Mourning poems are generally the works of husbands mourning their deceased wives, the earliest more formal mourning poems are Pan An's "Three Mourning Poems" of the Western Jin Dynasty, and as early as the "Book of Poetry" of the pre-Qin Dynasty, the mourning of wives and concubines is a genre work, and "Shao Feng • Green Clothes" now broadly refers to poems that express mourning and mourning for deceased relatives or friends. From the initial mourning of his wife, to the later mourning of friends and relatives, mourning has always been an important theme of literary creation, and in the history of literature, the literati have also left many moving poems.
Li Shangyin (c. 813 – c. 858) was a famous poet of the late Tang Dynasty. The young genius, "five years old reciting scriptures, seven years old with pen yan", and Du Mu together called "Little Li Du", and Wen Tingjun together called "Wen Li", talented, Tang Dynasty poet Bai Juyi greatly admired Li Shangyin's articles, once said: "After I die, It is enough for Er to be a child." "This shows his talent.
However, literary talent and achievements could not avoid the misfortune of her life in fate. He lost his father at an early age, so he also shouldered the responsibility of supporting the portal, and was once a "domestic book seller". After entering the career path, he was also involved in the political vortex of "cattle and lee party struggles", and was ostracized and trapped for a lifetime. And the only warmth and support in his life, the wife who took care of the housework and overworked, went before him in the fifth year of middle school, because Li Shangyin traveled abroad for many years, the husband and wife gathered less and more for a long time, Li Shangyin had an apologetic heart for his wife, so after his wife's death, he wrote many poignant poems mourning his wife. He himself died seven years later due to depression.
About 600 poems of Li Shangyin have survived, of which about 27 are about mourning his deceased wife Wang Yanyi, which are recorded in the "Collected Poems of Li Yishan", and Hu Xu's "History of Mourning Poems" also discusses this in detail. Below, we will explore the style and characteristics of Li Shangyin's mourning poems through the analysis of the two most representative poems and combined with my own reading experience.
First of all, the first "Song in the Room"
Rose weeping, green belt spends money small.
Jiao Lang was obsessed with the clouds, hugging the sun and the west curtain.
The pillow is a dragon palace stone, cut to autumn boulevard.
Yu Mo lost his softening skin, but saw Meng Luobi.
Remembering the spring of the previous year, I did not say anything sad.
The return is gone, and Kinse is longer than a man.
Today's stream bottom pine, tomorrow's mountain berberine.
Worried to the heavenly pool, look at each other do not know each other.
This poem is considered by many scholars to be the first poem written by Li Shangyin for the death of his wife. Li Shangyin left his wife for Xuzhou in the winter of the third year of Emperor Xuanzong's reign (849), and his wife Wang Yan (王晏媄) became seriously ill in the late spring and early summer of the fifth year of The Great Middle School (851). By the time Li Shangyin left the shogunate of Xuzhou's Wuning army to make Lu Hongzheng and return to his home in Chang'an, Wang Yanyi had already died of illness. Li Shangyin did not see the last side of his beloved wife, and the only person in the room was the Jinse played by Wang Shi before he died. Things die, and seeing things increases sorrow. Just in response to the sentence "Persimmon leaves turn over when mourning death alone", so he wrote the "Song in the Room", a deep and profound mourning poem, which caused the indignation of his life and was deeply sad and touching.
The first sentence "Rose weeping is quiet, and the green belt spends money small." A "crying" word sets the emotional tone for the whole text, and the plain flowers are mixed with crystal dewdrops, as if they are crying and crying, giving people a sense of coldness. With the death of his beloved wife, the poet inadvertently moved his mournful emotions to the roses in the courtyard, so that the flowers that had no emotions were also stained with sadness, creating a sad and sad atmosphere. At the same time, the slender and tender branches of the rose also remind the poet of the Wang family of woven green clothes belts, making him seem to see the Wang family's Qianying Lizi again. However, his wife is dead, and the scenery of the courtyard can only deepen his sorrow. "Jiao Lang is obsessed with the clouds, hugging the sun and the west curtain." From the outside and inside, by flowers and people. The child is young and ignorant, and does not yet understand the pain of losing his mother. The word "idiot" is consistent with the use of "lost mother and phoenix chick idiot", describing the ignorance of children who have lost their mothers. Here, the child does not understand the pain of losing his mother, which shows the depth of his own pain of losing his wife, and this technique is the same as Wei Yingwu's mourning poem "Out and Return", "How does the young girl know, when she comes to the court".
Next, "The pillow is a dragon palace stone, cut to autumn boulevard." "The Dragon Palace Stone, the legend of the Dragon Girl, therefore, the poet borrowed the Dragon Girl as a metaphor for his wife. In another mourning poem, "Xixi", the "phoenix girl playing Yaoser" is also a similar metaphor, comparing the wife to the phoenix girl, which shows the poet's deep affection for his wife. The "autumn color" describes the bright eyes of a woman. Use the pillow stone as a metaphor for the eyes, and the metaphor for novelty. Seeing the pillow like seeing the eyes of his deceased wife, how can the poet not feel sad and sad. "Jade loses its skin, but see Montrobi." Unfortunately, people have gone, leaving Yu Mo and Luo Bi empty, how lonely and desolate, people can't help but have a feeling of "things are people and not things to rest". As he mentioned in "The House of the First Moon Chong", "The back lamp is alone and fragrant, and I don't feel that the song rises at night." In the long night of many lone lights, I can always think of my wife's warm words and the song of "Rise up". However, it was ultimately a dream of Nanke.
"Remembering the spring of the previous year, I did not say anything sad. The return is gone, and Kinse is longer than a man. The poet remembered that in the spring of the previous year, when she left, her wife did not say a word, and her expression was sad, and now it seems that it is not for nothing, it turns out that she had a premonition that she would soon die, and felt that it would be difficult for her husband and wife to see each other again, but she was afraid of her own worries and did not speak. However, I only thought about my career, and I didn't even realize it. Expressing the author's sense of regret, Xu Mu returned, and the person was gone, but he only saw the Jinse that the Yi people usually loved. The length of Jinser is in stark contrast with the shortness of life and the short life of the Wang family, and when you see the People of Cersei, you feel more and more sad. These four sentences are one in the past and one in the present, one person and one thing, writing about the past is more to see the sadness of the present, and it is even more sentimental that things are long and people have died.
"Today's stream bottom pine, tomorrow's mountain tiller." "Jian Di Song" comes from zuo Si's "History of Yong", the second "depressed bottom pine, away from the mountain seedlings." With the diameter of the stem, shade this hundred feet. "A metaphor for those who have empty talents and ambitions, but have no way out and have an embarrassing life. The yellow tiller is a symbol of suffering, and the "mountain tiller" here has the meaning of bitterness and longevity. On the one hand, these two sentences imply the sigh of the poet's own life, on the other hand, they express the nostalgia for his wife. The poet and the Wang clan were married for fourteen years, and the two were affectionate. Wang Is Li Shangyin's partner in life, but also the biggest confidant in his life, in his bumpy journey, his wife has always been with him, sharing his worries. Therefore, the poet has a poetry cloud: "The long book is solemn, and the eyebrows are thin and hateful." Now that Wang Shi is no longer alive, who will be able to accompany her to face this troublesome life in the future. Thinking of this, the poet cannot help but feel that the coming days are much more bitter. The last two sentences, "I am sad that the heavens and the earth have turned over, and I don't know each other." The "heaven and earth turn" in this sentence is reversed from the "Heaven and Earth" in the "Upper Evil", "Heaven and earth are united, but dare to be absolute with the king." ”。 There is an oath not to be with the king. With "the heavens and the earth are long and sometimes end, this hatred is endless." "It's the same thing. But "looking at each other and not knowing each other" tells us sadly: even if we say goodbye, it may just be a strange road. That's why the sorrow will double. Qian Liangxuan's "Tang Yin Examination Body" commented on these two sentences: "If there must be no thoughts, there must be no worries, and mourning feelings are the extreme." "This is evident from this.
Throughout the poem, there are borrowed scenes lyrically, borrowed objects to metaphors, there are positive writing and contrasts, virtual reality is born, the present and the past are compared, and each subsection has its own system, interlocking, clear veins, and quite wonderful. Linguistically, bitterness is charming, and affection is delicate. Undoubtedly, it is the best work in the mourning poem
Another poem, "Brother Wang Twelve and the Fearful Member Of the Foreign Minister Visit zhao xiao drink when they mourn the day of death nearly do not go to the cause of sending"
Xie Fu's court was not done in the past, and the song of the present dynasty belongs to Tan Lang.
There is no one on the curtain, and when you want to dust, you will finish the bed.
The young man of the Ji clan is still pitiful, how can the delicate woman of the Zuo family forget?
Qiu Lin's abdomen was difficult to dismiss, and the night of the west wind was long.
The first link "Xie Fu Men Ting Old Last Line, The Present Dynasty Song Guan belongs to Tan Lang." The contrast between "the old last line" and "the genus Tanlang" shows that the poet already knows that the joy of family reunion has no connection with himself. The jaws are "even more unattended, and when you want to dust the bed." "Using Pan Yue's "Mourning Poems", "turned the pillow mat, and the long mound was empty. The bed is empty and dusty, and the room is empty to the sad wind" sentence meaning, writing out the sense that things are not human, and the previous article's "jade mounds lose their skin, but see Mengluobi." "Consistent. Neck link "Ji Clan young man is still pitiful, how can the left family petite woman forget?" "Writing about the poor young girl further reinforces the sadness of the whole poem. Tail Lian "Sorrow lin abdomen disease is difficult to get rid of, wanli west wind night is long." That is, it alludes to the ups and downs of his life, and after his wife leaves, no matter how difficult the future is, he can only carry the weight forward.
In general, the poem's deep affection for the mourning of the deceased wife is integrated with its self-harm in life, from the things of the family banquet to the witnesses in the room, from the heartache and helplessness of the children to the self-injurious and self-pitying life sighs, and finally into a deep remembrance of the wife, deep affection, like blood and tears, which is unbearable to read. Qian Liangxuan's "Collected Poems of Li Shangyin" commented that he was "flat and flat, and he was desperate, and there was no such style after the Tang Dynasty." ”
Through the analysis of the above two poems, it is not difficult for us to find some characteristics of Li Shangyin's mourning poems.
First of all, the mourning of the deceased wife is always combined with the lament of her own life. We all know that Most of Li Shangyin's life has been excluded from the Niu-Li party struggle, and her lucky and unfortunate marriage has always been sandwiched between the Niu and Li party struggles. In the face of his wife's death, he would think about his acquaintance with his wife, if he had not invested in Ling Hu Chu men and first knew Wang Maoyuan or he had not met Wang Shi. In this way, whether you can be at ease only as a cow party or a disciple of the Lee party, you will not be squeezed out because you are sandwiched between the two parties. However, he did not regret it, because even in the darkest days, he had always been by his side, giving her spiritual comfort. After his wife's death, whether he could just despair of his career, he also lost hope in life, and the last bit of joy in his life was gone. For example, the two poems we mentioned earlier, such as "Genus Disease", "Autumn butterflies are unprovoked, and cold flowers are only temporarily fragrant." Amorous is really thin and easy to be ileal. "It can all reflect his bitterness and impatience with all kinds of misfortunes in his life."
Secondly, the scenes are mostly poignant, which is highlighted in the "History of Mourning Poems". The basic style of mourning poems is cold and bitter, and many mourning poem authors mostly borrow the deep and miserable scenes of sorrow and gloom to express their mourning pain. For example, Su Shi's "Jiang Chengzi", which is known as the eulogy of the death, and He Zhu's "Partridge Heaven", "a thousand miles of lonely graves, nowhere to say desolate." "It is expected that every year the intestines will be broken, the night of the bright moon, and the short Matsuoka." "After the sycamore was half dead and frosted, the head white mandarin duck lost its companion and flew."
"The grass on the plains, the dew is first xi." The old habitat and the new one are two clings. Empty bed to listen to the rain in the south window, who picked up the lights to mend clothes at night? "It is written with mourning scenes, and the scenes are blended and tear-inducing." Li Shangyin, on the other hand, used more poignant colors to express his hurt, and had more of a coldness in the poignant, just as the Ming Dynasty Zhong Yu and Tan Yuanchun's "Tang Shigui" commented on "Fang Zhongqu" and said, "Bitter feelings are beautiful." Love is cold". For example, the aforementioned "Song in the Room" "Rose weeping, green belt spends little money." Jiao Lang was obsessed with the clouds, hugging the sun and the west curtain. The pillow is a dragon palace stone, cut to autumn boulevard. Another example is "Xixi", "the color dyes the demon Shao Liu, and the light contains the lotus." Teacher Hu Xu believes that this style is greatly influenced by Chu Ci, such as: "Xiang Jun", "Mountain Ghost", etc., which have some of the characteristics of Li He, and have similarities with "Furong Weeping Dew Xianglan Smile". I think so.
In addition, the feelings are sincere and straightforward and easy to understand. We all know that Li Shangyin's poetry has always been tortuous and obscure, but the style of his mourning poems is different from this, easy to be straightforward. For example: "West Pavilion" "Wutong Mo more turned over the dew, the lone crane never sleeps." Ji Yun said in the "Yuxi ShengShi" Yun: "This is sick of being straight and shallow. In my opinion, this is not a "disease", this poem does not use allusions, does not add carving, directly uses the lonely crane as a metaphor, and the loneliness and desolation after the loss of his wife can be imagined and felt, and it is a work of true feelings. Another example is "Nongshen Leap Autumn Title Gift to Wu Que", which expresses his hope that there are lovers in the world who will eventually become dependents, rather than being eternally separated from yin and yang like himself and his wife, and the style is both high and straightforward and simple.
Finally, Li Shangyin is undoubtedly the most representative person in the history of mourning poetry. The reason why his mourning poems are portrayed in depth, with deep emotion and exquisite techniques, is not only due to his talent, but also related to his bumpy life. Those who are not deeply affectionate are not enough for this poem. Only with deep affection can we write such a bloody and tearful poem.