"Sending Wei II".
Tang Wang Changling was drunk and said goodbye to the orange and grapefruit fragrance of Jianglou, and the river breeze led the rain into the boat. Yijun is in Xiaoxiangyue, and he is sad to hear that the ape is growing in his dream. 
Photo: Solar Term Workshop "Sending Wei II" is a poem by the Tang Dynasty poet Wang Changling. The first two sentences of this poem are written in the scene, which is allegorical in the scene, and the scenes are blended; The last two sentences imagine that Wei Er heard the cry of an ape in his dream, and it was difficult to sleep. On the surface of the poem, the poem is full of sorrow after the separation of friends, but it is actually the emotion of sighing and sighing when the writer bids farewell to Wei Er. The whole poem combines fiction and reality, with the help of imagination, expands the space of expression, expands the artistic conception, deepens the theme, has a hazy beauty, and is quite distinctive in artistic conception.
Background of creationThis poem was written in the late Tianbao period of the Tang Dynasty (748-756) when Wang Changling demoted the dragon as a captain, and was composed at a banquet when bidding farewell to friends on a clear autumn day (seen from the "orange grapefruit fragrance"), and was a work of sending off guests. Appreciation of worksThe feast to bid farewell to Wei Er is set up on the high-rise building near the river, and the aroma of orange grapefruit wafts in the air, the environment is elegant and the atmosphere is warm. This is especially beautiful because the friends are about to break up. Here, the narrative has been secretly picked, and the feelings of parting have been cherished. "Today's sending the king must be drunk, and the Ming Dynasty has a long way to remember" (Jia Zhi's "Sending Li Shilang to Changzhou"), the first sentence of the word "drunk" implies that "the wine is affectionate and deep". "Nostalgia, Lan Zhou urges", when sending friends on the boat, the autumn wind in front of me is sorrowful, "cold rain and even the river", and the climate has changed. The second sentence literally only says that the wind and rain enter the boat, but it also writes that the traveler enters the boat; The poem not only writes that the river rain enters the boat, but the word "cool" clearly shows the farewell scene of boarding the boat to send off the guests, and the word "cool" is not only a physical touch, but also implies the poet's reluctance to friends and the sadness of parting. The word "introduction" echoes the word "in", which has a sense of not being slow and sassy, and is good at the characteristics of autumn wind and autumn rain. This sentence is allegorical in the scene, and the use of syntax and calligraphy is wonderful, and it is intriguing. The bleak wind and rain set off the poet's sad mood of saying goodbye to his bosom friend and using wine to dispel his sorrows. As is usually practiced, the last two sentences seem to boil down to feelings of regret. But the poet pushed away the scene in front of him, "Remembering Jun Yao in Xiaoxiang Moon", outlining with the word "memory", from the opposite side, creating a realm for pedestrians: in the near future, friends will be parked on Xiaoxiang at night, when the wind and rain will be harvested, a round of lonely moon will shine, and the environment will be so bleak that pedestrians may not be able to sleep. Even if he fell asleep temporarily, the apes on both sides of the strait would break into the dream one by one, making him sleep peacefully, so he could not get rid of his sorrow in his dreams. The poet depicts a typical lonely environment from two aspects: seeing (moonlight) and listening (ape sound). The moonlit night boat is already a mirage, and listening to the ape in a dream is even more illusory. Therefore, the poetry is quite hazy and beautiful, which helps to express melancholy and parting. The "long" word-like ape sound in the last sentence is quite vivid, and there is an artistic conception describing the sound of the ape in "Water Jing Note: Three Gorges": "From time to time, there is a long roar of the high ape, which is poignant, and the empty valley sounds, and the mourning is long." The word "long" is used as a rhyme at the end of this poem, and it has a sense of endless rhyme. This poem uses the technique of combining fiction and reality. Clause.
The first and second sentences are written on a clear autumn day with the fragrance of orange grapefruit floating in the air, the poet holds a banquet on the high-rise building near the river to bid farewell to his friends, and then sends his friends on the boat in the autumn wind and autumn rain. These two sentences are written about the real scene in front of you. In the last two sentences, the poet uses "memory" to fictionalize a typical lonely scene for pedestrians: friends are difficult to sleep, even if friends fall asleep temporarily, the apes on both sides of the strait will break into the dream one by one, making him unable to get rid of his sorrow. These two sentences are virtual, the moonlit night boat is already a mirage, and listening to the ape in a dream is even more illusory. In this way, the whole poem combines fiction and reality, with the help of imagination, expands the space for expression, expands the artistic conception, makes the poem more hazy and beautiful, deepens the theme, and is more conducive to expressing melancholy and parting feelings. It is quite distinctive in terms of artistic conception. Celebrity reviewsAo Ying of the Ming Dynasty "Selected Quatrains of Tang Poems": Daoyi's travel situation is just sad, and the feeling of farewell is self-contained.
Lu Shiyong's "Tang Poetry Mirror" in the Ming Dynasty: Thinking on behalf of it, its feelings are farther. Huang Sheng's "Tang Poetry Picks Money" in the late Ming and early Qing Dynasties: two sentences with six layers of meaning. Zhu Zhijing of the Qing Dynasty "Revised Tang Poems and Extracted Notes": Write a poignant for him to set off my poignant style, which is opposite to the penmanship. I remember you, you dream of me, and I interact with the law. Wu Xuan and Huang Peifang of the Qing Dynasty "Tang Xian's Samadhi Collection Notes": The second half was thought up by him, and its poignant state made people feel gloomy. Qing Dynasty Gui Fu's "Zapu": Du Shi: "Pity the little children, and do not understand the memory of Chang'an." Youyun: "But seeing where his wife is worried, he is ecstatic with poems and books." "There are many Tang people in this method. For example, Wang Changling's "Farewell to Wei Er" cloud: "Yijun is in Xiaoxiangyue, and he is sad to hear that the ape is long in his dream." "Don't talk about your own departure, but think of Wei Er's farewell, and Du Yi is the same. At the end of the Qing Dynasty, Yu Qiyun's "Continuation of Poetry": Wang Shishang has "Luxi Others"...Although the two poems send friends to different places in Chushu, and the night moon on the river. Listen to the sound of the ape and write about the feelings of the other day. The idea is the same. In terms of poetry, the last sentence of the poem "Sending Wei II" uses a swaying pen and a longer aftertaste; The last sentence of the poem "Lu Xi" uses a turning pen, and the poetry is more curved. About the AuthorWang Changling(698-757), the word Shaobo, a native of Jinyang, Hedong (now Taiyuan, Shanxi), another person from Jingzhao Chang'an (now Xi'an, Shaanxi), a poet and minister in the Tang Dynasty. In the fifteenth year of Kaiyuan (727), Wang Changling ascended to the rank of Jinshi and served as the secretary of the provincial school. In the twenty-second year of Kaiyuan (734), he should be erudite and macro-citing, and awarded the county lieutenant of Bishui (now Xingyang Bishui Town, Henan). In the twenty-seventh year (739), he was demoted to Lingnan because of his affairs. The following year, he returned to Chang'an from Lingnan and Beibei, and was appointed as the county governor of Jiangning (now Nanjing, Jiangsu) in the winter. After several years in Jiangning, he was slandered again and demoted to the county lieutenant of Longbiao (now Qianyang, Hunan). The Anshi Rebellion, Wang Changling went to Jiangning from the degraded place, and was later killed by Qiu Xiao, the assassin of Haozhou. Wang Changling's poetry is majestic and open, and it is unique in itself. When Wang Shizhen of the Ming Dynasty discussed the Seven Uniques of the Tang Dynasty, he believed that only Wang Changling could compete with Li Bai and was listed as a "divine product". Wang Changling's Biansai poems are generous and heroic, majestic, and high-spirited, and he has created a large number of Biansai poems, and later generations call Wang Changling the founder and pioneer of Biansai poems. It has the reputation of "poet master Wang Jiangning", and is also known as "Seven Absolute Holy Hands" by later generations. Wang Changling's poems are dense and clear, and Gao Shi and Wang Zhilian are equally famous, with six volumes of anthologies and four volumes of poems. The main representative works include "From the Army", "Out of the Stopper", "Resentment" and so on. Literary achievementA roundup of achievementsWang Changling has 181 poems, the genre is mainly five ancient and seven unique, and the themes are mainly parting, side stopping, and palace resentment. In terms of quantity, system, and subject matter, Wang Changling's poems are not as good as Li Bai, Du Fu, Gao Shi, and Cen Shen, but the quality of his poems is very high. After the four masters, there are almost no poems in the poetry world. After Emperor Xuanzong of the Tang Dynasty changed the military system to a conscription system, the literati set off a craze for military service in order to seek side merit. In the thirteenth year of Kaiyuan, Wang Changling roamed the northwest borderlands, had a deep experience of life in the Biansai, and created a large number of Biansai poems, at this time Cen Shen was 11 years old, Gao Shi had not yet started the life of the Biansai, and the descendants in turn called Wang Changling the founder and pioneer of the Biansai poems. Wang Changling's poems are good at capturing typical scenes, with a high degree of generalization and rich expressiveness. It not only reflects the main theme of the Tang Dynasty, but also describes the scenery of the border fortress and the battlefield scenes of the border pass in detail, and at the same time can capture the delicate inner world of the soldiers. His poetry has a broad artistic conception, mellow language, tactful and harmonious tone, intriguing, and has high attainments in lyricism, landscaping, freehand and other aspects. And Wang Changling's palace grievance poems can compete with Li Bai, and the depth of his poetic intentions, the wonder of the scenes, the cutting of the comparison, and the strangeness of the language are all unique. Wang Changling's poems of resentment write the sad grievances of those concubines and palace people who have been closed in the palace for a long time in the spirit of compassion and compassion, show their lives and emotional world in many aspects with delicate brushstrokes, reveal the tragic fate they suffered under the cruel palace funeral system, and objectively criticize the evil of destroying women in feudal society. On the other hand, in terms of artistic expression, Wang Changling carried forward the gorgeous and flamboyant and meticulously crafted expression techniques of the Six Dynasties, inheriting the beauty of its form. Therefore, Wang Changling is known as the first person to successfully write palace words in seven-character quatrains. Poetic formThe strictness of the five ancientsWang Changling's five ancient books are basically written solemnly and solemnly, and they are strong and strong, and they are quite stylish. During his lifetime, it was with this poetic style that he was well-known in the Tang Dynasty poetry circle. It is not difficult to see in Wang Changling's five-character ancient poems: distinctive characteristics, diverse styles, and different aesthetic styles. First, vigorous and unrestrained, majestic and heroic. Second, it is beautiful and beautiful, super easy and open. Hu Yinglin's "Poems" once divided the development of the five ancient periods from the early Tang Dynasty to the prosperous Tang Dynasty into two major schools, namely the so-called "ancient source" and "Qing school", and classified Wang Changling and others into the former. Third, it is sad and miserable, deep and gloomy. The majestic and heroic picture is gradually replaced by a quiet and desolate picture, which is closely related to Wang Changling's life experience and life experience. And this deep and pathetic style is also prominently reflected in the poet's poems describing the desolation and darkness of the border curtain and the rubbing and bumpy of the official career. Fourth, fresh and lively, natural and bright. What is commendable is that although Wang Changling's so-called "slander is boiling, and the two are famine", he is depressed and sad. However, the poet did not fall into pain from time to time and was forever depressed, but from time to time he neglected his affairs and put down the desolation, so that he also created some poems of the five ancient times that were quite fresh, natural, lively and hearty. Seven is absolutely beautifulThere are only 77 songs in the early Tang Dynasty and 472 songs in the Tang Dynasty, of which 74 songs are by Wang Changling, accounting for almost one-sixth. Wang Changling was a poet in the Tang Dynasty who was older and wrote the Seven Uniques early, and was the first poet in the Tang Dynasty to write a large number of Seven Uniques and obtain excellent achievements in the "Seven Absolute Holy Hands", and became a famous artist with the Seven Uniques. Because of his efforts and the efforts of Li Bai and others, the Seven Uniques gradually became a popular genre in the Tang Dynasty, so he was as famous as Li Bai in terms of the Seven Uniques. The number of the Seven Absolute in the Middle Tang Dynasty and the Late Tang Dynasty is second only to the Five Laws. It can be seen that the system was determined by Wang Changling, and the expression techniques were completely mature, which had a great influence on future generations. Poetry contentA review of the subject matterWang Changling's seven-character quatrains can be divided into three categories in terms of content, all of which have their own characteristics. And among them is the side of the poem.
First, the second poem of resentment. The first category is the side poems that follow the old title of Yuefu. The poets of the Tang Dynasty have always been led by Gao Shi and Cen Shen. Both of them are good at singing long songs, Gao Zuo is high-spirited and excited, and Cen is magnificent and majestic. Wang Changling found another way, in the form of short quatrains, to express the various feelings of recruiting people, including the ambition of "not breaking Loulan and never returning" ("Seven Songs from the Army" No. 4) and the joy of victory of "having reported life and capturing Gu Hun" ("Seven Songs from the Army" No. 5), as well as the sorrow of missing relatives before the desert wind and under the moon on the Great Wall. The second category is the poems and palace poems that express the grievances of the palace maids. On the other hand, Wang Changling's works of "Palace Ci" and "Female Resentment" show his high artistic ability to portray the inner emotions of women under the feudal system. From the outside, the court life is so quiet and charming: "The Night of the West Palace is quiet and the fragrance of flowers" ("The Spring Resentment of the West Palace"), the hibiscus is not as good as the makeup of the beauty" ("The Autumn Resentment of the West Palace"), but in the beautiful scene, the poet delicately and nuancedly copied their deep inner pain, their longing for happiness, their disappointment, and the complex psychology of hope is still intertwined in the disappointment. The beauty of the writing, the condensation of the language, and the profundity of the rhyme of these works all made it difficult for the later authors to win. The third category is farewell poems. Wang Changling traveled extensively throughout his life, and had contacts with many literati, officials, hermits, and monks, especially when he was demoted twice and lived for a long time, how much he needed the comfort of relatives and friends and the warmth of friendship. He also dedicated his loyal and deep friendship to those honest and close friends. He wrote more than 40 farewell poems in his life, which are not out of the ordinary and extraordinary, and his farewell poems can be divided into the following four types in terms of expression: 1. Use different artistic ideas to express sincere and deep friendship. 2. Break the routine of farewell poems, not focusing on writing about the current parting, but focusing on writing about the scene after parting. 3. Don't write about sadness, but take comfort as the "idea" Fourth, no compliments, no entertainment, and are good at lyricism and writing. Sideplug is known as the worldWang Changling is a famous Biansai poet and is known for his Biansai poems in later generations. The artistic characteristics of Wang Changling's poems are mainly manifested in the following aspects: First, Wang Changling is good at using psychological descriptions to express delicate and changeable feelings. Wang Changling was one of the poets who wrote about the soul of Zhengfu earlier in the poem, which laid the foundation for Song Ci's delicate portrayal of the psychology of the characters. He may describe the beating hearts of their husbands through the psychological changes of their husbands in an instant; or through the singing and dancing in the camp, the inner pain of the husband is expressed; or with the help of the unique life scenes of the border pass, write about the sorrow in the heart of the husband; Or use the war to write about the heroism of the border guards to defend the dignity of the country. It can be said that the expression of feelings is very delicate and real. Second, Wang Changling's poems are wonderfully coordinated, and the meaning and mood are muddy. Wang Changling has been to Biansai and really saw the desert, Xiongguan, Lonely City, Changyun, Snow Mountain, Beacon Fire, Qiang Di and other scenes in Biansai, so in his Biansai poems, he composed a very magnificent group picture of natural scenery. These images are attached to the feelings and intentions of the soldiers, which are specific objects in a specific environment, that is, the natural objects and the feelings of the soldiers are intertwined, and the poet also uses the artistic technique of turning the invisible into the tangible, constituting the wonderful combination of the scene of Wang Changling's Biansai poems, and the artistic realm of the meaning and the situation. He creates the beauty of the mood of the scene, using a variety of methods. First, select some characteristic scenery and inject strong subjective emotions to promote the integration of scenery and emotion, and a high degree of unity of truth, goodness and beauty. Second, it not only uses the body to describe the real scene, but also skillfully uses the method of straight and curved to obtain the meaning of the words with infinite implications. Third, with painstaking and solitary thoughts, we will spread the wings of image thinking, turn the invisible into the tangible, and the abstract into the concrete, so that the artistic conception is very profound. Third, the content of Wang Changling's poems is concise, bright and subtle, and has high achievements in language and art. Wang Changling's poems pay great attention to the refinement of language, and truly achieve the meaning of words and meaning. It can be concise, bright, or subtle, so that readers have endless aftertaste. In addition, Wang Changling strives for perfection in art, carefully handles every sentence, there is no idle pen, the beginning of the quatrain is often sudden and easy to penetrate, and opens a situation with a thunderous momentum, such as: "Qin Shi Mingyue Han Shiguan", "Desert Wind and Dust and Dusk", "Qinghai Changyun Dark Snow Mountain", "Pipa Dance for New Sound" and so on, are all single-handed, straight to the point, but the best place is not in the beginning of the sentence, but in the third sentence. Quatrains generally have to open up a new realm in the third sentence and turn out new meanings, so the first two sentences should be flat to facilitate the flipping to the next level. Wang Changling's tone is already dangerous, but he can also take the momentum in the third sentence and go one step deeper into his thoughts and feelings, which really requires superb artistic skills. Artistic featuresPoetic moodIn terms of artistic style, Wang Changling's Seven Uniques are mainly characterized by euphemism and subtlety, with twists and turns in expression and far-reaching artistic conception. Many of them use the techniques of comparison and sustenance to express the poet's revelation of reality and resentment, so they are consistent with Qu Yuan's "Lisao" in spirit. Wang Changling's poems also make good use of allusions. His "Poetry" proposes that "there are six styles of poetry", and the fifth is "using things": "It is said to be as you want and in harmony with things." "There are not many allusions to Wang Shi, but they are often used cleverly and appropriately, without showing any signs. Wang Changling attaches great importance to the realm of poetry, and his "Poetry" proposes that "poetry has three realms": "one is the physical environment, the second is the situation, and the third is the artistic conception." He objected to the separation of meaning and scene: "If you always say the meaning, the poem is not good and tasteless. If there are many scenes, they are not close to the meaning, although they are reasonable and tasteless. He attaches great importance to the combination of emotion and scenery, and thinks: "All poems, it is better to look for and meaning." If there is a search, there is no intention to be interested, and even if it is coincidental, it is useless. ”Language styleWang Changling's poems reflect the poet's pursuit of an elegant and robust language art style in terms of the choice of language images, the use of sentence patterns, and the combination of sentences. In terms of the choice of language and imagery, Wang Changling mostly chooses large numerals, powerful verbs, and accurate adjectives to express the imposing big scene or the bold big mind, which reflects the beauty of the power and momentum of the language. In terms of noun selection, Wang Changling chose an elegant and typical language image. Wang Changling mostly uses short sentences, deformed sentences, and condensed compound sentences in his poems. Make the language powerful and economical and concise. The combination of sentences in Wang Changling's poems also reflects his concise and clear language style. To summarize the three characteristics of Wang Changling's poems, they are: concise language and rich connotation; The prose is plain, but the meaning of the sentence is precipitous; Intentions and prosperity are both, and they are clear in the sunken. Rhetorical techniques1. Layers of in-depth interlocking, Wang Changling is good at using layers of in-depth techniques to repeatedly render the atmosphere and serve the prominent theme. Such as "Five Songs of Long Letter and Autumn Words". Second, the typical scene picture is vivid, Wang Changling is very good at capturing and summarizing the typical scene, giving people a real image of the vivid picture sense, such as "From the Army", Wang Changling with the side plug as the theme of the seven uniques, its pictures are full of color, dignified, rough brushstrokes. In the works of palace grievances and boudoir grievances, Wang Changling changed his painting style, and it was not an oil painting, but a combination of the colorful lady picture and the brilliant boundary painting of the golden wall. 3. Make good use of Bixing is deeper than sustenance, and make good use of Bixing, which is deeper than sustenance, and representative works such as "Long Letter and Resentment". Historical evaluationTang Cen Shen: The young man is a genius and fluent, but his voice and singing are estranged. The representative of Tang Yinfan's "wind bones". ......Wang Wei, Changling, Chu Guangxi and other twenty-four people, all of whom are heroic spirits of Heyue. Tang Sikong Tu: At the beginning of the country, good articles, Yafeng was particularly prosperous, after the beginning of the Shen and Song dynasties, outstanding Jiang Ning, and Hong Si Yu Li Du. Song Liu Kezhuang: The Tang Dynasty's "Liulitang Map" takes Changling as the son of poetry. Ming Wang Shizhen: Seven quatrains, Shaobo and Taibai compete for a fraction of a second, both are gods. Ming Lu Shiyong: Wang Changling is more intentional and uses more, and Li Taibai is less intentional and uses less. Chang Ling's tempering, Taibai is out of nature, but the image of Chang Ling is profound. Ming Jiaohong: Longbiao, Longxi, the real seven masters, enough to be called the wall. ("Poetry Review") Ming Hu Yinglin: Li writes the scenery into the gods, and Wang is extremely emotional. The palace is a music house, Li can't do it, Li Lansheng Ji Xing, the king can't do it. ......After the rest of the ancient poems and Yuefu, but the Taibai Zhu is not close; After the national style and the sau, only the young uncles are extremely close. Ming Wu Qiao: Wang Changling is five ancients, or beautiful, or heroic, or miserable, or spacious, or upright, or elegant, not to be found. ......Wang Changling has seven uniques, such as the king of eight shares. The method of starting and turning together, since then, is for the Tang style, and the descendants are all the same. ("Fireside Poems") Qing Peng Dingqiu and other "All Tang Dynasty Poems": dense and clear. Qing Pan Deyu: The first of the seven uniques, its king dragon is the standard? The right is light and thick, and the dragon mark is thick and light, and they are all holy hands. ("Yangyizhai Poems") Modern Wen Yiduo: Wang Changling is one of the two writers with the "most significant" personality in the Tang Dynasty poetry circle (the other is Meng Haoran). Historical recordsSong Dynasty, Song Qi, "New Tang Dynasty Book" biography No. 128 Literature and Art; Five Generations, Liu Yun, "Old Tang Book-" Biography No. 140· Under the Wenyuan; Yuan, Xin Wenfang's "Biography of Tang Caizi", vol. 2. Afterlife influencesZhongtangWang Changling's poetic style and poetry first influenced the Tang Dynasty's Jiaoran, after Wang Changling, the study of artistic conception has been further advanced, his discussion on artistic conception is multifaceted, the research is also quite in-depth, he inherited Wang Changling's "environment" on the way of poetry, put forward such as "the fate of the situation is not exhausted", "the purpose outside the text", "take the environment" and other important propositions. Late TangThe second is Sikong Tu in the late Tang Dynasty, who made a comprehensive summary of the artistic conception under the inspiration of Wang Changling's concept of artistic conception, and put forward the views of "the image outside the image", "the scene outside the scene", "the rhyme outside the rhyme", and "the purpose outside the taste". Song DynastyYan Yu of the Southern Song Dynasty was the most accomplished in the theory of artistic conception in the Song Dynasty, who put forward the theory of "interest" in response to the tendency of some Song poems to win over reason rather than pay attention to artistic conception, remembering the poetry of the Tang Dynasty and inspired by Wang Changling and all the aesthetic experiences of the artistic conception of poetry in the Tang Dynasty. This statement can be seen in his treatise "Poetry of the Waves". Qing DynastyWang Guowei at the end of the Qing Dynasty was the last summarizer of the development history of the artistic conception category, and also the terminator and the master of the collection. On the basis of exploring the gains and losses of the creation of poets in the past, his book "Words in the World" draws on the literati of Wang Changling and other dynasties on the category of "artistic conception" and combines the author's own personal experience in art appreciation and artistic creation, and puts forward the theory of "realm", which is the center and essence of Wang Guowei's art theory.