The artistic characteristics of Li Shangyin’s poetry
Deep emotion is its fundamental feature. No matter whether they are about time, expressing feelings, recalling antiquity, chanting things or romantic works, they are all permeated with the poet's true feelings and feelings, and have the charm of singing and sighing. Like the long-standing recitation of "There are no colorful phoenixes flying with two wings, and the heart has a clear connection" ("Untitled Two Poems"), Liao Liao's 14 words combine the pain of being blocked and the joy of having a tacit understanding of the heart, as well as the greater the blockage, the better. The ambivalence of feeling that tacit understanding is valuable and that the more tacit understanding there is, the more embarrassing the isolation becomes, is an extremely profound and moving expression. Another example is "In the heart of spring, there are no flowers blooming, every inch of lovesickness and every inch of gray" ("Four Untitled Poems"), which on the surface expresses the sadness of despair, but underneath it also reveals that under the cover of despair, longing sprouts like spring flowers and is unstoppable. The fervent passion seems extremely painful and contagious. Liu Xizai's so-called "deep feelings and lingering feelings" ("Summary of Art and Poetry"), and Zhang Caitian's so-called "sorrows and lingering feelings" ("Li Yishan Poems") all refer to this characteristic of his poetry. The lyricism of Li Shangyin's poems rarely adopts the way of expressing one's feelings, but is particularly dedicated to euphemistically expressing his thoughts. Poets like to hone their artistic ideas thousands of times, with twists and turns. He often avoids positive expressions, and relies on the description of environmental scenery to exaggerate the atmosphere and express feelings, such as "Sunshot" and "Su Luo's Pavilion Congratulations on Cui Yong and Cui Yan". He is good at stimulating imagination and transforming real facts into virtual situational pictures, such as "The Night Rain Comes to the North" and "Chang'e". He likes to embroider beautiful Chinese characters, inlaid with classics, fine needles and dense threads, and heavy folds, resulting in strange and vague poetic images, such as "Jin Se" and "Three Hands in the Blue City". He also made extensive use of the technique of metaphorical sustenance, borrowing ancient and modern times, metaphors for objects and people, or romantic expressions, often expressing profound interests, ethereal meanings, unreasonable explanations, and endless aftertaste. The predecessors said that he "always utters straight words without being punished, and is confused and confused, talking about this or this, intermittent and continuous. He is the so-called person who is good at hiding his thoughts" (Feng Hao's "Notes on the Collection of Poems by Yu □ Sheng"). The analysis is Very pertinent. Of course, deliberately seeking depth and music will also bring about obscure and incomprehensible disadvantages. Some of the poet's works are confusing and unclear, and some have even become "poetic mysteries" that will never be solved through the ages, leading to the trend of insinuating and insinuating, and he cannot absolve himself of the blame. The expression form of the poem is combined with the connotation of "affectionate and affectionate" to achieve "deep sustenance and euphemistic wording" (Ye Xie's "Original Poetry"). This is the basic style of Li Shangyin's poetry. Under the influence of the flourishing poetic style of the late Tang Dynasty, Li Shangyin's poems also have a gorgeous and sophisticated side. But he is not limited to gorgeousness, but can sometimes be melancholy amidst beauty, and be elegant yet heavy, which is inseparable from his affectionate and euphemistic style. Among writers who are roughly at the same time and have similar styles, if Li He is characterized by wonder, Du Mu is handsome, and Wen Tingyun is delicate, then Li Shangyin is precisely characterized by profound elegance. The artistic characteristics of Li Shangyin's poetry
Deep emotion is its fundamental characteristic. No matter whether they are about time, expressing feelings, recalling antiquity, chanting objects or romantic works, they are all permeated with the poet's true feelings and have the charm of singing and sighing. Like the long-standing recitation of "There are no colorful phoenixes flying with two wings, and the heart has a clear connection" ("Untitled Two Poems"), Liao Liao's 14 words combine the pain of being blocked and the joy of having a tacit understanding of the heart, as well as the greater the blockage, the better. The ambivalence of feeling that tacit understanding is valuable and that the more tacit understanding there is, the more embarrassing the isolation becomes, is an extremely profound and moving expression. Another example is "In the heart of spring, there are no flowers blooming, every inch of lovesickness and every inch of gray" ("Four Untitled Poems"), which on the surface expresses the sadness of despair, but underneath it also reveals that under the cover of despair, longing sprouts like spring flowers and is unstoppable. The fervent passion seems extremely painful and contagious. Liu Xizai's so-called "deep feelings and lingering feelings" ("Summary of Art and Poetry"), and Zhang Caitian's so-called "sorrows and lingering feelings" ("Li Yishan Poems") all refer to this characteristic of his poetry. The lyricism of Li Shangyin's poems rarely adopts the way of expressing one's feelings, but is particularly dedicated to euphemistically expressing his thoughts. Poets like to hone their artistic ideas thousands of times, with twists and turns. He often avoids positive expressions, and relies on the description of environmental scenery to exaggerate the atmosphere and express feelings, such as "Sunshot" and "Su Luo's Pavilion Congratulations on Cui Yong and Cui Yan".
He is good at stimulating imagination and transforming real facts into virtual situational pictures, such as "The Night Rain Comes to the North" and "Chang'e". He likes to embroider beautiful Chinese characters, inlaid with classics, fine needles and dense threads, and heavy folds, resulting in strange and vague poetic images, such as "Jin Se" and "Three Hands in the Blue City". He also made extensive use of the technique of metaphorical sustenance, borrowing ancient and modern times, metaphors for objects and people, or romantic expressions, often expressing profound interests, ethereal meanings, unreasonable explanations, and endless aftertaste. The predecessors said that he "always utters straight words without being punished, and is confused and confused, talking about this or this, intermittent and continuous. He is the so-called person who is good at hiding his thoughts" (Feng Hao's "Notes on the Collection of Poems by Yu □ Sheng"). The analysis is Very pertinent. Of course, deliberately seeking depth and music will also bring about obscure and incomprehensible disadvantages. Some of the poet's works are confusing and unclear, and some have even become "poetic mysteries" that will never be solved through the ages, leading to the trend of insinuating and insinuating, and he cannot absolve himself of the blame. The expression form of the poem is combined with the connotation of "affectionate and affectionate" to achieve "deep sustenance and euphemistic wording" (Ye Xie's "Original Poetry"). This is the basic style of Li Shangyin's poetry. Under the influence of the poetic style of Caizhaofan in the late Tang Dynasty, Li Shangyin's poems also have a gorgeous and sophisticated side. But he is not limited to gorgeousness, but can sometimes be melancholy amidst beauty, and be elegant yet heavy, which is inseparable from his affectionate and euphemistic style. Among writers who are roughly at the same time and have similar styles, if Li He is characterized by wonder, Du Mu is handsome, and Wen Tingyun is delicate, then Li Shangyin is precisely characterized by profound elegance. What is Li Shangyin's poetry style?
Li Shangyin is usually regarded as the most outstanding poet in the late Tang Dynasty. He has handed down 594 poems. Among the outstanding poets of the Tang Dynasty, his importance is second only to Du Fu and Li Bai. , Wang Wei and others. In terms of the uniqueness of his poetic style, he is not inferior to any other poet. Li Shangyin's poems have a distinctive and unique artistic style, with clear diction and profound rhyme. Some poems can be interpreted in multiple ways and are easy to use allusions, while some poems are more obscure. There are about 600 poems in existence, especially the untitled poems. Li Shangyin is good at composing seven-character rhythms and five-character rhythms, and he has many outstanding works. Ye Xie, a poet of the Qing Dynasty, commented on Li Shangyin's Qijue in "Yuan Shi": "It has deep sustenance and euphemistic phrasing, and the poetry is unparalleled in a hundred generations." His metrical poems inherited Du Fu's tradition in technique, and some of his works have similar styles. Du Fu is similar. Similar to Du Fu, Li Shangyin's poems often use allusions, and they are deeper and more difficult to understand than Du Fu, and they often use allusions in every sentence. He was original in his use of allusions, using various symbols and metaphorical techniques. Sometimes he had no idea what the purpose was even after reading the whole poem. The meaning of the allusion itself is often not the meaning that Li Shangyin wanted to express in his poems. For example, "Chang'e" (Chang'e), some people intuitively think that it is a work in praise of Chang'e, Ji Yun thinks that it is a work in mourning for the death of Chang'e, some people think that it is a description of a female Taoist priest, and even a poet's autobiography, there are different opinions. It is also his style of using allusions that formed his unique style of poetry. According to Huang Jian's notes "Yang Wengong Tan Yuan" of the Song Dynasty, every time Li Shangyin wrote a poem, he had to consult many books. There were stalls everywhere in the house, and he was likened to "Otters offering sacrifices to fish". Shiji, the king of the Ming Dynasty, also said in a joking tone: "Daji once shocked the world, and a piece of brocade solved people's difficulties." ("Parody of Yuan Yishan Poetry Quatrains") Criticism [8] believes that he sometimes used The allusion is too excessive and the color is obscure, making it impossible for people to understand his poetic meaning. Lu Xun once said: "The pure and beautiful poems that come from Yuxi are not comparable to those of others, but the use of too many allusions makes me dissatisfied." (Letter to Yang Jiyun, December 1934) In addition, Li Shangyin's poems are gorgeous, and he is good at it. Describe and express subtle emotions. Li Shangyin is famous for his untitled poems.
According to the statistics of poems collected in "Interpretation of Li Shangyin's Poems", it can be basically confirmed that there are 15 poems named after "Untitled" when the poet wrote: "Untitled" (first looking in the mirror at the age of eight), "Untitled" ( There is love in Zhao Liang Chu), "Two Untitled Poems" (last night's stars; I heard about Changmen), "Untitled Four Poems" (it's empty words; rustling in the southeast; sentimental Spring Wanwan evening; where to mourn the kite), "Untitled" (It is difficult to meet each other), "Untitled" (Zifu Immortal), "Untitled Two Poems" (Phoenix Tail Fragrant Luo; heavy curtains are drawn down), "Untitled" (nearly well-known Ahou), "Untitled" (Baidao) Zuohui), "Untitled" (Thousands of Miles of Storm), and five other poems that are often labeled as "Untitled" in currently popular poetry anthologies (Wulu "Youren are not tired of admiring", Qijue "Long Eyebrow Painted", "Shou Yang" "Princess", "Tai De Lang Lai", "Chongyin Outdoors") were reviewed and revised by Feng Hao, Ji Yun and others. It is believed that the loss of the original title is mostly due to the version title and is not a true untitled poem. Although the social significance of Li Shangyin's poems is not as good as that of Li Bai, Du Fu, and Bai Juyi, Li Shangyin is the most influential poet in later generations, because more people like Li Shangyin's poems than those of Li, Du, and Bai Juyi. In "Three Hundred Tang Poems" compiled by Sun Zhu of the Qing Dynasty, 22 poems by Li Shangyin were included, ranking fourth after Du Fu (38 poems), Wang Wei (29 poems), and Li Bai (27 poems). . This anthology of Tang poems is well-known in China, and it can also be seen from this that Li Shangyin's great influence among ordinary people can be seen. Discuss the characteristics and style of Li Shangyin's poetry based on specific works?
His poems are novel in conception and beautiful in style, especially some of his love poems, which are so touching and pathos that they are widely read. But it is too obscure and confusing, and it is difficult to understand the poem labeled:? Li Shangyin Previous article: May Day encouragement words to encourage sales employees May Day words to encourage sales employees Next article: Verses about the sunrise and the sea of ??clouds Verses to praise the sea of ??clouds and the sunrise
Urgent! [Reward]: The types and characteristics of Li Shangyin's poetry, summarizing the style of his poetry...all three questions
Type: the dominant views on Li Shangyin's poetry in the past, roughly speaking, have the following three aspects: 1. The second is the colorful style, the second is the use of complicated and eclectic points, and the third is the good study of Du Shi. The first and second aspects are closely related to the Xikun School's acceptance of Shangyin's poems. Characteristics: Deep emotion is its fundamental characteristic. Regardless of whether they are sentimental, descriptive, remembering the past, chanting objects or romantic works, they are all permeated with the poet's true feelings and have the charm of singing and sighing. Like the ever-recited saying "There is no colorful phoenix flying on the body, but there is a clear understanding in the heart" ("Two Poems on Wu Ti"), Liao Liao's 14 words combine the pain of being blocked and the joy of having a tacit understanding in the heart, as well as the increasingly blocked The contradictory psychology of the more valuable the tacit understanding is and the more embarrassing the tacit understanding is, is revealed in an extremely profound and moving way. Another example is "In the heart of spring, no flowers bloom, every inch of lovesickness and every inch of ashes" ("Four Untitled Poems"), which expresses the sadness of despair on the surface, but underneath it also reveals that lovesickness sprouts like spring flowers under the shadow of despair and is unstoppable. The passionate feelings are particularly painful and contagious. Liu Xizai's so-called "deep affection and deep love" ("Summary of Art and Poetry"), and Zhang Caitian's so-called "deep love and deep love" ("Li Yishan's Poetry Review") all refer to this characteristic of his poetry. The lyricism of Li Shangyin's poems rarely adopts the direct expression of his heart, but is particularly devoted to euphemistic expressions. Poets like to hone their artistic ideas in thousands of twists and turns. He often avoids frontal expressions, and relies on the description of surrounding scenery to exaggerate the atmosphere and express feelings, such as "Sunrise" and "Su Luo Shi Pavilion Congratulations on Cui Yong and Cui Yan". He is good at imagining and transforming real facts into virtual situations, such as "A Night Rain Sends to the North" and "Chang'e". He likes to embroider beautiful characters, inlay allusions, fine needles and dense threads, and heavy folds, resulting in strange and hazy poetic images, such as "Jin Se" and "Three Poems on the Forbidden City". He also made extensive use of the technique of metaphorical sustenance, or used the past to satirize the present, or to use objects to describe people, or to convey sentiments, often with profound emotions, ethereal meanings, unreasonable explanations, and endless aftertaste. The predecessors said that he "always refused to utter a straight line of words, and he swallowed and blurred, and sometimes he was here or there, now and then, now and then, he was the so-called person who was good at hiding his meaning" (Feng Hao's "Notes on the Collected Poems of Yu □ Sheng"), analysis It is very pertinent. Of course, deliberately seeking depth and music will also bring about obscure and incomprehensible shortcomings.
Some of the poet's works are confusing and unclear, and some of them have even become "poetic mysteries" that will never be solved through the ages. He cannot absolve himself of the blame for the tendency of making unreasonable comparisons and allusions. The expressive form of euphemistic meaning is combined with the connotation of "affectionate and lingering" to achieve "deep sustenance and euphemistic wording" (Ye Xie's "Original Poetry"). This is the basic style of Li Shangyin's poetry. Under the influence of the flourishing poetic style of the late Tang Dynasty, Li Shangyin's poetry also has its own gorgeous and sophisticated side. But he is not limited to gorgeous paintings, but can also be melancholic in beauty, and he can be heavy in beauty, which is inseparable from his affectionate and euphemistic style. Among writers who are roughly at the same time but have similar diction, if Li He is characterized by wonder, Du Mu is handsome, and Wen Tingyun is delicate, then Li Shangyin is precisely characterized by profound elegance. Style: Regardless of the "hiddenness" or "injury" of Li Shangyin's poems, they cannot be clearly separated. There is injury in the hidden, and the injury overflows in the hidden. Only the injury is both hidden, that is, "hidden injury" is its complete and unique style, and it is also its overall style.
Which poem by Li Shangyin do you think is the best?
Jinse The Jinse has fifty strings for no reason, each string and one column reflects the past. Zhuang Sheng's dawn dream is fascinated by butterflies, and he looks forward to the emperor's spring heart and caressed by the cuckoo. The moon in the sea has tears, and the sun in Lantian is warm and jade produces smoke. This feeling can be recalled, but it was already at a loss. Two Untitled Poems (Part 1) The stars last night and the wind last night were on the west side of the painting building and on the east side of Guitang. I have no colorful phoenix flying wings, but I have a clear mind. Separate seats are warmed by spring wine, and the wax lamps covered by Cao Cao are red. Sighing, I listened to the drum and invited the officials to go, walking around Malantai and turning around the tent. Four Untitled Poems (Part 1) They come as empty words and disappear without a trace. The moon is slanting upstairs at five o'clock. The dream is so far away that it is difficult to cry out, and the book is hastily turned into ink. The wax illuminates the cage of golden jade, and the musk smoke slightly embroiders the hibiscus. Liu Lang already hated that Pengshan was far away, and he was even more separated by Pengshan, which was ten thousand heavy. Untitled It’s hard to see each other and say goodbye, the east wind is powerless and the flowers are withered. The spring silkworms die only when they die, and the wax torches turn to ashes before their tears dry up. The morning mirror is full of worry about the clouds on the temples, and the moonlight is cold when singing at night. There is not much way to get to Pengshan, and the birds are eager to visit. Chang'e The candle shadow on the mica screen is deep, and the long river gradually sets and the dawn sinks. Chang'e should regret stealing the elixir, and her heart will be blue every night. Le Youyuan Xiang Wan felt unwell and went to the car to go to Guyuan. The sunset is infinitely beautiful, but it is almost dusk. The night rain is sent to the north. You asked about the return date but there is no timetable. The night rain in Bashan is rising and the autumn is lagging. How can I cut off the candles from the west window and talk about the rainy night in Bashan? You may not fully understand the true meaning of Li Shangyin's poems, but they feel very real and beautiful. Reading them several times will make you unforgettable. Li Shangyin's most famous poem
Jinse Leyou The original and untitled poems and other brocades have fifty unprovoked brocade strings, each string and one column are like Zhuang Sheng's dawn dream in his youth, and he is fascinated by butterflies. The bright moon in the sea has tears, and the sun in Lantian is warm and the jade smoke shines. This feeling can be recalled, but it was already gone at that time. Le Youyuan Xiang Wan felt unwell and drove to Guyuan. The setting sun is infinitely beautiful, but it is almost dusk. No title Last night, the stars and the wind blew, and the painting building looked to the west and Guitang to the east. I don’t have the flying wings of a colorful phoenix, but I have a clear mind. Separate seats are given with gouchun wine to warm them up, and Cao Cao is given a red wax lamp. Sighing, I listened to the drums and invited the officials to go, walking around Malantai and turning around the tent. Untitled It’s hard to say goodbye when we meet each other, the east wind is powerless and the flowers are withered. Spring silkworms will not run out of silk until they die, and wax torches will turn to ashes before their tears dry up. The mirror is small, but the clouds on the temples are changing, and the moonlight is cold when I sing at night. There is not much way to get to Pengshan Mountain, and the blue birds are eager to visit. How to look at Li Shangyin’s poetry style
(1) Skill lies in moistening things silently. Many of the allusions used in Shang Yin's poems are very hidden, and they are almost as if they are not used. Even if the reader does not know the allusion, it will not cause reading difficulties. Once he knows the origin of the allusion, he will have a wonderful understanding of the meaning of the poem and a deeper understanding of the meaning of the poem. For example, the second sentence of "The Peonies in the Garden Are Destroyed by the Rain" says, "The laughter of the pomegranate flowers is not as good as the spring, and the early falling of the pomegranates makes people more sad." The poem starts from outside the title and is lined with pomegranate flowers. Although I don't know how to use it, I still feel that it is natural to recite it. However, if we relate the story of Kong Shaoan's chanting of pomegranates, we can understand the historical events of Shang Yin, and use the ancient poems to express his feelings that although he was praised by Linghu in his early years, he eventually encountered misfortune.
It can be said that "the fish is like coming out of one's own body, without any ax or chisel mark" ("Shuo Shi Cui Yu"). (2) The bridge is jumping and galloping. Li Shangyin is good at weaving originally unrelated stories into a link skillfully, spanning time and space, and showing the causal connection through comparison, which has thought-provoking artistic power. For example, the neck couplet of "Mawei" (Part 2) "On this day the six armies were stationed together, and at that time the Chinese Valentine's Day laughed at the morning glory", the pen is very flexible, the use of contrast makes a big jump in time and space. (3). It is clever to introduce the new from the old. Yishan's use of allegorical stories is often innovative and has surprising artistic effects. For example, "Don't boast that this place divides the world, only Concubine Xu has half the makeup" ("Southern Dynasties"). The story of "Concubine Xu's half-face makeup" originally only reflected the discord between the emperors and concubines and lacked social significance. The author creatively used it and cleverly connected "half-face makeup" with "dividing the world", and expressed his view on the decadent and ignorant feudal society. The ruler not only made things changeable with bitter irony, but also had profound thoughts. Yishan's Yongdian also pays attention to integrating meaning, emotion, matter and allusion into images, and uses "new words" to express them, so-called "new words for familiar things" ("Shuo Shi Cuiyu"). For example, in "Heren's Inscription on Zhenniang's Tomb", "Beside the Jianchi at the foot of Huqiu Mountain, tourists are often sent to sigh at the passing river." That is to say, it comes from the "familiar poem" "Zi Zai Shang said: The deceased is like a man who does not give up day and night", and only takes the word "passing Sichuan". The so-called "New Speech" also saves a lot of words, and can The semantics are coated with a strong feeling of wasted time and easy aging of life. (4) The key point is that the image is realistic and three-dimensional. For example, Qilu "Sui Palace": "Ziquan Palace is locked in haze, and I want to take Wucheng as the emperor's home. The jade seal is not destined to return to the corner of the sun, and the brocade sail should reach the end of the world. There are no fireflies in the rotten grass today, but in the middle ages there are twilight weeping poplars. Crow. If I meet empress Chen underground, why should I ask "Houting Flowers" again? "Zhao Lian said in a hypothetical tone: If it hadn't been for the emperor's jade seal falling into Li Yuan's hands, Yang Guang would not have traveled to Jiangdu. In order to be satisfied, his brocade sail will probably float to the horizon! The last couplet makes use of the story of Yang Guang and Chen Shubao meeting in a dream, but they ask but do not answer, leaving an endless aftertaste. It not only highlights the obscene character of Emperor Yang who indulged in lustful behavior and never realized it until his death, but also vividly expresses the poet's ridicule of this subjugated king. The images of the satirical object and the satirist are vividly written on the page. Untitled Heading, Pinning on Bixing Throughout Li Shangyin's poems, we will find that he especially likes to use the words "you" and "wu" to make comparisons in his poems. For example, "The Chu Yu is full of affection, but Zhang Bin is lying ill and there is no hope" ("Zizhou Bao Yin Sends to the Fellow House") "The flowers, willows, and eyes are all rogue, and the purple butterflies and yellow peaks are all affectionate" ("February 2"), "There are no colorful phoenixes flying in the body, but there is a clear understanding in the heart" ("Untitled" two poems), "How can there be a dragon worrying about losing water? There are no eagles and falcons flying in the sky!" ("Heavy Feelings"). Through the contrast of "you" and "nothing", a state of something out of nothing is achieved, which seems to be something but nothing, creating a Zen interest of "there is nothing but nothing". For example, "Untitled" says, "It's hard to say goodbye when we meet. The east wind is powerless and the flowers are withered." Its beauty is: first, it sets the background for lovers to see each other, in late spring in March, the spring breeze is strong (the east wind is weak); second, it empathizes with the scenery, with the spring flowers withered and the wooden leaves floating (the flowers are gone), thus making the lover Farewell is more concrete, creating and dyeing a sad and sad atmosphere for the separation of two feelings; thirdly, it implies and symbolizes that this feeling has disappeared like the death of spring and can never be restored, like a hundred flowers withering and never blooming again. Li Shangyin inherited and developed the artistic tradition of ancient poetry. What best embodies this feature is the cloud in "Ode to History": "I have had the same dawn dream for three hundred years. Where is the dragon in Zhongshan?" The rhetorical question is a complete denial. "Three hundred years" are all the same as "Xiao Meng". It seems that "Dragon Pan" is nowhere to be found. This was the case in the Six Dynasties, could the late Tang regime, which was declining, be spared? The poet seems to be lamenting for the ancients, but in fact he is worried for today's people. Compared with Du Mu's "Four Hundred and Eighty Temples in the Southern Dynasty, How Many Towers in the Misty Rain", it can be said that the song is the same song but the same result. The depth of sustenance can be seen from this. Li Shangyin's poem may refer to the honor of the previous emperors to refer to similar characters in reality.
://zuciwang/zhuanti/What does it mean to send a red envelope of 25 yuan? Such as "...>> Classification of Li Shangyin's poems
The story about Li Shangyin's love poems can be seen from the theme of the chant , Li Shangyin's poems can be mainly divided into several categories: politics and history. As an intellectual who cared about politics, Li Shangyin wrote a large number of poems in this regard, about a hundred of which have survived. Among them, "Han Stele", "Traveling to the Western Suburbs with a Hundred Rhymes", "Following the Master to the East", "Two Impressions", etc. are the more important works. Li Shangyin's early political poems referred to the current situation, with a stern, sad and angry tone, and a sense of self-expectation, which could well reflect his mentality at the time. In poems about political and social content, it is a characteristic of Li Shangyin's poetry to use historical themes to reflect his opinions on contemporary society. "Fuping Shaohou", "Two Songs of the Northern Qi Dynasty", "Maoling", etc. are the representatives. Express feelings and chant things. Li Shangyin's official career was bumpy and his ambition could not be realized, so he used poetry to relieve his depression and uneasiness. "Anding Tower", "Spring Feelings", "Le Youyuan", and "Du Gongbu Leaves the Banquet in Shuzhong" are some of the more widely circulated poems. It is worth noting that many seven-character rhymed poems in works with this type of content are considered important successors of Du Fu's poetic style. Emotional poetry. The works that chant inner feelings, including most of the untitled poems, are the most distinctive part of Li Shangyin's poetry. They also received the most attention from later generations and maintained a similar style to the untitled poems. However, "Five Poems on Willow Branches", "Sending Rain to the North at Night", "Going to Eastern Shu after Mourning and Arriving at Sanguan to Encounter Snow", etc., reflect Li Shangyin's emotional conception of another style. Socializing and socializing. Among Li Shangyin's poems for communication, there are several words written to Linghu Gu ("Farewell to Linghu Buque", "Send to Linghu the doctor", "See the letter to Linghu the doctor", "Send to Linghu the bachelor", "The Bachelor of Meng Linghu" and "Linghu Sheren said that I played with the moon in Xiye last night because of the gift") are particularly eye-catching, providing direct evidence to explain his relationship with Linghu Gu. I feel that Li Shangyin's "Untitled" poems are definitely poems about the love between men and women, and not ordinary love between men and women. People in the Tang Dynasty did not have many restrictions on the relationship between men and women. If Li Shangyin was associated with ordinary singing girls, he could just like Du Mu and say something like "the waist is slender and the palm is light". Relating to the movie "In the Mood for Love", Zhou Muyun was also depressed in the end. He had nothing to say but had nowhere to say it, so he had no choice but to dig a tree hole and put the words into the tree hole. I guess Li Shangyin probably fell in love with her. She is a married woman, and the status of this married woman is very unusual. She may even be a noble person like a royal concubine, because everyone will take a look at some of the "Bicheng Three Songs", which are metaphors for the heroine. His status is so high that only people in the palace can reach it. In the Tang Dynasty, the private affairs between unmarried men and women, as well as the private affairs between officials and talented men and prostitutes, were relatively tolerated by society, as was the case in "The Story of Yingying" and "The Story of Li Wa", but some It is also very dangerous for a married woman to have an affair. For example, in "The Legend of Feiyan", Bu Feiyan was tied to a pillar and beaten to death by her husband after she had an affair with the scholar Lu Xiangsi. Therefore, these "Untitled" poems by Li Shangyin can only be considered to be poems related to the beautiful woman who was in love with Li Shangyin, and were not entirely written by Li Shangyin. The reason why I say this is that there is a sentence in the poem "Wu Ti": "The mirror at dawn is sad when the clouds on the temples change, and the chanting at night responds to the cold moonlight." Only a beautiful woman can pay such careful attention to the details of the temples in the mirror. In the Tang Dynasty, there was a beautiful poet named Xue Yuan. She had a good poem. Her poem was written like this: "If you want to write a painting, you must first stop the cold mirror." His face has faded, and his temples are gradually withered. It is easy to describe tearful eyes, but difficult to describe sadness. Kong Jun had forgotten everything, so he started to draw pictures. "It's the same as "In the morning mirror, but I worry about the clouds and temples changing, and when I sing at night, I should feel the cold moonlight." The golden sequin separat has fifty strings for no reason, one string and one column thinking about the past years. Zhuang Sheng was fascinated by butterflies in his dream at dawn, and looked at the emperor's spring heart in Du Juan. The moon in the sea has tears, and the sun in the blue field makes the eyes shine. This feeling can be remembered, but it was already lost at that time. Jinfan should reach the end of the world.
Nowadays, there is no shining fire in the rotten grass, but in ancient times, there will be dusk crows in the weeping poplar trees. If Empress Chen is frightened underground, why should she ask *** again? (Part 2) The east wind is blowing and drizzle is coming, and there is light thunder outside Furong Pond. The golden toad gnaws at the lock to burn incense, and the jade tiger pulls the silk to draw back from the well. Mr. Jia peeked behind the curtain, Young Master Han, and Concubine Mi stayed on the pillow of King Wei. In the heart of spring, don’t be filled with blooming flowers, every inch of lovesickness and every inch of gray. (Seventh Four) Where mourning kites are in charge, cherry blossoms hang down the banks of the alleys. The old daughter of the owner is not for sale, and it is half March on that day. ?://zuciwang/zhuanti/What are some very inspiring sentences? Princess Liyang is fourteenth year, and we will watch it together after the Qingming Festival. ......>> The meaning and style characteristics of Li Shangyin's untitled poems
There are many untitled poems by Li Shangyin. The reason why they are untitled is that they cannot be named. There are generally two views. One is that they are Li Shangyin's poems. His poems often bury the theme deeply, and he deliberately hid the theme of the poem (the poem was considered to have political implications), so Li Shangyin was deliberately shocked and made it more difficult to understand; another theory is that Li Shangyin broke the existing poems Form is a manifestation of seeking novel ideas. The style characteristics are generally considered to be obscure, difficult to decipher, colorful and novel in form. The theme is generally considered to be a love song, but some people think it is a poem that expresses depression and implies politics. Tags: Poems? Li Shangyin Previous article: May Day encouragement words for yourself. May Day encouragement words for sales employees. Next article: Poems about the sunrise and the sea of ??clouds. Poems praising the sea of ??clouds and the sunrise