Thirty Essays No. 4 Appreciation The more the better

This poem criticizes the phenomenon of heavy mountain and forest hermit poems and despised the poetry of eunuchs. Fang Hui's "Yingkui Rhythm" advocates "Gegao" old as a fight, that is, the so-called spiritual outlook of ancient intellectuals who are arrogant and arrogant, lonely and self-appreciative, and believe that the eunuchs of the Taige Pavilion are all full of brains, sanctimonious, fame and fortune, benevolence, righteousness, etiquette, wisdom, and people who sell their theories and carve sentences and chapters to deceive the world and steal their reputation, often focusing on Jianghu Taoism, or using it for self-respect. Yuan Haowen questioned this phenomenon by questioning the three kingdoms.

This poem reflects Yuan Haowen's admiration for the Jian'an poet Liu Kun's poems with the beauty of majestic and vigorous bones. He first recommended Cao Zhi and Liu Zhen, one of the seven sons of Jian'an, as the "two males" in the poem, and used "sitting on the roaring tiger to give birth to the wind" to vividly compare their poetic style as majestic as a tiger. Cao and Liu are outstanding representatives of Jian'an's style, Zhong Rong commented on Cao Zhi's poems "their origin comes from the national style, the backbone is extremely high, the words are luxuriant, the feelings are elegant and resentful, the body is literary quality, overflowing with the present and the ancient, and outstanding", commenting on Liu Zhen "Its source comes from ancient poetry."

Fighting and achieving, moving more vibrant, real bones and frost, high wind and customs". The standard limbs and quietly elevate Cao Liu, in fact, they represent the fine tradition of Jian'an literature that is substantial, generous, robust, and handsome.

Liu Kun, a poet of the Western Jin Dynasty, is considered to be "elegant and strong and windy" ("Wenxin Carving Dragon, Talent Strategy"), strong and terrifying" ("Wenxin Carving Dragon: Physique"), and has a hidden key of "clear and plucking" ("Poetry"). Yuan Haowen launched Liu Kun from the perspective of his generosity, tragedy, and scumbag style that is comparable to that of the sons of Jian'an.

This poem is a commentary on the Tang Dynasty poet Li Shangyin. Li Shangyin was a famous poet in the late Tang Dynasty, and his time, family, and life experience contributed to Li Shangyin's sentimental and introverted personality and mentality from all aspects. In addition to some realistic political poems, his lyric poems (including love poems) are often beautiful in mood, and they are good at turning the hazy images of the spiritual world into trance-like poems in vague and tortuous ways such as metaphors, symbols, allusions, and hints, showing the characteristics of hazy and polysemous.

Poets generally love Li Shangyin's poems in the Xikun style, and the style is beautiful and beautiful, but it is a pity that no one has made perfect annotations for his works like Zheng Xuan's ancient books. Xikun: Later generations called Li Shangyin's poetry style "Xikun style".

Zheng Xuan's notes on ancient books in the Han Dynasty were highly valued by later generations. Most of Li Shangyin's poems are obscure and difficult to understand, but no one has made detailed annotations for him. Yuan Haowen was overwhelmed by this, so he wrote this poem.

He quoted the verses in "Jin Se", precisely because the meaning of the poem "Jin Se" is obscure, and the gathering of trousers is like a lawsuit, and a variety of notes seem to be difficult to convince the public. The two lines of poetry "The poet always loves Xikun well, and hates no one to write Zheng Jian" are often quoted by later generations to describe the obscurity of Li Shangyin's poems. In this poem, Yuan Haowen expresses his yearning for the deep affection of Li Shangyin's poetry, and at the same time expresses regret and ironic criticism of the difficulty of understanding.

The poem is a critique of the poetic style of seeking curiosity and chasing danger and its shortcomings. Su Shi and Huang Tingjian were famous poets with great influence in the Northern Song Dynasty, and both of them had high achievements in their poetry. Su Shi's poetry has a grand atmosphere, a sedan chair and a turn, an unrestrained artistic conception, a vigorous and frank pen, and often full of rational interest, but Su Shi's scattered culture and argumentative tendency are obvious.

Su Shi is full of talent and learning, and it is inevitable that he will show off in his poems to come up with new ideas. Huang Tingjian's poems strive for novelty, choose materials that are familiar and familiar, like to use allusions and words that are not used by others, make difficult sentences, rhyme with danger, and make hard words. His use of "rebirth" and "turning stones into gold" has increased the tendency of "turning talent into poetry".

Su and Huang strive to innovate in their skills, develop and change the tradition, and achieve outstanding results, so Yuan Haowen acknowledges their achievements in poetry, "only know the poetry to the end of Su and Huang" and influence ("a wave moves ten thousand waves"). But on the other hand, Su Huang's later scholars often do not have Su Huang's talent, and they are prone to the disadvantages of blindly advocating adventures, infiltrating letters and piling up bioclassics, searching for strange images, using blunt and obscure language, and unnatural carving of words and sentences ("strange and strange, more strange"). Yuan Haowen criticized the bad atmosphere caused by the shortcomings of Su and Huang's poetry, and at the same time, this also reflected Yuan Haowen's poetic ideas of advocating nature and elegance and opposing sinister and carved poetry.