The Style of Zhu Xiang's Works

Zhu Xiang's poems "emphasize metrical forms, are concise and concise, Zhuang Su is stern, full of philosophy of life, concise and profound".

Among them, Entertainment, the masterpiece, achieved the "three beauties" advocated by Wen Yiduo-the beauty of music, painting and architecture.

Zhu Xiang also wrote many essays and poetry reviews, and translated and introduced many famous foreign poems. He opened a "desk column" under the pseudonym "Tian Yong" in 1924 Literature Weekly and published book reviews in Scream and Red Candle. His other works include: poetry anthology (1936), China book criticism anthology (1934), literary chat (1934), overseas letters to Prince Ni (1934), and. He can use the words, styles and meanings of old poems at will and arrange them well. He is very much like Zhou Bangyan in the Northern Song Dynasty. Liu Qianfu said, "Meicheng stole ancient sentences." "Zhai Yun, Chen Zhi: Tang poetry is often used in Meicheng's ci, which is implicit and natural." Zhang Yun: "Beauty becomes a negative pronoun, and her ci is rich and elegant, and she is good at blending poetry." So it doesn't matter whether you steal or copy, just see if it can be melted. Zhu Xiang Sunset: "Desolation, desert sunset, straight smoke and clouds, people are sad when they die, and the north wind drives away the gravel."

In Wang Wei's words, "the desert is lonely and straight, and the long river sets the yen." "Han Yuefu" owls died and angry horses fled. Cen Can this ninth month night in the wheel tower and the valley blowing cold, the valley is full of broken stones like pecking rice, they follow the wind down and forward.

Enthusiasm: "We shoot ugly toads and dogs with the white arrows of meteors, sweep away all filth with the broom of comets, and wipe away all filth with the dustpan in the south ... We hang up all the nine suns, and we drink the water from Tianhe with Beidou ..."

Reminds us of the poem "Nine Songs of Chu", "Yun Lan wears white, shoots Sirius with a long arrow, and the arc falls, helping Beidou drink cinnamon pulp." And "The Book of Songs Xiaoya" "Weinan has a basket, which can't be lifted; There is a fight in Weibei, so you can't lick wine. "

And everything in Lu Tong's eclipse poems. But this poem has changed a lot compared with the last one-as far as the above part is concerned.

"Makeup Song": "Thrush is singing on the apricot branches. Why can't thrush afford it? A new pair of moths is dripping on the distant mountain peak, which is just dipped in it ... get up! And the beads hang grass, and Chun Yinger has a yellow forehead. "

"Sunset, microwave, gold thread flashing across the river ... among streams, picking lotus flowers, water drops sliding over lotus money ..." In the song of picking lotus flowers.

It's all like the tune of an old word. "Zhao Jun goes to the fortress": "Pipa accompanies me. I remember when I was elected to Beijing, I often lamented Nantian. I don't know if I want to marry far away now. Watching Zhaoyang is the end of the world. " Just like the tune of an old song-these are the aspects of the tune.

Xiao Chao Qu is solemn, elegant and atmospheric, all based on poems in the early Tang Dynasty. The Return of the Native describes a soldier who died after a long battle, and his mother cried blindly. The scene is miserable, but most of them are beyond the poem Dongshan.

But this is just a reversal. Love Song is divided into four sections: spring, summer, autumn and winter. It uses the four-hour midnight songs of the Six Dynasties and ten poems and ten memories of Qi Liang poets-all of which belong to the meaning aspect. Shikan poets pay equal attention to syllables and systems. Zhu Xiang also strongly advocated that new poems could be sung, so most of his poems and syllables were exceptionally successful. For example, his "Cradle Song" is for children to listen to when they sleep. Here are two poems: there are no stars in the sky and no red light on the ground; I can't hear anything but earthworms singing in the yard; Go to sleep, baby, the earthworm has stopped. White clouds go up one after another, like some boats floating across the middle of the lake, rising and sinking for a while, shaking the people lying in the cabin; Go to sleep, baby, you come with those clouds.

I once heard the author recite this song at a literary meeting. Its syllables are gentle and erratic, with unspeakable sweetness and harmony. Your soul is swaying gently in that spring-like tone, and it is drifting away to sleep. After he finished reading, everyone suddenly woke up from hypnosis, and some people yawned. The charm of its syllables can be imagined. I also heard that "Lotus Picking Song" will also be read out and sung by the author at a rally, although I don't like it anymore. But the syllables of the whole song are melodious and beautiful. It's like being in a lotus: the lotus is like a fire, the blue waves are rippling, countless girls are rowing boats among the flowers, the white clothes and the emerald red skirt set each other off, and the lotus songs alternate with the crows' paddling. This beautiful and leisurely ancient oriental life and mood really fascinates us today! "Xiao Chao Qu" also uses Dongyang rhyme, Huang Zhong and Da Lu, which is magnificent in weather. Try to quote the last paragraph:

Look! A red sun has risen, and apricot flags are flying on the ridge of the temple; Rippling in the blue world of Wan Li, listen! Jingyang Building hits Hong Zhong! Besides systematic syllables, Poetry Magazine pays attention to the creation experiment of long poems. Death of Li Bai by Wen Yiduo, Revelation of Love by Xu Zhimo, Regret and Return by Chen Hefang, Cat Patent and Wang Jiao by Zhu Xiang. "Cat Patent" wrote a funny text through a dialogue with a father and son and two cats. This poem has no profound meaning and no lessons, just a pure "game article". China's literature only knows seriousness and spares no effort to reject the spirit of play. Han Yu wrote a biography of Mao Ying, but Liu Zongyuan disagreed. No wonder China literature is not as humorous as western literature. The Patent for Cats is the work of the author's childlike innocence. In addition to lively writing, it is more witty and funny. When two sentences rhyme, the syllables are extremely light, which is commensurate with the funny content.

There are also many pens that touch the scene and become interesting. For example, when the old cat was giving a lecture, she suddenly jumped up to catch the mouse and swallow it. The teacher said, "Although Confucius didn't know the taste of March meat, and the Buddha also said that killing is anti-human, western science has recently proved that meat is rich in vitamins." He added, "We have made great contributions to mankind, but we didn't expect Cantonese people to eat cats ... so if my master goes to Guangdong, you should remember to attack at that time." "Vitamins" and "strike" are commonly used phrases, so we can use them to make readers laugh.

The latter part is more interesting. The old cat and his son went to the kitchen to have dinner, and they met a dog: the old cat was really a general with a big belly, and he was particularly energetic when he broke into the donkey pen. Unfortunately, when a dog came to them, they only ate half. He rudely pushed the cat away, and fish and rice were caught in his mouth for a while. The old cat opened its eyes wide with anger, let out a cry at the dog and backed away. The kitten also withdrew from the war. He listened to the old cat's last warning: There is a saying that can't be finished all his life, that is, Lao Tzu said to be timid!

Mong Kok was seen in the Ming Dynasty, and Wonders of Ancient and Modern included "A Hundred Years of Hate for Mong Kok Chaos", which is the story. Zhu Xiang turned it into a long narrative poem. The whole poem is 74500 words. It is longer than Kang's Journey to Lushan Mountain, and the journey consists of many fragments, and Wang Jiao is the whole; Ji You is a free poem with Kubinashi rhyme, while Wang Jiao is a long poem with rhyme. What I saw on my way to Ji You Miscellaneous Notes was not systematic; Wang Jiao is a story with an ending. Its structure is certainly much more difficult than that of Kangzuo.

The shelf of the original story was changed by the poet's imagination, irrelevant plots were deleted, and many trivial and subtle descriptions were added to the psychological aspects of the characters, which not only made God sleep for hundreds of years, but also made him a graceful beauty with modern spirituality. For example, when his father was widowed, he wrote "Wang Jiao" to remember his dead wife:

How time flies! It's the rainy season;

The gloomy drizzle floated across the phoenix tree, moss climbed the steps all night, and the curtains in front of the bedroom hung for a day.

Sparse eaves are like autumn sounds. Sadness hit the old man's cold in spring, not to mention his wife's death, which coincided with her death today.

It is such a day that at night, earthworms are barking in the yard, and occasionally there is a cool breeze to shake the window. They bid farewell to the dim lights forever. He still clearly remembers his wife at that time: a red tide came up, suddenly he opened his eyes, and then there was a loud noise in his throat, and there was silence-a trembling shadow moved on the wall.

Thirty years of husband and wife finally separated, buried in the cold rain and strong wind; Love is buried with her, but there is no pain, and the pain still comes with the cold spring.

This description is an indispensable way to render long poems. Peacock Flying Southeast is a long narrative poem, which records the marriage tragedy of Jiao Zhongqing and his wife, but it is always mixed with description in narrative. In the first paragraph, I wrote about Lan Zhi's appearance and talent, his clothes when he was in the next class, and his gifts when he was hired by the prefect. Shen Deqian said: If a long poem is dull, it will be boring, but it must be dotted with colorful flowers in the middle to dazzle readers. For example, the passage "When the bride goes out, my concubine has embroidered Luo Luo", and the same is true of the passage "Green finch and white stork boat" after the satrap chooses a date. "Du Fu's" Northern Expedition "is also a work about the itinerary, which is about the scenery seen along the way. When I got home, the child was crazy. " Ruoyun Zhang said: "When writing extremely important and busy words, it is a way to reflect the setting sun, and only old Du Can does so. For example, if Qingyun has a passage about a quiet night, why bother if others can't write it when doing practical things? This fairy is different. " I think the practice of old poetry can also be applied to new poetry. Moreover, the descriptions of Peacock Flying Southeast and the Northern Expedition are still hard-inserted, and it doesn't matter if they are deleted. As for Wang Jiao's descriptions, they are all organic, because the writers feel the influence of western literature, so they can do this. Chun Xiang led Zhou Sheng into the room. Wang Jiao was furious and severely reprimanded the girl. The girl's answer is also extremely tortuous and vivid: miss, you forgot: I dressed up for you that morning, and you looked at your face with a bronze mirror. You asked me, but I didn't turn my eyes. Chunxiang, who do you think I deserve? I said tout, but I'm poor. You blushed and didn't answer a word. One night, I rolled out of bed and touched my aching head. Suddenly I heard you talking in your sleep. I only heard "Zhou ..."