< h1 class="pgc-h-arrow-right" > why "Spring River Flower Moon Night" is so popular</h1>
Zhang Ruoxuan's "Spring River Flower Moon Night" is like thunder in contemporary times, known as "a lonely chapter covers the whole Tang". Although this statement comes from nowhere, it cannot cover the flames of the crowd collecting firewood.
I originally wrote an answer to this point. Zhang Ruoxuan's long poem is a work of a critical moment in the transformation from palace poetry to Tang poetry, and his important point is actually not that many friends think that "it is beautifully written", but that the content theme shifts from the hollowness of Qi Liang's body, the special writing of wind and flowers and snow moons, and the boudoir sentiments to the thinking of the eternal time and space and the circulation of the universe, which is to match the flashy words with philosophical content. That is to say, the initial jump out of the palace poetry of "colorful and prosperous, prosperous and desperate".
Wen Yiduo commented that this work is "the redemption of palace poetry", which is to pull the road of the demise of palace poetry a step back, and it is the return of the southern and northern dynasties of Yan poetry - in fact, although Tang poetry inherits the form of southern and northern dynasty poetry, it also makes a strong criticism and reform of metaphysics, so we rarely see such exquisite and delicate embellishments in Tang poetry.
And this kind of description is just right for the tastes of many literary and artistic young people at present. Coupled with the praise of a group of literati for the extension and broadening of the content of this poem, it seems that this Tang poem was implemented first - both experts said good, I read it beautifully - rare personal views and experts agreed, so this poem is "worthy of the name" by many people as "a single piece covering the whole Tang".
It's not a path at all.
Beauty is beautiful, and ideological and Sheng Tang poetry are still some distance away.
Even compared with his predecessor, the Sui Dynasty Emperor Yang Guang's "Spring River Flower Moon Night", Zhang Ruoxuan's song is only longer in length and more capacity, and its meaning and artistic conception may not be able to catch up.
<h1 class = "pgc-h-arrow-right" > the pearl of the sea, the poet Tianzi</h1>
Wang Changling calls himself the "Son of the Poet", and his achievements in the Seven Perfections do not make people feel how arrogant he is, because he deserves it. But in history, there are not a few real Tianzi poets, after all, the emperors are well educated. But there are not many truly outstanding, like the perfect old man, you say he is a poet, right? I wrote so much, of course, but I really can't stand in the history of poetry.
The Tianzi who really occupies a place in the history of poetry is Liu Bang, the Son of Han Tianzi, and many people say that Liu Bang has no culture, but in fact, they take it for granted. In that era, even if he was a pavilion chief, he must be an intellectual. His "Song of the Great Wind" in his later years was really not something that an uncultured person could write. This work has a very high status in the history of poetry.
In modern times, the chairman counts as one, and this will not be discussed much. Because there were two previous articles about the chairman's landscape poems, some people scolded them in private letters, saying that they were third-rate. Opinions are different, we don't insist, and I don't bother to say much.
The most overlooked is the Sui Dynasty Emperor Yang Guang. He was "studious, good at belonging to literature", and wrote good poetry, which was evaluated as "no lascivious words" and "coexisting in elegant style, attributed to the canonical system" (Sui Shu · Literary Preface). Zheng Zhenduo once said:
Although Yang Guang was not a very clever politician, he was a very good poet.
As for the Sui Dynasty Emperor and his people and historical merits, there are other foreign articles to discuss, and we will only discuss poetry here. But this has always been the case in Chinese history, and once this person is defined as a value in mainstream consciousness, even his works are low-level, and upright gentlemen are ashamed to mention it. Unless it is those literary styles that really can't be held back, such as Song Zhiqing's "Crossing the Han River", such as Yang Guang's "Spring River Flowers and Moon Nights Two Songs".
The "matter as it is" that we advocate cannot really be implemented in the literary and artistic viewpoint. This is really a kind of cognitive paradox.
The Sui Dynasty was short in time and had little influence on literature, and if there was one great poet, it was Yang Guang, and if there were two, it would be Yang Guang and Xue Daoheng. Then Xue Daoheng relied on the old man and ignored the new emperor, and was killed by Yang Guang. But even without these historical factors, Xue Daoheng's poetry cannot be compared with Yang Guang's.
< h1 class="pgc-h-arrow-right" >, "Harue Katsuki Night Two Heads"</h1>
Let's be clear first, this is not the title of the poem. Therefore, it is said that "Spring River Flower Moon Night" is Zhang Ruoxuan's poem, and this formulation is wrong. But big data makes it so, now no matter how to search, as soon as it comes out, it is "the tide of the Spring River is connected to the sea level, and the bright moon on the sea is born together." There's no way around it.
Actually, this is the name of the song. The original is Chen Shubao, the lord of southern Chen Hou. This person writes erotic love poems, both beautiful and charming, "singing backyard flowers across the river" refers to his "Yushu Backyard Flowers". In the late Southern Dynasty, the three dynasties of Qi Liang and Chen took this poetic style as the mainstream. Chen Shubao's song was left behind, and the words were lost. The earliest "Spring River Flower Moon Night" we see now is Yang Guang's two songs.
The twilight river is not moving, and the spring flowers are in full bloom.
The flow waves will go to the moon, and the tide will bring the stars.
The night dew contains flowers, and the spring pond is full of moonlight.
Han Shui is a wandering girl, and Xiangchuan is the second concubine.
The more famous is the first poem, why it is famous, we may know this poem from Zhang Ruoxuan. However, Zhang Ruoxuan obviously used Yang Guang's sentence. However, the two poems are similar in terms of writing, the meaning and spiritual outlook are completely different, which is why we do not say plagiarism.
"Twilight is not moving, and spring flowers are blooming. "The river at night is very calm, there are no waves, as if it does not move, in fact, the flow rate is very slow. Spring flowers bloom just in time, when they are brilliant. Full, is much, very crowded feeling. In fact, on the one hand, it is a portrait of the scene, and on the other hand, it is also a portrayal of himself.
When Yang Guang wrote this poem, he was not yet an emperor. Yang Jian sent him to the south, perhaps to go on an envoy, perhaps to patrol, or perhaps to go south to invade The territory of Lord Chen Hou. At that time, he was not yet thirty years old, and the leader of the army was already very powerful in fighting, and the person looked very handsome, which was a typical rich and handsome man and an object of worship. When going south down the river, the sky is clear and the country is picturesque, and we can imagine how proud Yang Guang was at that time.
"The waves will go to the moon, and the tide will bring the stars." Flowing waves, flowing rivers. Take, take, take away. The flowing water washed away the moon. The river flowed eastward, taking the moon away. Of course, the moon is in the sky, the shadow is in the river, and the flowing water naturally takes away the shadow of the moon. This dynamic depiction, the idea is very peculiar. The river laps at the shore, forming a return stream (tide) that rushes up to the shore, as if bringing back the swaying stars.
This can be understood as intertextual. The water took the stars and moon away and brought them back. You can feel the swaying feeling of the unity of water and sky, and the weather is also very atmospheric.
This is where the poem ends abruptly. This is a purely written poem, that is, the description of the four pictures, which has completely jumped out of the xuanyan poetry influence of Xie Lingyun's landscape poetry, without any reasoning component in it, but we can obviously feel Yang Guang's hesitant and ambitious mentality.
This is the master of poetry. This is also the most adept used by sheng tang poets, "allegorizing in the scene, blending the scene", which shows that the poetic style has evolved all the way, and finally began to embark on the right path here in Yang Guang. His short poem, the words are very simple, the semantics are also very fresh, is a typical beautiful and not greasy feeling. It still has a sense of charm of the Qi Liang body, but it is not excessive, and this degree is very well mastered. This kind of writing, later generations called it "positive".
This is a very plain feeling, not exaggerated, not refining words, unlike some poets who cut every word, as if it were a big vernacular. His verbs are also very characteristic, "flat" does not move, "full" is open, and there is no exaggerated action description. "Will, belt," are not very real words, are relatively virtual words. The more prosaic the writing, the more atmospheric it becomes.
Yang Guang's poems are simple and natural, fresh and atmospheric. But this atmosphere is also very moderate, and there is no great imperial weather. This was the custom of the Southern Dynasty people, not the personal style of the Sui Emperor. The emperors of the Southern Dynasty will write poems, generally not to write particularly ostentatious words that express the atmosphere of the emperor, such as "counting the flow of people, but also looking at the present dynasty". They are all very popular, and they are very close to the emotions expressed by ordinary poets and the weather that appears.
This poem cannot be seen by the emperor, but only the work of a poet with high literary style.
Let's look back at Zhang Ruoxuan's poem:
The tide of the Spring River is connected to the sea level, and the bright moon on the sea is born together.
With the waves of thousands of miles, where the spring river has no moon! ......
The part of the scene is basically enlarged by Yang Guang's poem, and also writes about the moon, the river, and the spring flowers, all of which are scenery. He expanded the scenery of Yang Guang's poem and exaggerated the earth. Of course, the divergence of thinking in the back is where Zhang Ruoxuan's personal content lies, which is also the value of his poem.
This proves that Yang Guang had a great influence on the poetry of later generations. The Book of Sui evaluates him as "studious and good at literature." "Eager to learn is a great learning, and good literature is a good article."
<h1 class= "pgc-h-arrow-right" > who is better</h1>
Individuals prefer Yang Guang's works, although there is no comparison between the two except for the title of the poem and the part of the scene. Zhang Ruoxuan's poems have many contents and sufficient quantities, but in terms of text modification, they have gone back to the road. Literary youths who have just entered the Tao may feel amazing, but in fact, after watching more, they will be a little panicked, because from the Wei and Jin Dynasties, the literary decoration has reached the peak, and this kind of poetry is actually a big catch. Whether it is rhetorical methods or description content, Zhang Ruoxu's "Spring River Flower Moon Night" is the continuation of palace poetry and is not worth advocating.
But his victory lies in the philosophical sublimation in the end, which is exactly what the palace style poetry lacks, so this poem has become a cornerstone of the key moment of Qi Liang's body to Tang poetry, which is of certain significance.
And Yang Guang's work was analyzed in detail earlier. Its significance lies in the fact that the progress of the palace style poetry is obvious, with the stylistic characteristics of the Qi Liang body, but the degree is controlled very well, taking care of the personal feelings of beauty, but not overly stacked.
This degree is of great significance in promoting the development of Tang poetry. Because Tang poetry in the true sense is not a complete negation of the alignment of the beam body. The perfect inheritance of format and rhythm, and the positive and upward content, is the reason why Sheng Tang poetry can stand at the top of the history of Chinese poetry.
Among them, Yang Guang and Zhang Ruoxuan have played their own roles and are meaningful figures in the history of poetry. Some people say that the Sui Dynasty poets did not still have Xue Daoheng, and he did not have the meaning of Yang Guang. Compared with the first Tang Sijie and Chen Ziang, Zhang Ruoxuan's role was relatively much smaller.
Whether from the poetry itself or the poet, Zhang Ruoxuan's works are beautiful, but the influence is not as important as we think.