What are some stories similar in style to "Bai Xuege Sends Judge Wu Back to the Capital"? quick!

Comparison of the poetic styles of Gao Shi and Cen Shen

Wu Xiang

Abstract: Gao Shi and Cen Shen are representatives of the frontier fortress poetry school in the prosperous Tang Dynasty. In the history of poetry, they are called "Gao Cen" together because their representative works of poetry all use frontier life as the theme, showing the majestic style of generous elegies. However, through detailed analysis and comparison in terms of material selection and conception, expression techniques, language style, artistic style, etc., Gao Shi's poems are majestic, simple and simple, and Cen Shen's poems are majestic, ingenious and magnificent. Under the general characteristics of "tragic", their poetic styles show distinct individual characteristics. For authors with similar names in literary history, it is a feasible method of literary research to examine the similarities and differences in their artistic styles.

Keywords: Tang poetry, Gao Shi, Cen Shen, poetic style, comparative study

Gao Shi and Cen Shen were two poets famous for their frontier poems in the prosperous Tang Dynasty. Since Du Fu wrote in "Send to Pengzhou Gao Thirty-Five Envoys to Guozhou Cen Twenty-seven Chang Shi Shen Thirty Rhymes", "Gao Cen Shu walked slowly, Shen Bao De walked together. The meaning is comfortable and the pass is flying, and the end of the chapter is mixed. "Mang" praised Gao Shi and Cen Shen, and in the history of poetry, they were called "Gao Cen" together, and they were listed as outstanding representatives of the frontier poetry school. Therefore, the poems of Gao and Cen give people the impression that their styles are similar. The second volume of Hu Yinglin's "Shi Sou" says: "Gao and Cen are tragic and heroic." It points out the uniqueness of the aesthetic characteristics of their poetry. What's more, Zhong Xing said, "Gao and Cen have the same mind and hand as one person" [1], and Hong Liangji said that Gao and Cen "have the same physique, and the so-called sheng and chime have the same pronunciation" [2], which completely obliterated the two of them. personality. In recent years, many articles have been written on Gao and Cen, some of which start from the ideological content and believe that their styles are completely different. [3] Others concluded that Cen Shen’s poetry is better than Gao Shi’s in terms of artistic achievements. [4] In order to have an objective understanding of the uniqueness and personality of Gao and Cen’s artistic styles, this article aims to start from various factors such as their family background, life experience, personality temperament and aesthetic taste. Specifically analyze the poems of Gao Shi and Cen Shen, and explain the similarities and differences in their poetic styles. The comparison focuses on frontier fortress poems, but also focuses on poems on other themes, trying to grasp them as a whole.

一

Gao Shi and Cen Shen became the leaders of the "Border Fortress Poetry School" in the prosperous Tang Dynasty, and created a large number of excellent works related to the frontier fortress, which have their objective historical background. During the Kaiyuan and Tianbao years, the society was stable, the economy was developed, and the military was strong. Xuanzong of the Tang Dynasty, who had been in the throne for a long time, relied on his strong national power and was fond of great achievements. He promoted the policy of border expansion and often rewarded generals with promotions for their border service. Going to the border to make meritorious service became an effective way to serve the country and advance as an official. In this context, it has become a trend for literati to join the army or enter the civil service with their pen. Gao Shi had three experiences of going to the fortress: in the 20th year of Kaiyuan, he went north to Youji, hoping to join the Xin'an shogunate, but then retreated; in the 9th year of Tianbao, he sent troops to Jibei as Fengqiu Wei; in the 13th year of Tianbao, he went to Longyou , Hexi Jiedu envoy Ge Shuhan was the secretary in charge of the shogunate. Cen Shen also served as a military official for a long time: in the eighth year of Tianbao, he served as the secretary of the shogunate of Gao Xianzhi, the Jiedu envoy of the four towns in Anxi. The rich life experience in the frontier fortress laid a solid foundation for Gao Shi and Cen Shen's poetry creation. Both of them also expressed their heroic spirit of generously going to the frontier and serving the country with their own lives in their frontier fortress poems: "Thousands of miles away, you will not hesitate to die, but you will succeed in one day." (Gao Shi's "Fortress Song") "You only get fame from horses, you are truly a hero. "A real man." (Cen Shen's "Sending Deputy Envoy Li to the Official Army in Qixi")

It can be said that the times created the special genre of frontier poetry, providing a showcase for talented poets who are determined to serve the country. The stage of talent. So, in the special environment of the frontier fortress and the background of frequent wars, how did the two poets Gao Cen choose their materials and conception? Let’s take a look at their masterpieces:

The smoke and dust of the Han family are in the northeast, and the Han generals will resign and destroy their families. A man is proud of himself, but the emperor gives him great honor. I beat the drum with gold and went down to Yuguan, and the jingle meandered among the Jieshi. The captain's feather book flies into the vast sea, and the hunting fire of Chanyu shines on Langshan. The mountains and rivers are desolate and borderless, and the barbarian cavalry and the mausoleum are mixed with wind and rain. The warriors are half dead in front of the army, but the beauties are still singing and dancing under the tent. The desert is poor and the grass is declining in autumn, and the lonely city is sparse in battle at sunset. When encountering kindness, one often underestimates the enemy, and even though one has exhausted all his strength, he has not yet been able to clear the siege. The iron robes have been guarding for a long time, and the jade chopsticks should be heard after parting. The young woman in the south of the city wants to have her heart broken, and the conscript Ji Beikong looks back. The floating breeze in the side court is so mesmerizing, but what more is the vast expanse of the vast expanse? The murderous aura forms clouds at three o'clock, and the cold sound spreads throughout the night. Looking at each other, there is a lot of white blades and snow, how can you never care about Xun's death? Don’t you see that the battle on the battlefield is hard, I still remember General Li!

(Gao Shi’s "Yange Xing")

Don’t you see that the horses and rivers are walking along the snowy seaside, and the flat sand is yellow and yellow in the sky! The wind roared on the September night in Luntai, and the gravel in the river was as big as a bucket, and the stones were scattered all over the ground in the wind. The Xiongnu grass is yellow and the horses are getting fat, smoke and dust are seen flying in the west of Jinshan Mountain, and the generals of the Han family are marching west. The general's golden armor stayed on all night, and the troops fought against each other in the middle of the night. The limelight was like a knife cutting across the face. The horse hair is steaming with snow and sweat, the five-flowered money is swirled into ice, and the grass and inkstone in the curtain are condensed with water. The captive cavalry should be frightened when they hear this, knowing that the soldiers dare not pick up the enemy, and the chariot master Ximen stands still to show off his victory!

(Cen Shen's "Walking through the Rivers to Send Doctor Feng Off to the Western Expedition")

Both poems show the scenes of war at the frontier, reflecting the spirit of the soldiers who are not afraid of hardships and fight bravely. It shows the poet's strong patriotic sentiment.

Du Fu's comments that "the thoughts are soaring, but the end of the chapter is confused" and Yan Yu's "Gao and Cen's poems are tragic and stirring, and reading them makes people sigh" [5] have captured the unique characteristics of their poetry. , in the praise of the heroic spirit and perseverance of patriotism, the majestic spirit burst out.

In terms of the ideological content conveyed in the poem, Gao Shi seems to be more profound and broad. "The Journey of the Song" contains the high-spirited expedition of the soldiers, the arduous and bitter battles on the battlefield, and the deep-rooted thoughts of the soldiers missing their wives. Among them are the beacon smoke at the frontier and the bleak autumn, as well as the sharp contrast between the bloody soldiers on the battlefield and the generals who indulge in singing and dancing. The poem perfectly blends these images together to form a broad picture of the frontier. The poet reflects and exposes the war from different levels, pouring distinct love and hate into his works. His writing is profound, his voice is full of frustrations, and he has a strong artistic appeal. "The warriors are half dead in front of the army, but the beauties are still singing and dancing under the tents" has become a famous saying that is widely recited. Sympathy for the lower class people (including soldiers) and criticism of the rulers' arrogance and extravagance are not uncommon in Gao Shi's works. "The garrison soldiers were tired of the chaff, so they surrendered to the Hu to have enough food and clothing. When I took a look at the pavilion, I felt like crying." (Part 2 of "Five Poems on the Journey to Jimen") expresses sympathy for the oppression of the border guards; "The doctor attacked the Hu in the east, and the Hu dust Dare not get up. Hu people cry at the foot of the mountain, Hu horses die at the seaside" ("Farewell to Nephew Shiyan in the Song Dynasty") reflects the suffering brought by the war to the border people; "I still pity the ants floating in the cave, I am envious of the clouds and birds, and the farmers have no support. "The wild old man is worried" ("Encountering a Flood on Dongping Road") is a pity for the farmers who suffered floods; "It is not the ghosts and gods who have no integrity, but there are flaws in the state and county" ("Tongyan Shaofu Traveling in Autumn") is a pity for the farmers who suffered floods. The state and county officials felt heartbroken. Gao Shi was lonely and poor, and loved to travel. He traveled to Chang'an in his early years in the hope of gaining fame but failed, and later traveled to the Liang and Song Dynasties. He experienced the poverty and sinking life of "working in the rabbit garden for farmers for many years, and fishing in the wild goose pond."[6] In the process of working as a fisherman and woodcutter and going deep into the lower class, he deeply realized the oppression and misfortune suffered by the poor people, so the poet could have such a civilian attitude in his poetry creation. Yin Fan's "Collection of Heroes in Heyue" said that Gao Shi's poems are "full of hypothetical words and have spirit and spirit", which is a summary and praise of Gao Shi's spirit of "dare to speak with anger"[7] in his poems.

Compared with the broad content and profound thoughts of Gao Shi's poems, Cen's poems appear to be relatively single. His works lack Gao Shi's broad perspective and concern for the common people. This is in contrast to Cen Shen, who was born in a family of officials. The background is irrelevant. Cen Shen's ancestors became prime ministers through his writing skills. Although he suffered two changes and his family fell into decline, his isolation and poverty in his early years did not bring him close to the lower class people. In addition, the wealth and splendor of three generations of prime ministers in the past could not be washed away from the depths of Cen Shen's heart. Therefore, Cen Shen made great contributions to his career. The heart is particularly strong. Therefore, there is often a high-spirited emotion and optimistic spirit in Cen's poems, which makes people feel inspired and uplifted after reading them. The poem "Walking through the River to Send the Doctor to the Western Expedition" is magnificent and colorful. It uses exaggerated and imaginative artistic techniques to combine the drastic changes in nature with the mammoth marching scenes, making people marvel at the strange geographical environment and climate of the frontier fortress. At the same time, he lamented the hardships of the marching soldiers. The poetry has an urgent rhythm and creates a high and exciting momentum, which has unique artistic charm. The poem is also representative in its combination of scene description and narrative. The strange customs, scenery and climate environment of the frontier are incorporated into the poem, embodying the emotions in the description of the scenery. "The Biography of the Talented Scholars of the Tang Dynasty" says that Cen Shen "has been assisting the army for more than ten years. He has been traveling with horses and horses in the dusty world for more than ten years. He is extremely sentimental about farewell, and he has walked through the city barriers and fortresses." Once Cen Shen's "curious" character [8] collided with the unique customs and customs of Biansai, amazing and wonderful works were produced. In poems such as "Baixue Ge Sends Magistrate Wu Back to the Capital", "Tianshan Snow Song Sends Xiao Zhi Back to the Capital", "Rehai Xing Sends Cui Shiyu Back to the Capital", "Volcano Cloud Song Farewell" and other poems, the author leads us to see the volcano clouds The strange and magnificent border scenery, such as mountains, snow in the Tianshan Mountains, the scorching heat of Atami, the strange cold of the vast sea, and the north wind blowing yellow sand into the sky, is an eye-opener. Not only are the natural landscapes rich and beautiful, but the border customs and the interactions and entertainment of people of all ethnic groups described by Cen Shen are also very interesting. "The pipa and flute music are harmonious, the Qiang's children and beards are singing together, the ploughing cattle are cooking the wild camels, and the rivers are filled with fine wine and gold coins." The banquet scene is fresh and lively ("Composed after being drunk at the banquet of the prefect of Jiuquan"); "Snow, a whirlwind is coming from the left and right" ("Tian Shijun's beauty dances like a lotus, a whirlwind is born"); Socializing and entertaining are bold and harmonious ("Song of General Zhao"). Through the author's artistic creation, these anecdotes and strange events in the frontier fortress reveal "things that are not recorded in ancient and modern biographies" [9] and have become precious materials for studying the customs and people of the Western Regions. They are also excellent articles with extremely high artistic value. Du Que said in the "Preface to the Collected Poems of Cen Jiazhou": "Every last piece of poetry is passed down by everyone. Even though the people in the village are common people and the barbarians are barbarians, they are all satirical and recited." The wide spread of Cen's poems surpasses that of his works. There is an inseparable connection between national boundaries and a wide range of materials.

It can be seen from the above analysis that the two poets who are equally famous for their frontier fortress poems brought their own different perspectives in the similar frontier fortress life experience, picked up the features of the frontier fortress from different angles, and recorded their unique feelings. The two people's "hearts and hands" are not "like one person", and the sounds they make are definitely not "the same sound as the sheng and the chime".

II

The poems of Gao and Cen have different emphases in material selection and conception, and they also prefer different methods of expression. Gao Shi's poems mostly express his feelings directly, or contain narrative and discussion, and use less metaphorical techniques.

For example, "Yan Ge Xing" points out the national crisis at the beginning and highlights the tense atmosphere: "The smoke and dust of the Han family are in the northeast, and the Han generals will resign and destroy their families." It ends with a direct comment: "You have not seen the hardships of fighting on the battlefield, but I still remember Li Li. General!" It contains both ardent expectations and deep sighs, implicit and powerful. Du Fu's "hualiu paves the way, eagles and falcons come out of the wind and dust" [10] is an appropriate comment on the heroic and unrestrained style of his poems. Gao Shi's poems focus on people rather than on natural landscapes, so they rarely simply describe scenery. They often include descriptions of scenery when expressing emotions, so the scenery bears the mark of the poet's personal subjectivity. In "The Song of the Swallows", "the desert is poor and the grass is dying in autumn, and the isolated city is fighting at sunset with few soldiers" to outline the desolate scene. The desert, withered grass, isolated city, and sunset are used as parallels to form a subjective and emotional picture, which makes the soldiers fight endlessly. The heroic and tragic contrast is even stronger. Another example is the sentence "Loneliness towards the autumn grass, the sad wind coming thousands of miles away" in one of the "Ten Song Poems". "Sadness" and "solitude" are actually the scenery that touches the poet's mood. The boundless sadness is expressed in the sigh of the sad wind thousands of miles away. The poem ends in a very subtle tone. There are many such implicit and profound poems that use scenery to express emotions, such as "The ancient trees fill the sky, and the yellow clouds worry about killing people" ("Ji Zhong Zuo"). The scenery sentences contain endless emotions, and the artistic conception is majestic and profound.

In addition to some direct expressions of his feelings, Cen Shen's poems also focus on the description of natural scenery. The poet is good at using exaggerated techniques and peculiar imagination to describe the majestic and magnificent natural scenery outside the Great Wall, and uses his personal feelings to write objective and realistic scenery. Although it is "outstanding and solitary, it is out of common sense" [11], it is also "strange and intrusive" "reason" [12], convincing. It writes about the strong wind, "The wind roars on a September night in Luntai, and the gravel in the river is as big as a bucket, and the rocks are scattered all over the ground in the wind" ("Zhou Ma Chuan Xing"); it writes about the severe cold, "The pickled mist and cold atmosphere condense for thousands of miles, and the cliffs in the shade are thousands of feet of ice" ("Zhou Ma Chuan Xing") "Tianshan Snow Song"). The customs outside the Great Wall are inherently different from those in the Central Plains. In addition, Cen Shen explored and recorded them with curious eyes, resulting in a masterpiece of scenery with magnificent imagery and wonderful colors. The beauty of Cen's poems, which are "strange in language and solemn in style, also creates strange meanings" [13], is fully reflected in the sentence describing the snow scene in "Song of White Snow to Send Magistrate Wu Back to the Capital": "The north wind blows and the white grass on the ground folds, Hu Tian August It's like flying snow. Suddenly, a spring breeze comes, and thousands of pear blossoms bloom. "The poet compares the blooming pear blossoms in spring to the flying snow in the severe winter. The two images of one warm and one cold achieve an amazing harmony in art. Thousands of trees bloom. The trees echo the magnificent background of the border area, making it look clear and sharp. The metaphor of pear blossoms gives warmth and hope to the cold and bleak snow country, which is in line with the affection and blessings of farewell to friends in the poem. Such ingenuity and beautiful sentences. One has to admire Cen Shen's skill in depicting scenes.

Three

The difference in poetry style between Gao Cen and Gao Cen is also reflected in language. Although Cen Shen is the same as Gao Shi, his language is clear and clear, even colloquial, and there are no unfamiliar words and phrases, but Cen Shen's poems are still quite thoughtful in the refinement of words and phrases. Cen Shen wrote some pastoral landscape poems when he was studying in seclusion in his early years, and their beauty has been revealed from their simplicity. For example, the words "burn" and "warm" in "The flowers in the stream burn the evening rain, and the trees in the pond warm the spring clouds" ("Gaoguan Gukou Presents to Zheng E"), "The stream swallows the woodcut road, and the mountain flowers intoxicate the medicine column" ("The First Grant of Officials") The words "swallow" and "drunk" in "Inscribed on Gaoguan Thatched Cottage" can all be seen as the effort put into carefully considering the words and sentences. This ingenious tendency further developed into a tragic and strange style when the poet faced the heroic ambitions of the soldiers and the strange scenery outside the border at the frontier. For example, the words "ran" and "fried" in the sentence "Steaming sand and sparkling rocks are like clouds, and boiling waves are frying the Han moon" in "Rehai Journey to Send Cui Shiyu Back to the Capital" seem to come from "Gaoguan Taniguchi Presents to Zheng E" The words "burning" and "nuan" in the middle are extended and evolved, but the atmosphere of the poem is completely different. The former describes the scenery of mountain dwellings in real terms, as clear and beautiful as a sketch, while the latter uses rich imagination to highlight the scorching heat of Atami, which is majestic and majestic. unpredictable.

Gao Shi’s language style is simple and clear, without any elaboration. For example, one of "Two Poems of Farewell to Dong Da": "Thousands of miles away, the yellow clouds are white and the sun is shining. The north wind is blowing the wild geese and the snow is falling. Don't worry about knowing the road ahead. No one in the world knows you." In terms of technique, it seems that there is no effort at all, and the words follow the meaning. It comes out without any deliberate rhetorical embellishment. The first two sentences describe the farewell environment, and the sad mood naturally arises from the description; the last two sentences are words of comfort and relief, which appear heroic and unrestrained. The language of the whole poem is simple and natural, without any polish. In Gao Shi's poems, there are many unfettered words and phrases that express his pleasure due to his great talent, which are heart-stirring to read. Wang Shizhen's evaluation that "Gao Shi's poems are tragic and thick, while Cen Qi's poems are elegant and steep"[14] reveals to a certain extent the difference in their poetic styles, that is, Gao Shi's poems are vigorous and thick, while Cen Qi's poems are strange and steep.

IV

Looking at the poems written by Cen and Gao, there are both ancient and modern styles, both regular verses and quatrains, but they are particularly good at seven-character ancient poems. Zhu Tingzhen said in "Xiaoyuan Poetry" that "among the seven ancients of the Tang Dynasty, Gao Cen and Li Zhugong had the most correct standards and the most elegant pens." He pointed out the artistic achievements of Gao Shi and Cen Shen in the seven ancients. Gao Shi's "Yan Ge Xing", "Biewei Joins the Army", "Feng Qiu Zuo", Cen Shen's "Walking to the River to Send Doctor Feng to the Western Expedition", "Bai Xue Ge to Send Magistrate Wu Back to the Capital", "Luntai Song to Send Doctor Feng to the West" Popular works such as "Search to the West" are all from Qigu. The ancient poetry has a broad rhyme, no final sentences, and a free form. It is very suitable for expressing the grandeur of the frontier fortress and the tragedy of the battle scenes. It is also consistent with the two men's majestic and heroic styles. However, Gao Shi and Cen Shen showed different colors in their creation of Seven Character Songs.

Gao Shi’s singing styles are mostly retro, giving old Yuefu themes a new look. Every sentence in "Yan Ge Xing" rhymes, and every two sentences changes rhyme. The rhythm changes are consistent with the ups and downs of the content. The syllables are loud and clear, and the language is organized, making the rhythm bright, majestic and high-pitched.

In addition, Gao Shixi occasionally uses couplets in his poems, such as "Xiao Weiyu flies out to Hanhai, Chanyu's hunting fire shines on Langshan", "The warriors are half dead in front of the army, but the beauties are still singing and dancing under the tents" and other couplets in "Yan Ge Xing" Accounting for a large proportion, the couplets in Gao Shi's ancient poems often use the upper and lower scenes to contrast each other and set off each other, thus exaggerating the atmosphere and deepening the content.

Looking at Cen Shen's poems again, they are flexible and innovative in sentence structure, rhythm and rhyme. For example, the poem "Walking on the River to Send Doctor Feng Off to the Western Expedition" has three lines and one line, breaking the old pattern of two lines or four lines and one line. The lines rhyme, and the three lines change rhyme. The syllables are urgent and urgent, which is consistent with the wind and snow at night. The situation of the army is very suitable. Another example is the two rhyming methods of "Luntai Song to Send the Doctor Feng to the Western Expedition": two lines with rhyme changes and sentence rhymes, and four lines with change rhymes and alternate line rhymes. The two rhyme methods can be freely switched and used flexibly. In terms of sentence structure, many of Cen Shen's five and seven-character poems are mixed together to form a chapter. The first four five-character sentences of "Denggu Yecheng" describe the scenery, and the last four seven-character sentences express nostalgia for the past. The five and seven characters each have their own tasks and functions, and they change according to the poetic mood, giving a fresh form of nostalgia for the past. Another example is "Ubala Flower Song". Three-character sentences, four-character sentences, six-character sentences, seven-character sentences, eight-character sentences, and cross-character sentences are well-proportioned. The poem style is free and smooth, with the flavor of folk songs. Hu Yinglin said in "Shi Sou": "Old poetry has its own syllables, and the Lu and Xie styles are extremely inconsistent. However, the syllables are different from the Tang rhythm. Only Jiazhou, the Tang Dynasty poet Li Duwai, is the most consistent." The exploration and innovation in poetry are what Gao Shi lacks. The rich and changeable forms of Cen's poems are consistent with the strange and steep style of poetry, while Gao's poems appear simple, powerful, deep and vigorous.

五

In the autumn of the 11th year of Tianbao (752), five people, Gao Shi, Xue Zhi, Cen Shen, Du Fu and Chu Guangxi, climbed the Ci'en Temple Tower together, which was a grand gathering in the literary circles of the Tang Dynasty. Gao Shi and Xue Ju wrote poems first, and others sang in harmony. Because of this opportunity, Gao Cen and Gao Cen wrote poems with the same theme of climbing the Ci'en Temple Tower. Here are excerpts from their poems, from which we can also get a glimpse of the difference in their poetic styles:

There are no others in the world of fragrance, but there are no traces in the floating pictures! Climbing up to the solitary heights, I feel proud and strong. Words are born on wings and soar out of the void. I suddenly suspected that he had a different life experience, but he was the king of enlightenment. The official palaces are all in front of the households, and the mountains and rivers are facing the eaves. The autumn wind came last night, and Qin Sai was clear and open. A thousand miles away, there is no blue sky, and the five tombs are lush and facing each other. In the prosperous period, Ruan Bu was ashamed, but the officials did not know about Zhou's defense. There is no reason for the loss, so how can you let it go!

(Gao Shi's "Ascending Ci'en Temple with the Lords")

The tower is like a gush of energy, standing alone in the heavenly palace. Coming out of the world, the path is empty. The sudden pressure on China is like a ghost work. The four corners block the white sky, and the seven layers touch the sky. Peeping down refers to the tall bird, listening down to hear the startling wind. The mountains are like waves, rushing towards the east. Green locust trees line the road, and the palace is so exquisite! The autumn colors come from the west, and Guanzhong is full of green. On the Wuling North Plain, it is evergreen and misty. Once you understand it clearly, you can understand it, and it will be better because of your long-cherished teachings. I vow to hang up my crown and feel that my Taoist resources are endless.

(Cen Shen's "Deng Ceng Ci En Temple with Gao Shi Xue")

The same environment and scenery, but the difference is each person's perception and the poems written by each. In order to describe the extraordinary majesty of the pagoda, Gao Shi adhered to the same style as before, not focusing on the direct description of the appearance of the Ci'en pagoda, but instead embedding the description of the scene in the expression of subjective emotions. The imposing manner of the temple tower rising from the ground is reflected by the author's personal feeling of "climbing up to the solitary heights, feeling so strong and proud". Cen Shen's writing about temple towers fully demonstrates the poet's talent in describing scenes and his ability to exaggerate. The exaggerated tone of "towering the heavenly palace", "going out of the world", "pressing down China" and "obstructing the day" makes people think of Ci'en Temple Tower. The momentum is breathtaking.

The middle part of the poem writes about climbing the tower to view the scenery. Gao Shi said, "The autumn wind came last night, and Qin Sai was so clear and open. How can it be so green for thousands of miles, and the five tombs are lush and green facing each other." Guanzhong. "On the Wuling North Plain, Eternal Green Misty" has similar angles, and both have a vast and grand spatial experience. However, Gao Shi's scenery sentences are written in plain language and appear simple and honest. Cen Shen describes the scenery sequentially from the four directions of east, south, west and north, incorporating the autumn wind into this structural system. The vastness of space in Guanzhong in the autumn wind is integrated with the vicissitudes of time in the eternal green mist. The aftertaste is profound and the poetic style is vigorous. There is an air of purity and beauty in it.

The end of the poem expresses his feelings. The vast and lonely scenery made Gao Shi relate to his frustrated situation in his official career, and expressed the helpless sigh of unrealized ambition. The desire to serve the country can still be truly felt from the poem. Cen Shen had the desire to transcend the world because of the atmosphere of the pagoda and his personal experiences. Worldly pursuits and the pleasure of seclusion[15] seem to be the two poles that have been lingering in Cen Shen's heart for a long time. Although the lament at the end of this tower climbing poem has factors that fit the title, it is also a true reflection of his contradictory thoughts.

Conclusion

Through the above comparison, the similarities and differences in the poetic styles of Gao and Cen can be roughly seen. Gao Shi was lonely and poor, and had the spirit of a knight. He traveled in the Liang and Song Dynasties and worked hard to support himself. Coupled with his bold and upright personality, his poems reflect a broader level and have a profound theme. Cen Shen is the grandson of a down-and-out king, who has read through history books, has great ambitions, and is concerned about personal gains and losses. His curious personality and keen artistic sensibility make the scenery beyond the Great Wall in his paintings majestic and magnificent. In terms of artistic expression, "Gao Shi's poems focus on quality, while Cen Shen's poems focus on skill and scenery" [16]. Gao's poetry has the style of the Han and Wei dynasties, being simple and profound; Cen's poetry draws on Qi and Liang's poems, focusing on rhythm and making some innovations in form. Under the general characteristics of tragic and heroic, the two men gave their poems either vigorous or majestic individual characteristics, which made the frontier poems more open-minded and colorful, and also provided future generations with how to refine their own uniqueness. Examples of art styles.

Notes

[1] Volume 12 of "Return of Tang Poems" by Zhong Xing.

[2] Volume 6 of "Beijiang Poetry" by Hong Liangji.

[3] Stephen Owen believes in the book "Poems of the Tang Dynasty" that Gao and Cen have completely different styles. The most exciting thing about Cen Shen's poems is the exotic sentiment, but Gao Shi is a poet. A poet with a different attitude and mood. Quoted from "Literary Heritage" Issue 1, 1985, "The Frontier Poems of Gao Shi, Cen Shen, and Wang Changling in Foreign Countries".

[4] Fang Rixi's "Comparison of Gao Shicen's Border Fortress Poetry and Art", see "Journal of Northwest University" Issue 3, 1991.

[5] Yan Yu's "Canglang Poetry Talk".

[6] Gao Shi "Bie Wei joins the army".

[7] "Old Book of Tang? Biography of Gao Shi".

[8] See Du Fu's "Xing Maipei": "Brothers Cen Shen are all curious."

[9] Xu Kai's "Xu Yanzhou Poetry Talk".

[10] As a gift to Xian Yujing, "Twenty Rhymes".

[11] Du Que's "Preface to the Collected Poems of Cen Jiazhou".

[12] Volume 5 of "Beijiang Poetry" by Hong Liangji.

[13] Yin Fan's "Collection of Heroes in Heyue".

[14] Wang Shizhen's "Continuation of the Biography of Masters and Friends".

[15] Cen Shen's negative thoughts of escaping from the world can be traced back to the days when he lived in seclusion in Songyang in his early years. At that time, he had many contacts with Taoist priests and monks, and his pastoral poems were also peaceful and harmonious.

[16] Hu Zhenheng's "Tang Yin Gui Lot".

References

"Collection of Poems by Fifty Fists of the Tang Dynasty", Shanghai Ancient Books Publishing House, 1989 edition.

"Selected Annotations of Gao Shicen's Poems", Selected Annotations by Tu Yuanqu, Shanghai Ancient Books Publishing House, 1983 edition.

"Cen Shen's Critical Biography", written by Liao Li, People's Literature Publishing House, 1990 edition.

"Gao Shi Chronicle", written by Zhou Xunchu, Shanghai Ancient Books Publishing House, 1980 edition.