In the late Northern Song Dynasty, the government was corrupt, and the party strife was fierce, especially the "Yuanyou Party members" represented by Su Shi's protégés, who were repeatedly excluded and attacked, or who degraded other places, or dismissed from idle residence.
Their lyrics focus on two themes, and each time in a poem, they show two contradictory moods.
Huang Tingjian's Nanxiangzi:
The generals will say that they are marquises, and the piccolo long song is leaning on the building alone. Everything goes with the wind and rain, rest, and play Tainan Golden Head. Urge the wine not to stay late, the wine tastes like autumn this autumn. The flower smiled at the old man's head, shy, and the white haired flower was not relieved.
The film said sad. This was the Chongyang Festival of the fourth year (1105) of Emperor Chongning of the Song Dynasty, and Huang Tingjian was in Yizhou, who was degraded, and climbed the castle tower with his staff. Ancient officials often had banquets and gatherings on holidays, which were both entertaining and communicating feelings. This was a rare happy thing, but someone next to him was talking about the matter of meritorious service, and Huang Tingjian heard Dun Sheng sigh. For him, a sixty-year-old man, he was now in a wild place, and his former political ambitions had "gone with the wind and rain."
The mood of the next film turns to openness. The lyricist raises a glass of wine, let the past pass, or drink freely, live up to this great autumn light and the good wine in the cup. The emptiness of the name of merit and the cuteness of the wine are commonly used in Huang Tingjian's poems, such as "The name of the merit behind the body is empty and self-respecting, and the bottle of wine in front of the eyes should not be light." Then he got drunk and put a flower on his white hair, as if he did not want to be old. But at the end, he said that "the white hairpin flower does not solve the sorrow", it seems that this is "borrowing wine to pour sorrow, more sorrow".
From sorrow to expanse, and back to sorrow, the contradiction in his heart is obvious, he is trying to get rid of sorrow, but he can't get rid of it. According to the Daoshan Qing dialect, Huang Tingjian "on the ninth day, he ascended the tower of the county city and listened to the words of the border people: 'This year, when you fight to win the title!'" 'For he who is a cloud of small words, who sings high in the shadows, if he cannot bear it.' It is the thirtieth day of the month that bears no fruit. If this record is true, then "Nanxiangzi" has become Huang Tingjian's masterpiece.
Li Zhiyi's "Thousand Autumn Years", the order of its emotions is just the opposite:
Tonight, I am not sorry to be drunk and red, very medium, and calm. Believe in joy, look back like a whirlwind. Wandering to the end of the world, it is rare to meet again. Ten years of north and south feeling the conquest of Hong, hate should be the same, bitter. Hugh put the sorrow in his arms, and it was easy to empty the book. Only the lyre bottle can send the old, in addition, all the artemisia.
The film is happy. The lyricist explains the reason for happiness, because "it is rare to meet again." "This is the reunion with friends after ten years of wandering, naturally it is a frequent toast, drunk at all costs."
The next film turns to sorrow. The writer also explains the cause of their sorrows because they talk about their respective encounters in the past ten years, "hate should be the same, suffering a lot", persuade others at the same time, arouse their own sorrows. The ending boils down to "Lyotome Sending Old" and is full of artemisia. It seems that the joy of reuniting with friends has not freed the writer from the entanglement of sorrow. The two moods before and after are also contradictory.
Since the government is dark and has suffered exclusion and attacks, the way to retreat is to go into hiding to soothe the soul that has experienced vicissitudes, just as the so-called "poor are left alone", which was usually the case of the ancient literati.
Chao's "Touching the Fish and Donggao Residence":
Buy Pi Tang, spin planted willows, and faintly Huai'an Jiangpu. Donggao Jia rain new marks rise, sand-billed herons come to gather. Where to love, it is best to be a river of night moonlight flowing. No one dances solo. Ren Cui Was open to the heavens, Rou Yin was on the ground, and the wine could not go. Qing Aya quilt, Mo YiJin's old steps. Ru Guan had mistaken his body. What is the matter of the bow knife riding a thousand? Deserted Shaoping melon garden. Jun tried to look at it, full of green mirrors, stars and sideburns are now as promised. Gong minglang. It is as if Ban Chao has been given, and he has been sealed for thousands of miles, and he is afraid of being late.
The film is written on the scene, and the painting style is leisurely and peaceful. Chao Was deposed and returned home during the reign of Emperor Huizong, and he built a "Garden of Return" to live in seclusion, calling himself "Returning Son". Judging from the first film of the word, he really enjoys seclusion. After a new rain, the grass and trees are verdant, the mountain streams are clearly swollen, and the sand state is full of egrets and gulls. The writer danced, and he seemed to be the only one left in the vast world, and he enjoyed the moonlight of this pond to the fullest, and he could not bear to leave after drinking.
The next film recalls the early life of eunuchs and shows a dislike of the officialdom. The lyricist deeply feels that this is yesterday and regrets that he has been in the official arena and wasted time. At the end, he said that even if he was as prominent as Ban Chao, he could only live in the Western Regions for a long time, and he had to return to his hometown in his twilight years, so what was the meaning of his meritorious name. The writer seems to have thought about everything and put everything down, but this is a bit of a negative retreat, why not be a kind of helplessness?
Li Zhiyi's "Partridge Heaven":
Collect the breeze and do not see the river, and divide the water tomorrow to clear the light. The benefits of the loss of leisure, can be lamented that life has a bottom busy. The heart is far away, the taste is long, and it must be known that coarse cloth is better than no clothes. From now on, I know that I have returned to Tian Le, why taoyuan is hometown.
When I first read this song, the semantic meaning is detached. The writer was immersed in the clear sky and water, lamented that half a life of hard work and inaction, shouted that from now on to live a reclusive life, from now on to recognize the joy of returning to the field, from now on to know contentment, to know that there is a coarse cloth to wear is better than no clothes to wear. He also said that as long as there is this spirit of contentment and self-enjoyment, anywhere can become a "paradise".
But if you taste the meaning of the language, you can also read the feeling of helplessness. If it is really so detached, the end will not use the rhetorical question, "Why should the taoyuan be the hometown" of the word "why" with a posture of resistance to reality. If you don't believe it, you can re-read Li Zhiyi's "ChaoZhongcuo": "Ordinary life ambition, exhaustion, and a pale face." Sending a message to the elk in the mountains, the broken clouds are second to the east", the helplessness of undesirables is more obvious, and the invisibility is only the dissolution and cover-up of this helplessness.
Ben is sad, but he wants to show openness; Ben is helpless, but he wants to shout the joy of seclusion and pretend to be dashing.
In fact, sorrow and helplessness are true; open-mindedness and dashingness may be influenced by Su Shihao's style of words, and he intends to pursue this realm in his own lyrics.
Like Huang Tingjian and Chao Shuzhi, they all inheritEd Su Shi, the style of words is naturally the same-
Huang Tingjian once wrote a poem "Nian Nu Jiao": "Lao Tzu was born in his ordinary life, jiangnan and jiangbei, and loved the bagpipes the most." Huang Tingjian is very proud of this word, and said that "I think it can be followed by the song of Dongpo Chibi", which shows that he intends to learn the bold style of Su Shi's "Nian Nu Jiao".
In addition, Huang Tingjian's "Nanxiangzi" listed above, in which the sentence "Flowers smile at the old man's head and are ashamed" is also born from Two poems by Su Shi: "People are not ashamed of their old hairpin flowers, and flowers should be ashamed of the old man's head." ("Kichijoji Peony") is used to express the spirit of loving life and not obeying the old.
The same is true of Chao. Breaking the convention of tactful and subtle, showing a bold and open interest is also the style of his lyrics. The "Chao Wu Zi" of the "General Catalogue of the Four Libraries" mentions: "Its words are high and beautiful, and they are shoulder to shoulder with Shi Ke." "
And Li Zhiyi, the Siku Quanshu, called his articles "handsome and handsome, often with the body of Su Shi." His poems were also pointed out by Su Shi and were influenced by Su Shi to a certain extent.
Su Shi is well-known in the literary world, and his character and optimistic and heroic personality have also been affirmed by the world. "Four Seas Article Mu Dongpo" is not an empty phrase, like Huang Tingjian, Chao Zhizhi, and Li Zhiyi are only representatives of this aspect. They strive to show their openness and elegance under the sadness and helplessness of who are frustrated, and this contradiction is caused by their mentality and is also the embodiment of "Mu Dongpo".