<h1 class="pgc-h-arrow-right" data-track="1" > preface</h1>
Today is still studying Mr. Zhou Zhenfu's "Poetry Examples", turning to where to see where, today is the "Discussion in Poetry" in the writing chapter.
Among them, about whether to talk about whether it is colored, talk about your feelings. It may not be accurate, and poets are welcome to correct it.
<h1 class="pgc-h-arrow-right" data-track="4" > first, Wang Anshi caused controversy</h1>
Mr. Zhou Zhenfu quoted a passage from Fang Hui's Yingkui Law:
Wang Anshi", "Climbing the Top of Da Mao Mountain":
A peak is high above the mountain, and there are thousands of suspected dust and sand roads. Looking down at the clouds and smoke, looking up at the rosewood and going forward.
The human world has changed the Jiaping Emperor, and who underground has hooked up with the heavens. Chen Ji is not a modern grass mang, and they have been popular with Shang Shi Immortals.
Ji Yun commented: "Erfeng called this poem Shi Jie, Tai Ke. There will be no discussion, and the Tang people will do too much to do with it. The Song people used discussion as poetry, and gradually flowed roughly, so Feng Shi had a historical ridicule. However, the ancients did not waste discussion, but did not color the ears. This poem is purely pointed out, not yet historical. (Fang Hui's Yingkui Law Essence, Vol. 1)
The first four verses of the poem are written in the scene. The last four sentences are argumentative.
The human world has changed the Jiaping Emperor, and who underground has hooked up with the heavens. Qin Shi Huang (Jiaping Emperor) superstitiously believed in gods and immortals, and in the end he did not die? Who has found the heavenly cave house in The Great Mao Mountain (Mao Shan's real name is Goku Qu Mountain)?
Chen Ji is not a modern grass mang, and they have been popular with Shang Shi Immortals. The legends of the ancients are all extinct, but now there are still people who believe in learning the Tao and seeking immortality.
Mr. Zhou Zhenfu agrees with Ji Xiaolan's statement:
In the poem, Feng Ban called it historical theory, thinking that it was not poetry, Ji Yun thought it was still poetry, because it "did not have a hue", did not say the meaning, in fact, it was to say the meaning, and it was different from historical theory, like the example given above, it was still poetry, not historical theory.
Feng Ban, the author of "Dull ChantIng Miscellaneous", criticized Wang Anshi's poem for talking too much. Ji Yun (Ji Xiaolan) did not think so, thinking that Wang Anshi's poem did not make hue, but was still a poem.
However, Lao Jie himself felt that "The traces of the old are not reckless, and they are popular with shangshi immortals" is an obvious irony, and it cannot be said that it is not visible.
<h1 class="pgc-h-arrow-right" data-track="33" > discussion of non-hue</h1>
Mr. Chou quotes a passage from Nguyen's Poetry Total Turtle Volume XV:
Although there are many poems in Lintong's "Chaoyuan Pavilion", only Chen Wensi's second rhyme is first published, saying: "Chaoyuan Gaoge is different, and Autumn has no hidden feelings." The floating clouds suddenly obscured, and Yuyang City was not seen. ”
If the poem does not understand the background, it is completely a scene. In fact, there is still discussion behind it. The last two sentences can be compared with Li Bai's "Dengjinling Phoenix Platform":
Phoenix on the phoenix stage phoenix tour, phoenix to the Taikong River self-flow.
WuGong flowers and grass buried in the path, the Jin Dynasty crown into an ancient hill.
Three mountains and half of the blue sky, two waters divided into egret islands.
There are always floating clouds that can cover the sun, and Chang'an is not seen to make people sad.
The Song Dynasty poet Chen Yaozuo's "Chaoyuan Pavilion" satirizes that when Emperor Tang Ming was trying to rule with great efforts, he was aware of the situation, and the courtiers could not deceive him. However, in his later years, he pursued pleasure and fainted and decayed, so he was deceived and caused the Anshi Rebellion.
This poem I feel is really "not in color".
As for Li Bai's poem, reading to the last sentence: Chang'an is not seen and makes people sad. Then "shading". Looking back at Wang Anshi's "Climbing the Top of Da Mao Mountain", the last four sentences are of course "colored".
Therefore, for the time being, I do not agree with Mr. Zhou Zhenfu's judgment on whether it is "colored".
Poetry often says Bixing, the words pay attention to sustenance, "Chaoyuan Ge" This poem is Bixing and sustenance, which can be called "no color".
<h1 class="pgc-h-arrow-right" data-track="62" > Third, Du Fu's discussion</h1>
If you pay a little attention, you will find that Wang Anshi's "Climbing the Peak of Da Mao", the layout of the chapter is very similar to Du Fu's "Shu Xiang":
"Where to find the ancestral hall of the Prime Minister, Outside Jinguan City, Persensen." The green grass of the ying order is self-colored, and the yellow orioles in the next leaf are empty and good.
The three Gu frequently annoyed the world's plans, and the two dynasties opened the hearts of the old ministers. He died before he could get out of the division, and the hero was in tears.
The first four sentences are written scenes, and the last four sentences are discussed.
The last four sentences of Wang Anshi's "Climbing the Peak of Da Mao" are ironic, and the last four sentences of Du Fu are positive statements. The meaning is very revealing, so I think it is all "colored".
Mr. Zhou Zhenfu, quoting Shen Deqian's "Speaking Poetry and Sayings", listed many famous works of Du Fu that contain arguments:
Man says that the poet is the main disposition, not the main discussion, and it seems that it is not the same. Try to think about where there is no discussion in the second ya. In Du Lao's ancient poems, the works of "Fengxian Yonghuai", "Northern Expedition", and "Eight Sorrows", and the works of "Shu Xiang", "Yonghuai" and "Zhuge In the near body" are purely discussed. But the discussion must be carried out with affection, and do not go near the face of the father. Rong Yu "Hefan" Yun: "Sheji yiming lord, safe and secure woman." "Also the best talker. (Shen Deqian's "Speaking Poetry and Sayings" volume below)
The discussion in the poem should "rhyme with emotion", so that it can be poetic. This mood, and whether it is colored or not, is a different angle. Another example is the poem written by Zhuge Liang in the "Five Songs of Yonghuai Ancient Monuments":
Zhuge Daiming descended into the universe, and the relics of the emperor were purged high.
Three divisions according to the planning of the plan, the ancient clouds of a feather.
Bo Zhong met with Iro and commanded Ruo Ding to lose Xiao Cao.
The transport of Han Zuo will eventually be difficult to recover, and he will be determined to strengthen his military service.
Except for the second sentence, the poem is all about arguments. Like "Shu Xiang", it is obviously a work of "walking with emotion".
<h1 class="pgc-h-arrow-right" data-track="92" > concluding remarks</h1>
I thought that the discussion in the poem was actually part of the love language. Unique arguments are the true disposition reactions of the poet.
As for whether it is colored, it depends on the expression.
However, excellent poetry, too much discussion is very difficult to grasp. Too much, or obvious discussion, often destroys the rhyme of the whole poem. Expressing it more gently with images will be more poetic.
But the irony is too obscure, and the reader often can't understand it. This degree is very useful for poets.
@Old Street Taste
Interpreting Li Shangyin's "Jinse" from Qian Zhongshu The secret of Tang Dynasty poetry