Liu Zao
Liu Zao
Liu Zao, born in Xianyang (now Xianyang City, Shaanxi Province), was a poet of the Tang Dynasty.
The date of birth and death, the name of the title, and life are unknown, about
Tang Dezong
During the reign of Zhenyuan, his life experience is beyond examination.
He lived in the middle and late Tang Dynasty. His representative work is "Du Sanggan" (one name: lvci Shuofang) and "Quan Tang Shi", which contains five poems.
representative work
Willow in the border city
a new willow is a lonely city. in order to get close to the East-West Road and leave for a long time.
Long family resentment
raindrop long door, autumn night long, worry heart and rain to Zhaoyang. tears do not learn from the grace of the king, but wipe away thousands of lines. a talk about "long door with tears, long autumn night"
Travel times
the Hakkas have been in Bingzhou for ten years, and I remember Xianyang day and night. He crossed the sangqian river for no reason, but hoped that Bingzhou was his hometown. talk about "crossing the dry mulberry water for no reason"
Translation:
It's been ten years in Bingzhou, Hakka. My returning heart is missing Xianyang day and night. At the beginning, in order to gain fame and seek a way out, I spent thousands of miles in sangqian, but Bingzhou has become my second hometown.
Appreciation:
In many anthologies, this poem belongs to Jia Dao, which is actually wrong. Because Jia Dao is from Fan Yang (now Daxing County, Beijing City), not Xianyang (now Xianyang City, Shaanxi Province). In his own works and the literature about the poet's life, there is no record of his visiting Bingzhou for ten years. Moreover, the style of this poem is gloomy, which is quite different from Jia Shi's view of the elderly with his strange and lonely style. Yuanhe Yulan poetry anthology thinks that it came from the hand of Liu Zao, a poet in Zhenyuan period. Although Liu Zao's life is not known in detail today, the records in Yuanhe Yulan poetry anthology should be credible because Yuanhe was connected with Zhenyuan era. Therefore, we call it Liu Zuo. The title of this poem can be divided into two parts: Du sangqian and LV CI Shuofang. The former need not be explained, but the latter need to be explained. Shuofang began to see Shangshu. Yao Dian, that is, the north. But at the same time, it is also a place name. Xiaoya. Drive. In the Western Han Dynasty, Shuofang Cishi Department (now part of Inner Mongolia Autonomous Region and Shaanxi Province, under the jurisdiction of Shuofang county) was set up, adjacent to Bingzhou Cishi Department (now Shanxi Province). Sangqian river does not flow through the history department or Shuofang County, so it has nothing to do with the place of Shuofang. Bingzhou was Hedong road in Tang Dynasty. Sangqian river flows from northeast to southwest, through the north of Hedong Road, across the north of Weizhou and the south of Yunshu. These states are now Yanbei area. It can be seen that the title of Shuofang is a general term, and its usage is the same as that of "Shuofang of my friends, gathering and sending intimately" in Cao Zhi's Song Ying Shi. And Bingzhou, where Liu Zao lived for ten years, was north of sangqian River in the north of Bingzhou. The first half of the poem is about the homesickness of a long time guest in Bingzhou. Ten years is a long time. The homesickness accumulated in ten years is obviously a heavy burden for travelers. So every day, every night, all the time, I don't want to go back. Wu Mingshi's "Miscellaneous Poems" says: "the light waves in Zhejiang are gone for a long time, and the Wanghai tower blows the Wanghai sorrow. Don't blame my hometown for being a guest in his state for ten years. " Although geographically there are differences between the northwest and the southeast, the same emotions can be verified by each other. In the second half, I write about the feelings of jiuke on the way back home. The poet returned to Xianyang from the north of Shanxi Province (Bingzhou and Shuofang) by the sangqian River Basin. There is no reason. More crossing means more crossing. The four words of "more crossing without reason" are the key, which should be understood in detail. Ten years ago, when I first went to sangqian, I went to Bingzhou for what purpose? It's not in the poem. Ten years later, why did you go back to sangqian? It's said in the poem that there's no reason, that is, I can't figure out what's going on. Is that true? It's just an extremely implicit expression of the extreme depression and embarrassment that in order to win fame and seek a way out, he had to travel all the way to Bingzhou as a guest. Ten years later, he failed to achieve anything and finally had to return to his hometown of Xianyang. However, to the poet's surprise, in the past, he only felt that the feeling of homesickness for ten years was a heavy burden for himself. However, he never thought that because he had lived in Bingzhou for ten years, he unconsciously had the same feelings for Bingzhou among the long-time guests. As a matter of fact, it has become the second hometown in the poet's heart, so when he goes to sangqian again and looks back at Bingzhou, which is farther and farther to the East, another kind of homesickness, that is, the feeling of missing Bingzhou, unexpectedly surges into his heart unexpectedly and strongly, thus forming another heavy burden. The former seems to be the only one, but the latter emerges after the "groundless crossing". At this time, the author and readers feel that "recalling Xianyang" is not only not the only contradiction, but also "recalling Xianyang" and "wangbingzhou" in the author's mind, which side has more weight, is difficult to determine. Bingzhou and Xianyang are intertwined in space, past and future in time. Meanwhile, they are intertwined with the feelings of the sangqian River in the middle of the river. They set off each other and feel like customs. Everyone who has a long life experience of returning home, read this poem, please think about it, don't you ever have such a very subtle and very real mood? "Changmenyuan" changmenyuan (Part one) raindrop changmenlong autumn night long, worry about heart and rain to Zhaoyang. tears do not learn from the grace of the king, but wipe away thousands of lines. the poem of palace resentment comes from the ancient Yuefu title.
The origin of changmen's resentment
It is said that empress Chen of the Han Dynasty was frustrated because Emperor Wu favored Wei Zifu, so she had to retire to changmen palace. Later, she heard that Sima Xiangru was good at writing poetry and Fu, so she sent someone to send a hundred jin of gold to ask Sima Xiangru to write an article for her. As a result, Sima Xiangru wrote a famous "changmen Fu" for Empress Chen. I didn't expect that Emperor Wu of Han Dynasty also saw this Fu and was deeply moved, so he made up with empress Chen again. Later generations created Yuefu Poems with changmenyuan as the theme. There have always been many scholars who have written about it, because the story of Emperor Wu of the Han Dynasty and empress Chen changmen Lenggong is almost a household name in China. But because of their different views and positions, the poems they wrote showed different tendencies and feelings. Almost all the words of palace resentment refer to the celestial phenomena at night, because every night, it is the time when the woman who is put in the cold palace is most frustrated. At the beginning, when they were in favor, what they most wanted was to spend the night with the king and bathe in grace; but when they were out of favor, what they were most difficult to deal with was the endless long night. When they are bored and alone in the empty bed, they can only look up at the sky. The stars and the moon will cause endless reverie and worry.
Appreciation:
From the perspective of its origin, changmenyuan, an old Yuefu tune, is a work that specially describes and expresses palace resentment. Liu Zao's work is no exception. The feudal emperors occupied countless women, the so-called "three thousand beauties in the harem". Most people are extremely miserable because of their empty youth and hopeless happiness. Out of sympathy for these women, out of dissatisfaction with the unreasonable system of concubines, palace resentment - or directly exposing the tragic situation, or expressing resentment on behalf of women, has become one of the themes often expressed by ancient poets and writers. Of course, the same is palace resentment, but the poet revealed a variety of problems, the performance angle is also quite diverse, the specific method is endless. There are three songs in Liu Zao's changmenyuan. Here is the third one. The basic technique of these three poems is that the first two sentences are about the shape of the officials who are out of favor, the last two sentences are about the mood of the palace people who are out of favor, and the focus is on the last two sentences. For example, one of the words: "tears do not learn from Jun en Duan, but wipe thousands of lines, even thousands of lines.". Make a sharp contrast between the broken grace and the constant tears. The second cloud: "coral pillow thousands of tears, not think of you, hate you", emotional expression is strong and bright. The first two sentences describe the palace people's languid state: the cicada's temples are languidly combed and the moth's eyebrows are not swept, deliberately creating a relaxed and casual atmosphere and the illusion of "habitual gratitude". The last two sentences reveal the palace people's inner pain. People may not know her worries. In fact, she washes her face with tears every day, which makes her a "residual makeup"! As a result of using the technique of suppressing the desire first, it has achieved better artistic effect. The palace resentment poetry exposed the cruelty and irrationality of the feudal system, which is its value. However, this kind of poetry always focuses on the palace people's disfavor, the expectation of favor and the contradiction with the favored people, and often does not fundamentally touch the concubines system. This is its obvious limitation.
Chinese PinYin : Liu Zao
Liu Zao
