Previously written two related articles, in the back of this article with a link, said are about some shallow understanding of allusions, today's one to say that the use of the codex to pay attention to several aspects, welcome friends to correct.
Write poems with as little as possible the use of strange words, and it is best to use less strange allusions. If it is a dark code, it is better, and the master uses the code such as "salt in the water is not known", even if the reader does not know that there is a dark code, he can read the poem according to his own understanding. But the Ming Dynasty is not, and without knowing the origin and meaning of the allusions, one cannot understand the author's intentions. Therefore, it can be said reluctantly: the bright code avoids, and the dark code does not hurt.
1. The secret code is harmless
It's a bit absolute to say no, but the meaning should be understood. I am in "Dongpo Eat Pork Less Water and Fire Waiting Enough I don't know if there is an allusion here that I blame us for reading less? This article quotes a story:
Dongpo likes pigs, and when he was in Huanggang, he tried to make a play in the "Pork Eating Poem" Yun: "Huangzhou good pork, low price and other dung soil." The rich refuse to eat, and the poor do not cook. Slow fire, less water, when the fire is enough, he is beautiful. Get up every day and play a cup, and be full of your own junmo. "This is the east slope with the text of the funny ear.
This is a passage from Zhou Zizhi's "Zhupo Poetry", saying that Su Dongpo likes to eat pork, so he also wrote a "pork eating poem". There was an allusion hidden in it, which Zhou Zizhi did not know before. Later, Zhou Zizhi read a "Yunxian Sanlu", which recorded that "Huang Sheng ate two pounds of venison on the sun, and cooked it from the morning to the west gate under the shadow of the sun", and only then did he know that the original "fire and waiting foot" came from here, so he sighed and said, "Although he knows that although this old man cooks meat, he knows it."
From this story, it can be seen that even if we don't know that the fire is an allusion, it does not affect our understanding of the meaning of this poem, probably because the fire is enough for the pork to be delicious. But knowing this allusion, then the understanding is a deeper layer, the original fire foot is cooked from morning to evening, if you do not know the origin of the fire foot, according to the gourd painting scoop can not cook delicious pork. Why many family heirloom skills outsiders can't learn, it turns out that the real secret recipe also includes strict operating standards.
Another example is the Seven Laws of The Peach Blossom by Yan Suicheng of the Qing Dynasty:
The light ironing hat is very special. The country of rest does not say a partial knot, and the wine in the Wenjun is at first. Blame him for going to the flowers as promised, remember when the road came. If you go to the mountain, you should realize that the red rain will always be lost.
Among them, the fifth and sixth sentences are also well understood according to the surface text, which contains allusions to "Liu Ruan mistakenly entered the Taoyuan Cave" and Tao Yuanming's "Peach Blossom Origin", and whether you know the story of Liu Ruan and the fisherman does not hinder the understanding of these two poems.
2. Mingdian avoidance
Or the above Yan Suicheng's "Peach Blossom", the third and fourth sentences if you do not know "the country does not speak" and "Wenjun Danglang" is a little troublesome, the secret code is hidden underground, the Ming code is in the middle of the road, can not go around, only to check the annotations to cross the past.
Known as the "Lady of the Peach Blossom" because her face resembled a peach blossom or she was born during the peach blossom season, it is said that she married the King of Chu after the fall of the Kingdom of Chu, but refused to speak to the King of Chu. Wang Wei once had a poem: Look at the flowers full of tears, do not share the words of the king. Sima Xiangru's wife Zhuo Wenjun sold wine, and here the beauty of Wenjun after "middle wine" is used as a metaphor for peach blossoms. These two places are allusions commonly used by the ancients, and they are not strange for modern people, so there will be no feeling of "separation".
Yuan Ming said in the "Poetry of Suiyuan" that "Tang people's near-body poetry does not need to be born; those who see poets close to see them, adding notes to sentences, are taking poetry as evidence." The allusions in the poem are afraid that others will not understand, so "sentence by sentence" is added, Yuan Ming said that this is not writing poetry, this is to use poetry as "evidence". He recorded one of his "deleted poems" to express his clear attitude towards the use of strange allusions:
Yu's poem "Hanging Yang Concubine over ma song" says: "Where is the golden robe going?" Only leave the socks to watch with people. "In the Chinese language of the New Book of Tang Dynasty Li Shi Biography, non-secluded books are also, and readers ask for provenance. Yu was tired of it and deleted it, so the poem does not exist in the collection.
Yuan Ming wrote a poem, using the story in the New Book of Tang and the Biography of Li Shi, he himself did not think it was strange, but readers asked him where the allusions in the poem were, and he was overwhelmed with annoyance, so he deleted the poem in his own collection. Can I say that I have never even heard of "Li Shi"?
1, about less
Regarding the number and lack of dictionaries, Yuan Ming has a passage in the "Suiyuan Poetry", saying that someone made Luoyang Huaigu poems, and there were seven or eight places in a poem, and he did not know what the author wanted to express. Yuan Ming believed that huaigu poetry could be done by one person and one thing, such as Du Fu's "Yonghuai Ancient Monuments", a poem by Wu Hou and a poem by Zhaojun. Liu Mengde's "Jinling Huaigu" only uses an allusion to Wang Junlou's boat, but it causes Bai Juyi to sigh: 'The Li Zhu has been explored, and the remaining scales and armor are useless'. Could it be that Liu Yuxi only knew one allusion to Jinling?
Yuan Ming's Liu Yuxi's "Jinling Huaigu" should be today's "Xisaishan Huaigu":
Wang Junlou shiped down to Yizhou, and the King of Jinling was overwhelmed. Chihiro's iron lock sinks to the bottom of the river, and a piece of stone descends out of it. The past has been hurt several times in the world, and Yamagata is still cold. From now on, the four seas are the day of the family, so the fortress Xiao Xiao Lu Di Autumn. "
This passage clearly shows Yuan Ming's view of how many allusions there are, he believes that good poetry does not need too many allusions, the ancients made nostalgic poems, one person and one thing can be.
2, about more
Yuan Ming also said: "Only Li Yishan's poems have a little more allusions; however, they are driven by talent and affection, and they are not specially filled in." Li Shangyin composed poems that are easy to use allusions, and there is a seven-law poem that is not only "a little more allusions", but almost a sentence with a canon.
"Tears" Li Shangyin (Tang)
YongXiang has been complaining about Qi Luo for many years, and he has been thinking about the storm all day long. The bamboo marks on the Xiangjiang River are infinite, and there are a few sprinkles in front of the Da Shou Monument. People went to Zitai autumn into the jam, and the soldiers were crippled and heard songs at night. Asked by the side of the Bashui Bridge, he did not arrive at the Green Robe to send Yuke.
Yongxiang is considered a secret code, and it is recorded in the "History of Lü Hou Benji" that "It is the lady of The Prisoner of Yongxiang." "This is not only tears, but also the blood and tears of the court struggle; on the bamboo of the Xiangjiang River are the tears of Sifu of Emperor E and Nüying; in front of the monument are the tears of the common people's remembrance of Yang Hu; when people go to Zitai, they are the tears of Wang Zhaojun's going to the country and nostalgia; the remnants of the soldiers are the tears of Xiang Yu's hero's last road; by the Bashui Bridge are the tears of the literati's parting; and the last sentence uses the method of borrowing substitution, and the green robe Yuke refers to the cold soldiers and the rich and noble.
Cheng Mengxing said in the "Notes on the Re-ordering of Li Yishan's Poetry Collection" that "eight sentences of seven kinds of tears, only one tear is the pain of the skin", the reader can see that six of the seven tears in the poem are used, and the last tear is his own tears. The last sentence of the poem is reversed, as if a lever were lifted up across the earth.
Li Shangyin used the way of piling up allusions to list all the tears he thought of, which was used to reflect his own tears. In the "Yang Wen Gong Tan Yuan", Yang Yi said that Li Shangyin "each genus is embellished, more books are reviewed, left and right scales, and otters are sacrificed to fish", and Li Shangyin composed poems, putting the books in front of his eyes one by one, and used them to find allusions and nouns for fighting. Therefore, Lu Xun once said: "Yuxi is born with clear words and beautiful sentences, how dare to compare shoulder to shoulder, and there are too many dictionaries, which is my dissatisfaction." ”
Another example of this listed way is that in the late Ming and early Qing dynasties, Chen Zilong satirized Qian Qianyi, who threw himself into the Qing Dynasty, and wrote a poem of the Seven Laws:
Entering Luo was too strong, and the perch met again on this day. The black head should have been ashamed of Jiang Zong, and Qing Shi He had used Cai Yong. Xi went to The Wise Man to sink the white horse, and now he deserves to sell Lu Long. The most pitiful climbing zhang tai liu, haggard west wind asked Anon.
The first sentence of "into Luo", Su Dongpo in "Qinyuan Spring , Lonely House Lantern Qing" has: like a teenager who first came to Erlu. There are a thousand words in the pen... They are all allusions to the Lu Yun brothers, but the meaning of the expression is different, and Chen Zilong praises and depreciates Qian Qianyiming. Erlu was a descendant of Lu Xun, a famous minister of Eastern Wu, who returned to the Jin Dynasty as an official and died in the Rebellion of the Eight Kings; "Shu Perch" used Zhang Han's allusion to indicate his return to his hometown; the third sentence used Du Fu's poem "Late Travel Slogan" "Far from Liang Jiang Zong, returning to the black head of the family", indicating that he had not returned to his hometown, Cai Yong said that shitu was frustrated and was imprisoned (Qian Qianyi had been imprisoned); the fifth sentence Pei Shu was killed by Zhu Quanzhong's people at Baima Yi, the sixth sentence said that Tian Yu offered a plan, so that Cao Cao attacked Tian Yu's hometown of Lulongsai; Wei Lian used Zhangtai Liu allusions, and gently mentioned his wife Liu Ruyi (Qian Was sent to Beijing in the year, Qian Qian was sent to Beijing, and the sixth sentence said that Tian Shu was sent to Beijing to make Cao Cao attack Tian's hometown of Lulongsai; Wei Lian used Zhangtai Liu allusions and gently mentioned his wife Liu Ruyi (Qian Qian was sent to Beijing in the same year, qian was sent to Beijing, and the sixth sentence said that Tian Shu was sent to Beijing to kill Him; the sixth sentence said that Tian Shu offered a plan to make Cao Cao attack Tian's hometown of Lulongsai; And The tail lian used Zhangtai Liu allusions to gently mention his wife Liu Ruyi (Qian Qian was sent to Beijing in the same year, Qian Qianyi was sent to Beijing, and the sixth sentence said that Tian Shu was sent to Baima Yi, and the sixth sentence said that Tian Yu offered a plan to make Cao Cao attack Ande, Tian Yu's hometown; The tail lian used Zhang Tai Liu's allusion to gently mention his wife Liu Ruyi (Qian Qian was sent to Beijing in the same year, qian was sent to Beijing, and the sixth sentence said that Tian Shu was sent to Beijing to kill Him; the sixth sentence said that Tian Yu offered a plan to make Cao Cao attack And occupy Tian Yu's hometown of LuLongsai; Wei Lian used Zhang Tai Liu's allusion to gently mention his wife Liu Ruyi (Qian Qianyi was sent to Beijing in the year of Qing, qian Qianyi was imprisoned); the fifth sentence said that Tian Liu Shi was martyred and did not succeed, and stayed in Nanjing without going).
The first six sentences of this poem are also listed, and the cleverness lies in the use of different character images to connect qian Qianyi's experience of being demoted, imprisoned, and expelled to his hometown, the first four sentences use the metaphors of Lu Ji brothers, Cai Yong, Du Fu, and Jiang Zong to be polite, and the fifth and sixth sentences used pei shu and Tian Yu are curses. The seventh and eighth sentences use Liu Ru as a comparison, satirizing that he is not as good as a woman's Taoist family.
Although there are many allusions to these two poems, they are not blindly stacked, they are carefully selected poems (character images) around the theme, and there is a "finishing touch" at the end. The same is xin shuyi's "Yongyule Jingkou Beiguting Huaigu", which I said in the previous article "Shallow Sayings of the Use of Ancient Poetry Salt in Water Does Not Know, Drinking Water Knows The Taste of Salt", which I will not repeat here.
Borrowing is a kind of use of the canon, allusion is useful for things and useful names, and borrowing is a kind of use of names. Instead of directly saying the original name of the thing, borrow the name of the closely related thing instead.
Bai Juyi's "Golden Needle Poetry" once said that the poem has a righteous example seven:
"One says that one cannot speak of seeing; the second is that one cannot speak of hearing; the third is that one cannot speak far; the fourth is that one is quiet; the fifth is that one cannot speak of bitterness; the sixth is that one is happy and cannot be happy; and the seventh is that one is eager to hate."
This passage is about the writing of poems to be implicitly euphemistic, but some people distort this meaning, and in the Song Dynasty it evolved into the abuse of pronouns, and Qian Zhongshu's "Tan Yi Lu" has a special chapter on "pronouns":
Since the Qing Calendar and Yuan You, it has frequently seen 'Zhao Dun in the Clouds', 'Marquis Wu of Yuandi', 'Qingzhou Engaged', 'Baishui Zhenren', 'Vinegar-soaked Cao Gong', 'Tang Yi Right Army', 'Pingtou', 'Long Ear', 'Huang Wei', 'Qingnu', 'Cangbao', 'Su'e', 'Goose Yellow', 'Yalu', 'This Jun', 'Adu'......
The Song Dynasty poet Lu You also criticized in the Notes of the Old Scholar's Temple:
"At the beginning of the country, there were still "Selected Writings", and the literati at that time devoted themselves to this book. Therefore, the grass will be called Wang Sun, the plum will be called the messenger, the moon will be called Wangshu, the landscape will be called Qinghui, and after the celebration of the calendar, it will be evil and stale, and the authors will wash it. ”
There are many pronouns that do not enhance the artistic conception of poetry, nothing more than the author shows his knowledge in the "dropped book bag", the Song Dynasty people said that Du Fu did poetry without a word and no origin, but the Tang Dynasty's Yuan Shu said: Du Fu is quite talented, and every poem is like a love relative. Pity canal straight at that time language, not mindful of the ancients.
Many of the poems of the Tang Dynasty that are widely circulated are liked by modern people, and one of the characteristics is that they are easy to understand in comparison, and we feel incomprehensible when we read the poems of the Qing Dynasty and the Song Dynasty. Yuan Ming said that "Tang people are close to poetry, do not need to be born with classics", and the change in the use of classics is one of the reasons, and Tang Dynasty poets are not as fond of using pronouns as the Song Dynasty. I wrote in "On the Borrowing of Ancient Poetry, Zhao Dun in yunjian is not a person, what ghost is Qingzhou engaged in?" " quoted from a poem by Chen Youyi below, do you know what Qingzhou is engaged in?
Folded like a jade plum, the flower must be owed a cup. Don't bother with Baishui's real human strength, there is Qingzhou engaged.
1. In the poem of Chengzhai there is a story of "unwarranted":
Ouyang asked Po's "Treatise on the Reward of Loyalty and Loyalty to Punishment", which has "Gao Tao Yue Kills Three, Yao Yue No. 3", which is seen in He Shu, Po Yue: "The matter is noted in the Chronicle of the Three Kingdoms ̇ Kong RongChuan." Europe and Retreat read it, nothing. He asked Po again, and Po Yun said, "Cao Cao destroyed Yuan Shao and gave him his son Pi with Yuan Xi's wife." Kong Rongyue: "King Xiwu cut down the silk and gave it to the Duke of Zhou with himself." Fu asked what he had seen, and Rong said, "Looking at it in the light of today's events, it means so." The matter of Yao and Gao Tao also means so. Euclidean exclaimed, "This man is good at reading and using books.....
Ouyang Xiu admitted Su Shi and asked Su Shi where the allusions to Yao and Gao Tao in Su Shi's college entrance examination essay came from? Su Dongpo's Hu Kou Hu: Romance of the Three Kingdoms • Kong Rong Biography. After Su Shi left, Ouyang Xiu checked it out but couldn't find it. A few days later, su Dongpo asked Su Dongpo, and Su Dongpo continued to say nonsense: "Cao Cao destroyed Yuan Shao and gave Yuan Xi's wife to Cao Pi. Kong Rong said that king Wu of Zhou cut down the sword and gave dai himself to the Duke of Zhou, Cao Cao was shocked, how do you know the drop? Kong Rong said that looking at what you have done today, it is estimated that it is almost the same. So the matter of Yao and Gao Tao, I (Su Shi) also think that this is probably the same meaning. Ouyang Xiu was not angry but happy, but praised Su Shi for being good at reading and using books...
Lao Jie does not know the truth or falsity of this kind of thing, but today's college entrance examination or writing a graduation thesis can not be so free to play, and write "unwarranted" things as historical facts into the thesis. It is estimated that the students who write this kind of paper and the supervisor who praises you must be in the water.
2. The use of the code is inappropriate
Poems written for young people, it is not appropriate to use Feng TangLianpo's allusions, poems written to women are not appropriate to use "Dragon City Flying General", it is not appropriate to write a poem for ordinary people to quote Yue Fei and Wen Tianxiang, and it is not possible to write to leaders with Tang Zong Songzu, this is a set for leaders, looking forward to the rhythm of leaders falling.
In a word, the quotations should be suitable for the actual conditions such as the status, identity, and age of the image being described. I can't think of a poem about the inappropriate use of the codex, so let's do it.
The poems of Chen Zilong and Li Shangyin were cited above, and the use of the canon should avoid blind stacking, and Li Shangyin's use of the canon was criticized by Lu Xun too much, but after all, Yu Xisheng's means were clever, and the allusions used were properly controlled. Yuan Mei has a saying:
The use of clever axes without axe marks, the use of codes without fill marks, this is the achievement of the later years. If you are a beginner, you want him to be willing to carve, so that he can bother; if he is willing to use the codex, he will read.
It is inevitable to use allusions in poetry, and it is necessary to read more books when using classics, have materials in mind, and will not be stretched under the pen, and can choose the most appropriate allusions to use in the most appropriate places. There are filling marks in the code, one is that there is little reading, and there is no suitable poetry material, and the other is that the talent is poor, and there are suitable materials that do not know how to seamlessly embed it.
To avoid these two points, you need to read more books, especially read more ancient poetry, the first learn to use allusions, the second is familiar with the allusions commonly used by the ancients, avoid strangeness and poor words, and then write more and practice more.
The quality of poetry does not lie in the number or absence of allusions, nor in the familiarity and seclusion, but in the ability to control. Too familiar to make people sleepy, too raw to see and daunting. The Ming classic tries to avoid being too strange, the author sacrifices the otter fish, the reader is not, can not write poetry and read poetry into a guessing and dictionary game; the dark code seems to be better, as long as you can do "salt in the water does not know", as long as you can sprinkle salt. If you want, just add a comment, if you are too lazy to explain, it does not matter, sometimes too much explanation will lose the taste of poetry.
For most poets, the use of canon is like eating, more or less is better, eat more when hungry, and save a meal without hunger. The key is whether the meal is digestible and whether it is beneficial to physical and mental health.
@Old Street Taste
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