This paper discusses the scope and main contents of Dunhuang folk discourse from four aspects: extensive and complicated realistic scenes, people from different social classes' living conditions, behavior patterns, a large number of love descriptions and timely notes. It also analyzes the lack of subjective consciousness caused by its chaotic and pluralistic aesthetic ideal, the immature and low-level diversified appearance, and the artistic characteristics shown by the relevance of the edge, the way of narrative production and parallelism. On this basis, this paper summarizes the cultural function, diversity and experimental innovation of Quzi Ci, a new style of music literature.
On the creative characteristics and artistic essence of Dunhuang ci
Looking at the development of Quzi Ci, a new style of music literature, if it is marked by the late Tang Dynasty's Wen and Wei Zhuang's Huajian Ci, then the period from the end of the sixth century and the beginning of the seventh century to the end of the opening of Central Tang Wenzong (840) is in its infancy. This place is mainly composed of folk words and literati words. Whether it is simple and clumsy, emitting real life breath, or simple and graceful, full of poetic rhyme, it all reveals the abnormal style of exotic flowers and brilliant talents. Although it is still very shallow, it has already predicted the infinite glory of the future. Because there is also a special article about literati, [1] so here only involves folk words.
one
The so-called folk ci refers to the specific copying time indicated in Dunhuang Quzi ci, which was first recorded in the fourth year of Tai 'an in the Northern Wei Dynasty (458), followed by the first year of Song to Dao (995). Generally speaking, the date of production can be determined, and the three songs "Looking at the South of the Yangtze River", "Dunhuang County", "Longshasai" and "Frontier Bitterness" in the late Jin Dynasty (944-946) are the latest. However, most of them were written in the prosperous Tang Dynasty, followed by the middle Tang Dynasty (see Ren Erbei's "On Dunhuang Quchu"), so they did not violate the previous demarcation. On the other hand, there are only six lyrics written by Wen and Ouyang Jiong, and the rest have no titles. The author comes from different social classes and industries: "The moans of wanderers, the brave words of loyal ministers and righteous men, the joy of gentlemen, the ardent hopes and hopes of young students, the praise of Buddha and the singing of doctors are all in tune" (Wang Zhongmin's "Dunhuang Quzi Ci" by Xu Lu), but they mainly belong to the lower class and are also in line with a wide range of people. Of course, the above two ends are only external appearances, and the fundamental reason lies in the multi-orientation of Dunhuang Ci's cultural function and the non-standardized original ecological form, which is a typical example of Qu Zi's unique innovation, experiment and exploration in the initial germination stage. The following will discuss and analyze its theme scope, performance content and artistic techniques. By the way, Dunhuang Ci based on this is the earliest and most important manuscript of Yun Yao Ji Za Qu Zi (Bo 2838, Si 144 1), as well as Zhou Yongxian's Dunhuang Affix, his Dunhuang Qu and Ren Erbei's Dunhuang Qu Jiao Lu. As for the Editor-in-Chief of Dunhuang Tunes edited by Ren Erbei later, there are more than 1200 songs, all of which are written according to the tune, and even songs that can be sung, such as Daqu, folk songs, Buddhist tunes and minor tunes. , eclectic, all-encompassing. However, due to their excessive proliferation, they have gone beyond the narrow sense of writing songs, so they have been ignored.
The first thing we can see is the vast and complex realistic scenes contained in Dunhuang ci. Compared with the later mature traditions of Huajian Ci and Southern Tang Ci, Wang Zhongmin said that "it is not half as good as a lover", and Ren Erbei even divided them into 20 kinds, such as bitterness, resentment, farewell, travel, affection, concealment and love, which is really a grand view. However, considering the diversity and complexity of literary works, some words are actually inclusive in many aspects, not just one end. If the territory is divided too finely, it will inevitably breed the disadvantages of cutting the foot and fitting the shoes and paying attention to one thing and losing the other. Therefore, this paper refers to the main directions of related words and summarizes them roughly.
The extensive description of frontier fortress life is a major feature of Dunhuang Quzi Ci. Due to its proximity to Yumenguan, Dunhuang in the Tang Dynasty was an important town in the northwest, with a large number of troops stationed and often fighting with all ethnic groups in the western regions. On the other hand, it is also a transportation hub connecting China and West Asia, where Hu, Han, businessmen and people gather and Chinese and Western cultures blend: all these are reflected in Qu Zi's creation, which will naturally form a specific regional style. For example, the opening works of "Miscellaneous Songs in the Clouds" and "Always in My Heart" were written in that specific background, which has different meanings from the later traditional flowers. Even if he comes back with a reputation, he will eat and care for all ages. They are tearful again and again, showing from one side the heavy social problems that frequently fought at that time and even seriously affected people's normal lives, and their tolerance naturally exceeded the common anger of men and women. However, Sheng Chazi's three-foot Longquan sword, Ding Feng's attack on books to learn sword geometry, and not too many struggles and so on. Focus on expressing the enthusiasm and confidence of rushing to the battlefield to make contributions, with heroism and strong martial spirit. Although it is different from the frontier poems in the prosperous Tang Dynasty, it also shows the prosperity and cosmopolitanism of the Tang Dynasty empire. If we examine the identity of the protagonist in the lyrics, the first part is a general with excellent weapons and high martial arts. The latter is set as a question and answer, which is obviously a couplet. "Confucian scholars" come to anbang to pacify the world with wisdom, and the courage to seize the customs will fail. This reflects the general mentality of ordinary literati eager for fame and fortune. Another example is [Zanpuzi], "This is a general of the Fan family", which recounts the historical events of the Tubo general's defection to Li Tang. Although the original intention is to show off the powerful Weah of the Central Plains Kingdom, it can also be seen objectively that all ethnic groups are reconciled and harmonious; And the main space is to describe the unique customs and life scenes of nomadic people in northwest China, which is quite exotic. Old Tang book? In the biography of Tubo, it is said that "a strong man says' choose', a husband says' general' and a ruler says' praise', so you should know that it is Tubo.
Secondly, it is about the description of love. Love belongs to the traditional theme of Qu Zi's Ci, so it also occupies a considerable weight in Dunhuang Ci at this moment, and it breaks through the narrow scope of in my heart forever's parting, showing many aspects of life, its richness and the author's profound understanding of this specific human emotion. Such as "Yue Bai" and "Gone with the Wind in Other States", it not only describes Sifu's lingering attachment to her long-distance lover, but also resents his unfaithfulness with Liu Xiang, but the woman can only "commit suicide" and finally hopes to meet again, "I swear I don't blame her". The whole word is exquisite and delicate, but it shows her firmness and weakness, but it is precisely because she has no social status that everything depends on the unfortunate fate of the man. So [throwing the ball] will face the regret of an infatuated woman who was abandoned by derailment. Relatively speaking, she is sober and calm:
The little boy was more grateful because the tears were wet before the resumption. When my sister said clearly, don't give him your heart. -think about it, just read it, okay?
How many painful lessons and regrets in life should be included in the sentence "I don't know much" Or it is an advocacy for women, but it does not affect the essence of the word-the desire for true love. Then, [Looking at Jiangnan] "I am on the Ink" represents the cry of these suffering women, the angry questioning from the voice of generate, a right to a happy life and a strong will to restore self-worth. The above examples reveal the reality of inequality between men and women in feudal times and the harm caused by society to women from many angles. Later, in Huajian Collection, there were occasional similar systems, such as Niu Qiao's Wangjiang Complain, Dongfeng Urgent, and Yin E's Dragon Rhyme Coincides with Autumn White. But the original serious meaning was diluted and dissolved by pondering. Others, such as Bodhisattva Man and Tomb-Sweeping Day Near Qianshan Green, are filled with a lively atmosphere, which is a small comedy scene in the love life of young men and women, reflecting the opening of social customs in the Tang Dynasty and allowing the opposite sex to communicate more freely, unlike the increasingly strict etiquette constraints after the Song Dynasty. "Farewell to the Fairy" expresses jathyapple's nostalgia for distant lovers in autumn through a man's tone, which is rare in Dunhuang ci with similar themes. It is profound and sincere. In the great artistic contrast, Bodhisattva Man's "make all kinds of wishes before sleeping" is straightforward and unrestrained, burning with fiery passion, just like a raging river flowing down from the top of thousands of feet, and it goes away without scruple, "and will be shot by death"! Every time the lyricist talks about the "separation" between Shang Zhou in Han Yuefu and Guazhier in Ming Dynasty, he thinks that this fully shows the true colors of folk works. As Yu Pingbo said, "This article uses many things that are impossible in the world as metaphors", but vows of eternal love are "paradoxes". Although I made all my wishes, I lost my heart after all, but I didn't say anything (the first volume of Selected Interpretation of Tang and Song Ci), which can be used as a family statement. But if there is no other evidence, it seems difficult to taste the meaning of "losing one's will" and pretending to be a frustrated pen only from the word itself.
Furthermore, there are many articles in Dunhuang Ci that take the different life contents and behaviors of people of different classes as the performance theme, showing a broad vision of real life and bearing rich and profound social significance. For example, in ancient times, the traffic was inconvenient, the mountains were blocked, it was not easy to go out to make a living and study, and even to obtain safety information. As a result, the homesickness of the wanderers who travel all over the world is particularly depressed, while [Xijiang Moon] is "boundless" and [Magpie Travel] is "sitting alone and lonely", or drawing ideas from the description of the scene and blending the scenes to form a complex scene; Or whimper back and forth and express your feelings quietly, but the real feelings are the same. If Linjiang Fairy "sees the sand at the bottom", in the same sigh of "birds crow and swallow, trying not to miss home", the realistic factor of "the times are different now" is particularly injected, and finally it ends with the nymphs who retreat for progress. Then, suppose his identity is a frustrated official, not the ordinary lower class. About this meaning, [Huanxisha]' s "A poem on a fishing boat" is more straightforward and frank. It rebuked North Korea's political corruption and "covered the morality with the times", so it had to adopt an attitude of not cooperating with autocratic rulers. However, in the other three works of the same tune, the waves canoe and the rain blows the canopy, the clouds cover the thatched pavilion and the books cover the bed, and the sunflower planted with medicine behind the mountain, it was shaped as highly hidden. Another example is [Yang Liuzhi's philosophy of suddenly reaching life through the passage of time, which is saturated with a sad sense of life:
Spring goes to spring, spring comes again, and cold and heat come frequently. Every month is new, and it is urged by the old. I saw a thousand years in front of the court, long in eternity, but I didn't see anyone in the hall for hundreds of years.
In essence, it is similar to "My son said in Sichuan: The deceased is like a husband, not giving up day and night!" ? "("The Analects? "Shure" is an inevitable discovery when social civilization has advanced to a certain height and human beings have consciously awakened. Then "I only see the front of the court" is more in line with "When can I see the moon by the river?" When did Jiang Yue take the photo at the beginning of the year? Life is endless from generation to generation, and Jiang Yue is only similar year after year. I don't know who the river shines on, but the Yangtze River sends water "(moonlit night in Zhang Chunjiang)" Today people don't see Gu Yue, but this month they shone on the ancients. The ancients, like running water, always looked at the bright moon "(Li Bai's Drinking and Asking about the Bright Moon). It can be said that the exploration of the ontological meaning of life and the poems of Sui and Tang Dynasties have the same purport.
The couplet "Sauvignon Blanc" begins with "being a guest in Jiangxi", and describes various situations of people of different classes, such as "wealth does not return", "poverty does not return" and "death does not return". It seems that the author has read all the vicissitudes of life and is sophisticated, so he can maintain a calm and objective style. In fact, he still shows sympathy between the lines, especially his concern for the people of the world.
Finally, Dunhuang Quzi Ci is real-time, factual, directly related to current events, emphasizing practical functions. This spirit was once interrupted in literati ci, but it was restored in Su Shi, especially at the turn of the Northern and Southern Song Dynasties. It was further strengthened in the Southern Song Dynasty and formed a tradition, which in turn influenced and changed another dominant tradition, namely Dunhuang Ci. Such as Bodhisattva Man, Jiuquan Zi and Wang Zhongmin's Dunhuang Quzi Ci Collection? Xu Lu cited the book of the late Tang Dynasty? It is said that Zhao Zongji took refuge in the first month of Ganning four years (897) and fled. According to Wei Chiwu's Story of China and North Korea, "Fengxiang (our envoy) Li has a gap with the courtiers and will try to make things difficult. He will go to Beijing and Zhaozong, hoping to get lucky in Taiyuan. The word "Cowen" shows another disaster in the late Tang Dynasty in narrative style, which is clumsy and straightforward, and its historical document value is higher than literary aesthetic value. Another example is "Cao Gongde" and "Dunhuang County", which praised Dunhuang local leaders for resisting foreign invasion, appeasing people of all ethnic groups, being loyal to the Tang royal family and establishing achievements. Generally speaking, they all belong to the era of returning to the rebel army to save Cao Yijin, not seeking flowery rhetoric, but the meaning is true. There are many poems of this nature, which are not limited to personal gains and losses, but closely combined with major social events and full of strong realistic intervention consciousness, which has become a prominent creative feature of Dunhuang folk words. What is the difference between this and poems? The "national style" in Han Yuefu is closely related to the spirit of "originating from things".
two
Focusing on the main points above, this paper summarizes the subject range and performance content involved in Dunhuang writing this tune from four aspects, and the rest trivial people don't need to list them one by one. Next, it analyzes the formal characteristics and aesthetic orientation of Dunhuang Ci, and summarizes its artistic essence from its numerous creative phenomena.
First of all, it is obvious that the great influence of the tradition of ci poetry and the chaotic and pluralistic state of self-aesthetic ideal, or the lack of conscious subject consciousness, are determined by the immature special historical stage of Qu Zi's ci poetry and its folk literature nature. Because as a newly emerging music literature style, it is impossible to find a set of performance types and methods that meet your own needs at once. In the long process of continuous exploration and improvement, in order to gradually improve, it will certainly sum up new experiences and discover and develop new norms, but it will become inevitable to review traditions from time to time and actively or passively learn from and absorb their nutrition, especially poems with similar artistic types and long history. Dunhuang ci mainly belongs to folk production, and the authors come from different social classes and industries. It is easier to improvise one's own experiences and experiences, and to express and convey one's feelings and describe life with the help of these popular carriers, which is also in line with the general poetic nature. Therefore, its theme embodies a wide range of life significance and rich reality, which is different from the later literati ci-focusing on the individual mentality of love between men and women and pointing to a narrow and deep new tradition of entertaining people, because Dunhuang ci basically accepted the tradition of entertaining people with poetry. Of course, content and form are originally a pair of interdependent and mutually restrictive organic existence, and the specific theme content will inevitably choose and react to the artistic techniques that are most suitable for its expression; As mentioned above, Dunhuang ci, which is in an original and unstable state, naturally accepted other styles. The first is the influence of traditional poetry creation experience and aesthetic taste. However, this tradition itself is complex and diverse, that is, as far as folk works are concerned, the ancient fifteen-country style of Miaoyuan is ignored by Han Yuefu, and even the more modern folk songs of the Southern and Northern Dynasties are spring flowers and autumn moons with different styles; On the other hand, it is self-evident that the different social identities of lyricists determine their differences in living environment, experience, cultural accomplishment, artistic preference and level. These are all reflected in the words, or tend to be elegant and beautiful, or become vulgar and vulgar, as Wang Guowei said when commenting on [Xian]: "Love stories are profound, and Wen Feiqing and Wei Duanji cannot be written by literati; The rest of the chapters, the language is quite qualitative, almost all of them are opera scripts at that time ("Dunhuang discovers popular poems and novels in the Tang Dynasty").
Both of them are the artistic styles of Dunhuang Quzi Ci, which are diversified because of the original chaotic aesthetic ideal. They are at an immature low level, which is obviously different from the peak and deepening stage of poets' conscious innovation and change, breaking the traditional model and devoting themselves to aesthetic diversification from the middle and late Northern Song Dynasty to the early Southern Song Dynasty and the late Southern Song Dynasty. But from another point of view, this low-level state has the overall consistency, and it is diversified under the unity of the main style and the dominant tendency, as summarized by Zhu Xiaozang in the Qing Dynasty: "Concise, according to the sound of the wheel" ("Xinjiang Rural Series: Collection of Miscellaneous Songs and Postscripts"). Of course, a considerable number of Dunhuang ci poems are limited to the cultural literacy of folk writers, and their artistic level is low, which makes them vulgar and rough. It's really not advisable to watch it a few times. But the essence of the system is really simple and salty, bright and fresh, full of special initial vitality and natural success, and its realm can not be achieved by literati and poets by skill. Such as [Wang Jiangnan]:
Looking out of the window, the hazy moon is like a piece of silver. The night is getting longer and longer, and the wind is getting tighter and tighter, blowing away the clouds that circled the moon for slaves and seeing ungrateful people.
Such as [Huanxisha]:
A gust of wind blew black clouds and the ship was full of Jiangjin. Vast waves grow on the water, like silver light. In other words, ask the tourists coming and going from the Yangtze River what time it is. Once it breaks one's heart, it will make people feel distressed.
The former describes the scene where a woman can't sleep late at night and misses her lover for the moon, and her whole body is purely spoken, revealing everything; Although it doesn't make any modification or forge a metaphor, it is sincere and practical. Especially at the end of Two Wishes, it is novel and wonderful, and reasonable, vividly portraying her various chaotic moods of resentment, kindness, pity and regret-in fact, everything comes from love! So straightforward and thorough, full of lingering feelings. The latter is a story about a ship floating and rocking in a big river. Use the contrast of black and white to highlight the bumpy feeling of a specific object "ship", create a certain anxiety atmosphere, and lead the next person to question. Finally, at the end, it is pointed out that the wind and waves are sinister and teach "pedestrians" to fear and worry. It puts scenery first, then events and feelings. It runs cause and effect through the whole story and inherits nature. It seems effortless. Simple and fluent, it is very popular with folk songs and boat songs. It is reminiscent of Li Bai's "Hengjiang Ci": "The Hengjiang River blocks the western Qin Dynasty in the west, and the Hanshui River connects the Yangtze River in the east, with white waves like mountains. How can we cross it? Strong winds are worried that steep sails will kill people. ""Tianjin officials greeted them in front of Hengjiang Pavilion and pointed to Yunsheng in Dongna Sea. What does Jin Lang want to cross? The image realm of "such a storm is not feasible" strongly feels the similarities between the two.
The three are the ways of production and narrative arrangement related to the topic, because Dunhuang Quzi Ci belongs to the product of the primary stage of this music and literary style, and folk writers are still cautious when exploring and trying the combination of two different art forms, so it is difficult to completely let go and handle the harmonious relationship between them at will. Therefore, generally speaking, after the value of a tune is created, its title will naturally have the function of pointing out and pointing to the content, so that the scene described and reflected in the word conforms to the original meaning of the title-here, the title has the duality of music and title, just like the title of a poem. For example, don't be a fairy, praise Pu Zi, praise Tian Xianzi, praise beautiful women for their hatred and love, praise the ambition of joining the army, praise the beauty, praise loyalty (table), praise the royal family in Iraq, praise the frontier battle of Jiuquanzi and praise Jinmen. Similar to the continuation and flower picking in western Shu in the late Tang Dynasty, the reasons are not far apart, so it is still necessary to spread and maintain, although the momentum has weakened several times; In the Song Dynasty, the ancient style was lost, and the title of the song had nothing to do with the narrator in the poem. It has no other significance except to mark the internal norms of rhythmic music. Poets often use tunes as another topic to illustrate the main idea of this article. This evolution shows the development, richness and maturity of Qu Zi's Ci from one side. On the other hand, it is different from the mainstream of later literati ci, which focuses on the expression of artistic conception and realm and emphasizes inward and in-depth creation. Dunhuang ci originated from fate, so every fake is based on emotion or the structure of hidden things, and its events are also common in real life and social life. Once expressed by narrative and contrast, it will feel cordial and vivid, and will not feel fresh and lively. Such as "South Gezi" two songs:
Zhu leaning against the curtain, who are you close to? The fingerprints on the clear surface are new! Who is single-minded? What kind of person broke the skirt? What's wrong with cicada temples? What's Chai Jin's score? Red makeup, sobbing, think of He Jun? Make it clear in front of the temple, don't ponder!
Since you left, I have no interest in others. My fingers are all new in my dreams. Luodai was complacent and her skirt was trampled by one child.
The cicada temple is chaotic, and the old temple of Jinchai is divided. Red makeup, crying, crying, husband. Faith is a pine and cypress in Nanshan, and I have no intention of others!
This is a couplet, specially written in the form of dialogue, closely coordinated and carefully laid out one by one. It is inferred that there may be some kind of story background, and the specific plot content is clearly expressed in the text, but it cannot be verified and marked now. If you only look at the present, the last man is aggressive and will want to find out the truth; After the women's Committee's complaints, their feelings are sincere, and their expressions can be clearly shown, much like a vivid picture scroll and a compact one-act play. "Asking and answering questions between men and women is a form of folk songs with a long history. At the beginning of the word, there are many different styles "[2]. According to the formal characteristics of [Nan Gezi], it is speculated that: "At that time, these two words may be used in musicals, joining the army on the land, telling in the secular world, and singing with oral or other rhetoric" [③], which is really insightful, for example, [Magpie stepping on a branch];
Why can't a clever magpie hide more words? Have you ever given evidence of happiness? Fly in several times to capture him alive, lock the golden cage and stop talking. Compared with sending happiness with kindness, who knows that I am locked in a golden cage. I wish her husband would come back early, but let me go to Qingyun.
The theme of this article is to describe the feeling of thinking that women hate others in the boudoir, but it does not describe the expression positively or depict their mentality. Instead of starting from the ancient folklore of the good news of Lingque, it is indirectly displayed through the words of the heroine and the son of Magpie. The idea and technique are novel and strange, and the fun suddenly falls from the sky. It is no longer limited to simple personification, but a kind of story meaning, that is, the situation promotes the hair, the pen is fluent, and the plain spoken idioms are used, which is full of rich and true daily life atmosphere. As for "Fish Songs" and "Moon": "In front of the embroidered curtain, the beauty sleeps, and the children in front of the court bark frequently. Yanubai: Yulangzhi helps Huaxiang get drunk. Out of the screen, the whole cloud bun, Yingti tears others, saying that I am not, you don't deserve it ",and writing about men's frivolity and women's resentment, with the help of detailed life scenes, has an influence on later literati poems, such as Zhang Po and Ouyang Jiong of Huajian School. In addition, the language style of this article is quite inconsistent, and the knot is the true color of folk works, but the "bird singing is full of acacia tears" is very elegant, and it can really be placed in the flowers and in the words of the Southern Tang Dynasty, which is innocent. On the whole, it is more beautiful in Dunhuang ci, perhaps polished by the scribes.
Finally, by the way, it must be noted that Tang Guizhang once summed up seven writing characteristics of Dunhuang Ci: "First, there are lines, second, there are harmony, third, there are two tones, fourth, the number of words is uncertain, fifth, the words are even, sixth, Ye Yun is uncertain, and seventh, there are" chanting topics "(Dunhuang Ci). Later, Wu did more research on this basis. In the early Tang Dynasty, there was a process of experiment and creation, which was time-consuming and not short-lived, in order to find a suitable way to match sounds and words and establish the rhythm of ci. The original words were quite free and even rough in terms of number of words, syntax and Ye Yun, which were not as precise and neat as the later ones, but they were the only way for the development of ci style. [4] The theory is quite detailed and accurate, and we can understand it more clearly if we compare it with the standard Qu Ci which has progressed to a mature stage since the late Tang Dynasty and the Five Dynasties. However, except "chanting questions" and "chanting questions have many original meanings", most of the topics listed here focus on the pure form of style, meter and rhyme, which seems to be an external quantitative grasp method, and it is easy to make a more accurate "real" judgment; If we try to feel "emptiness" in a broad and flexible way by combining the internal ways such as the content of expression, the scope of subject matter, artistic techniques and aesthetic tastes, the final overall conclusion may be more profound and comprehensive.
Precautions:
(1) Li Qiao's Transcendence of Poetry: On the Cultural Taste and Aesthetic Characteristics of Literati's Ci in the Middle Tang Dynasty, see Literature Review No.4, 1995.
(2) Yu Pingbo's Selected Interpretation of Tang and Song Ci, page 6, People's Literature Publishing House.
(3) Zhang Zhanghuang's Five Pronouns in Tang Dynasty, Volume VII, Dunhuang Ci, p. 893, Shanghai Ancient Books Publishing House.
(4) The General Theory of Tang and Song Ci, see page 169- 172, published by Zhejiang Ancient Books Publishing House.