Qian Qi, the leading figure of the "Ten Talents of the Great Calendar" in the history of Chinese and Tang poetry, was so hot that his poetry name was hot during the Tang Suzong and Daizong periods, and he was called "Qian Lang" together with Lang Shiyuan, Liu Changqing, and Li Jiayou.
This poet with the character Zhongwen and whose origin was Wu Xing (now part of Huzhou, Zhejiang), also had a good relationship with Hunan, although he had not come to Hunan in those years, but the outstanding figures and beautiful scenery of Xiangchu had entered his poems, some because of blood, and some because of poetry.
In the Tang Dynasty, The "Grass Sage" Huai Su from Hunan was related to Qian Qi, who once had a poem "Sending His Nephew Huai Su Shangren back to his hometown to serve".
"What is Xiao Xiang waiting for?" Water biscamin on both sides of the moss. Twenty-five strings play the night moon, not victorious but flying", this song that burns the lips of many readers in ancient and modern times, "Gui Yan", lyrically is probably his Xiangchu divine tour, right? Previously, he had repeatedly taken the exam and written a number of poems that complained because of the fall, and in the "Gift to the Pei Sheren under the Que", there was a sentence that "I have not met for ten years, and I am ashamed to give white hair to Hua Hairpin".
However, his poem "Provincial Trial Xiangling Drums" related to Hunan is his famous work.
Good drum cloud and Ser, often heard of the emperor's spirit.
Feng Yikong danced by himself, and Chu Ke was unbearable.
Bitter tune miserable golden stone, clear sound into the meditation.
Cang Wu came to complain, and Bai Zhi moved Fangxin.
The flowing water spread to Xiangpu, and the sad wind passed through the cave court.
Qu finally disappeared, and several peaks on the river were green.
One of the reasons for the prosperity of Tang poetry is that poetry is used to endow scholars, and readers are all accustomed to poetry and even poetry for all.
Poetry has become a hot spot that has been prosperous for three hundred years of Tang Dynasty.
In the Tang Dynasty, there were many names, but the main ones were the Ming Jing and the Jinshi Erke, which began in the second year of Emperor Gaozong of Tang (681), and the JinshiKe composed poems according to the proposition.
"Province" (省) has only been used as the proper name of the administrative region since the Yuan Dynasty, and the "provincial examination" in the title of Qian Qi's poem refers to the examination held in the ceremonial department of Shangshu Province (the administrative organ of the six central departments in charge of officials, households, ceremonies, soldiers, criminals, and workers), also known as the "ceremonial examination", when in the tenth year of Tianbao (751), the test question is "Xiangling Drum ser", taken from the sentence of Qu Yuan's "Long Journey" in Chu Ci, "Make xiangling drums and makes Hairuo dance FengYi".
Perhaps with the help of the Three Xiang ChuDi and the time to run it, Li Lin (or Li Wei), the "Zhi Gong Ju" (presiding over the entrance examination) of that year, admired this poem, especially its concluding sentence, "Shen Jiazhi, called the Ultimate Song" ("Old Book of Tang, Qian Hui Biography"), "Jia Mei, strike the knot and chant for a long time, that is: 'It is the ear that must have divine help.'" 'So he was promoted to Gaudi. (Yuanren Xin Wenfang,"The Biography of Tang Caizi") "The spring breeze is proud of horseshoe disease, and I see all the Flowers of Chang'an in one day", thinking of the joy and excitement of the money at that time, when it was far better than today's students admitted to prestigious universities.
Qian Qi's "Provincial Test Xiangling Drum" can be cross-referenced with his later "Gui Yan".
The goddess of the Xiangjiang River drumming under the moon is the common central image of the two poems, but the former is more detailed and the latter is quite ethereal.
The most wonderful thing about this poem is of course its concluding sentence, if the whole poem is a splendid embroidery, then the closing sentence is the blossoming flower on the splendid embroidery.
"The song is not seen at the end, and the peaks on the river are green", which not only points out the title "Xiangling Drum", but also the artistic conception of its hazy beauty is very harmonious with the mythological characters written in the whole poem, and leaves the reader with endless room for thought.
The aesthetics of traditional Chinese poetry is called "ending with scenery and endless aftersound", from the perspective of Western modern acceptance aesthetics, that is, leaving an "empty basket structure" with "aesthetic expectations", stimulating readers to actively participate in the aesthetic re-creation of works.
Provincial test poems, also known as test poems, the title has been determined, the subject matter is limited, the form is a rhythm poem with five words and six rhymes, with rhymes one word in the question specified by the examiner, or by the test taker to take two words in the title, just like dancing with shackles, it is almost impossible to have a beautiful dance posture of the wind and snow, and the poem of Qian Qi is an exception that is absolutely indispensable.
It was a sensation, recited to future generations, a hundred years later, in the twelfth year of Dazhong (858), Tang Xuanzong Li Chen asked the chief examiner Li Fan, if the test poem has heavy words, can it be admitted, Li Fan said that the "Xiangling Drum Ser" repeated the word "no" in that year, Xuanzong said that it was also accidental to write well, but how can others compare with money?
In the Song Dynasty, several lyricists applied the phrase "no singing" to their own words unchanged, such as Qin Guan's "Linjiang Immortal".
More than a thousand years later, in 1935, Zhu Guangqian wrote the article "Saying that the song is finally gone, and there are several peaks on the river", which recommended that the conclusion of this poem is the ultimate in poetic beauty, which shows the far-reaching influence of this poem and has the "posthumous nature" that can be called a "classic" work.
Along with Qian Qi, there are four people who are now known as Chen Ji, Wang Yong, Zhuang Ruona, and Wei Xuan, and the "Xiangling Drums" they made are also preserved in the "Quan Tang Poems", but they are not more than unaware, one is more frightened, their poems are far worse, except for the specialized and specialized Tang poetry experts and the silverfish that occasionally swim in the book, no one has come to ask about it.
Today's college entrance examination essay propositions are not without similarities with the past "provincial examinations", and the key is to play an extraordinary role in the conventional range like Money.
In the summer of 1956, I graduated from the First Normal School in Hunan Province, and the relevant authorities suddenly informed us that we could apply for the university, which was limited to the normal college.
The title of the essay is "Living in an Era of Happiness", I was a teenager who did not know the taste of sorrow, and dared to add a small subtitle under this big topic: "Zhu Baocheng Railway opened to traffic", and the three volunteers also filled in the "Department of Chinese of Beijing Normal University" without hesitation, and finally got their wish with high scores. Half a century later, I wrote the article "Qian Qi 'Provincial Examination Xiangling Drumser]", and I am still grateful and nostalgic for the examiners who never knew his name.
The article is excerpted from Li Yuanluo's "A Thousand Years of Beauty and Beauty"