Yu Yu

Yu Yu

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Yu Bao, Ziyi, a poet of the late Tang Dynasty, was born in Yaoshan, Xingzhou (now Longyao County, Xingtai City, Hebei Province). He lived in qianfuchu (around 876) of the Tang Dynasty. In the second year of Xiantong (861), he became a Jinshi and a judge of Sizhou.

Yu didn't like that the poets at that time were restrained by the rhythm and frivolous. He pretended to have 30 ancient styles to correct the vulgarity and called himself a free poem. There is a volume of Yu's poetry collection handed down to the world.

Personage introduction

Yu Bao, Ziyi, a native of Yaoshan, Xingzhou, later traveled to Jingzhao (now Xi'an, Shaanxi). At the end of Huichang, Jinshi should be promoted. In 861, the second year of Xiantong of Yizong of Tang Dynasty, Jinshi and gongjinshi of Zhongxiang of Huichang came to the end of Sizhou. He is good at taking the ancient style as poetry, which is contrary to the style of Tang Dynasty's tonal poetry. He once wrote 30 ancient poems to correct the vulgar and called himself "Yishi".

There are only 45 poems in Yu's works, which are included in 599 volumes of complete Tang poetry. When it comes to the late Tang poetry, Yu Ao is not valued by people, but he is a poet with remarkable realistic writing characteristics. His works are simple and plain, bright and direct. They are obviously influenced by Yuefu of Han and Wei dynasties and Zhang Ji, Wang Jian and Bai Juyi of middle Tang Dynasty. They form a school of poetry in late Tang Dynasty with Cao ye and Liu Jia. In Tang Yin GUI Qian written by Hu Zhenheng of the Ming Dynasty, it is said that all poets "originated from Meng Dongye and came out of Meng Dongye. They were so pure and true that they didn't realize that they became one". His poems "have many pleasant sentences and can be used to strike a knot". Most of his poems reflect social reality and people's livelihood, which is more important than Cao ye, a poet of the same school.

His representative works include kuxinyin, tianwengtan, longtoushui and so on. His life stories can be found in volume 72 of the new book of Tang Dynasty, volume 61 of the chronicle of Tang poetry, and volume 8 of the biography of Tang Caizi. Today, Liang Chaoran and Mao Shuiqing have "notes on Yu Yu's Poems".

Appreciation of works

Ancient banquet song

Pheasant fan with Penglai, toward the car back to Zimo.

Heavy gate set hiss horse, Yan Yan Jin Zhang house.

Yan'e offers wine, but her servant girl is weak.

Ten hands are callose, one phoenix hairpin.

When you look down at the tall buildings, the sun shines brightly.

Smile refers to people with negative salary, do not believe in China.

appreciate

Guyanqu is one of Yu's representative works. This poem is called "ancient banquet", which is a real thorn in the malpractice of the times. It expresses the poet's indignation and hatred for the ruler's extravagance of the people's blood and sweat and his infinite sympathy for the people's suffering by attacking the rich and luxurious life.

In the first four sentences of the poem, it is written that the monarchs and ministers in the imperial court do not care about the government affairs. They hastily retreat from the court and rush to the luxurious banquet to welcome the guests and gather friends, suggesting that these people who hold the important power are all wine bags and rice bags. In the middle four sentences, close-up and contrast are used to describe the delicate appearance and dress of the "service staff" at the banquet. For such a banquet, if you don't write about the luxury of the guests and the host, but only about the beautiful women, you can see the extravagance of the participants; if you don't write about the gorgeous costumes of the banquet participants, only a phoenix hairpin of "yan'e" can make "ten families hand callose", which is enough to indicate the huge cost of a banquet. The last four sentences describe the extreme class differences between the people who drink and dine upstairs and the people who are under the salary downstairs. The word "smile" vividly depicts the disgusting and hateful of the rulers who live in high buildings who are insensitive to the people's sufferings.

This poem uses the method of contrast to shape the image, so that the image is particularly bright and prominent. Among them, there are dark ratio, such as "Zhongmen Jisi horse", but the common people want to "negative salary" to return; there are Mingbi, such as yan'e's "low servant girl if powerless", Fenghuang Jinchai's bright eyes, and "ten hand callose", just like "Fenghuang Chai's one", and Luo Qi's upstairs, downstairs "negative salary person", like Bai Juyi's "a bunch of dark flowers, ten people's Fu" The more distinct the contrast between the extravagance and waste of the ruler and the miserable life of the common people, the more powerful the image of Li Li is, and the more powerful the image of Li Li Li will be.

Painstakingly chanting

When the plough is on the ridge, the belly grows hungry.

Under the window, the shuttle girl weaves without clothes.

I wish Yan zhaoshu would turn into Mo Mu Zi.

A smile is not worth money.

appreciate

This sentence shows the hunger and cold of the lower class people, and the last four sentences show the waste of the upper class society. The whole poem uses the technique of contrast, not only the first half and the second half make a sharp general comparison of the situation of the lower and the upper, but also the first half and the second half use different special contrast techniques to specifically show the situation of the lower and the upper; the first half uses "reasoning comparison", and the second half uses "transformation contrast".

In the first four sentences, it is said that the man who plows in the field should have enough food to eat, but in fact he is starving; the woman who throws shuttle weaving under the window should have clothes to wear, but in fact she is suffering from the cold.

The reason should be so, but the reality is just the opposite. The reason and the reality form a strong contrast. This kind of reason is not directly expressed, only write the conditions, reasoning by the reader, and then compare with the actual situation, which can be called "reasoning contrast". This kind of contrast, the reader will send out "how unreasonable" exclamation to the unreasonable phenomenon. It not only convinces people with reason, but also moves people with emotion, which is quite artistic.

The tradition of reasoning and comparison has existed for a long time. "Huainanzi shuolinxun" says: "the butcher will use Huo soup, the cart will walk, the pottery will lack pots, the craftsman will be narrow, the doer will not use it, and the user will not do it." This includes reasoning and comparison.

This technique is widely used in poetry, such as Meng Jiao's Zhifu Ci "how to weave Wansu and wear blue clothes" and Du Xunhe's Silkworm Fu "every year I work hard with ramie all over my body", all of which show that the user is not willing to do and the person is not allowed to use it. Zhang Yu's "silkworm wife" says: "when I came to the city yesterday, I came back with tears. Those who are all over LUOQI are not sericulture people. " This poem has always been popular. The reason why it is so resistant to people's thinking is that it adopts the reasoning and contrast method of convincing people with reason and moving people with emotion. This technique is often used to show the unreasonable phenomena of clothing, food, housing and transportation in daily life. This method is used in painstaking chant to show the irrationality of food and clothing. In the last four sentences, I hope that all the beauties in Yandi and Zhaodi will become ugly and virtuous moms. Then, their smiles will no longer be so valuable, and they will no longer be extravagant.

This is good for both the country and the family, and it will be better. In ancient times, it was said that Yan and Zhao (in Hebei Province today) produced beauties. Here, the beauties were rich in clothes and food, which typically showed the luxury of the upper class life. The poet was very dissatisfied with this phenomenon, so he imaginatively put forward such a hypothesis: I hope that one day, the beauties of Yan and Zhao will be transformed into the concubines and moms of the Yellow Emperor

Beauty is transformed into ugliness, immorality into virtue, and laughter into worthlessness. At that time, the phenomenon that the rich are extravagant and the poor have no food or clothing may be expected to change. The poet gallops the imagination, transforms from the realistic realm to the ideal realm. This technique can be called "transformation contrast".

The poet intends to form this transformation contrast through romantic imagination, so as to criticize the corruption of the upper class.

Transformation contrast is also a traditional method of contrast. "Vicissitudes of life" is the transformation contrast of nature, which is often used to explain the comparison of ancient and modern personnel transformation; Li Bai's "climbing the Phoenix Terrace of Jinling" that "the flowers and plants of Wugong buried the path, and the clothes of Jin Dynasty became the ancient hill" is a direct expression of the transformation of ancient and modern personnel: "the flowers and plants of Wugong changed into the" path ", and" the clothes of Jin Dynasty "became the" ancient hill " It is also a kind of transformation contrast. Through the transformation of imagination, this poem forms the transformation contrast, which makes the image clear and prominent in artistic effect, and makes the emotion express strong and full of artistic appeal.

Li zhongnv

I smell the fish in the pond, but I don't know the depth of the sea;

I heard that sang gave birth to a girl, but I didn't know Hua Tang Yin.

A poor window is a bitter loom, a rich family is a pestle and anvil.

Heaven and bright eyes only teach to know the hairpin.

I cherish Yue Wa's appearance and Han e's sound.

If the Pearl and jade can't see the eye, they have no luxury.

But Zhao Feiyan is full of gold.

appreciate

The beginning of the poem is full of folk songs. The poem compares "pond fish" with "mulberry girl" and "sea water" with "Huatang", which shows that the poor mulberry girl doesn't understand the life of rich people, so it's natural and appropriate. Folk songs are often repeated. In the poem, "I hear" and "I don't know" overlap twice, with beautiful syllables, naturally showing the author's sympathy.

5、 In the six sentences, "kujizhu" and "sangxianv" are used to express the meaning of "huatangyin" and "mingchuanzhen" respectively, which forms a sharp contrast and exposes the different living conditions of the rich and noble families and sangxianv. "Machine express", weaving tools. "Pestle anvil" is a tool for tamping clothes. The "bitterness" of "kujizhu" reflects sangxianv's industrious scene of "chicken crowing into weaving, never resting at night" (Peacock Flying Southeast). However, the fruits of sangxianv's labor are all deprived by rich and noble families. The word "Ming" in "Ming Chu Zhen" not only vividly expresses the sound of pounding clothes, but also implies that rich people do not raise silkworms or weave cloth. On the contrary, they are full of Luo Qi and have endless clothes. This is a true portrayal of feudal society. In the late Tang Dynasty, the government declined day by day, the national power declined day by day, the taxes were collected day by day, and the working people worked hard all the year round and could not afford food and clothing, while the rich and noble families "tied silk like mountains" (Bai Juyi's "heavy taxes") and "held cups to spit continuously" (Zheng Ao's "hurting farmers"). The contrast between "kujizhu" and "mingchuanzhen" is a profound reflection of this evil social reality.

The following is a discussion through the image. The author laments that sangxianv is born with a pair of bright eyes

Chinese PinYin : Yu Pen