirped together.
Bee play butterfly thousand door side, bi tree silver table ten thousand colors.
The double road crosses the window for a joint, and the double que lian yong hangs the phoenix wings.
The Liang family painting cabinet rises from the sky, and the golden stem of the Han Emperor is straight out of the clouds.
Don't know each other in front of the building, and don't know each other?
Borrowing the pipe to the purple smoke, once learned to dance for a long time.
He who has to die is willing to be a Mandarin duck and not envy the immortal.
The flounder duck is really enviable, and the double goes to the double to see?
Raw hate tent forehead embroidered lonely bird, so as to take the curtain paste double swallow.
Double swallows fly around the painting beams, and Luo Weicui is covered with tulips.
The flakes are clouded with cicada wings, and the slender first moon is yellow.
Out of the white car with yellow powder, it contains a delicate attitude.
The demon boy BMW iron even money, prostitute pan dragon gold bent knees.
Interpretation
Seven-spice car: A car made of a variety of fragrant wood. Liang JianwenDi's "Wuqi Qu" has: "Qingniu Dan Hub Seven Fragrant Car." ”
Yu Ren: The car in which the Son of Heaven rides. This refers to the car in which the nobleman rides.
Dragon's Lid: The pillars of the car cover are carved into the shape of a dragon, and the dragon's mouth seems to be attached to the car cover. It's a gorgeous car cover.
Phoenix spit tassels: The car cover is carved with a phoenix, and the phoenix has a tassel hanging from its mouth.
Compound road: Pavilion Road, which is a passage connecting high-rise pavilions in the air. Because there is more than one layer, it is called "compound path".
Double Que Lian Yong Hanging Phoenix Wings: "Que" is a watchtower in front of the palace gate, generally referring to the imperial residence. The "roof" is the roof ridge. "Hanging Phoenix Wings": Two watchtowers face each other, like the wings of a phoenix.
Liang Family Painting Pavilion: "Liang" refers to Liang Ji, a foreign relative and powerful minister of the Eastern Han Dynasty, and Fan Ye's Book of later Han records that he and his wife Sun Shou "built extreme civil engineering and competed with each other". Here the exquisite pavilions of the Liang family are borrowed to refer to the luxurious residences of the rich and noble families in Chang'an.
The Golden Stem of the Han Emperor: The "Records of History" records that in the second year of the Han Dynasty (115 BC), Emperor Yuanding of the Han Dynasty made a "copper pillar and a genus of cactus that revealed it" in the Jianzhang Palace. The Tang Dynasty Sima Zhen's "History of Suoyin" supplements the detailed structure and function of the copper pillar: "The Jianzhang Palace Chenglu Plate is thirty meters high, the large seven circumferences, and the copper is used. There are cactus on it, and jade crumbs to drink. "It is the copper immortal cast on the copper pillar, and the cactus holds a copper plate jade cup to undertake the nectar in the sky, and mixes the nectar with jade crumbs to drink, which was created by Emperor Wu of the Han Dynasty for the sake of seeking immortality." Lu Zhaolin borrowed this allusion here to describe the grandeur of Chang'an architecture.
Flounder: i.e. flounder. "Erya Shidi": "In the East, there is a flounder, not a flounder, and its name is flounder." "This fish has to swim in pairs, and this is a metaphor for an inseparable lover or friend.
Quilt: A quilt decorated with emerald bird feathers.
Tulip: Vanilla name. Tang HuiJiao, vol. 100 , Miscellaneous Records : Zhenguan Twenty-one Years (647), "The Kingdom of Gapi offers tulips, the leaves resemble mai mendong, the September flowers bloom, shaped like hibiscus, its color is purple and blue, and the incense smells dozens of steps." Flashy and unrealistic, want to plant its roots".
Cicada Wing: A hairstyle. It is to comb the hair of the two sideburns into the shape of a cicada wing.
Crow yellow: Women in the Six Dynasties and Tang Dynasties have yellow graffiti on their foreheads, thinking that they are beautiful. Crow yellow is tender yellow. The next sentence of crow yellow and pink white is borrowed from women's powder makeup to refer to women with exquisite makeup.
Demon child: refers to the song child or young male servant of the noble family, with a delicate appearance and gorgeous costumes, so it is called "demon child".
Iron Money: A blue horse with round money markings.
Prostitute: A kabuki dancer who accompanies a noble family.
Panlong Jin Bent Knee: Bent knee, also known as Qu Shu, is a kind of metal parts used for screens, doors and windows, which are hooked with dimetallic sheets and can be turned. Panlong Jin Bent Knee is the Golden Qu Shu with PanLong carving pattern.
Appreciation
Since the Six Dynasties of the Han and Wei Dynasties, there have been many works depicting the extravagant and luxurious life of the upper class with the famous capitals of Chang'an and Luoyang as the background. Lu Zhaolin borrowed traditional themes to write about the urban life of Chang'an at that time, relying on "ancient meaning" and lyrical "present feelings". The first sentence unfolds the floor plan of Chang'an with great momentum, the spacious avenue is in all directions, and the narrow alleys are dense as cobwebs; the second sentence describes the street scene, the fragrant car BMW, the endless stream, and even the natural scenery of the street, trees, flowers, birds, bees and butterflies, which is also a lively faction. The architecture of the noble family is exquisite and tall, comparable to the gardens of Liang Ji and the copper pillars of Emperor Wu of the Han Dynasty. The ladies on the gorgeous pavilion look at each other and do not know who the other party is, how will they know when they meet on the road? From here, the poem turns to the description of the life and feelings of the singers and dancers. They are young and young, playing and practicing dance, and now they only want to stay with their loved ones, "willing to be Mandarin ducks and not envious immortals", and both go and go. Looking at the lone bird embroidered on the tent, I couldn't help but feel disgusted in my heart, hating that I couldn't immediately put a double swallow on the curtain and pair up with my lover. Look at the exquisite painting beams in the nobleman's home, there are indeed double swallows flying around the beams, tulips are stained with curtains made of brocade and quilts decorated with emerald bird feathers. Outside the door, beautiful young men in gorgeous costumes lead the BMW "Iron Money", and the kabuki dancers open the gorgeous car doors, these ladies have fluffy wings, like flowing clouds, and their foreheads are painted with crescent-shaped crow yellow, and they all come out of the car, each with their own charm.
This poem (excerpt) is a famous passage describing the urban landscape of Chang'an in the early Tang Dynasty. Unfolding from the grand plan of the avenues and alleys of Chang'an City, the camera cuts into the street scene, depicting the bustling scene on the streets of Chang'an and the luxurious life inside the aristocratic gates with extremely gorgeous brush and ink. Obviously, it is to depict the life of the rich, but the poet does not positively describe the luxurious life of the nobility, but puts the perspective on the delicate feelings of the singers and dancers in the noble family, and writes out the famous love sentence of "willing to be a mandarin duck and not envious of the immortals". And these beautiful women are only the foil for the nobles to feast and enjoy, and the "willing to be a Mandarin Duck" is just a beautiful vision of the women, which shows the luxury of aristocratic life and the scene of the Song and Dance of the Chang'an Giants.
Edit: Manman
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