As we all know, "Suiyuan Poetry" is an important work of the Qing Dynasty poet and literary scholar Yuan Ming. His advocacy of the "spiritual theory" is fully elaborated in this book. At that time, this poem had a major impact, and today, it is more and more valued and loved by people. Both Guo Moruo and Mr. Qian Zhongshu gave this book a high evaluation, and Guo Moruo also wrote a book called "Notes on Reading the Poetry of Suiyuan". The contents of this book have been sorted out and examined, and its exposition of the Qianjia School has been highly valued by the literary circles and the historical circles. In the Qing Dynasty, when the wind of examination prevailed, Yuan Ming's label "Sexual Spirit Theory" was just like a spring wind, sweeping away the haze of the literary world at that time. In "Suiyuan Poetry", the author's poetic ideas are comprehensively and profoundly expounded. In addition to appreciating, we have to admire the wisdom and talent of the author.
He said, "The poet does not lose his pure heart", the so-called pure heart, that is, poetry must have spirituality, to express a sense of truth, it is strictly forbidden to be pretentious, there is nothing to say, there is no disease and groaning. For another example, he advocated "making new ideas, going to the clichés, and for the first priority", "writing poetry can not be without self", "there are ancients in peace, and there are no ancients in the next writing", that is, not limited to authority or ancient exposition, not blindly following the customs, daring to exclude public opinions, and expressing one's own opinions. He said this and did so, and he refined his poems with a thousand hammers, repeatedly deliberating, carefully revising, and refusing to show them easily.
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Yuan Ming wrote in the poem "Qixing": "It is difficult to write from the origin of hobbies, and a thousand changes in a poem are at ease." Grandma is still like a first woman, and her head is not combed and she is not allowed to see. This poem shows that Yuan Ming's creative attitude is very serious and sincere, and each poem must be carefully considered and deliberated before his heart is solid, just like a young girl's first makeup, and her hair will never be seen by others before it is neatly combed.
Once, after reading the poet Jiang Xinyu's Seven Absolute "He Xiong Di Zhai Returns to Qionglin" and pointed out two inaccuracies in the poem, Jiang Xinyu immediately admitted that he had written a hasty text for the sake of speed, and urged Yuan Ming to be an example to write a poem with the same title for him to see. Yuan Mei could not transport the pen on the spot, and only turned in the papers after a delay of half a month. Jiang Xinyu thought that the poem was well written, and Yuan Mei immediately found the revised draft from the paper basket and said, "I have revised it seven times!" Jiang Xinyu sighed and said, "Sure enough, the seventh time is better than the manuscript five or six times!" Yuan Ming expressed his feelings on this matter: "Things are learned from the knowledge of repentance, and poetry can be turned late. He is not in favor of the so-called "fast" that can be written in a thousand words.
Yuan Ming said: "Poetry must not be changed, it must not be changed more. If you don't change, your heart will float, and if you change more, you will be suffocated. "He thinks there's a problem of proportionality, and it's hard to be moderate. Yuan Ming especially did not approve of the vain reform of "less works", he believed that the poet Fang Funan wrote in his youth in the "Tomb of Zhou Yu" in which "the emperor's monarchs and subjects are the same flesh and bones, And Xiao Qiao's husband and wife are heroes" is very stable and interesting; in middle age, he changed it to "The emperor swore the river water green, Xiao Qiao removed his armor and made up red at night", the mood was not as good as before; in his later years, he changed it to "Xiao Qiao makeup is wet with rouge, and the emperor is seeking to become a jade tong" is even more unreasonable and absurd! From this matter, he believes that "it is also a blessing to save a few good poems". Yuan Ming especially did not like Wang Anshi's random changes in other people's poems. There is a passage in the poem that specifically gives many examples of Wang Anshi deleting and modifying other people's verses at will, pointing out that Wang Anshi made the original verses "the living die" and "the spirit is stupid"!
Yuan Ming especially admired the poet's bitter chanting, and he included two "bitter chanting" poems by Gu Wenwei in Changzhou: "I don't know the merits everywhere, but I feel that I recite Lai'an" "In order to seek a word stability, I endured the cold of half a night." These two poems can also be said to be a self-portrayal of Yuan Ming.
Yuan Ming believes that the process of revising poetry is the process of turning stones into gold, the process of turning dead chess into living chess and decay into magic. These understandings are undoubtedly correct, and they still have great enlightening significance for future generations.
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