Zhang Jiliang's hometown - Jianningqu Village
Zhang Jiliang once lived in the Sui'an Guild Hall in Sanfang Seven Lanes
Zhang Jiliang (1799-1843), also known as Hengfu, was a native of Songshan and Huaxu, a native of Qucun Village, Beixiang, Jianning, Fujian. Kiyoshi Kōyō (1835) was raised. Zhang Jiliang spent most of his life in Fujian, Zhejiang, Wu, Anhui, Gansu and other places, witnessing the darkness of society, and his personality had a distinct imprint of Confucian thought on joining the world, and his poetry, especially the "epic" that recorded the Opium War, left a strong mark in the history of modern Chinese poetry.
Zhang Jiliang was a scribe and the head of Aofeng Academy, Chen Shouqi. Qing Jiaqing Pengyin (1818), Zhang Jiliang tried to be a first class in the old age, and entered the Aofeng Academy, with Liu Jiamou, Xu Genghao and others. He visited Aofeng Academy three times and was deeply appreciated by Chen Shouqi. Chen Shouqi spoke highly of Zhang Jiliang's poetry, believing that "the grandeur of Wu Min's recent works is not as great as Shao Wu's Zhu Meiya's writings and Zhang Hengfu's poems, all of which are enough to look at Hai Nei."
Zhang Jiliang has not been a career in his life, but he has traveled widely, and making friends is one of Zhang Jiliang's life interests. In his heart, "victorious friends are like autumn cool, and they cherish the evening Yin" and "the deceased is like the moon in the clouds, like a thousand times without getting tired of watching.". Zhang Jiliang cherished friendship and established a deep friendship with Lin Zexu, Yao Ying, Gao Shuran, etc., and he and Lin Zexu exchanged many poems, such as "Sending Shao Mu Zhongcheng in the Boat", "Sending Shao Mu Zhongcheng", "Shanglin Shaomu Zhongcheng Book" and so on. Lin Zexu has "Reply to Zhang Hengfu Filial Piety (Ji Liang) See Sending That Is Dimensional Rhyme" and "Title Hengfu "Kuang Lu Youcao"" and so on. The sincere friendship between Zhang Jiliang and Yao Ying can be described as the friendship between Guan Bao, and Xu Ke's "Qing Barnyard Bills", "Zhang Hengfu Urgent Yao Shifu Difficulty", "Sanming Historical Literati", and Luan Chuanda's "Chinese Traditional Virtue Story Library (Modern Volume)" all praise the friendship between the two. Zhong Lin's "Forge Ahead" translates the friendship between the two into a novel "Backbone".
Zhang Jiliang is sparse and simple, saying to himself that "sex is both sparse and simple, and the repetition is urgent and still angry". His enlightenment teacher He Fengqi thought that Zhang Jiliang was "crazy and wise", and Chen Shouqi believed that "the giant Que Hao Cao, Tai Gang is folded; the thorns are hanging, in the mud", advising him to "be uneven and not to be quiet" and "be careful where he is". Zhang Jiliang's unsophisticated and gentle personality is particularly prominent in two things, one is to blame Zeng Yi for being mad, and the other is to resign from the "Fujian Tongzhi" to divide the compilation.
Daoguang Yiyou (1825), Zhang Jiliang went to Beijing to take the imperial examination. Shi Yanyun sent Zeng Yan in Beijing and invited Zhang Jiliang. At the banquet, Zeng Yi presented himself as a famous person, and the people in the same seat were greeted by Song Yi. Because someone removed the melon seed shell from his beard for Zeng Yi, Zhang Jiliang laughed, causing the scene to be very embarrassing, and the feast was not happy. The next day, Zhang Jiliang wrote a letter to Zeng Yi, accusing him of not being able to teach backwards and being humiliated, thus angering Zeng Yi. It is precisely because of this bookish rebuke that Zhang Jiliang has become famous. This matter had a great impact on Zhang Jiliang, and after that, Zhang Jiliang failed every attempt, and later changed his name to HengFucai Chinese style in Daoguang Yiwei (1835). Regarding this matter, there are records in the "Biography of the Qing Dynasty" and Yao Ying's "Biography of Zhang Hengfu".
Daoguang Ji ugly (1829) re-revised the "Fujian Tongzhi", Chen Shouqi was appointed as the general editor, and Gao Shuran, Zhang Jiliang and other eighteen people were divided. The manuscript of Daoguang Jiawu (1834) was completed and was waiting to be published, and the giant gentleman liang Zhangju and others asked to re-examine it on the grounds of poor style, so that the manuscript could not be printed. Gao Shuran left his post in anger, Zhang Jiliang and others also resigned in anger, the Zhi Bureau disintegrated, and the Zhi manuscript was lost. After that, Chen Shouqi's son Chen Qiaofeng wrote an appendix to the "Aofeng Zai Pen Map" with the theme of Xiu zhi's deeds to describe the beginning and end of Xiu Zhi, and complained about his father's grievances. Lin Zexu, Zhang Jiliang, and eighteen others praised Chen Shouqi's morality, articles, and diligence in cultivating his deeds, such as Lin Zexu's "Chen Puyuan Daling (Qiao Feng) Belongs to the Title of His Honorable Ancestor Gongfu Predecessor 'AoFeng ZaiBi Tu]", which deeply admired Chen Shouqi's scholarship, deplored his death, and concealed the matter of the dispute over Xiu Zhi.
Among these inscriptions, Zhang Jiliang's wording is the most intense: "Poor recommender is originally trivial, is it still the case?" Painstakingly searching for literature turned into an attack on the article. The rich and noble people of Uhukai Province are also the guests of the court when they are young. There is not a word in life that can be said, and there are a thousand words of resentment in death. Qiang will delete the manuscript, and Cangjie will cry at night who can listen. These fierce words reflect Zhang Jiliang's hurried and elegant character.
The above events highlight Zhang Jiliang's morality, integrity, and straightforward and virtuous personality charm. "Generosity is brighter than Yu Liang" and "I am more than Anshi" are Zhang Jiliang's ideal pursuits. Due to various realities, Zhang Jiliang failed to toad the palace. However, Zhang Jiliang wrote about the changes in Qiankun through words, depicted the people's livelihood and social changes during the Jiadao years, and also recorded his own life experience through poetry, reflecting the life situation of an ordinary reader at the time of Jiadao, closely linking personal fate with history, making the individual a microcosm of society. In recent years, Mr. Wang Biao's "Si Bo Zi Tang Poetry Collection" has included more than 3,000 poems by Zhang Jiliang. The content of Zhang Jiliang's poems corresponds to his life, and can be divided into social documentary poems, Yongshi Yonghuai poems, and inscription poems. For example, the third-generation emperor Qi Liaozao believed that Zhang Jiliang was "Zhang Heng of the Eight Mins", Lin Changyi praised Zhang Jiliang as "poetic talent and handsome, and looked at a generation of heroes", and Zhang Jingqi said that he was "or surprised to think that it was too white, and Shaoling made a comeback".
Zhang Jiliang 's poems, geniuses, memories of the times, and depression and depression" (Biography of the Qing Dynasty). Shen Yu Xiong Tang is the main artistic style of Zhang Jiliang's poetry. The formation of this style is closely related to the background of the times, personal experiences, and poetic paths. Zhang Jiliang had the ambition to serve the country but did not have the door to serve the country, and all his life he wandered in a difficult way, heard and witnessed the people's suffering, especially the Opium War, which brought unprecedented disasters to the people, coupled with the influence of Du Fu's depressed and frustrated poetic style, reflected in the poetry there was a deep and majestic atmosphere.
"The Autumn Sense of the Guest House" has a saying: the eyes are broken and the mountain is feeling autumn, and the west wind is still shining and turning back. Crows fall in the sky, yellow leaves cold water upstairs. Farewell to Nanpu Road, it is difficult to buy a flat boat. I don't know who pressed the red teeth to shoot, countless reeds stirred up the twilight stream.
Jiaqing Ding Ugly (1817), Zhang Jiliang lived in Shaowu, and shi Kesi's feelings quietly arose from writing this poem. The author uses condensed and simple language to integrate the autumn depression picture and infinite homesickness displayed by the images of "Family Mountain", "West Wind", "Crow" and "Yellow Leaves" to express a strong sense of objectivity. The whole poem is poetic and emotionally deep.
The second part of "Rumors and Guang" is that the Fan Bao Zhu shines at night and dusk, and the paging makes it relatively open. Soldiers and jade warriors meet each other, and the land is golden and bearable. Want to abandon the North Gate and borrow The Western Xia Jie Zhang Yuan. I don't know if Ti rides the plum blossom ridge and returns to the spring wind to break the soul.
This poem, written in Daoguang Xin ugly (1841), criticizes Qi Shan's appointment as a minister of Chincha to Guangzhou without doing anything and blindly compromising. In the poem, there are both satires and lashes at "Fan Bao Zhu shining on the night and night, and the summoning makes the relatively open", as well as the concern of "wanting to abandon the North Gate and tilt Kou Zhuan and borrow the Western Xia Jie Zhang Yuan". The whole poem is full of emotions and excitement, which can be described as a generous and sad song.
Whenever the nation is in crisis, countless people with lofty ideals either throw their heads and spill their blood, or record the national disaster in a written way, which shows china's strength and Chinese spirit. Before the Opium War, Zhang Jiliang's poems such as "Climbing the Yue Xiu Mountain", "Dayu Ling", and "Bathing Ri Pavilion" became the first poet in China to expose that the West's import of opium into China was "against the yi to hide the evil heart". During the Opium War, Zhang Jiliang also created poems of huge volume and full of somber and majestic atmosphere to record the Opium War, such as "Extension", "Generals", "Su Huai", "Dinghai Decline", "Zhenhai Decline", etc. truly and objectively recorded what he saw and heard during the Opium War, had the character of poetic history, showed the function of literature in recording history, and demonstrated the sense of historical mission of "writing articles for the times, and songs and poems for the sake of things", reflecting the high degree of popularity and reality of the works. In the preface to Selected Poems of Modern Times, Mr. Ji Zhenhuai believes that Zhang Jiliang's poems "reflected the crisis of foreign aggression earlier," "had a broad basis for real life," and "had a certain pioneering role in destroying the decaying orthodox poetry scene."
Mr. Qian Zhonglian described Zhang Jiliang as one of the ten infantry leaders, "Liu Tang, a red-haired ghost of the Celestial Alien Star", in the "Records of the Dots of the Taoist Poetry Circle", and believed that Zhang Shi was "talented, broke through the twisting weapon, and formed a wild and unruly poetic atmosphere with Tang Peng at the same time." At that time, the altar of Minzhong was in the middle of the world, and Ji Liang was high in the first seat." In the Preface to Modern Poetry, Mr. Qian gave a high evaluation to Zhang Jiliang's poetry: "Most of his works reflect the darkness and decay of feudal society, the disasters and voices of the people that he witnessed during the wandering of the rivers and lakes, expressing the embrace of depression and expression of ideas for changing the status quo." ”
Zhang Jiliang's poetry is like his person. The style is somber and majestic, and the quality is sparse and simple, which is the style of Zhang Jiliang's poetry and the artistic presentation of Zhang Jiliang's temperament. The descriptions of Zhang Jiliang in existing literature, such as "Lei Luo has a strange qi", "strange feelings and grandeur", "male festival Myron", "strength and strength shen xiong", etc., are all reflected in his depressed and majestic wind.
Jianning is close to the hometown of Ziyang lecturing, and since the Song Dynasty, he has read poetry and made comity, especially in the Qing Dynasty, Zhu Shijiu and Zhu Shixuan brothers divided their professions in poetry, and Jianning literature scholars were polite. As one of the "Seven MinFeng Ya Alliance Lords" and one of the "Four Sons of Daoguang", Zhang Jiliang, the "Qing Qing" who has been detached from the actual poetic style since Qianjia and the initiator of the Daoxian anti-aggression poetic style, has an important demonstration and guiding role for the readers of his literature and consciousness of consciously changing the poetic style. Zhang Jiliang's lingering wind and afterglow, between the sword water and the Fujian Mountains, are still stirring.
(Author Affilications:Fujian Institute of Technology)