【tangyifei】王永利：单词倾斜协数，笔扫秋彩虹——，读完圆弧后有问好问题的感觉。

逆境不气馁，顺境不懈怠。读书是充实自己的最佳充电。我读上海古籍出版社1979年11月版《中国历代文论选》时，对袁浩所问的《论诗三十首》印象深刻。这个资费时代的大才子，其文采正好概括为八个字。"词倾协水，笔扫秋彩虹."

首先，元昊问是不是有节气的爱国者。元虎门(1190-1257)，自由，太原游泳(陕西新县)人。他在遗产(这个山西定乡县)学习，师傅来自著名学者何天泰，所以自己留下了一个山山人。来自陕西，又接受了良好的教育。怀有爱国心。27岁时蒙古军南下，他从山西流亡到河南。他32岁的时候，即金宣宗兴以5年(1221)考试中了真史。当过南阳及内向县令。向大法官左思院外郎关羽。蒙古消灭黄金后，他和北方人民一起遭受了空战的灾难，引发了强烈的爱国思想。金网不当官，集中精力收集金大资料，编制了《中州集》、《壬辰杂编》等书。

第二，他是杜甫遗风为国愚民现实主义诗人。元昊生活在金元交替、江山迁移、世代交替的动荡时期，准备品尝亡国、漂泊的痛苦。(威廉莎士比亚，温斯顿，家人)所以他写了很多直接反映现实的诗篇。金爱宗天兴元年(1232)正月，蒙古军队包围了边疆。12月，粮食枯竭，爱种从北京出来。第二年正月，兵败，退守贵德(今天河南上口县)。这时，元昊向左事务司全部询问工作，生活在围城中，目睹了时难，沉痛地写下了《壬辰十二月车驾东狩后即事》点五首。“惨不忍睹的龙蛇日斗争，甘高马上要寿终正寝了。高原出水，山河交替，电池风散发出草木腥味。政委委屈地弥补了一年，白皮书哭得没有眼泪。并且知道谁是国家英雄，计划在莫静兴分兵。」(《中国古代文学作品选》江苏人民出版社1979年月第一版第122页引用字的字里行间，显示出对金线衰落的真挚痛惜。口径沦陷后，他被蒙古军赶出了聊城，一路上见闻使他更加悲痛，写下了更加动人的诗。”在路旁边僵硬地躺着，满是疲惫的囚犯，过去大车像流水一样流过。(威廉莎士比亚，温德萨默。)红粉哭着跟着马，一步一步地为谁回头。白骨纵横，乱如麻，几年桑变勇士。哈萨克知道生命已尽，但破旧的房子不冒烟，有好几家。”(《癸巳五月三日北渡三首》引自同一封信第123页)黄金死后，老百姓生活在水深火热中，沉痛地写道：“去年夏秋干旱，7月以撒吐了。”过去营幕，黎明但平坦的土壤。“无视百姓对蒙古统治者的死活，反映了填平稻田的野蛮专横，表达了国民的义愤。

再次，元昊喜欢淳朴的自然，反对雕刻火焰的严谨诗人的诗论。他的《论诗绝句三十首》系统地展示了他的文学主张。他喜欢陶渊明淳朴的自然，反对夸大“天然万古神，豪华都看真纯”。(威廉莎士比亚，《哈姆雷特》)南昌百日熙皇帝，美海燕名为陈人。」(引用上海古籍出版社1979年11月版《中国历代文论选》第215页)他认为，一首好诗要清新豪放，要能表达诗人的情感和远大抱负，所以推崇这样的诗。“慷慨的歌谣绝对不会流传。贫穷的曲子是天然的。中州万科英雄气，也去银山池川了。“(引自同一本书第215页)他主张原创，反对模仿和投机，寻找捷径，批评唐仁丽湖玉天子奇异的创作风格。”万高文章有平坦之路，纵横和玉天丽差不多吗？陈瑞今天不入人眼，后辈们教鬼符。学习谚语。"他更推崇称赞苏轼和黄庭坚豪放的诗和诗风. "纪外希更诡异，一派跟着一派。只有诗知道小黄，但沧海横流是谁？”他推崇李白的《必低银河落九日》、韩愈的《江山万高歌杨笔》，不满孟郊贫穷的悲伤。推崇赵氏父子和刘宇等的粗犷深沉的诗风、科班温、李新成的温柔。他认为，这是因为杜甫的《画的是陈天京》是《安处心生区自己》。因为只有细心观察和体验生活，才能在笔床上风雨交加，成为诗，让鬼哭。(威廉莎士比亚，《哈姆雷特》，《真理报》)因此，他讥讽道：“可怜的、无用的精神”，关于陈思道只在家里关门找文章的流量。他主张真实性，反对伪善。主张“只要传达心意就行了”，批评“心态总是扭曲，文章”看人的虚假虚伪的不良创作倾向。(威廉莎士比亚，虚伪、虚伪、虚伪、虚伪、虚伪)对《中国文学史》元昊文的评价是：“元昊们询问这种意见是针对文坛的时弊，具有重大的现实意义。”同时，他这种诗论诗的形式对后世也有很大影响。”(见《中国文学史》卷3、人民文学出版社、刘国毅、王琦、苏飞、季振浩、毕振强主编，1979年11月版。(第162页)

第二，袁浩问，他是资费时代最杰出的诗人。他的诗词唱道：“词洒侠水，笔扫秋彩虹。”我最喜欢的诗之一是《游黄华山》。“水流湍急，眼睛猛烈地跟着阴风。突然，雪、芥末在洗自己的胸时垂了下来。雷公愤怒地飘起冰雹，一发倒掉彩虹。齐国珠百斛泻，海藏推翻了卓隆公。单击(见《中华诗词》元好问题《游黄华山》)西京如此壮观，韵律端正，想象奇特。好像看到了“飞向三千英尺以下”李白的影子，但和李白不一样。他的词作也代表了金沙的最高成就。《木兰花慢 游三台》、《水龙吟》、《水调歌头》等。

1257年元昊因病去世。但是他为我们中华民族留下了宝贵的文化遗产。他的诗论在今天仍然有现实意义。他主张淳朴的自然，反对华丽的雕塑，反对真实性、虚伪，细心观察体验生活，反对找门当户对，反对原创，反对模仿和投机，反对豪放、温柔，对当今的诗歌和文学创作具有指导意义。特别是他爱国的气节和代表人民的现实主义创作风格，仍然激励我们成为有敬仰、有志气的中国人、能代表人民的中国人。

words like water pour out from the gorge，and his pen could sweep the autumn clouds-reading yuan Haowen

毕王永利

a great man can be self-ab negated when adversity comes，and neither is slack W

hen prosperity comes. Reading is the best way to recharge and enrich yourself. When I read Chinese Ancient Theory, published by Shanghai Ancient Books Publishing House in November 1979, I found that Yuan Haowen's Thirty Songs of Poetry was very interesting and was deeply moved by it. He was a greatly talented person of the Liao and Jin era. His works can be defined with the phrase: Words like water pour out from the gorge, and his pen could sweep the autumn clouds.

Yuan Haowen (1190-1257) was a patriot. His pen name, Yuzhi, was from the Rong-Xiu of Taiyuan (Xin County, Shanxi). He was reading in Yishan (now Dingxiang County, Shanxi Province), under the guidance of the famous scholar Hao Tianting, therefore named himself like a mountain person of Yishan. He came from a family of scholars and received a good education so had a patriotic heart. At the age of twenty-seven, when the Mongolian army invaded the south, he was exiled from Shanxi to Henan. When he was thirty-two years old, during Jin Dynasty Emperor Xuangzong’s fifth year, the year of Xingding (1221) he successfully passed the imperial examination and became a Jinshi (a successful candidate in the highest imperial examinations). Yuan Haowen became a magistrate in Nanyang and Neixiang County. Later he was promoted to official of the Left Secretary Chancery. After Mongolia conquered Jin, he and the northern people suffered unprecedented disaster, arousing his intense patriotism. He refused to be an officer for Yuan Dynasty, instead dedicating himself to collecting historical materials and editing them into Zhongzhou Selection, Renchen Series and other books.

Yuan Haowen was one of the realistic poets who inherited the style of Du Fu. Living in the alternating, turbulent period, changing from the Jin Dynasty to the Yuan Dynasty, he suffered pain from family damage and a ruined nation. He wrote many works directly reflected this reality. In the first lunar month, during the first year of Tianxing (1232) Emperor Aizong of Jin was besieged by the Mongolian army at Bianjing. In the twelfth month the city ran out of food supplies and without reinforcements the emperor had to flee from the capital. The following year in the first lunar month, Jin was defeated and retreated to Duide (now Shangqiu County, Henan). At the time, Yuan Haowen was the official of the Left Secretary Chancery in the city, so he witnessed the storm, and wrote the five poems of "The Record of December ". He described as follows "The snake and dragon are fighting horrifically in the day, killing and slaughtering all creatures. Water from the plateau changes mountains and rivers, and the wind from the killing fields makes the grass and woods smell of blood. The mythical Jingwei tries to fill up the sea with pebbles (a symbol of dogged determination), but Bao Xu cries in the Qin court without tears (Bao Xu, an officer of Chu State, went in 506 to the Qin court crying for help. He cried for seven days and nights and finally made the Qin troops save the Chu State). Who knows where the hero of the state is now? Don’t divide the troops in two to reach the city of Jingxing." (From Selected Works of Ancient Chinese Literature, Jiangsu People’s Press, 1979 first edition, page 122.) He expressed his nonplussed feelings facing this helpless situation of the Mongolian army besieging the city, destroying houses and buildings. In the poem he expressed his pain, grief and indignation as well as his love for the Jin Dynasty. After the fall of Bianjing the Mongols drove him to Liaocheng. What he saw along the road made him feel more grief and indignation, so he wrote poem: "Alongside the road lie stiff and motionless many prisoners, while decorated vehicles pass like a stream. Girls dressed in pink skirts weep following the Uighur horses, for whom do they look back to step-by-step? The white bones are as messy as knots, in only a few years the hometowns become wild sandy land. Hearing that livings no longer exist there, I see sparse smoke coming from several shabby huts." (“Third day of the fourth month, Guisi Era, Three North Ferry Poems” from the same book, page 123) After the fall of the Jin Dynasty, people lived in dire straits. He lamented: "Last summer and autumn was a drought, in July the corn sprouted ears. One evening the Mongol troops put camps in the field, the next morning the farmers found that all the corn fields had become flat earth." This reflects that the Mongol rulers ignored the means of people and turned the fields into roads in a brutal despotic manner. The poem expressed the people's anger.

Yuan Haowen was also a rigorous poet and advocated that poetry should honestly follow nature, against the polished flowery style. He expressed his literary idea system in his book On Thirty Jueju Quatrains (Jueju, a poem of four lines each containing five or seven characters, follows a strict tonal pattern and rhyme scheme). He loved Tao Yuanming's honest nature and was against fustian and pompous style: “One phrase is so natural that makes our immutable time become new, after luxurious falls you see truth and purity. The south window becomes white as the day begins, it does not matter that Tao Yuanming is Jin or not." (Shanghai Ancient Books Publishing House, November 1979 edition of Chinese Ancient Theory, page 215.) He believed that good poetry should be fresh and bold, and express the poet's feelings and lofty aspirations, so he highly praised honest poems: "Generous songs never run out, and the songs of yurts come from nature. The heroic lofty sentiments of Zhongzhou eternally reach the Chile Chuan, Yinshan." (From the same book, page 215.) He advocated original creation and was against imitation, gaining something by trickery, and shortcuts. He criticized Tang Lu Tong’s strange writing style: "Since ancient times, writing articles has been a smooth road, whether vertical or horizontal who does like Yuchuan Lu? The book cannot be read by modern eyes, he teaches his children to write something like scrawl handwriting." He more highly praised Su Shi and Huang Tingjian's poetry, with their bold and uninhibited poetic style: "Surprise after surprise and more surprise, one wave surges and ten thousand waves follow. I only know one poem to the end, one by Su Huang, he puts the sea in turmoil." (From the same book, page 216.) He respected Li Bai "letting stars fall down from the Heaven", and he loved Han Yu's "Eternal Chaoyang Pen", but he expressed his dissatisfaction with Meng Jiao's suffering writing. He praised Cao Cao and his sons’ articles, and Liu Kun's rough deep poetic style, but sniffed at Wen Tingjun and Li Xinsheng’s softness. He argued for Du Fu's "paint like the Qinchuan scene," because "looking and then writing comes from the heart, the words as marvelous as though they are from god." Only through careful observation and experience of life can a poet write something to make the rain surprised, and make the ghosts and gods sob. He therefore quipped against those who stayed in the home if Chen Shidao and his ilk, who tried to find some wonderful words for their poems: "What a pity it is! These works are nothing but totally wastes". He argued the "sincerity” was against camouflage: “the voice of the heart should express the heart’s meaning." He criticized those who "tried to express the heart’s voice but always totally distorted.” From one’s article he believed you would see his character, so he was against false pretense and adverse tendencies of creation. A History of Chinese Literature has a comment about Yuan Haowen: "Yuan Haowen’s opinions are directed toward thoughts of the malpractices of literary society, so have a practical significance. At the same time, how he commented on poems in the form of poem shows deep affection for his offspring." (See A History of Chinese Literature, volume three, People's Literature Publishing House, edited by You Guoen, Wang Qi, Shaw, Zhenhuai, Fei Zhengang, November 1979 edition, page 162.)

Yuan Haowen, finally, was the most outstanding poet of the Liao and Jin period. His poems and songs are "Words like Water Pouring out from the Gorge, and his Pen Could Sweep the Autumn Clouds.” I love his poem "Visiting Yellow Hua Mountain" very much. "The sounds of truculence turn the vast valley, the snowy air is cold with the wind. Suddenly a waterfall is suspended from a ten thousand li high cliff in front of my eyes, all annoyances are washed out of my chest. Angry thunder hits the flying hail, on the side, the sun shoots down a rainbow. One hundred boxes of pearls are pouring down, overturning the dragon who is hiding in the sea." (See “Visiting Yellow Hua Mountain" in Chinese Poems by Yuan Haowen.) He wrote of spectacular scenery, with prosodic, neat, strange imagination. I seem to see a similar imagination with Li Bai, "Flying current pours three thousand feet down", but unlike Li Bai his words also represented the highest achievement of Jin Dynasty. Some of his other good poems include "Magnolia Slowly Travelling Three Platforms", "Water Dragon Singing" and "Prelude to Water Melody”.

Yuan Haowen died in 1257, but left a precious cultural heritage for the Chinese nation. His poetry still has a realistic significance today. He advocates natural simplicity against magnificent sculptures. He advocates sincerity opposed to camouflage. He advocates careful observation of life’s experience, instead of sitting at home trying to find really great words. He advocates original creation, not imitation. And he advocates doing things by irregular ways, boldly and not softly. For today's poetry and literature he still offers guidance. His patriotism and integrity for the people's realistic writing style, has us in adoration, encourages us to be a person who can speak for the interests of the vast majority of Chinese people.