Traditional Culture Encyclopedia - Photography and portraiture - Why is the evaluation of Su Dongpo's post-Chibi Fu generally higher than that of the pre-Fu?

Why is the evaluation of Su Dongpo's post-Chibi Fu generally higher than that of the pre-Fu?

Su Shi, a famous writer in the Northern Song Dynasty, had a rough life because he insisted on his political integrity in the struggle between the old and new parties. His ideological realm also deepened with the change of environment and the breadth of experience. In the autumn and winter when Yuan Feng's politics was hopeless for five years, he wrote Qian Chibi Fu and Hou Chibi Fu, which not only reflected the change of his ideological realm, but also reflected the new change of his creative style, and became important works representing the new realm of China's ancient prose creation and the new height of the integration of prose and prose.

First, the changing structure and different creative mentality.

As a new style in Song Dynasty, prose is actually a "grafting" of various styles. Generally speaking, the prose language is the main language, and the style draws lessons from the structure and rhyme format of the subject-object question and answer in Han Dafu, as well as the lyric parallel couple sentence pattern in the Six Dynasties. Compared with Fu, it is more dispersed; Compared with prose, it has changed the usual characteristics of discussion, reasoning and narration, and used the "artistic conception" of poetry to convey feelings. Among them, the combination of whole and prose language, subject-object structure and emotional artistic conception are the three most important stylistic features of prose. These three stylistic features were stereotyped in Ode to Autumn Sound by Ouyang Xiu, and Su Shi's poems before and after Red Cliff Fu followed suit, and then changed, achieving the perfect combination of "doing whatever you want" and "not exceeding the moment". This is particularly evident in the pre-fu. Therefore, people who have been talking about Su Shi's prose always pay more attention to the pre-fu and ignore the post-fu, or the pre-fu covers the post-fu, and never regard them as "conjoined twins" with mutual echo in thought, contrast in realm and structural differences, so it is difficult to identify the similarities and differences between the two fu structures to understand Su Shi's creative mentality. In fact, the ups and downs of pre-Fu, the unrestrained question and answer between subject and object, the implicit emotion of post-Fu, and the simple question and answer between subject and object all imply the author's different state of mind and creative mentality when creating two Fu. Before explaining this point, it is necessary to compare the relationship between the subject and object of the two poems, because it is their relationship that produces the different structures of the two poems, and the creative mentality with different tightness and interest is expressed because of the different structures.

First, between the subject and object of pre-fu, the emotional theme is more harmonious. The poem begins like this: "perilla rowed with the guests and swam under the red cliff ... so he was very happy to drink and sing ... the guests played the flute and relied on songs to make peace." The host and guest are in the same boat, drinking the same song, playing the same tune, being very friends and knowing each other. At the end, there is a paragraph describing that "guests smile with joy, and it is more appropriate to wash the lights ... I don't know if the east is white." Here, after some exchange of ideas, a deeper emotional harmony between friends can be presented. After that, although Fu was also designated as the guest of honor, the guest and the host also started with feasting and amusement: "Two guests swam under the Red Cliff with wine and fish after crossing the yellow mud ..." However, these two guests could not always share the same interests with Perilla like the previous guests. When Perilla swims to the shore of Chibi, "two guests can't follow", which shows the difference between subject and object and the loneliness of the author. As for the meaning of the last part, "I will fall asleep in a moment", it is in sharp contrast with the ending of the previous assignment.

Secondly, the exchange of ideas between the pre-endowed subject and object has deepened, and the emotional harmony between the subject and object has not only become an obstacle to the exchange of ideas, but has become the basis for their exchange. Both the host and the guests frankly expressed their different feelings and thoughts about personal existence. After understanding and communication, the host turned to a new level and enlightened the guests' thoughts with Zen philosophy. Of course, if we remember Su Shi's poem Niannujiao at the same time, we will understand that the dreamy life and personal smallness of Hakkas are actually the lingering shadows in Perilla's heart. Therefore, the content of subject-object question-and-answer represents two aspects of opposition and mutual inhibition in Su Shi's thought. The Lord's answer not only broke the boredom for the guests, but also opened the joints. In the post-fu, the emotional communication between subject and object stays on the surface, and the thoughts do not collide and comfort each other. An obvious sign is that there is no question-and-answer communication between the subject and the object in other parts of the article, especially in the important passage of Ziwei's lyric by borrowing scenery, except for a little question and answer at the beginning when he was looking for food and drink to kill a good night, so that the author had to borrow an abrupt solitary crane image to express his lyric. Although the end of the article adopts the subject-object question-and-answer method, this guest is not another guest. He is a dream Taoist who has nothing to do with "Erke", that is, the soul of a Taoist who is close to him in the last fu. Moreover, the question and answer between him and the master is also cited but not sent. He just used a phrase "Amusement Red Cliff" to stir the heartstrings of Perilla, making it make a lingering sound. This is not only a variation in prose structure, but also impure in image, which reflects the loose relationship between subject and object in post-prose. This is the main difference of the relationship between subject and object in the two songs.

This close and loose relationship between subject and object, coupled with the ups and downs of emotion, determines the different structures of the two poems, either strange in the chaos or quiet in the calm. However, the difference in structure shows that the author has two different creative mentality, relaxation and tension. The perfection of pre-fu structure in relaxation and harmony between beginning and end is the embodiment of Su Shi's free and relaxed mentality that his talent is not suppressed by spirit. Only in this state of mind can the creation have an unrepeatable climax and the skills be integrated into the seamless realm. In this way, the expression of thoughts and feelings is like a boat sliding in the boundless emptiness, and you will not feel bound at all, and you will not see arrangement and reluctance at all. The reason why the emotional and ideological expression of Qian Fu can make people feel as comfortable and natural as flowing water is that it is regarded as an unrepeatable masterpiece of the integration of literature and fu, because it is a spiritual roaming completed by thoughtful Su Shi with a relaxed and free creative mentality. "The white dew crosses the river, the water meets the sky" and "A reed is like a reed, and the sky is at a loss" are all scenes of free flight. The sorrow of the subject and the forgiveness of the Lord is the essence of freedom, or singing or worrying, or sad or laughing, and it is a free and unscrupulous attitude towards life. They all came to Su Shi's works freely from his relaxed heart.

However, the free mentality is not easy to obtain, and it is subject to various constraints from external and domestic conditions. The lack of friends in the same realm, the lack of beautiful scenery that moistens feelings, and the lack of unobstructed inner feelings-or because of the frontier, because thinking is necessary, and the inner emotional rhythm is just at a low ebb, which cannot make the creation complete in a relaxed and free state of mind. The corresponding to freedom and relaxation is tension. Complete tension can't make people create a complete work at all, while partial tension doesn't matter. The post-fu was completed under the local nervous creative mentality. Therefore, its overall emotion is implicit and restrained, and the ending is inseparable, and it does not show the ups and downs of emotional rhythm like the previous fu. For the style of prose, it inevitably belongs to an odd number. This nervous state of mind is not only reflected in the inside story, but also in the outside world. The "thousands of feet Shore Broken" implies a natural sense of squeezing, a sense of thinness and tension caused by "the mountain is high and the moon is small, and the water comes out", an abrupt feeling caused by a lone crane crossing the river and sweeping the boat, a sense of fracture caused by not asking questions from a Taoist priest, a sense of interest caused by the docking of Taoist dream shadows with the lone crane, and a sense of "opening an account and watching after waking up". Of course, although his nervous state of mind caused his emotional expression to fluctuate freely and revealed traces of intentional arrangement, it caused a different situation in aesthetic experience, which made his prose have a meaningful effect of lyric poetry.

Second, water and the moon-the spiritual metaphor of relaxation and freedom

In Fu on a Thousand Red Cliffs, Su Shi described two beautiful images, water and the moon, in the face of the beautiful scenery of Chibi, the host and guest singing boats and other images that can enter the poetic realm. Water is the water of the Yangtze River in July and the water of the Mid-Autumn Festival in August. At that time, the water was "a slight breeze came from Xu, and the water waves were stagnant" and "the white dew crossed the river and the water met the sky"; At that time, the moon "rose above the East Mountain and wandered between bullfights". The water is boundless and graceful, and the moonlight is rich and pleasant, reflecting with the water phase. If the water is boundless, the moon is boundless. I don't know where the water is and where the moon is, but I feel that I am in an "empty". Thousands of pores are stretched; Throw away all worldly concerns together. So it led to "the wind as vast as Feng Xu, but I don't know where it ends;" The feeling of extreme freedom is like independence, feathering and immortality. This is the reappearance of the long-lost spiritual freedom in prose since Zhuangzi. Feng's "emptiness" means that he swims in the "emptiness", which combines the colors of water and moon, and can get the essence of the intersection of water and moon better than Xie Zhuang's Yuefu and Zhang's Moonlit Night on a Spring River. Because Xie Zhuang borrowed the moon to write acacia, and the moon was in the sky; Zhang's perception of life is aroused by the hidden moon, which is outside his heart. Su Shi, on the other hand, felt the beauty of Shuiyue with his heart-only in this way can he find the word "empty and bright" to describe the harmony of Shuiyue and its unparalleled iron paste and freedom. The feeling of "vastness" and "fluttering" is naturally produced under the guidance of the beauty of Shui Yue. "Feng Xu defends against the wind" and "feathering into immortality" are all recorded in Taoist classics to show that they are extremely free and don't care about the world. They mean that not seeing the water and the moon, only feeling empty and bright, is not only the inducement for the author to get rid of vulgar feelings, but also the external metaphor after his spirit reaches empty and bright. From this, we can see emptiness. The realm of emptiness and brightness is an inorganic realm where all troubles rest, while Shuiyue is a meaningful image that can filter people's troubles and make people think freely. On weekdays, interest falls on Confucius' view, and he regrets time and existence. Li Yin's bright moon with chic personality can calm the homesickness, which can best reflect this spiritual direction of Shui Yue. Zen thought it was a metaphor of thought. "A thousand rivers can be reflected in January, and a thousand rivers can be photographed in January." Based on the relationship between January and the moon of a thousand rivers, Yan Yu put forward the dialectical relationship between self (Buddha's nature) and otherness (wholeness), being and not being, changing and unchanging, and paid more attention to the sense of indifference in world differences. Therefore, the image of the hidden moon is also the starting point for Buddhists to participate in Zen. Zen thought was deeply rooted in the hearts of the people in the Song Dynasty, and Zen thought was assisted by Neo-Confucianism, and Zen metaphor was assisted by poetics. Most scholars regard Zen thought as an inclusive thought, and Su Shi is no exception. In this empty night, perilla saw Shuiyue and had a secret love. On this quiet night, he went beyond the ideological limitations of gaining and losing others, entered Zen from Taoism, looked up at the universe, looked down on himself, reflected on himself and the nature of the universe, and entered the realm of philosophical ontology thinking. Like a stone, he also uses the water moon as a metaphor. In Shui Yue, which seems to never disappear-"The deceased is like this, but he has never been there", "The deceased is like this, and the deceased does not grow and prosper"-he feels that eternity is also lurking in his body: "If you never look at it, things are infinite." In this way, even if I know that everything has changed in a short period of time, "heaven and earth can't be instantaneous", I am happy, because I have the nature of "changing without changing" consistent with the universe of heaven and earth, and I am content to integrate myself into nature and obtain nature. Zen acquired through free thinking, just like Buddha's light, let him release the accumulated depression and depression for a long time in an instant, and his spirit and body relax together in this ethereal Zen realm. Bathed in the endless breeze and bright moon, the host and guest got rid of it together, became free, and slept peacefully in Shuiyue Wonderland, as if even dreams were not disturbed.

Third, the mountain and the crane-the emotional correspondence between loneliness and depression

In Houchi Fu Bi, the water is still there, and the moon is still there. The moonlight is very clear, which can be described as "the moon is white and the wind is clear", because the moon wheel on this winter night can actually reflect: "The figure is on the ground and the moon can see." After "whatever, singing and answering", people still feel free and sigh, "What is such a good night?" The water potential is still good: "It is better to board the boat and let it go to the middle stream, and let it stop." However, the moonlight is already out of the author's mind-"the mountain is high and the moon is small." The steep mountain peak of "thousands of feet Broken Shore" stands in front of Perilla frutescens and becomes the center of his feelings, while the moon hangs high in the air and becomes a alienated natural object. What about water? Water has also lost its vastness in July, changing the realm of "the dead are gone" in The Sound of the River. It is indeed a "walk" to expose all the underwater boulders-"to the bottom". Such water can no longer arouse the author's meditation. And hard, steep stones that can never be integrated with people suddenly appear on the banks of rivers and banks, oppressing the author's vision together with towering mountains, and their encirclement caused his mental tension. No wonder Su Shi, in this desolate and cold place, wants to send out the feeling that "the geometry of the sun and the moon was once known, but the mountains and rivers can no longer be recognized" and realize the great power of change that he neglected.

Shui Yue induced Su Shi's mood, which made him interested in visiting Chibi first because of the beautiful moonlight, and also made him feel melancholy about the change of nature because of the ruthlessness of the flowing water. But if human feelings are harmonious, that kind of melancholy should be able to fade away and the mood will reach its climax again. Unfortunately, the guests at that time were not what they used to be. Although they share shallow interests with perilla, their enthusiasm for nature is not as good as that of perilla. Between them and him, there is no interest in climbing cliffs, and there is no real collision of ideas. In this way, the sadness caused by the change of nature is getting heavier and heavier, resulting in overwhelming loneliness and depression. And the fading moon is no longer the central image corresponding to his current feelings. The mountains in Wan Ren (and the boulders on the shore) and the lonely cranes flying suddenly become the corresponding images of the new feeling. His actions of "taking clothes, walking stones, wearing velvet, living in tigers and leopards and climbing dragons" mean climbing mountains until "climbing the dangerous nest of magpies and leaning against the secluded palace in Feng Yi". Standing on the top, he looked back, which not only reflected his subconscious mind of passing away temporarily, but also showed his mentality of jumping out of depression. And his wanton whistling that "the vegetation vibrates, the mountains and rivers respond, and the clouds surge" is a symbol that I am conquering things, that is, calling on the main energy to resolve my depression. However, the cold shore, loneliness without company and howling are not enough to relieve the anxiety and sorrow of incompatibility and strangers. When he went down the mountain, his mood was in sharp contrast with his last trip to Chibi.

The tall rocks not only oppose and oppress his natural forces, but also symbolize his repressed feelings. Du Fu once took Mount Zhongnan as a symbol of his sorrow-"Worry stops in the south and you can't dig a hole." Perilla Chibi Bank has a similar metaphorical effect. Where is the crane? Crane is the image cultivated by this depressed and lonely emotion. In Su Shi's mind, cranes that inhabit pine and cypress and don't think about firewood and rice, like cranes in other hermits' minds, are symbols of superiority. Su Shi once wrote the Flying Crane Pavilion, in which he used flying cranes to attract them and stay with them to express his inner feelings about death. The image of cranes is especially popular with him. At this time, when Perilla was loneliest, suddenly a solitary crane fluttered across the river from the east and flew past the ship to the west. This crane, flying and singing alone in the dark night, is lonely and bootstrapped, which can comfort Perilla's heart that feels the same state. Therefore, perilla, which doesn't say a word to the guests, attaches great importance to it. In addition, it is not only a symbol of Perilla's mood at this time, but also a Taoist image on the night of July. Su Shi asked the sleeping Taoist priest with the consciousness that "the past night passed by me, and it was no longer a child", indicating that the author pinned his feelings of missing his old friend on this lonely crane. Taoist thought was originally a key point in perilla thought. The connection between perilla, solitary crane and Taoist suggests that Su Shi has turned to a hermit who has set foot on the world in spirit. "I can't see it if I open an account." At the end, I woke up from my dream and opened the door to look for it. The night is boundless, there are no solitary cranes and no Taoist priests. One stroke and two strokes, with a deep aftertaste. Mix frustration and hope in a poetic realm. The mountain (stone) shape and crane image make Su Shi's mental discomfort caused by natural changes and personnel discord correspond to his yearning for freedom in loneliness.

The creation time of Qianchibi Fu and Houchibi Fu is only three months apart, and the tone of writing is still the same, but the author's creative realm is in contrast, and his thoughts and feelings are two different situations or contradictions. Why is this happening? The key point is that "Buddha's nature" is not as good as "everything", and the eternal "Tao" in the first assignment is not enough to answer the complicated "questions" contained in the ever-changing and different existence in reality. Su Shi's concept of "communication" is abstract, which cannot make him indifferent to the ever-changing phenomenon. Ideas can never replace real feelings. Abstraction always misses rich details, and details are often associated with emotions. This is an unavoidable contradiction for every great writer with rich life experience. Su Shi's view of water loss is melancholy, knowing that eternity is empty talk; Sad for vulgarity, think for the world's superior. The reason is very clear, the sadness and joy of his feelings, the atmosphere is bright or dark, empty or steep, which shows that the mysterious emotional inducer in his thoughts is also sitting in the gap between philosophy and life.

In my opinion, the post-Chibi is deeper and lonelier than the pre-Chibi, expressing one's true feelings and arousing readers' * * * is reflected in this artistic conception. Therefore, Houchibi is highly appraised. As for what we learned in middle school is the former Chibi, it may be relatively easy to understand the former Chibi, but we can't really understand the artistic conception of the latter Chibi!