Shi Yi Shi Hua (Volume 1 and 2)

Author: Chen Yan / Country: Mainland China
Publisher:
Publishing Date: 1998-12-20
Features: China is a kingdom of poetry, with countless poets from ancient times to the present. And the commentaries on poetry, known as "poetry discussions," are also innumerable. This book is a commentary on the poems of poets from the mid-to-late Qing Dynasty, which was first published in journals and later compiled into a book. Through this book, readers can gain a relatively deep understanding of the of poetry creation in the late Qing Dynasty. "The New Century Universal Library" is a series of books launched by Liaoning Education Press, aiming to "provide long-lasting and useful books for readers who thirst for knowledge, to prove the necessity of reading activities in modern society, and to promote the formation of a reading atmosphere in society, creating a realm where book lovers can own a library." It draws from a wide range of sources, basically reflecting the outline of human cultural development, and has selected a basic bibliography for modern readers in the 21st century. "Shiyuan Shizhu Poetic Discourses" is one of the third series of this series, a work by Chen Yan, a poet at the turn of the Qing and Republican periods, commenting on the poems of his time. This poetic discourse records the origins of the Tongguang poetic school, activities such as Wuchang poetry discussions and Taoyuan poetry discussions, puts forward Chen Yan's views and opinions on poetic theory, such as emphasizing the need to "understand the profound subtleties" when learning from the ancients and "writing poetry is about one's own thoughts and expressions," distinguishes between the two stylistic tendencies of the Song poetry school since the Daoguang era, elaborates on the poetic theories of predecessors, comments on the strengths and weaknesses of predecessors' annotations on poetry, and discusses his various insights into the art of writing poetry, such as discussing the titles of poems by Xie (Lingyun), Du (Fu), and Liu (Zongyuan). "Shiyuan Shizhu Poetic Discourses" is an unprecedentedly large-scale poetic discourse, which played a certain role in the retroactive trend of classical poetry in modern times. It represents the opinions of the Tongguang poetic school and provides richer materials for the study of modern poetry history.
The craftsmanship of poetry often lies in a sense of yearning and unwillingness. Jing Gong's "Farewell to the Riverside with Flowers, the Boat Returns and the Path is Already Lost. The Fragrance of Osmanthus is Unattainable, the Sun Sets West of the Painted Bridge" is a work of twenty characters, expressing his feelings of regret for not having met Emperor Shenzong. I once said that it doesn't matter whether nobles are good at poetry or not, but among those who are good at poetry and have a "mountain and forest spirit," none are better than Jing Gong. His talent followed him, not because he lived in Jinling after that. Chen Renxian (Zeng Shou) once wrote a seven-character ancient poem based on this saying, which was very skillful. Lin Tunggu (Xu) published his "Late Green Pavilion Poems" when he was in his twenties, and I actually supported it. I asked him to write a preface, but the draft was hastily written and not well-composed. There are also dozens of unpublished poems that are even better than those published, and most of the manuscripts are with me.
"Presenting to Shiyuan Elder at Zhang Garden" says: "The deep reeds by the water drift like pearls in a net, with bright chrysanthemums shining in the eyes. The poor alley's elegant posture can only be compared to it, and the slanting autumn sun and the fading day bring a sense of emotion. The withered lotus seen the day before is still there, and the distant traveler's thoughts arise as he departs. I would like to sing a poem to repay the gift, and the new preface by the benevolent man rivals a." "Remembering Liang Bolie at Haixi An" says: "Sitting calmly, one can see the beauty of all things, and the river waves turn daily. It is known that your room is like the Vimalakirti, and it is close to the of Jiao Xiaoran. The virtuous guardian passed away, and the long-distance traveler also sleeps deeply in the mountains. A thousand loquats truly pass me by, and it is the month of October with dense frost." (Self-note: Jie'an loves the name of the Late Green Pavilion and wants to write a preface for it. He also says that there are many loquats in Jiaoshan, so the pavilion should belong to me.) "Untitled" says: "The envoy with a carriage returns, and the misty pavilion and cloud windows rise again. The peaks of Chu are beautiful when the dream returns, and the long gaze at the Han palace is not wrong. The king himself lost the land of Henan, and his face could be proud of the flowers of the Western Sea. Born not to meet the times, one's fate is to continue the pipa." "South Pond" has three poems: "The water of South Pond rises, bringing many new scenes. The temple of the river god suppresses the vast and flowing sound. The mast shadows sway past the corner of the house, and the waterfowl walk lightly among the flowers. Miscellaneous utensils are piled up for sale on the boat, and scholars and women return to the tomb in spring clothes. The scenery of the desolate city is only this, but the thought of the return path can be pursued." "The water of South Pond rises, bringing many new scenes. It is not harmful to take wine and compose poems for several days. The poor eyes cannot see the flowers in the courtyard, and who sees the willows forming a forest in spring? The wine is half full, and the time will move. The heart wants to leave in front of the balustrade. The return of the third day of the third month and Qingming are over, except for enjoying life, nothing should be infringed." "The flowers in the temple of South Pond are competing for beauty, and I have a special feeling for the cherry blossoms. The thought of the Qingming Festival is slightly similar to coming to pass, and the dream of seeking poems is often changed." ("Who remembers the sorrow of the separated person, passing Qingming under the cherry blossom trees." From the poem in the capital in Jiazi.) "Passing by the Masts Tower in Amazement" says: "The masts and strings contain the sound after being drunk. Combined, we must use the strength of sorrow to surpass the scenery before us." "The Peach Blossom Gate in South Embankment" says: "Several trees at the root of the embankment face the vast expanse. They try on their makeup with white powder and red rouge. The Huai River flows eastward, and the thoughts are endless. The spring sun is about to set, and the day is just beginning to be long. The monks plant heavily, but who cares. The girls passing by also pick strongly. Having been mocked by poets for being frivolous, the willows in the shade do not envy the ringing of the cymbals." "Seeing Spring Officiating as Han Zhi Guang" says: "Following the custom, poetry is made at the end of March, and seeing the falling too much is too shocking. The broken pieces are thought of as the fullness, and the sparse ones are wished for a long prohibition. Will you remember the hat brim that was once competing to wear? The insensitive shoes will invade. The young man of Donglang does not take the wine for spring sorrow, but the pond and pool have already been green in the sun." These are all works of great skill in learning from Du in the collection of Shanshan. The third poem is slightly different, a tribute to Sai Jinhua. The virtuous guardian refers to Wang Kezhuang. The younger brother of Jiuxin (Qian) had a youthful talent but was frustrated. He lost his father in childhood, and his two older brothers did not want to scold him too much. A loved one died young, and he was very sad, and also grieved for himself. More than a hundred and ten poems reflect this, and I will list a couple: "Ascending the lake pavilion even more, the autumn color of this year is ten points. The setting sun is truly heartless, not allowing the grieving to cry for the tomb." "For two years, how could there be a day of joy? This heart does not reduce the sourness of Yue Mei." "Thinking of the past, it has all become a prophecy. Long holding a strange sorrow, wanting to turn into." "Even if not writing a poem, it is also moving. This year, the swallows have stopped working. How many white eyes do you know? How many yellow coats will there be in the future?" The sentence says: "Gold in the world is originally like soil, and jade in the arms is white and flawless." It is extremely poignant, and the sentence "turning into" is a creative novelty, like the language of Yang Tieya and Zhang Boyu. There is also a five-character regular poem: "The scenery is already bleak and tight, and my heart is particularly not good. The sword hangs empty at the tomb gate, and the fragrant path is already buried with hairpins. The frost message urges the thin hair, and the autumn period buries the sick body. The poet lies white in his study, with pines and bamboos filling the desolate study." It is especially miserable and unbearable to read. He died young, only twenty-eight years old. There are also sentences: "No guests pass by the courtyard, and the boy is lazy to sweep. Books are often borrowed due to illness, and old sentences are often deleted to avoid talking about poverty." "Xiaohu Lake at a Glance" says: "Leaving the bridge, the fallen leaves are noisy, and facing the water, the autumn light is full." "Late Spring at a Glance" says: "The red and purple of the poor family are all washed, and only the green moss is on the well railing." He was beautiful in appearance and kept himself pure, never engaging in narrow tours. His wife, Shao Shi, was a daughter of a family of scholars, and they were poor and poor together. Those who knew them called her Fu Chuan Gao Rou, but she was melancholic and thin, and I was deeply afraid that she would be a target for Tang Qing. In a few years, she suddenly died of lung disease and left behind a collection of poems. I list a few here, and it makes people pity her death even more.
Wang Lansheng (Jing) left behind three or four hundred poems, about ten percent of which were written during his journey to Sichuan. His poetry is lean and thin, but there are some that are strong and unique. "Meizi Pass" says: "Ten thousand feet high, Meizi Pass touches the sky, and seventy-two streams surround the pass in front. The passerby points to the Baiting County, and several pieces of scattered clouds are between the indeterminate." Twenty-eight characters are rushed down in one breath, and there is a sense of Tai Bai's "Leaving Baizhou." Li She's "Far from Qin City" is truly in a different stream from Tai Bai. However, the last two sentences are also derived from the lower half of "Yellow River Far Away," and the three poems of the Tang people, one river, one river, and one Han, are truly different tunes in the same work. Later people have no room to write.
Writing poems must have a real mind, real principles, and real skills. It is not about relying on a few flexible and virtual words to twist and turn between them, and then boast of being able to do things. Nowadays, people write poems, knowing that the clamor and dust of solitude are unbearable, and the vastness of the sky and earth is tedious. Therefore, there is a trend where they act as if they do not want to fight, and act as if they are starting to be sad. 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