Matter determines consciousness, and experience determines style. When we appreciate a writer's work, we must be inseparable from analyzing his growth process, and it is best to talk about his life from his original family to his life. The more thoroughly we understand the writer's life experience, the more we can understand why he wrote this kind of content, and what feelings he wrote this kind of content to express. The appreciation of Qu Dajun's poetry is naturally inseparable from this routine.
Qu Dajun has been smart and studious since childhood, "Reading books has become a recitation, and every night he will read thirty new books under the lamp of his mother's yellow spinning performance." Rise in the morning and recite it before the Father, without leaving a word. "At the age of sixteen", from Chen Bangyan received "Zhou Yi" and "Mao Shi", Bang Yan counted the mr. wen, which was said to be teachable. "Traditional Confucian education cultivated Qu Dajun's feelings of helping the people through the world. When the Qing army destroyed the Ming Dynasty, Qu Dajun joined the rebel army with Chen Bangyan against the Qing court, and Chen Bangyan was captured and martyred. As a result, Qu Dajun bore the burden of a division feud other than the hatred of the state and the family, which was also a reason for his firm resistance to the Qing. And the experience of joining the army also made Weng Shanshi burst out of a tone higher than that of other relict literati, showing a detached and lonely heroism. This is similar to Xin Renjie's arrogant words, which are all roars from the collision of patriotic ambition and pride and the ambition to serve the country without a door.
Qu Dajun studied Qu Yuan and Li Bai when he was in school. Qu Dajun regarded himself as a descendant of Qu Yuan, although it may not be a fact, but it is enough to show his admiration for Qu Yuan. He studied Qu Yuan's "Leaving Sorrows", and the naming of his works was also linked to Qu Yuan, including "Riot Words", and he even referred to "Weng Shan Yi Wai", "Weng Shan Wen Wai", "Guangdong Xinyu", "Ariake Four Dynasties Chengren Record", and "Weng Shan Shi Wai" as "Qu Tuo Five Books" (Qu Tuo is Qu Yuan's hometown). Qu Dajun's study of Qu Yuan did not simply derive from a common surname, but more deeply because of the similar encounter between the two, which made Qu Dajun resonate with Qu Yuan's works on a spiritual level. In addition, he studied Li Bai, and Li Bai's dashing and handsome personality and Li Shi's romantic style had a great influence on Qu Dajun. For example, his "white hair is not full of mirrors, and autumn frost only complains about the goose door." ("Ke Yan Men Zuo") is obviously influenced by Li Bai's "I don't know where to get autumn frost in the mirror" (Li Bai's "Seventeen Songs of Qiupu Song", its fifteenth). Qu Yuan and Li Bai had a great influence on Qu Dajun's poetry creation, which is also an important reason why he can still raise his arms and scream in his predicament. In addition, his travels were very extensive, and he had poetry exchanges with Zhu Yizun, Wang Shizhen, Qian Qianyi and other scribes, which was very beneficial to broaden his mind.
Qu Dajun had a life experience of committing himself to Buddhism. Qu Dajun was twenty-one years old and "became a monk with the help of the state." The letter of affairs is written in Lei Feng, the name of the law is now a species, and the word is a spirit. And his "Gui Confucian Theory" dissects the trajectory of his thoughts into Buddhism and return to the world:
Learn Zen for twenty and two. Both learn the occult. Chinese New Year's Eve and knowing what is wrong, he abandons it and returns to my Confucianism. Gai Yi Wu Ru can also be the second clan, and the second clan can not be both Wu Ru, there are two clans can not be without Wu Ru, and with Wu Ru can be without er shi Yun'er. Therefore, it is said that people know that the past is also known to the second clan, and to flee for a reason, and to give it as a last resort.
Although Weng Shan clearly pointed out that the reason for escaping into the empty gate was due to "national changes" and that he had never really devoted himself to the Buddha, he was not necessarily untouched by Zen when he entrusted the Buddha's gate. The enlightenment of Buddhist doctrine also influenced to a certain extent his way of thinking about the hatred of the country and the family, and then affected his poetry creation.
First, Weng Shan wrote a poem with various color words, "White grass and yellow sheep outside, empty smell and mourning." ("Yunzhou Autumn Hope"), the picture outlined by "White Grass" and "Yellow Sheep" has a little vitality in xiaoser; "The white head is difficult to go alone, and the green mountains want to return early." ("Hankou") "White Head" and "Qingshan" form a vivid contrast; "Zimeng is close to Huang Huashu, and black water runs obliquely through the white grass army." These two poems use multiple color words to write scenes, and "I used to turn into a butterfly, and I used to be a butterfly, and I was dressed in colorful silk for dinner." "("Luo Fu Fang Song") Although there are no color words appearing, it is already reminiscent of colorful. The proper use of color words not only makes the verses extremely charming, but also makes the poet's feelings more subtle and expressive.
Second, the clever interspersing of dynamic words. "The sails turn with the south, and the geese fly on their backs." ("In the Hengyang Dao of the People's Day"), "How many mournful flutes cannot be dispersed, and the five clouds still fly around the jade bed." ("Zhong Shan"), "The water is like an arrow running through the Xiabi, and the boat and the waves resist the enemy." ("Shangxia"), "The wind helps the flock of eagles to strike, and the clouds follow the ten thousand horses." ("Yunzhou Autumn Hope"), these dynamic words give inanimate things a unique character color, making the ideological content expressed in poetry more vivid and more imposing.
Third, the implicit use of allusions. The use of canons is also a commonly used lyrical way in poetry, which can be seen everywhere in Weng Shan's poems, "Looking for Su Wu Temple, not li lingtai." "[Yunzhou Qiuwang]) used his respect for Su Wu and his contempt for Li Ling to express his loyalty to the Ming Dynasty and his hatred for renegades." Chao drank with Hou Wei and Twilight was Zhu Hailiu. ("Too Big Liang Zuo") borrowed Hou Wei and Zhu Hai during the Warring States period to show his ambition and pride. The allusions implicitly express the poet's thoughts and feelings, make the poet's feelings clear, and also enhance the romantic color of the poem.
Qu Dajun had a great influence in the early Qing Dynasty, and together with Chen Gongyin and Liang Peilan, he was known as the "Three Greats of Lingnan". Both his own loyal patriotic complex and his majestic poetic style had a great impact in the early Qing Dynasty, and also inspired other patriots to fight indomitably in the midst of hardships and hardships. The Qing Dynasty refused to give up 78 years after Qu Dajun's death, listing all his writings as forbidden books that should be burned, and even beheading his descendants in exile or "leniency". The Qing Dynasty's practice of cutting grass and rooting out the roots is precisely because Qu Dajun's works really have a very strong appeal, and this appeal is exactly what the Qing court feared.