Characteristics of Han Yu's poems

People often evaluate the poetic style of Han Yu and the poets around him by "strange rise and danger"

Han Yu (768-824), a native of Heyang (now Meng County, Henan Province), called himself Changli Han Yu, so later people called him Han Changli. In the eighth year of Zhenyuan (792), after being a scholar, he was appointed as an observer by Xuanwu our envoy in four years. In the eighteenth year of Zhenyuan (802), he was awarded four doctors and moved to the imperial army. Because the book said that the disaster in Guanzhong was demoted to the magistrate of Yangshan (now Guangdong), Yuanhe served as a military attache and Dr. imperial academy in Jiangling House, and later transferred to the assistant minister of punishments after the Peidu Pinghuai West Rebellion. There is a collection of Mr. Changli.

In the middle Tang Dynasty, Han Yu was a very important writer. On the one hand, he has a large number of excellent poems. On the other hand, as a leading figure in literary and poetic circles, he made many friends, supported and repaid others, and spared no effort to gather many like-minded scholars with similar styles around him. He not only praised Meng Jiao, who was older than him, but also rewarded Jia Dao, who was younger than him. He also encouraged Li He, a talented poet, to speak up for him and not let him take part in the imperial examination because he avoided his father's taboo. In addition, he has close contacts with Huang Fushi, Lu Tong, Fan, Liu Cha and Li Ao. In this way, he and the literati around him formed a literary group, with himself as the main leader, which set off an influential wave of new poetry.

One of the characteristics of Han Yu's poems, in the words of Si Kongtu, a poetic theorist in the late Tang Dynasty, is "to drive the momentum and move, and if thunder carries electricity, it will soar between heaven and earth" (after Liu Liuji). Simply put, it is famous for its momentum. Since Dali and Zhenyuan, poets have been confined to expressing their narrow personal sadness and melancholy, and their natural scenery has also been infected with this emotional color; They are meticulous and experienced, but they lack imagination and momentum. And Han Yu's poems, with great courage and rich imagination, changed this delicate phenomenon in poetry. Most of his poems are wonderful. For example, "Nanshan Poetry" scans the whole picture of Zhongnanshan, and uses 5 1 word "or" one after another, making Zhongnanshan magnificent and full of weather. "Lu Langzhong Yunfu sent a message to send a plate of millet poems to make peace" has four words about waterfalls:

The weather is fine and the well water overflows. Who leans the sword on Taihang Mountain? The wind blows down the sky, and it rains in Luoyang during the day.

Imagine a waterfall as if it were born, which means Li Bai's "looking at Lushan Waterfall", but it is too strong. Another example is Tribal Tiger, which is about the illusion of life. "I was born like the wings of a cloud, and my inspiration comes from the wind." I even wrote this feeling that is usually very sad. Lu Soul Mountain Fire and Huang Fushi used their rhymes to describe a mountain fire;

..... The sky is jumping up and down, shining on the vast cliff, burning walls all around, and there is nowhere to escape. When the three lights are extinguished, tigers, bears, elk and pigs catch monkeys and apes, hoses, turtles, fish and catfish, crows, carved eagle pheasants and simmering pheasants. Zhu Rong told him to have a rest. ……

Very strange, very imposing. In his poetry creation, Han Yu deliberately adopted the laying techniques of Han Fu, the parallelism of metaphors and the surreal imagination of wandering immortals, which set off the strong atmosphere and strength in his poetry.

The second feature of Han Yu's poems is to avoid the familiar patterns of the previous generation, and strive for strangeness and novelty in language and images, even avoiding embarrassment and suddenness. For example, in Yong Zhen Xing, the fox crows noisily and leaps and bounds, and the fire burns aboveboard. Flies are like flies, flies are like flies, flies are like flies, flies are like flies, flies are like flies, flies are like flies, flies are like flies, flies are like flies, flies are like flies, flies are like flies, flies are like flies, flies are like flies, flies are like flies. Flies are like flies, flies are like flies, flies are like flies, flies are like flies, flies are like flies, flies are like flies, Fly-like Fly-like Fly-like Fly-like Fly-like Fly-like Fly-like Fly-like Fly-like Fly-like Fly-like Fly-like Fly-like Fly is as horrible (such as "ghost", "magic", "evil wind" and "poisonous sting"), ugly (such as abdominal pain and diarrhea, snoring and tooth loss) and desolate (such as barbarism, death, etc.

The third feature of Han Yu's poetry is to destroy the external form of poetry that has been gradually standardized and orderly, pursue harmonious rhythm and stable sentence patterns, and make it loose and deformed. He often introduces the syntax of prose and parallel prose into poetry, making it long or short, ups and downs and changeable. For example, the tribal tiger adopts the sentence pattern of eleven, six, eleven, seven, three, seven and seven. The first sentence is "Tribal tigers are ignorant of life, and I want to get rid of it for no reason", which is completely syntactic in prose, but it gives people a sigh-like shock from the heart. Another example is Nanshan Poetry, in which more than 50 "or" and "if" are used together, such as "or if they follow each other, or if they contend with each other, or if they are prepared, or if they are amazed", which creates a kind of fu-style long parallelism in five-character ancient poems and constitutes a dazzling and colorful landscape. Another example is Zhilutong and Whose Son, in which a large number of prose function words are used, such as "It's just that several houses have been demolished", "I'm sorry for it", "Who indulged it" and "It's not too late to punish it", which greatly changes the rhythm and meaning of the poem's fluency and harmony.

There have always been different comments on Korean poetry. The detractors say that it is "bodybuilding, but it is not a poem in the end" (Lengzhai Nightmare is quoted from Shen Kuo), and the admirers say that it is "beautifully organized" (Ouyang Xiu's June 1 Japanese poem), both of which have their own reasons. In all fairness, Han Yu is undoubtedly a great poet with a unique style in the Tang Dynasty and even in ancient China. His poems are magnificent, imaginative and novel in language, showing an unprecedented style. Although he is bent on change and innovation, he is by no means working hard on language form, which has both new images and new forms, unique personality and in-depth experience. Therefore, his poems are often full of charm and vivid, such as Visiting Cui Bu.

Guanghua flashed on the wall to see ghosts and gods, and closed the fire umbrella. However, the clouds burn trees and the sun pecks eggs. The soul turns its eyes and forgets the place, and the red gas melts. Just like using nine rounds of candles to dry Kun drought in ancient times.

……

Although the writing is strange, it does convey the earth-shattering momentum of the mural and reveal the strong shock to the poet's mind before the mural. Another example is the famous poem "The Rock", in the narrative order of general landscape travel prose, from going to the mountain temple, watching murals at night, making beds, eating at night, hearing the fragrance, watching at night, leaving the temple in the morning and writing down the mountain. It makes people feel very emotional. From what I saw and heard from this night to the early morning, I chose some pictures with changing colors, such as "rough rocks and narrow paths, bats are at dusk when I arrive at the temple" to write "darkness" in the dusk; The following two sentences write banana and gardenia, which is another "bright" in dark color; Write murals with torches, indicating that there is darkness in the light; In the dead of night, "Shanyue came into my door with her pure light" is coming to Ming secretly; "I left the mountain at dawn, alone, lost my way, and went in and out of the poor smoke forest", which is Shan Lan with the sky filled at dawn;

Then "let the streams and mountains turn green and purple, illuminate everything", and then suddenly it lights up. In this way, a continuous picture with strong visual sense is left in the reader's mind. The whole poem is smooth and strange, but it is carved with great care.

On the other hand, however, Han Yu's poems also created disadvantages for future generations. First, he likes to brag, use uncommon words and be sarcastic. Although it has amazing effect, excessive use will destroy the coherence of poetry reading and cause the overall artistic conception to be fragmented. For example, the words "Oh, I'm sorry, I'm digging" in Shannan Xianggong Fan and "If, I'm embarrassed" in Zheng Sentence are not just a slap in the face, but also a kind of tongue pain. Second, because he is too deliberately innovative and uses some ugly and grotesque images, after all, it is too far from people's long-term aesthetic habits, which sometimes causes people's disgust. For example, write diarrhea, tooth loss and so on. Writing the cold as "cold can't hurt the nose and blood can't touch the fingers" (bitter cold) and writing the moon as "rabbit hides its belly in a mortar and osmanthus tree closes its door" (sun and moon) is strange to imagine, but it is not beautiful, which is also used by some poets (such as Mei) in the Song Dynasty. Third, because he deliberately changed the sentence pattern and was argumentative, he regarded prose as poetry, sometimes ignoring the charm and rhythm of poetry itself. Sticking to the meter itself is bound, but completely ignoring the rhythm of language will make poetry lose its musical beauty; It is not impossible to integrate philosophical discussion into poetry, but too much philosophy and lack of image will make poetry tasteless. Some poets in the Song Dynasty "take prose as poetry", and their writing is dry and boring, which is inseparable from the influence of Han Yu.

Of course, Han Yu's poems are naturally fluent and easy to understand, such as Zhang Eighteen Members of the Water Donation Department in Early Spring:

There is a lot of silk in the sky above the avenue, which is as delicate and moist as butter. The grass is vaguely connected in the distance, but it looks sparse in the near future. This is the most beautiful season of the year, far better than the late spring of the green willow.

But this is not the main feature of Han Yu's poems. The main features of Han Yu's poems are majestic and magnificent. In this respect, he has greatly changed the Tang poetry and even the poetry after the Song Dynasty, as Ye Xie said in "The Original Poetry":

Han Yu is one of the great changes in Tang poetry, with great strength, strong thinking and rising as the originator. Song (Shun Qin), Mei (), Ou (), Su (Shi), Wang (An Shi) and Huang (Ting Jian) are becoming more and more popular.

At that time, Han Yu was surrounded by a group of poets. In addition to Zhang Ji's different poetic styles, other poets, such as Lu Tong, Fan Zongshi, Huang Fushi, Liu Cha, Jia Dao and Li He, have certain similarities or similarities with Han Yu and Meng Jiao in poetic language, form and style. They shared the same interests and responded in unison, which was quite influential at that time. Among them, except Jia Dao's late Tang Dynasty and Li He's unique style, Lu Tong, Fan Zongshi, Huang Fushi, Liu Cha and others are famous for their fantastic poems. Lu Tong's poems have irregular sentence patterns, like ancient prose, but the imaginary metaphor is very strange. For example, in the song of watching fish, there is a saying that "the benevolent should be cautious and the history should be harmonious." In the past, Duke Lu was demoted by Confucius, and so on, which was completely unlike poetry; Poem of Eclipse imagines Yao Di's nine-day battle against water, making "all people have baby fish heads", and Poem of Making Friends with Ma Yi imagines the goddess mending the sky, saying that he refused to return to his husband's house for three days' compensation, went to China to release the old crow, and planted laurel trees to raise frogs every month, which is very strange. Although some of Lu Tong's imagination is quite interesting, such as "Eclipse Poetry", the night is "wet and stagnant, and the ice lamp is cold and hazy"; Some poems are also vivid, such as Egret, which describes that egrets prey on "sand trapped in sand, and people don't know what it means to stand idle", but more importantly, he pushed the shortcomings of Han Yu's poems to the extreme, such as abstinence, obscurity and strangeness. Another Fan Zongshi is even more difficult and obscure. It is said that he has 769 original poems, but in the end, only one poem "Yuewanglou Poem in Shuzhou" has been handed down. Poetry is barely readable, and almost no one can understand the preface, let alone appreciate it. Huangfushi is good at ancient prose rather than poetry. Judging from his last few poems, "Tian Xi Shi" and "Sheng" are both prose and lack of rhythm. Liu Cha's poems are very similar to Han Yu's. It is said that he gave Han Yu icicles and snowmobiles. These two poems are different in length and fancy. For example, "icicle" is five, seven, eight, five, five, four and six words from the beginning. When imagining the snow and ice landscape, it wrote:

At first, I suspected that Yulong was born in the lower world. He was a servant of Mao Yanbu. I suspected that Gaudi, the Emperor of the Han Dynasty, came to the west to kill snakes. People don't know who will be Mo Xie's staff.

Slightly better than the above poets. When answering Meng Dongye, he wrote: "Confucius is sour and cold, and loves old poems. There are hundreds of crude poems called the words of Qiong Yao. " Claiming to be "rough" is in line with his poetic style. Among these poets, he is a more successful one, like the following My Book, which is heroic but not obscure:

When the sun rises, everything in the world is as fine as wool. Ye Fu was very angry, saw the injustice, and wore the eternal knife on his chest.

Among the poets around Han Yu, Jia Dao was one of the poets who had a great influence on later generations.

Jia Dao (779-843) was born in Fanyang (now Zhuoxian County, Hebei Province). Becoming a monk in his early years, Buddhism is unknown. Later, scholars should judge him, but he never won. I was the master of the Yangtze River, the treasurer of Zhou Pu, and I was in the army. There is the Yangtze River Collection.

Jia Dao has two stories. First, he used to ride a donkey in Beijing, in order to find out whether the word "the bird waits on the tree by the pool, and the monk knocks at the door under the moon" is "push" or "knock". He unconsciously collided with Han Yu's sacrifice team. This is a legend, of course, but it shows Jia Dao's habit of loving bitter songs. In the poem "No one is seen", under the sentence "Walking alone at the bottom of the pool, counting trees", he made a special note: "Tears flow once in two sentences for three years. If you don't appreciate your confidant, you will return to the mountain. " It also shows that he is extremely diligent in writing poems. Secondly, it is said that he tried every time, so he wrote several satirical poems. For example, in Sick Cicada, the wings of sick cicadas are still very thin, and the sour songs are particularly clear. However, "both the yellowbird and the kite bird are pregnant with ill feelings", and they deeply regret the talents and scoff at the injustice of those in power. As a result, he was expelled from the exam on the grounds of "scratching the Gongyuan" and fell behind. This is also a legend, but it is a fact that he was frustrated all his life. Therefore, Zhang Ji's "Gift to Jia Dao" describes his poverty with the poem "Looking for wild vegetables with crutches, sealing books and begging when cooking in the morning".

Therefore, bitterness and difficulty are the two main reasons for the formation of his poetic content and language characteristics.

Poverty and lack of ambition make his poems always reveal a bleak atmosphere, and sad and depressed words abound. Such as Chao Hungry sighs that there is no smoke and no rice, Zhai Zhong complains that "eating a sick horse is like moving to prison", and the next chapter sighs that "tears fall so far, and the sick spring grass grows." It's disappointing that bosom friends are easy to meet, and it's disappointing to lose three Hunan after being lonely. Another example is "Go to the Valley for a Night":

It is hard to hate ethnic tourism in the world, and the dragon bell is even worse. There are thousands of tears in my hometown, and my neighbors are worried all night. It's even more embarrassing when the moon reaches the cold window, the crystal is empty and the wind turns over the leaves. This heart does not tell ordinary people, but relies on local knowledge, Tianjin and Wan Huhou.

In a poem, hate, poverty, tears, sorrow, dragon bell, cold window, fallen leaves and squall are used together, giving people a feeling of gloom.

On the other hand, after all, he worked as a monk, and when he became a monk, he had to maintain an ethereal and quiet spiritual realm in a cold life, treating it as elegance and not being too disgusted and sarcastic. Therefore, while sighing and worrying about poverty, Jia Dao's poems are inevitably looking for spiritual sustenance and comfort, and he has to take care of himself with mountains and rivers. This landscape painting, under the projection of his sad subjective mentality, makes Lin Quan lonely, tired and indifferent. Such as "A few cool leaves, a few thoughts on the shady wall" (Feeling Autumn), "Chai Men hides cold rain, insects sound autumn vegetables" (Rewarding Yao Shaofu), and "Frost leaves fall into the nest and water flies" (Swimming). Images such as dead leaves and trees, lonely cicadas and cold flies, sunset and dusk show Jia Dao's sad inner world, and also constitute the gloomy realm of his poems. Of course, Jia Dao also has poems that show heroism like a swordsman, but those are very few.

Bitterness determines the second characteristic of his poetry, which is the emphasis on language and form. Jia Dao is a poet admired by Han Yu, and they have something in common in this respect.

But Jia Dao's efforts are different from Han Yu's. He is a bit like Dali and Zhenyuan poets, mainly composed of eight-legged rhymes, and especially likes to write five-character poems. He always carefully arranges the images that can best express the unity of inner feelings and external scenery in a limited metrical form, and carefully selects verbs or adjectives with sound, color and emotion effects to form poems with clever antithesis and harmonious rhythm. Han Yu once praised Jia Dao's poems as "often plain" ("Send the teacher to john young"), which can be said to be so compared with Han Yu's peculiar poetic style. Strictly speaking, however, Jia Dao's poems still have the characteristics of novelty and originality, but after proper tempering, they are not so blunt. In his works, five-character rhythmic poems have made new progress, and there is no rough element in the choice of images and the arrangement of rhythm. In particular, the couplets in the middle have become the focus of careful tempering, and they always strive to write exquisitely and beautifully. This is better than Dali and Zhenyuan poets. For example, Jia Dao himself lamented the poem "two sentences in three years":

The pool reflected his lonely figure, and he rested in the tree many times.

The first sentence wrote that lonely people stand alone, and the clear pool water and the reflected figure in the pool water give people a sense of loneliness in the inseparable artistic conception; The last five words are about people's fatigue. Tired and lonely people doze off against trees, which adds to the homeless atmosphere in loneliness. The two sentences are ingenious, and they are more natural after thinking hard. Another example is Li Ning's Solitude, which is famous for its "deliberation":

Living leisurely here, few neighbors come, and the overgrown path leads to the wilderness. Birds are freely perched in the trees by the pool, and monks are knocking at the door. Walking across this bridge, you can see the charming scenery of Ye Yuan, and the feet of clouds seem to be moving on the floating rocks. I will leave here for a while, but I will come back and retire with my friends on the appointed date.

The whole poem is written silently. The verbs in the middle four sentences are particularly ingenious. The "Su" and "Knock" in the second word and the "Fen" and "Verb" in the neck joint in the third word change the rhythm. And the combination of dynamic and static, one virtual and one real also makes the feeling have a kind of ups and downs. In particular, the use of the word "knock" will inadvertently feel dull, but it is in line with the static state of the bird's lodging tree. When it is quiet and loud, it is dark and bright. Compared with the word "push", it not only highlights the crisp knocking sound in the dead of night, but also implies the alarm sound of bird accommodation in the previous sentence, which adds a sense of silence at night.

Su Shi once used the word "thin" to evaluate Jia Dao (Sacrifice to Liu Wen). The so-called "thin", in terms of form, is rigid and does not open and close; On the momentum, it is convergence without arrogance; Aesthetically speaking, it is cold but not gorgeous; In terms of content, it is narrow but not wide.

When it comes to Jia Dao, we should mention Yao He, both of whom are pivotal figures in the transformation of poetic style in the middle and late Tang Dynasty. Later generations often call them "Yao Jia".

Yao He (about 775-846), born in Shanzhou (now Shanxian County, Henan Province), was a scholar in the 11th year of Yuanhe (8 16). He used to be a martial arts master, so he was called "Yao Wugong". In fact, he later worked as a secretary and junior supervisor in Jinzhou and Hangzhou. There are poems by Yao Shaojian.

Ji Xuan Collection, edited by Yao, selected some poems of Wang Wei, Zuyong, Dali, Zhenyuan poets and monks, and called them "Poets Shooting Carvings". His own poems also inherited the poetic style of Wang Wei, Dali's ten gifted scholars and some poets and monks, with the characteristics of quiet and distant content, delicate language and five rules of formatting. For example, ten of his poems "Seclusion" describe a leisurely life interest, which is "you can swim with your nature and be willing to be abandoned without heart" (the fourth), "There are many things in the world, and you don't care about them" (the fifth) and "You are lazy, quiet and more affectionate" (the eighth). It seems that you envy the feeling of being satisfied with your time. Thirty pieces of Works of Wugong County are written about the indifference to the official's entry into the official position, "micro-officials are like horseshoes, just smearing them in the mud" (the third piece), "keeping in good health is suitable for the county, and the products are like micro-officials" (22), which seems to hate worldly things. Therefore, the scenes in his poems are mostly quiet and quiet scenes; Most of the people in his works are leisurely and carefree people, such as "Lin Shengjing, fireflies faint in the moon" ("Sending Friends"), "Autumn shines on trees, and cold rain falls on the pool" (the sixteenth time of Wugong County Work), "The birds are scattered in the mountains, and the rain is over the apricot flowers. The sky is far away and the clouds are empty, and the deep water in the stream is small "("Shu Huai in the Mountain ").

However, he is still thinking about Li Lu's title, and his stomach is full of complaints. For example, in "Send the King to Ask", he said: "My body is the same as my son, and I am hungry and cold every day. It is difficult to get into the stone by watching the door from the side. " It can be seen that he still can't really be indifferent. In his complimentary singing with Jia Dao, you should also give me a hand and lament the bitter classics, such as "I am the only one in the family who is poor, who knows whether poetry is good or not" ("Send Jia Dao"), "Clothes and towels are given by half a monk, and vegetables and medicines are often picked up by myself. The sleeping mat is cold and the smoke in the stove is wet. There are many people in the broken column, and the light enters the wall "("Send a wave of immortals to the passageway "), so poetry often carries heavy sadness and sadness. This real sadness and the pursuit of leisure and tranquility are mapped into the landscape images, which constitute the two major themes of Yao He's poems.

Jia Dao's and Yao He's poems deviate from the mainstream poetic style that Han Yu and others transform their poetic style with new styles, new images and new forms. In content, they embarked on a narrow road to express loneliness and sadness, and to express leisure and indifferent interest. In art, they embarked on the narrow road of giving priority to the rhythm of five words, accommodating the rhythm and emphasizing the cleverness, vigilance and beauty of couplets. This poetic style influenced many poets in the late Tang Dynasty and even in the Song Dynasty.

Among the poets around Han Yu, Li He has the highest artistic achievement.

Li He (790-8 16), a native of Fuchang (now Yiyang, Henan), was a precocious genius and an unfortunate poet. According to the Book of the New Tang Dynasty, he is the "Empress Zheng" and is considered a royal family, but his lineage is far away and he can't touch the favor of the court. His father worked as a county magistrate, but because his father's name is "Jin Su", which is homophonic with "Jinshi", he can't take the Jinshi exam. He only changed from do to Li Lang, and died at the age of 27. There are Li Changji's songs and poems.

Li He's official career was not smooth, but he became famous in poetry very early. According to legend, in the second year of Xian Zongyuan (807), Li He, aged 18, impressed Han Yu, a great poet, with a poem "The Taishouxing of Yanmen" (see Zhang Gu's Advocating Leisure). His poems are as follows:

Enemy soldiers rolled in like dark clouds in an attempt to tear down the city wall; Our army was ready, and the sun shone on the armor, glittering with gold. In autumn, the loud bugle sounded; The soldier's blood became dark in the night. The red flag rolled half, and the reinforcements rushed to Xiao; The night frost is heavy and the drums are gloomy. I want to report to you on the golden platform, and I want to take Yulong to your death.

The color in the poem is magnificent but not stagnant, the momentum is solemn and stirring but not cold, and the rhythm is gloomy but not chaotic. No wonder Han Yu fell in love at first sight and praised it.

The precocious talent once filled Li He's heart with romantic ideals. The poem "South Garden" said:

Why didn't the great man take weapons to collect the fifty States of the mountain? Please go to see the paintings of the founder heroes with pictures. Another scholar was once called the aristocrat of a million families?

However, the cold reality hit him again and again, shattered Li He's ideal and filled his heart with sadness. "To Shang Chen" said: "Chang 'an has heroes, and his heart is rotten. Before the cold ga case piled up, Chu Ci followed. Life is poor, and we talk about drinking at dusk. It's just that the road is blocked now, why take the white road? " Therefore, the conflict between romantic ideal and difficult reality filled Li He's heart with melancholy, which turned into a profound sense of life. Life is short and time is fleeting, which is a major theme of poetry. Li He is particularly sensitive to this subject because he is weak and sick. Lack of talents is another theme of poetry. The greater the gap between ideal and realistic conditions, the deeper the pain. However, after repeated setbacks in reality, people will feel more strongly the sorrow that life is short and time is fleeting. Therefore, the dual themes of life and ideal are intertwined, which constitutes the main theme of Li He's poems. He often chews the melancholy and pain of life and ideals in his heart and writes them in poems, such as Qiu Lai:

Autumn wind hits the heart, the strong man works hard, there is a faint light, and the owl cries for weaving a warm dress. Who will read the book I wrote with bamboo slips in the future, and don't moth it into dust and holes? This thought involves, my stomach should be worried tonight, the rain is cold, like an ancient poet comforting a hanging soul. In the autumn night, in the cemetery, Bao's poems were recited, and their blood feud turned into jasper on the earth, which is hard to disappear for thousands of years.

This kind of melancholy and anger permeates most of Li He's poems.

Li He sometimes pinned his hope of getting rid of pain on the illusory world of ghosts and gods. Famous stories such as Songs in the Sky, Dreams in Heaven, Music in Hua Yao and Music in Shang Yun all describe the happy, magical and beautiful world he imagined. But when he faced the reality and opened his eyes, he saw more ugliness and darkness. In this real world, there are bullying corrupt officials. For example, one of the five satires wrote that county officials forced Vietnamese women to accept silk; Some rulers are extravagant and promiscuous, but the workers are hungry and miserable, such as the mood and experience of the old man who picks jade for the ruler in Song of the Old Lady, and so on. However, he felt the indifference and cruelty of the world more from the bumpy fate. In his mind, the world was dark: "The sky is so dense. Bears eat people's souls, and ice and snow hurt people's bones. Dogs are so stubborn that they can't lick their palms. ..... The poisonous scorpion shakes the gold ring at each other and spits. "

Even the scenery is inherently gloomy. What he saw was a dead orchid hibiscus, an aging fish, a horse, a rabbit and a crow, a broken rainbow dew, and a rotten tung tree, laurel tree, bamboo tree and cypress tree. "The old scenery is heavy but not strange, and the red calyx is dark and uneven", "Fireflies leave the palace like water, and hibiscus dies of cold in the bamboo pond" ("Henan government tries December music").

So in his poems, what we see is a young poet's painful mentality in the face of fate. Starting from personal destiny, it is the main content of Li He-shi to feel, experience and resist the oppression of people by nature and society.

Like Han Yu, Li He is the most imaginative, but there are obvious differences between them. Han Yu's imagination is bizarre and profound, but the trace of human pursuit is obvious, while Li He's imagination is closer to the fantasy of a pathological genius, which is difficult for ordinary people to enter. As Du Mu said, "Whales are sucked and thrown, not for their emptiness" (Poems of Li Changji). This strange and even absurd imagination constitutes the first artistic feature of Li He's poems. In his poems, he once imagined that time is a kind of flying sunshine, and the sun is running with Candle dragon. Kill the dragon, and time will freeze (bitter days are short); The sun is a transparent glass body, which will make a glass sound when you knock it ("Qin Wang drinks"); The moon is like a wheel. When it rolls over the dew-covered grass, it will give off a misty and soft light (a dream of heaven). He can also imagine that bronze-cast people and camels will cry, and their tears are as heavy as lead juice (Songs of the Golden and Bronze Immortals and Sorrow of Bronze Camels); Thin horse bones are made of copper, which will make a metallic sound when knocked ("horse history"); Ghosts can light a lamp, which is as bright as paint (walking in Nanshan field); From the music, he can think of the broken jade in Kunshan, the chirping of phoenix, the dew of hibiscus and the broken rocks. He thinks that this music can make the empty mountain condense clouds, make the river cry, make the old fish jump, and make the thin dumpling dance (preface to Li Ping).

Like Han Yu, Li He attaches great importance to the novelty of language and image, which is the second feature of his poetic art. It is said that he devoted his life to poetry, so his mother sighed and said, "It is my duty to express my heart!" "(Li Shangyin's Biography of Li Changji) However, the same words must come out and will never copy the predecessors. Han Yu used archaic words and uncommon words, while Li He used unusual combinations to achieve special effects. The images in Han Yu's poems give people a powerful shock, while Li He gives people a psychological stimulus. Depressed and miserable, when Li He looks for images in his novels, he mainly focuses on loneliness and seclusion, and he often uses such words as "old", "dead", "thin", "withered" and "hard".

However, Li He is also a poet with a strong desire for life. He does not like pure emptiness and loneliness, but pursues colorful colors in desolation and expresses life activities in silence. Therefore, darkness and magnificence, decay and shock, tranquility and magnificence, and * * isomorphism become the special aesthetic feeling of Li He's poetic images. For example, sentences such as "A hundred-year-old owl becomes a wooden rhyme, laughing in the fire nest" ("Fairy Song") and "A white fox is romantic, and the autumn cold sweeps the clouds to leave the sky" ("The evening stream is cool") abound in Li He's poems. Take the well-documented "Bank of China in Nanshan Field" as an example:

Autumn is crisp, the autumn wind is white, and the pond is full of water and insects. There is Yanyun root moss on the mountain, and the cold red tears are charming. In September, the rice fork is deserted, and the firefly flies at a low angle. Stone veins and flowing springs drip sand, and ghost lights are picturesque.

This rich and peculiar imagination and image constitute the main material of Li He's poems, and Li He connects them in series with erratic and jumping ideas. The great leap of artistic conception is the third feature of Li He's poetry art. Ordinary people's thinking is continuous and can be found in the context, while Li He's poetry shows unique artistic thinking characteristics. In his poems, the artistic conception changes for no reason, sometimes low, sometimes high, sometimes heaven, sometimes earth, and the contrast is particularly great. For example, in February, the first seven sentences are written in mid-spring, flowers grow long and grass grows long, Yan whispers, and the dancers in Jintou fly in the long skirts, but the last two sentences turn into a mournful tone: "Jintou bid farewell to singing running water, and the drinker dies with a cold back." The first ten sentences of "A Ballad in the Sky" write about the joy in the sky, and the last two sentences suddenly sigh: "The east refers to how xi can ride a horse, and the sea dust gives birth to a stone mountain." The illusory happiness was suddenly erased by the real sadness. Another example is "Haug". The first and second sentences say that the valley is flat and the sea changes. The third and fourth sentences are written in the middle of the peach blossom of the Empress Dowager, and even the immortals have died several times. The fifth and sixth sentences turn to the entertainment and beautiful scenery on earth. The seventh to tenth sentences are about people who advise people to drink, saying that people don't have to drown their sorrows by drinking before they are born. Life is not fixed. The two sentences seem disjointed and connected, but the whole poem presents a state of mind, that is, lamenting the changes in China, lamenting the dissatisfaction in life and hoping to realize the ideal are contradictory in heart. Compared with the sleek way, this way of jumping and splicing is more interesting.

The above three characteristics can be summarized as a general feature, that is, Li He's poems pay more attention to expressing inner feelings, feelings and even hallucinations than the predecessors, while ignoring the internal characteristics and rational logic of objective things, disrupting people's habitual thinking procedures.

Thus, he opened up a new realm for China's poetry. Of course, Li He's poems also have some shortcomings. First, some poems are obscure and elusive. Secondly, because poets tend to indulge in their own narrow and distorted state of mind, the artistic conception of poetry appears low and dark, lacking high-spirited spiritual strength.

From the late Zhenyuan period, Meng Jiao and Han Yu set off a new wave of poetry, to the Yamato period, Han Yu and the poets around him made innovations in the language, content, style and style of poetry, which made the poetry in the middle Tang Dynasty present a prosperous situation.

However, the heyday of the Tang empire is gone forever, and most of these poets have encountered setbacks and felt the heavy oppression of society. Their mentality and emotions often appear distorted or even abnormal. Their poems are rich and sensitive in expressing their inner world, but they can no longer have the natural, cheerful, bold and vigorous atmosphere of poetry in the prosperous Tang Dynasty. In terms of language and form innovation, they take radical measures and deliberately innovate, changing the old from the strange, magnificent and unfamiliar direction, which not only enriches the artistic tradition of China's classical poetry, but also leaves a series of shortcomings, especially in the tendency of taking literature as poetry and learning as poetry. However, in any case, these poets (especially Han Yu and Li He) showed their enthusiasm for artistic originality and their creative ability, which is worthy of recognition at first.