Luo Yin, a great poet at the end of the Tang Dynasty, was not so familiar to many people who read poetry. But his famous sentences are really many and widely circulated. For example, "There is wine in this day and drunk in this day" and "for whom to work hard and for whom to be sweet" have become ready-made words for anyone.
Luo Yin didn't look good. It can even go to the point of "ugly rejection" of fans. Some female fans came to see her and were disappointed: "It's not a talented person!" ”
I. Luo Yin's poetry
Luo Yin's original name was "horizontal", which was later changed to "yin". "Cain" just doesn't want you to see. Why hidden? The reason why this old brother is famous but his brushstrokes are very spicy, and he is not allowed to bear the thorns of Zhu Zizhi's subjects--even if he has passed the examination ten times, he has fallen behind. It wants to hide more than the embarrassment of "ten repetitions", and may be completely desperate for the doorway of normal progress after repeated failures. ——Don't hide anymore, do you still rush? That is to say, I see the world as superficial. Since then, Luo Yin has not taken the exam again.
The great youth is almost used for re-reading, I don't know if Luo Yin can feel regret or not worth it, but he should at least feel sad. There was a thing: On one occasion, Luo Yin passed through Zhongling County (present-day Jinxian, Jiangxi) and married a local prostitute named Yunying. Twelve years later, after Zhong Ling, he happened to meet Yunying — of course, he was not admitted. It is estimated that the two people looked at each other for half a day——
Yun: "Brother, why are you still dressed in cloth?" ”
Luo: "Well, aren't you also not married?" ”
Luo Yin has a poem "Gift to the Prostitute Yunying":
Zhong Ling was drunk for more than ten years and saw Yun Ying's palm again.
I am not famous and unmarried, maybe I am inferior?
From this poem and the "Self-Dispatch" (source of "Present Dynasty") mentioned at the beginning, it can be seen that Luo Yin's skills in composing poetry are extremely high. Writing is not about spraying the reader with blood, skill is very important. Without further ado, the poem unfolds in the way I described above, as if it were a novel with a full plot and a swinging intestine. Technical point of view: First of all, "drunken farewell" to the state of mind, "more than ten spring" is time and space. The second sentence writes that they met, praising Yunying for having Zhao Feiyan's style, and ten years later, not inferior to the original. The sharp turn in the third sentence is the recent situation of the two people - sitting face to face, looking at each other really, and knowing each other, there is no need to hide it. Why did it fall into this? Luo Yin guessed in the fourth sentence: Maybe we are both inferior to others. - This answer is extremely clever: I am not as good as people understand, are you so stylish and inferior? So I'm not inferior either.
The Song people on the poem emphasis on the "living method" (Chen Yan's "Poetry of the Stone Relic Room"), this poem has achieved the goal of avoiding the first desire, and writing the Lord as a guest. Even better: the real is the virtual. Two exact lives are opposite, but they bring each other a sense of unreality, that is, a huge confusion. Let's talk about a poem "Willow" written by Luo Yin like a flower:
Ba'an Qing came to bid farewell to each other, and snuggled up to each other in the spring.
Their own flying feathers are still uncertain, arguing for the hanging silk tripper?
This poem is written about the daughter who bids farewell to the lover. In the Bixing method, borrow the willow metaphor. The first sentence is xingjing, the second sentence is compared to the willow, men and women, the green willow that is entangled like spring branches - the transition from "xing" - does not completely push the willow out, but you also see it. The last two sentences: The advocate daughter is still like a flying silk, and her life is thinner than paper, how can she tie up the prince and grandson with her affection that is as long as a willow silk? The imagery of "weeping silk" contains thousands of styles, soft and tough. It is not the softness that Can be seen but not suffocated by Yuehua Clinical, nor is it the firm but lifeless tenacity of the gold wire and silver thread. The more wind and strings in this, the more sorrow and hatred. Although the author observes all this, is the bystander itself not a participation?
Looking at the poetry of "Gifting Prostitute Yunying" and "Liu", the use of "living method" and "Bixing" gives people a feeling of imminent separation and natural craftsmanship. And the famous "there is wine in this dynasty and drunk in this dynasty, tomorrow is sad and tomorrow is sad", the language overlaps but changes, like the zhengge cannon in the music composition. Not only does it swirl and rise, but it is even more rare: it is absolutely stopped at the moment, and there is not a single superfluous thing missing. In addition, the language style of these works is very colloquial. Li Ciming's "Reading Record of Yuemantang" commented that Luo Yin's language was "straight and pleasant", at least these three poems read down, this is the feeling.
It is not difficult to write that no one can understand, but the ultimate point of writing poetry is in the taste of love--no one does not understand but no one can say everything. Just as the so-called "a sad painting can not be done", "at this time silence is better than sound". Then whoever can speak is the famous holy hand; who can use a few strokes, the Tao is silent in sound, the solution cannot be said, the painting cannot be said, the picture can be seen, and it is a genius in the hands of the famous saint. Luo Yin still has many sentences like this, which proves that he is a great genius.
Second, Luo Yin's poetic courage
Next, he talks about Luo Yin's brushstrokes, also as "poetic courage". Remember why the great poet Luo read it for so many years? His brushstrokes were too sharp, and the irony often went straight to the point, hitting the small heart of the person responsible for the relevant person rushing out of the Tianling Gai. Among other things, the peak of state power and the symbol of the spirit of power, the emperor, he occasionally shaved a few words. Luo Yin has three animal-related poems: one of which is "Feeling the Monkey Man Gives Zhu Fu":
Twelve or three years on the trial period, the five lakes smoke moon nai contradictory.
He Ru learned to take the sun offering, and smiled at the king.
After Huang Chao entered Chang'an, Emperor Li Washu of Shu. There was a monkey trickster in the entourage! What is even more excessive: because the monkeys are trained to honor the monarchy and courtiers - there are people who stand in the court, the dragon's heart is happy, and the monkeys are officially done. Luo Yin sighed: After reading books for half a lifetime and taking the exam for more than ten years, it is better to learn to play monkeys to serve the country. Lu Xun said at the end of "On Irony": "Non-realistic can never become so-called 'irony'; non-realistic satire, even if there is such a thing, is nothing more than rumors and slander." "The premise of irony is to tell the truth, and to tell the truth and add some clever sarcasm, there is a satirical effect." And the really good irony is not only sarcasm in people's hearts, but also digs out a bitter smile at the corner of people's mouths - this laugh actually adds the bitterness even deeper, it blocks the cheap optimism.
In the "Preface to the Biography of Lingguan", it is said: "Sorrow can rejuvenate the country, and Yiyu can die", and Ouyang Wenzhonggong attributed the death of Li Cunxun to his old man's favor, Youling, and thirty years ago- compared with the Later Tang, the legitimate Tang Dynasty also died at junshang "Yiyu". This sign of national subjugation revealed by Luo Yin connects the regularity and drama of history. "Animal Poem" Part II, "Parrot":
Mo hates the carving cage Cui Yu remnants, Jiangnan land warm Longxi cold.
Advise the king not to use clear language, but to speak clearly and turn out the difficulty.
Parrots are produced in Longxi, where is Longxi? The general direction of Chang'an. Jiangnan is wet and warm, and the parrot is wounded and locked in a carving cage, and from then on bid farewell to its homeland and become a prisoner of peace. The best two sentences we all know what it means: the world is about to die, even if the heavens are trembling, "eclectic and degrading talents" may not be able to save the overall situation; not to mention that the imperial court cannot even tolerate dissent. "Feeling the Monkey Man Gives Zhu Fu" contains the desolation of the insightful world, and this "Parrot" directly throws a sneering cold. The same irony, different tones, different intensities. The previous one is more clever, and the intensity is relatively low. If the force is too strong, it will lose the desolation, and the sense of desolation can be seen more in the plain way of expression. For example, Jiang Kui's "Yangzhou Slow", will show you frame by frame yangzhou of "Qingqing" and "Qingjiao Blowing Cold", which is full of desolation. But even better is Kong Shangren's "Peach Blossom Fan": "Seeing him rise up the Zhu Lou, seeing him feast on guests, seeing his building collapse", "heavy enough to be shocked" do not have to have, less dry and hot, more quiet - not to mention how sad, how shocked, the reader can appreciate from the "outside world" of Zhu Lou. Put Luo Yin's "Parrot" and "Yangzhou Slow" and "Peach Blossom Fan" together, to be honest: not as good.
Third, "Bee":
Regardless of the flat land or the tip of the mountain, the infinite scenery is occupied.
After harvesting a hundred flowers into nectar, for whom to work hard for whom sweet.
Of the three "animal poems", this one is the most meaningful. The first two sentences raise the bees very high, "will be the top", "the high place is not cold"; the last two sentences throw the bees down, the bee's situation and the "infinite scenery" we see fiercely colliding. Infinite scenery is the truth, lifelong toil is also the truth, with the original joy of the bee, such as Liu Xun's "Wenxin Carved Dragon", which belongs to the "opposition" that is better than "positive". This poem can be understood in many ways, but I still think that it contains the author's feelings: for many years on the road to serving the country and saving the country, for whom? Why? Or those thieves who have harmed the country, whose wealth and power are in the first life, must also be wiped clean by the inevitable end of stretching their legs and staring at them--are they not afraid of the curse of posterity like a knife? The emperor scrolls in the author's tangled mood: tortured, but also forgiven, despicable and pitiful.
The ruling class is on the stage outlined by Luo Yin's three poems: selling ugliness, selling stupidity, and being twisted by a strong curl of history, bitter. Luo Yin also stabbed the emperor by explaining history, such as "Xi Shi": "If Xi Shi dissolves the Wu Kingdom, who will come after the fall of the Yue Kingdom", which means that you want to destroy the country, don't talk about "red face and bad water"! Another example is "Yellow River", "Yingkui Law Essence Review" (Fang Huixuan Review, Li Qingjia Collection Review) quoted He Zhuo's comment: "The beginning is beyond the ability of man." Three or four good irony". Before Luo Yin, Du Fu, Bai Juyi, and Liu Yuxi satirized the world' works, but they were more like Tolstoy, Dostoevsky, and Pasternak, while Luo Yin was Mark Twain, George Bernard Shaw, and Gogol. From this, I really miss Datang's frankness, directness, and robustness. If these people were thrown into the Ming and Qing dynasties, I am afraid that they would have been cut into skeletal specimens on the street. Since the peak of the Tang and Song dynasties, Chinese culture has indeed absorbed too much. "Realize the past is not advised", only!
Rohan's writing is very similar to Mark Twain's: not heavy, but sharp.
Third, Luo Yin's poetic heart
The poetic heart cannot simply be regarded as a certain creative theme, it is the theme after the theme, and it is the soul subject of the poet. The formation of a person's soul, talent, survival, and chance, the three are combined rather than added. Luo Yin's talent needless to say, the poems have been written to the point of eternal flow, and there is no doubt about the great genius. He has experienced many accidents, and his life is spent in the despair of one link after another. Therefore, the formation of Luo Yin's soul body is a process of survival as the main reactant, talent, and chance constantly acting on survival.
Over the years, some scholars have gradually focused on Luo Yin's life, such as Li Dingguang's "Luo Yin's Historical Status" published in 2013, showing:
After Huangchao captured Chang'an, he fled his hometown, when he was in his 50s. Then he defected to Qian Wei, who was then the envoy of Zhenhai Jiedushi, and Guangqi was engaged in three years (at the age of 55), and was given the Qiantang Order that year, looking for the secretary of the provincial book Lang and the secretary of the Zhenhai Jiedu, and tianyou three years (73 years old), and transferred to the judge and deputy envoy of the Zhenhai Jiedushi. It is okay to say that he has received the grace of the Tang Dynasty, but he cannot say that he has received great grace. But he was almost the only celebrity in the late Tang Dynasty who did not abandon the Tang Dynasty and scrupulously performed his duties.
At that time, many of his friends had already become officials of Later Liang; even his old superior Qian Wei became Zhu Wen's "shang father" and king of Wuyue. Even at that time, the regime that did not submit to Later Liang was only the four families of Wang Jian of Western Shu, Li Keyong of Shanxi, Yang Wo of Eastern Wu, and Li Maozhen of Fengxiang. It can be said that the Later Liang regime has achieved a certain degree of legitimacy. However, Zhu Wen gave him an official job three times, and he refused three times, calling Zhu Wen a "thief"; he wrote the poem Mingzhi of "Xiao Song", which has a sentence: "Lingqian Valley becomes a high festival, and Mo xiang is a doctor in the world." Luo Yin clearly expressed a belief: How about I alone? You don't want to change me.
What is even more valuable is that in the situation of isolation and helplessness, he did not find a place to hide in the mountains to cultivate his clear name and literary name, and he did not compromise with Hou Liang in the slightest. Lu Xun has a "Wise Man, Fool, and Slave Talent": Luo Yin did not just get off the donkey, like Sikong Tu, Han Wei, and Zheng Gu, and became a "smart man", and hid; he also resolutely did not become a "slave talent" of "Tang Liuchen" or Pi Rixiu and Du Xunhe; he ran for the revival of the Tang Dynasty like a "fool" throughout his twilight years, and did everything he could. He bitterly advised Qian Wei to raise troops to cut down Liang, but before his death, he still did not forget the great plan of cutting down Liang, and wrote poems comparing Qian Wei to Zhuge Liang, hoping that he would follow the example of Zhuge Wu Marquis Kuang to restore his homeland.
A "fool" is a doer, no matter how silly his actions may seem. Luo Yin to the death of Tang, Lu Xiufu to the death of Song, Shi Kefa to the death of Ming, all of them are a cup of water, and Luo Gong is the shallowest cup of water here. But we see in them a generous and mighty spirit of a nation, a saint who has a firm conviction and is undistracted and will not hesitate to do anything.
Luo Yin has a famous article "Chipping":
Throwing Nanyang as the main worry, the Northern Expedition to the East to make good preparations.
When the heavens and the earth work together, the heroes are not free.
The Thousand Mile Mountain River is light, and the two dynasties crown swords hate Zhou.
Only the amorous water under the remaining rocks, like a year-round flow.
Among them, there is both ambition and fear of the Mandate of Heaven: Sun Liu can use the Heavenly Wind to resist Cao Yu's understanding in Chibi, and also leads us to think of: "Guan Zhang has no life and desires" (Li Shangyin's "Chip Pen Yi"), "The Lower Kingdom Wolong Empty Lord" (Wen Tingjun", "Over the Five Zhangyuan") - when the Destiny of Heaven is not good, the end of the great cause of Xinghan. Luo Yin fully admitted to fate: although he admired Zhuge Liang, at the same time, he saw clearly that hundreds of generations and thousands of autumns could always remember Zhuge Cheng Xiang's flowing water.
He is so innocent of fate, and he is clear about the evils of the times— as mentioned above. Luo Yin was not a revolutionary youth full of blood but black eyes. He saved the country, but also to save himself. Instead of renting a god to lead him, he leaned down to build a temple over a rafter and tile.
Young Werther is troubled by love, and in his later years, Luo Yin is an elderly Werther, who is torn between national fortunes, fate, anger, sneering, despair, and hope. As in Lin Zhaohua's "Director's Villain Book": One is the elderly Werther, the troubles are not small, and there is no long time to resolve the troubles. ------------------------------------------------------ Old Luo I am accustomed to seeing people's hearts, pistol poison is nothing. What's the "one hundred"? I will live in the admiration, disgust, incomprehension and disdain of the hereafter.
In the third year of Kaiping (910), Luo Gong died. Once dead, he died to this day.
Luo Yin is like an "old Werther": life goes on, anger does not stop.
The first draft was written on the Nottingham-London, Essex trains and London Victoria Station, and was collated at Raleigh Park, Nottingham
Relocated to beijing home
Thursday, October 28, 2021