Who can help find Li Yu's Fisherman to enjoy? thank you

Li Yu is the sixth son of Wu Wang Li Jing. Because of his outstanding appearance and handsome appearance, especially like Xiang Yu's pupil, Li Yu was regarded as the enemy of imperial power in the future by his narrow-minded and cunning eldest brother Hong Ji, which made him suffer unreasonable indifference and suspicion. In particular, the horror of Hongji poisoning his uncle Li Jingsui is deeply branded in his mind, and he shudders every time he recalls it.

In order to avoid being killed, during this period, he admired charming literati and knowledgeable mountain hermits. Coupled with troubled times, Xiao Qing is in a dangerous situation, so she just wants to "be immune" ("Mencius? Volume 13), the pursuit of that kind of "secluded, the forest has its own romantic" (Wei Qingzhi's "Poet Jade Chip"? Volume 20) Hermit life. If it is a political event, stay out of it. With the ideal and creed of "thinking after the dust in the nest, thinking after the lofty righteousness of foreigners" (Li Yu's "Climbing to the Table"), he called himself Zhong Yin, alias Zhongshan hermit, Lin Leimeng layman and so on. And look forward to living in Zhongshan all my life, supporting a boat, wandering the rivers and lakes, and being a fisherman who enjoys himself and enjoys a paradise. In his words, he speaks his mind and shows his true inner temperament. Two of his poems, The Fisherman, are typical examples:

One: the waves are full of snow, and the peaches and plums are silent.

A pot of wine and a rod of nylon. How many people are there in the world?

There is no hope for the whole word, so forget yourself. Just like a quiet wilderness landscape painting. There is snow in a thousand miles, peaches and plums bloom, and I am alone, drinking and fishing, and fish are not fish.

The second one: a spring breeze, a boat, a cocoon and a light hook.

Flowers are full of Zhu, wine is full of Europe, and you are comfortable in the waves.

The "boundless waves" in the ci symbolizes the sinister change of the world, and the poet wants to get rid of it, which shows that although he is alive, he pursues liberation and is indifferent to the interest of life.

When he became emperor, he didn't hide anything. Before his national subjugation, he indulged in the luxurious and luxurious life in the palace all day, showing the situation of dragging out an ignoble existence without thinking about state affairs. He also put aside the king's face and made a clean face at the scene of his indulgent life, regardless of his reputation. Li Yu's "sexual arrogance and extravagance, good debauchery" [3] was favored by many people, and the luxury of her maid-in-waiting life was the highest at that time. The furnishings in the palace are more luxurious. "Taste in the palace with golden red curtain nailed to its wall, and with platinum nail tortoise shell to detain. Brush your eyes with green cymbals, stick red Luo, and transplant plum blossoms. " "Every time Tanabata is postponed, it is bound to make the red and white Luo feel the moon palace Tianhe, and it is a song." [4] "Every time Li Houzhu is born in spring, the pilaster of Liang Dongzhi's window arches in a ladder shape, and miscellaneous flowers are densely inserted in the jar, which makes the list full of tears." [5] In the face of all the prosperous scenes, Li Yu devoted himself wholeheartedly and enjoyed it to the extreme. In his words, he described himself as enjoying life. Such as "Huanxisha":

The red sun is three feet high, and the golden stove adds fragrance to the beast. Red brocade lichens wrinkle every step. Beauty dances with golden hairpin, wine can't smell flowers, and drums can be heard far away in other rooms.

The sky is three feet high and the golden stove is still fragrant, which indicates that the love of Da Dan, which began yesterday, will continue. Dancing happily and smelling the wine shows that there is no time to indulge in joy. Finally, the drums in another hall make this scene universal in space. The luxury here is not unique, and the whole upper class has been intoxicated with this sensual atmosphere.

Another song, Jade Tower Spring, is also about enjoying life:

At the beginning of the evening makeup, there is snow, and the spring palace is filed. Feng Xiao blew away the water and clouds, and pressed the song of dress.

Who smells better in the wind, drunk. Don't dye the candles red when you come back, until you step on a horseshoe to clear jathyapple.

The word luxury, strong before and weak after, forms a sharp contrast. I am not only addicted to the feast, but also interested in the bright moon. Without fetters and masks, I am extremely upright, rich and have a happy love. He enjoys himself as he pleases.

His eulogy was also sincere.

In Li Yu's life, he suffered from illness and the death of his loved ones. Many relatives get sick, all of which are sudden onset, rapid deterioration and final death. The death of his wife and children, in particular, is like changing clothes for an ordinary emperor, but for Li Yu, the death of his youngest son, after the big week, is undoubtedly the grief of "making peace with his son and swallowing his voice" (Mourning for the Bell) and "floating and haggard, dying in the prime of life" (Book Spirit Banquet Towel). For a long time after that, Li Yu couldn't get rid of his grief, and he was unhappy all day, and wrote many mourning poems. Among them, there are also many eulogies. Such as "Young Beauty":

The wind returns to the yard, and the spring scenery continues. With the silence of the diaphragm for a long time, the sound of bamboo is still like a crescent moon.

The ice on the surface of the pool is melting before the song is over. Candles are bright and fragrant, paintings are deep, and temples are covered with frost and snow.

In the last film, there is no ruthlessness, and the phrase "the sound of bamboo crescent moon is like that year" is even more thought-provoking. In the next film, the theme is indicated by the words "thinking hard", and the inner feelings are made visible and tangible by the words "full of frost and snow".

Winter came, spring came, pink and green, and then red and messy. In this late spring season, Li Yu naturally remembered the week when he sent away his spring worries with him, and even dreamed that he would return to the wind and talk freely with him after that week at night. When I woke up, I deeply regretted that my dream was difficult to realize, so I began to write "Picking Mulberry":

In front of the pavilion, the spring is bright and dancing. When it rains in Mao Mao, it will open temporarily if you don't put down your eyebrows.

The green window is quiet and fragrant, and the fragrance is printed into ash. Can endure feelings, want to sleep and dream.

In the later period of Li Yu's life, he changed from a feudal emperor to a prisoner trampled and trampled by others. The sharp contrast between heaven and hell, this bloody reality in Li Yu's heart is tantamount to the effect of a major earthquake, which can be said to have completely shocked his whole heart. During this period, great changes have taken place in the content of Li Yu's works. The ruthless reality forced him never to describe "the fallen flower is a wolf, the wine is rotten, and the song is drunk" ("Ruan Langgui? In the luxurious life of Twelve Brothers of the King of Zheng, it is impossible to take Gong E's colorful girl (Bodhisattva Man) as the writing object, and the only thing that can be expressed is the tragic scene of Gong E's national subjugation (armor-breaker).

This inhuman prisoner life. The great despair like purgatory in heaven, the great sadness of suffering and romantic love, and the cruel reality of the country's ruin and death make Li Yu have a unique sense of hardship.

The voice of national subjugation and The Book of Rites? Music ". Li Yu's later poems profoundly expressed this kind of thought, emotion and mood. Political ignorance pushed Li Yu to the position of the conquered, and the lonely boat of fate fell into the humiliating sea. This change in life has brought Li Yu pain and sorrow. Li Yu, who was sentimental by nature, was once classified as a "courtier" and was obsessed with the past imperial life. He "wants to find the past" (Huanxi yarn), but he "has no choice but to teach heaven against his heart" (Huanxi yarn). His status as a prisoner deprived him of the right to return to his old country forever. Everything is like a river flowing eastward, which is gone forever. How can this prevent the poet from saying, "The world is drifting with the tide and drifting in dreams" ("Crying at night?"? Last night, the storm was coming), "The past is empty, just like a dream" ("Midnight Song? How can we avoid the sadness and hatred of life? It is precisely because of the personal pain of national subjugation that his later works greatly surpassed his previous works and can be passed down through the ages. True sadness, boundless hidden pain, every word is permeated with blood and tears, as he wrote between the lines: "Long Ta in Fengge is alone, and the branches of Yushu are like cigarettes. "Several acquaintance" (broken array) expresses infinite nostalgia for "old country" and "past events". Liu Yongji said in "A Brief Analysis of Song Ci in the Tang and Five Dynasties": "The words written by people in the former dynasties after the death of the country were all written in blood, and their words really came from the heart." [6]

Second, the true feelings of Li Yu's ci

There are two contradictory aspects in Li Yu's early life. On the one hand, he can get all the material comforts and lead a drunken life. On the other hand, sadness has been bothering him. The younger brother was detained in Chaozong, his beloved son died young, and his wife left. He suffered many heavy mental blows. In addition, before he succeeded to the throne, the Southern Tang Dynasty had surrendered to the Song Dynasty, while the Song Dynasty was eyeing the Southern Tang Dynasty. Li Yu's early spiritual life was unfortunate. "Being a talented person is really peerless, and being a vicious king" (Yuan Mei, a scholar in Qing Dynasty, quoted "Miscellaneous Poems of Southern Tang Dynasty"). Li Yu is a person who is very loyal to literary creation. He used words as a tool to express his heart, and the infinite sadness of leaving sorrow and hate poured out in his words. As if floating in the air, the faint leisure worries are constantly being cut, and the reason is still chaotic. "Free flying flowers are as light as a dream, endless silk rain is as thin as sorrow [7]", showing the beauty of leisure.

In Li Yu's gossip, Wu Ye Article is a masterpiece:

Hualin thanked Chunhong and hurried away, but the cold rain came early and the wind came late.

Cochineal tears, stay drunk, when heavy. Naturally, people hate water when they grow up.

In late spring, under the relentless blow of cold rain and cold wind, Hualin withered in a hurry. Helpless flowers fall, spring goes and spring comes, which is sad. However, this is a change of nature, which is inevitable, and the poet can only send out helpless melancholy. When this sadness of cherishing spring coincides with the profound separation and hatred, the poet gave a deep sigh that "people naturally grow up and hate water in the east". People can't meet again, water can't flow again, and the ingenious combination of subjectivity and objectivity creates a profound artistic conception, which deepens the appeal of ci, and at the same time sublimates the melancholy of the lyric hero of ci, which has aroused widespread resonance among readers. Starting from different life experiences, people can think that this is the sadness caused by the separation of relatives, the homesickness of wanderers and the nostalgia for the beautiful things that have passed away.

Liu's History of Ci also discusses the late poet: "When you are rich, you can make rich ci;" When you are sad, you can say something sad. Every sentence is untrue, and every sentence is not handsome. " [8] Zhan Antai also thinks that Li Yu's ci is "detached and straightforward, and expresses his feelings directly", and points out that "all Li Yu's ci works are based on his own cordial feelings, boldly expressed and unrestrained". [9] Ye Jiaying also stressed: "Whether it is happiness or sadness, it is a period when he (referring to Li Yu) devotes himself wholeheartedly. " [ 10]

As the king of national subjugation, Li Yu is unfortunate. But as Zhao Yi said, "The country is unfortunate and the poet is lucky", Li Yu has a poet's most precious temperament-frankness! With a simple and clear pen, he opened up a poetic realm, wrote a vivid life, and wrote a deep feeling, thus singing a touching sad song through the ages. For example, after his national subjugation, he wrote "Broken Array": The most important thing is to leave the temple in a hurry, and the teaching workshop is still playing a farewell song. Tears for Gong E.

When he bid farewell to his old country and became a prisoner, he was reluctant to part. His tears were not directed at the people's ancestral temple, but at Gong 'e, so Su Shi ridiculed him: "Since the late Lord sold the whole country and people by climbing water, when he mourned outside the Nine Halls, he left after thanking them, and Gu Nai cried in Gong 'e and asked the Jiaofang to leave a song" ("Dongpo Ming? Book "Li Houzhu Ci"). But if he can really apologize to the people, it won't be Li Houzhu. On the contrary, this word really describes Li Yu's feelings, and what he wants to express is only his inner feelings. He doesn't want to hide anything at all, and he never seems to hide anything. His feelings are sincere and his words are full of tears, which is not only a monologue from the heart, but also a true story.

In the face of such great changes, he felt that "the past is only sad, and the scenery is difficult to arrange" ("Langtaosha"), and almost lamented that "people naturally grew up and hated water in the east" ("Ying Huan"). In his secluded place, "every bead curtain is tireless, who will come all day long" ("Langtaosha"), he can only "be speechless." Since the reality is so sad, Li Yu often yearns for the joy of the past and thinks about it day and night. During this period, his dream words were many and desolate. "Turn a candle to float a dream, Peng wants to find a disappointed person in the past, and is willing to be arrogant with the body. The moon pool is empty, the water is exhausted, the flower shade pavilion is inclined, and you will not hesitate to wear more clothes when you board it "("Huanxi Yarn "); "How annoying, dreaming last night. It is also like the old garden, the car is like running water in Ma Rulong, and the flowers and the moon are spring breeze ("Looking at Jiangnan"); "How can you avoid the sadness and hatred in your life? What is the limit of ecstasy alone! The dream of the old country is back, and I feel tears falling down my eyes. Who is the tallest building? Remember that autumn is sunny. The past is empty, just like a dream "(midnight song). He wrote his honest life from his dream, wrote deep feelings and sang a touching sad song through the ages. Another example is Wangjiang Mei:

Idle dreams are far away, and the south is clear in autumn. Thousands of miles away, the cool color is in the distance, and a boat is moored in the depths of the reed flower. The flute is in the Moon Building.

This is a small word, expressing the nostalgia for the old country after entering the Song Dynasty. "Dreaming Away" revealed its information. The phrase "autumn in the south" has a broad vision, and the dream is the distant hometown of the south. Reading, there is a sense of purity between heaven and earth. Thousands of mountains and rivers in the south and the feelings of poets are all contained in the word "purity". "The country is thousands of miles away and the color is far away", which is a panoramic view. "Cold" and "color" are incredible, but they accurately express the characteristics of autumn; "A leaf alone in the depths of a reed flower" is a close-up. Reed flowers and boats form a picture, and the words "deep" and "lonely" blend into the scene, which is thought-provoking. The sound of the flute broke the silence and lingered faintly in the dense autumn night. The moonlight was cold and there was only a black silhouette in the building. I wrote out my thoughts about my old country, one without disguise and the other without embellishment, and generate wrote the words according to the original feeling.

Li Yu's later poems are closely related to this sad and deep sense of hardship of human beings. His writing is sad, revealing deep sadness, hatred and anger. The voice of national subjugation is heartbroken, and blood and tears are dripping. Such as "Young Beauty":

When is the spring flower and autumn moon, how much is known about the past. The small building was easterly again last night, and the old country could not bear to look back on the moon. Carved fences and jade bricks should still exist, but Zhu Yan changed them. Ask how much sorrow you can have, just like a river flowing eastward.

The poet can't bear to look back at the scenery of his old country and express his infinite sorrow in the strong contrast between scenery and reality. This word is full of artistic conception, deep emotion and strength, and has a very strong appeal and inspiration. Not only bitterness, but also indignation. With my helplessness, I have sincerely told people and expressed all kinds of unspeakable sadness. Although I live in a special personal situation, my thoughts and feelings are of universal significance, which is enough to touch people of different times and social classes. It's really a farewell speech, tears streaming down my face, and the pain of national subjugation is heartbreaking through the ages.

Third, the authenticity of Li Yu's ci language

The language of Li Yu's ci also reveals a word "truth". "Clear water produces hibiscus, natural carving" (Li Bai? The language of Li Yu's ci is simple, natural and fresh. He hardly uses classics, is easy to understand and has a strong flavor of folk literature. Although plain, it has infinite charm. The authenticity of its language is mainly manifested in four aspects:

First of all, the language is simple, natural and easy to understand. Hu Yinglin's evaluation of the language characteristics of the ancestors in his poems is: "The ancestors paid more attention, and Yuefu was the first generation of Song people. Although Gavin Wei is gorgeous, his anger is quite harmful. He is full of words. At this point, he is a writer. He is gentle and tactful, and his ci writers are Wang and Meng. " [1 1] such as "meet me? The word "Going to the West Building without Words" is simple and natural throughout, and the first sentence begins with narrative. " "No Words" and "Loneliness" depict the image of a poet with a sad face and a full heart. The word "the moon is like a hook" is clear in every word, which reflects the author's sadness and broken life experience as a broken moon, and evokes the sadness of "cutting constantly and returning to chaos". "Lonely phoenix tree, deep courtyard locks clear autumn" is what I have seen and heard, but the word "lock" is unique in nature-the phoenix tree yard is locked by the breath of clear autumn, and the poet is deeply locked in this place. These three sentences, "cutting constantly, reasoning is still chaotic, and you can't stay sad", are a metaphor for turning abstraction into concrete. Although simple and easy to understand, they are also implied in the image, which turns the unpredictable mental state into a concrete and clear material form and enhances the sensibility.

Secondly, the language is meticulous. Li Yu's ci has a delicate beauty, which is related to his deep feelings and careful consideration, mainly in his early works, often expressed by two or three words. For example, "clouds are chaotic, makeup is incomplete, and eyebrows are far away" ("Lian"), where the words "chaos", "disability" and "rescue" are described separately, but they are integrated; "Hazy Danyue clouds come and go. These two sentences are more vivid than the static description of Flowers in a Dark Cage and Bright Moon in a Light Fog (Bodhisattva Man), but the static description of the former is only to contrast the dynamics of the characters; Another example is "eyes are dark and eyes are flowing" (Bodhisattva Xia), which is a vivid pen. Its details lie in the words "dark" and "horizontal", while the word "desire" is written as the expression of "horizontal" rather than "flow".

Third, the language is wonderful. Between "separation" and "non-separation", the ancestor is the word, and the "pure heart" is vividly on the paper. His words are sometimes straightforward and sometimes implicit, and the same feelings can be expressed in different ways. There are some sentences, such as "There was an east wind in the small building last night, so I couldn't bear to look back in the middle of the month" (Yu Meiren), "Things drift with the current like dreams" (Wu Yeti), "Life is sad and hateful, so why avoid it?" (Midnight Song) and "People naturally grow up and hate that water grows in the East" (Meet You Huan). However, we can also see that the "ge" sentences in Li Yu's ci are very vital in his ci, and still have infinite aesthetic feeling, which makes people memorable. Look at these sentences, "I have been silent on the railing for a long time, but the sound of bamboo crescent moon is still the same as that of that year" ("Yu Meiren"); "If you stay away from hate like spring grass, you can go further and live better" (Qingpingle); "The anvil is cold when it is intermittent, and the wind is intermittent, but people can't sleep for a long time at night, and the sound of the moon is close to their faces" (Practice Order). Li Yu skillfully combined his feelings and intentions in these lyrics, which made people aftertaste and chew.

Finally, turn the abstract into concrete, which makes people feel tangible and visible. Li Yu's ci strives for rich images and externalizes abstract feelings and rational understanding. No matter his works before and after his national subjugation, no matter his happy or sad words, they are equally "true". He used the phrase "the running water has come out of spring, and the world is on earth" to show that the general trend has gone; Use "the world flows with the water" to symbolize life as a dream; "Ask how much you can worry about, like a river flowing east", which describes sadness with the water flowing east, and turns the invisible, intangible and ambiguous abstract feelings into endless concrete and sensible images, and with its surging momentum, it becomes an eternal quatrain to express sadness.

Zhou Ji, an important theorist of Changzhou Ci School in Qing Dynasty, said in "Miscellaneous Comments on Jiecunzhai Ci": "Mao Cong and Xi Shi are beautiful women on earth. Strict makeup is good, light makeup is easy, coarse clothes are messy, and national colors are not covered. Fei Qing, strict makeup; End yourself and make up lightly; The late master is rude and confused. " [12] He has first pointed out that whether it is strict makeup, light makeup or coarse clothes, it is a state of beauty in the world. In the case of seemingly rough language, the following keywords can still show the beauty of the countryside. Its true colors are really fragrant, and it is shocking in land of silence with the sound of thunder. This realm is more valuable than Wen Wei.

That's what the dead do. They don't give up day and night. As a body of blood and tears, Li Yu has long been like a plant. As a material summarizing the rise and fall of a country from the opposite side of history, it is only mentioned occasionally in textbooks. However, as the overlord image in the word circle, his word-by-word words are always as eye-catching as a crescent moon. Whether it is beautiful, soft, elegant and romantic; Or those mourning poems after the national subjugation, lyrical and sentimental, undisguised, frank and sincere, full of blood and tears, which makes people sad and heartbroken, and is unparalleled in a generation.

Leading the way in the literary world, the early words were beautiful, soft, elegant and romantic; Later words were like songs and complaints, touching and sad. However, the characters of these two periods also have something in common, they all express their true nature and have a childlike innocence, mainly the life truth, emotional truth and language truth reflected in the characters.

Keywords: Li Yu's heart, blood and tears.

When it comes to words, it is inevitable to talk about Li Yu, the queen of the Southern Tang Dynasty. In the late Tang Dynasty and the Five Dynasties, Ci became more and more mature, and Huajian School of Ci occupied a dominant position in the field of Ci. They "carve jade and carve jade" and "cut flowers and leaves" (quoted from the word of five pronouns Ouyang Jiong (896-97 1), whose words are found in Huajian Collection), with narrow content and flashy language, losing the fresh and simple earthy flavor of the original folk words. The appearance of Li Houzhu not only inherited the style of Huajian Ci, but also swept away the habit of Huajian Ci. With his unique style of freshness, lightness, affection and elegance, he is unique in the field of ci, which has opened the way for the development of song ci. It should be said that Li Yu does not have the courage, perseverance, wisdom and decisive temperament that a generation of kings should have. The difference between history and fate has put this sad man [1] who was born in the palace and grew up in the hands of women on the throne of the crown. Because of ignorance of state affairs, he was headstrong and neglected to govern, and finally destroyed the infinite country by his hands. The luxurious and romantic life of emperors and gifted scholars has degenerated into the life of ministers in Lacrimosa every day after the national destruction (Yuefu Moon Hee). The poet's bleak fate touched every sensitive nerve, making him look at the moon and sigh, feeling deeply about his life and feeling infinite regret, from prosperity to decline, from prosperity to desolation. Mr. Wang Guowei, a master of Chinese studies, appreciates Li Yu's ci very much. He wrote in "Ci on Earth": "On Ci, the five generations preferred Feng to Hua."

This paper mainly discusses the authenticity of Li Yu's ci from Wang Guowei's comments. Wang Guowei's appreciation of Li Ci originated from its "truth". He once commented: "Poets are childlike. Therefore, being born in the deep palace and growing up in the hands of women is the shortcoming of the late Lord as a gentleman and the strength of the poet. " "The shallower you know about the world, the truer your temperament will be, and so will Li Houzhu." He also said: "The words of the late Lord are really the so-called bloody book." It is because of his shallow reading of the world that the latter master's temperament is true, and because of his true temperament, he is deeply moved. He writes with blood. All these show that the teacher's words reveal a truth, and this truth is ultimately because the teacher has a "pure heart." The so-called "pure heart" is explained in the ninth volume of the Chinese Dictionary as follows: First, it refers to babies, books? Kang Patent: "If you protect children, only the people will be healthy." Confucius' Ying Da Shu: "The son is born red, so it is called the son." Another meaning is to compare people. Hanshu? Official biography? Gong Sui: "The people are hungry and the officials are not sympathetic, so they are soldiers of His Majesty's son." "A pure heart" means a pure and kind heart. "Mencius? Li Lou II: "An adult will never lose his childlike innocence". The "truth" in Li Yu's ci is a kind of simplicity, innocence and indulgence.

First, the reality of life expressed in Li Yu's poems.

Li Yu's life, whether in the early or late period, is extremely frank, unrestrained and fearless.

In Li Yu's early "Flowers and Moon in the Spring Breeze" (Li Yu's "Looking at the South of the Yangtze River"), most of his ci poems are erotic, with the keynote of "lyrical expression, but unique brushwork" (Wu Mei's "General Theory of Ci"). Many people think that Li Yu's early words are careless, tired and lewd, and they are dross. In fact, Li Yu's early words are far less profound than his later words, but they are not the most undesirable.

When commenting on aristocratic poems, Titfiev said: "The lyric poems of the nobility did not raise big social problems, but they showed people's inner world, their feelings about nature and their most meticulous feelings about love experience, which enriched and improved the readers' spiritual world and showed new aesthetic value, which is meaningful to society." [2] This comment is very appropriate to evaluate Li Yu's early writings. Although Li Yu's early poems did not raise major social problems, they only wrote extravagant songs and dances, sincere and delicate love and deep sadness, but they implied new aesthetic values and enriched people's spiritual world. Therefore, Li Yu's early ci also has certain social significance. Especially in the performance of life, it is extremely real and undisguised.

For example, before he became emperor, he expressed his pursuit of leisure and his yearning for abstinence. The affluent conditions of aristocratic life are not necessarily without worrying reasons. On the contrary, the shadow left by court battles and jealousy on Li Yu's thoughts can't be erased. According to the Spring and Autumn Ten Kingdoms? The Book of the Later Han Dynasty records: Li Yu "has a broad forehead, rich cheeks and teeth, and his eyes overlap. Wen Jun hates his grotesque appearance, avoids disasters and follows Jia, thinking about classics."

References:

[1] Wang Guowei's "thorns on earth" is quoted from Tang Guizhang's "thorns", Zhonghua Book Company, 1986, p. 4242.

[2] The Journal Information Center of China Renmin University copied newspapers and China Literature 1990No. 1 1.

[3] "New Five Dynasties History" Volume 61, "Southern Tang Dynasty Family? Li Yuchuan, page 779.

[4] In the "Tales of the Five Kingdoms" volume, Taiwan Province Province photocopied the text of the "Sikuquanshu".

[5] (Song):: "Qing Louis? China Bookstore, 1986.

[6] Cai Houshi's Collection of Appreciation of Li Jing and Li Yu's Ci [C] Chengdu: Bashu Bookstore, 1988, p. 5.

[7] (Song) Qin Guan "Huanxisha? A lonely and cold building.

[8] Quoted from Zhan's "Study on the Second Keyword in Southern Tang Dynasty", Wuhan, Wuhan Publishing House, 1992, p. 198- 199.

[9] Zhan Antai: Li Yu's Ci, Beijing, People's Literature Publishing House, 1982, p. 32.

Wen? Wei Zhuang? Feng Yansi? Li Yu, Taipei Daan Publishing House, 1988, 149.

[1 1] Comment on Li Houzhu by Gao Lan and Meng Zhu [M] Jinan, Qilu Bookstore, 1985, p. 29.

[12] Zhou Ji's essays on Jie Cun Zhai (XIX) [M] Beijing: People's Literature Publishing House, 1959, p. 7.