Dongpo Yuefu, a collection of poems by Su Shi of the Northern Song Dynasty. The earliest surviving version is the engraving of Yunjian Nanfu Shutang by Ye Zeng, a native of Kuocang during the Yanyou period of the Yuan Dynasty (Yunjian, today's Songjiang). This version was photocopied and published by Classical Literature Publishing House in 1957. In 1979, Chen Yunji of the Chinese Department of Fudan University used a photocopy of the Yuan edition as a base, and used Su Shi's poems mentioned in the "Song Song Sixty Famous Writers", "Siyinzhai Ci", "Village Series" and other books as the base. Collated, edited and published by Shanghai Ancient Books Publishing House. "Dongpo Yuefu" was banned together with Su Shi's other collections of works in the second year of Chongning, Emperor Huizong of the Song Dynasty. Basic introduction Title of work: Dongpo Yuefu Year of creation: Northern Song Dynasty Literary genre: Collection of lyrics Author: Su Shi Introduction of content, innovation, features, other versions, introduction of content Innovation Su Shi wrote more than 300 poems in his lifetime. He wrote the lyrics in the spirit of the poetry innovation movement, and further developed the artistic conception of the lyrics based on Liu Yong's development of slow lyrics. In this way, the singer's words became the poet's words. This is a very important change in the history of Chinese literature. Dongpo Yuefu Using text as poetry has been the goal of many poets since the early Northern Song Dynasty following the path pioneered by Han Yu in the Tang Dynasty and working together. It was not until Su Shi that this new artistic expression technique was improved to a very perfect level. At the same time, Su Shi began to advocate the trend of using poetry as lyrics in his creative practice, which caused a more thorough change in the literary style of poetry besides Liu Yong. The significance of this change lies in the unprecedented expansion of the realm of words, the more distinctive expression of the writer's personality, and the liberation of language, rhythm and style. When writing lyrics, poets before Liu Yong always had to consider what kind of life, thoughts and feelings could be expressed in words. Although Liu Yong has broken this boundary to a certain extent and reflected the life mood and aesthetic taste of urban civilians in his creations, the joys and sorrows between men and women are still the main life scenes in Liu's poems, with harmonious rhythm and narrative. Euphemism is still the main artistic feature of Liu Ci. Only with Su Shi did his lyrics reflect a broad content that had not been reflected by previous poets. He bravely wrote all the subjects and themes that others could write about in poetry. In this way, words can not only be used to talk about love and romance, sadness and longing, but also to recall the past, chant history, reason, talk about Zen, and even express feelings of nostalgia and patriotism. Indescribable”. (Volume 4 of "Yi Gui") The poem has a title and a small preface, and it also officially started with Su Shi. This also shows that due to the development of content, the order is sometimes unclear. As a result, the problem that the writer's personality reflected in the words was not very complete or distinct due to the relatively narrow subject matter and theme of the words was solved. In connection with this, Su Shi also used his own unique language to write lyrics, thus getting rid of the shackles of music to a certain extent and forming an unprecedented poet's words. The emergence of this new type of words makes the style of words no longer exist in the art world only as music lyrics, but also increasingly clearly exists in the poetry world as lyric poems. This is undoubtedly a very important breakthrough for the development of Ci. Su Shi's creative practice of using poems as lyrics was a negation of the ancient tradition since the late Tang Dynasty and the Five Dynasties, and developed the content and form of lyrics in the opposite direction. It not only shows the achievements of the liberation of word styles, but also opens the way for patriotic poets represented by Xin Qiji in the Southern Song Dynasty. History has proven that Su Ci made a huge contribution to the development of Ci. The more than 300 words in "Dongpo Yuefu" are by no means inferior to poetry and prose. Characteristics Compared with his previous poets, Su Shi's poetry has its own characteristics in terms of subject matter, theme, style, etc. This characteristic is generally called bold and unrestrained. One of his earliest bold poems may be [Jiang Chengzi] "Hunting in Mizhou". The poem not only describes the magnificent scene of hunting, but also expresses his patriotic ambition to fight against the Liao and Xia invaders. The content is completely out of control. Many poets specialize in describing the narrow situation of children's private relationships. What best embodies the bold characteristics of Su's poetry is the famous work "Red Cliff Nostalgia" by Nian Nujiao: The great river goes eastward, and the waves are gone, and the romantic figures of the ages are gone. On the west side of the fort, the way of humanity is, Chibi, Zhou Lang of the Three Kingdoms. Rocks pierced through the sky, stormy waves crashed onto the shore, and thousands of piles of snow were rolled up. The country is picturesque, and there are so many heroes at one time. I think back to Gong Jin's time, when Xiao Qiao was married for the first time and looked majestic and handsome. Feather fans and silk scarves, while talking and laughing, the boats and oars were turned into ashes. My motherland wanders in my mind, I should laugh at my passion, and I will be born early. Life is like a dream, a statue returns to the moon. This is a work written during the period when Su Shi was demoted to Huangzhou. He suffered a serious political blow, and when he visited Chibi, Huangzhou (legend has it that this place was the ancient battlefield of the Battle of Chibi, in fact, the battle was fought in Chibi, Puqi County, Hubei Province today), he expressed his feelings by nostalgic times. The first part of the poem praises the mountains and rivers of Chibi, the second part reflects on Zhou Yu, and finally ends with my own emotion. The poem not only conveys the infinite admiration and yearning for ancient heroes, but also reveals the depression of unrealized ambitions when thinking of one's own political situation. Although there is a negative sentimentality at the end of the poem that "the world is like a dream", it cannot conceal the heroic spirit that permeates the entire poem. The artistic achievement of this poem is very high. The most outstanding point is that the poet closely combines lyricism and captures the most characteristic typical details with extremely refined and expressive pen and ink. It expresses Zhou Yu's handsome and unrestrained demeanor and his heroic and calm command of the war. Calmly and creatively created the heroic image of this young Confucian general.

Secondly, the author closely combines lyricism, scene description, narrative, and historical chanting into one, using only a small amount of ink and vivid images. In particular, the depiction of the scenery of Red Cliff uses rich imagination and artistic exaggeration to depict the dangerous and magnificent scenery, including overlooking views, distant and close views, colors and sounds, and is written with vivid ink and conveys the feeling of The atmosphere and momentum of the battlefield back then were thrilling. The entire poem is full of powerful writing, unrestrained language and heroic style. Full of enthusiasm. In Su Shi's poems, even if he describes some ordinary life, he can often shock the readers' hearts through his extraordinary observation ability and artistic conception. For example, the small preface of [Shui Diao Ge Tou] says: "Bingchen Mid-Autumn Festival, drinking happily until the end of the year, and getting drunk, writing this article while pregnant with a child." The fact is that it is ordinary, but in his writing, he shows extraordinary high emotions Strange meaning: When will the bright moon come? Ask the sky for wine. I don’t know what year it is today in the palace in the sky. I want to ride the wind back home, but I'm afraid it's too cold in the high places. Dance to figure out the shadow, how does it seem to be in the human world. Turn to the Zhu Pavilion, look down at the Qihu, and the light will make you sleepless. There should be no hatred, why will things last forever when we say goodbye? People have joys and sorrows, separations and reunions, and the moon waxes and wanes. This has never been the case in ancient times. I hope that people will live long and travel thousands of miles to meet Chanjuan. This poem was written to his younger brother Su Che who lived in Qizhou when Su Shi was appointed governor of Mizhou in the ninth year of Xining. The author was in a bad political situation at the time, and he and his brother had been separated for seven years. During the Mid-Autumn Festival, I miss the moon and feel very depressed. But the poet is not pessimistic, but looks at the "fullness and lack" of the world from a philosophical attitude. He believes that life cannot be perfect, and there are always flaws that cannot be filled, so he adopts an open-minded and optimistic attitude towards life, and at the end of the poem, he expresses his best wishes to all those who have experienced the pain of separation. The poem describes the poet's process of flying into the moon palace, escaping from reality, going through complex inner conflicts and struggles, and finally returning from heaven to earth in a detailed and tortuous way. It shows the poet's persistence and love for life, and also It shows the poet's free and easy character and broad mind. The whole word is full of romanticism. The poet uses an ethereal, lively and free-flowing style to combine various blessings and legends about the moon with widely circulated poems. He not only writes about the magical beauty of the Qionglou Yuyu in the Moon Palace, but also writes about its coldness and elegance. It expresses the ambivalence of longing for heaven and lingering on earth. The whole article seems to be a dialogue between the poet and Mingyue, in which the birth of Mingyue, the origin of the universe, and the meaning of life are traced. Shows high artistry. Therefore, it has always been considered the swan song of Mid-Autumn Festival poetry. Although Bold Ci is Su Shi's innovation, he also made new contributions to the development of traditional Graceful Ci. On the basis of inheriting Ouyang Xiu and Zhang Xian, he improved the style of graceful Ci and expanded the aspect of life reflected in the Ci so that it was not limited to personal relationships between children and children. Either write about the countryside, or write about mountains and forests, or make comments, or express your feelings, each has its own beauty. For example, [Linjiang Immortal] "Returning to Lingao at Night": After drinking at Dongpo at night, I woke up drunk and returned as if it was the third watch. The boy's breath is thundering. No one knocks on the door, just listen to the sound of the river. I always regret that this body is not mine, when will I forget Yingying? The wind is quiet at night and the grain is flat. The boat passed away from now on, and the river and sea left it for the rest of my life. The trivial things in life reflected in the poem are very ordinary, but the author uses them to express his desire for freedom. Of course, what he longs for is not only the freedom of movement that is restricted due to his demotion, but also the main hope is to escape from the vulgar society at that time. He obtained the liberation of his personality from the spiritual constraints imposed by customs. Another example is his composition of "Huanxi Sha", which was written when the author was the magistrate of Xuzhou. The farmer's mood of long drought and joy of rain in the phrase is like the artist's unique sensitivity to nature. It depicts the image of the people and his own image, and also describes the environment where the characters are: after a long drought, there is rain, and after the rain, the sun rises; The fish in the pond, the birds in the trees, the kites in the sky, the wefts on the fence, the bean leaves, jujube flowers, soft grass, the shining mulberry and the fragrant wormwood, everything is... So fresh and beautiful, full of joy and vitality of life. When we read these works, we can't help but think of Su Shi's comment praising Wang Wei that "there is painting in the poem". In fact, this sentence of leaving no stone unturned is also very suitable for him. Su Shi's poems also opened up some new realms in describing the love between men and women. For example, [Shuilongyin] "Ciyun Zhang Zhifu Yanghua Ci" reveals that it is obviously the deep thoughts of a missing woman. In the poem, the fluttering poplar flowers are sometimes written by the author as the incarnation of the missing woman, and sometimes as an object that causes the missing woman to think deeply. Since the relationship between flowers and people is inseparable, it is difficult to determine whether they are one or the other, but their fates are the same: the scattered poplar flowers and the clear tears of the missing woman are equally sad and sad. Another example is [congratulations to the bridegroom] in the poem "Breast Swallows Flying into the Flower House", the woman who is compared to a pomegranate flower, who has to wait until "all the floating flowers and waves are gone" to show the character of "accompanying the king and being alone", is A noble and loyal image. However, as written in the first part of the poem, her life was so lonely and boring, which cannot help but make people think that even if the pomegranate flower blooms later than other flowers, it can last longer, but who can say that it cannot Will it wither? What a pure character and beautiful desire for life, but what an unfortunate fate! Like many poets in ancient times, Su Shi cared about the sorrows and joys of ordinary women here and revealed their secret and precious feelings on their behalf. Su Shi's poetry not only has a bold and broad-minded side, but also has a passionate, deep, and persistent side. It can even be said that in order to balance his inner conflicts, he treated himself with more optimistic thoughts and feelings on certain occasions. misfortune.

But in [Jiang Chengzi's] "Dreams on the Night of the Twentieth Day of the First Month of the First Month of Yi Mao", we can all see the torrent of emotion that spewed out from his heart: Ten years of life and death were so vast that they were unforgettable without thinking. Thousands of miles of lonely tomb, nowhere to say desolation. Even if we meet, we should not know each other, our faces are covered with dust and our temples are like frost. At night, I suddenly returned to my hometown with a deep dream. I was dressing up outside the small window. They looked at each other without words, only a thousand lines of tears. It is expected that the broken part of the intestines will be cut off every year, on a bright moonlit night, there will be short pines. This mourning poem was written in the eighth year of Xining. It depicts a middle-aged man’s painful memories of his beloved wife’s death ten years ago. It reveals the author’s misery that can only be traced in dreams after losing his happiness. Feeling. What is unique is that Su Shi wrote this kind of emotion in a simple, solemn, profound and real way, so its touching power is particularly strong and deep. It can be seen that Su Shi's poems do not describe the love between children, but his works in this aspect are still unique. Su Shi's poetry is also somewhat rough. Some lyrics that summarize other people's or one's own poems are almost word games and are unsuccessful. Other versions In the second year of Chongning reign of Emperor Huizong of the Song Dynasty, "Dongpo Yuefu" was banned and destroyed along with Su Shi's other works. The earliest extant version of Dongpo Yuefu is the Nanfu Shutang engraving by Ye Zeng during the Yanyou period of the Yuan Dynasty; the "Sixty-one Family Ci" edition of Mao Jin's Jiguge; and the chronology in Zhu Xiaozang's "Xiangcun Series" of the Qing Dynasty. Annotated "Dongpo Yuefu". Today there are: "Dongpo Yuefu" compiled and edited by Zhu Xiaozang, which was photocopied and published by Classical Literature Press in 1959; "Dongpo Yuefu Notes" by Long Yusheng, based on Zhu Xiaozang's edited and edited "Dongpo Yuefu". Add notes and collect materials related to Su Shi's research such as "Mr. Dongpo's Epitaph" and Dongpo's Ci Commentary. Typesetting edition of The Commercial Press in 1958; Chen Yunji's proofread version of "Dongpo Yuefu", based on the Yanyou version of the Yuan Dynasty, the Ming Ji Guge's "Sixty-one Family Ci" version, the Qing Zhu Xiaozang version, etc., Shanghai Ancient Books Publishing Press, 1979 edition; Zou Tongqing and Wang Zongtang's "Chronological Notes on Su Shi's Ci", Zhonghua Book Company, 2007 edition.