The first famous song, Song, and Song Ci. Abbreviated as "Ci", it is also called Yuefu, Modern Yuefu, Music Movement and Qin Qu, and also called poems, songs and long and short sentences. To sum up, these names mainly illustrate the close relationship between words and music and their different formal characteristics from traditional poetry.
China's ancient poetry and music are integrated, and most of the Three Hundred Poems and Yuefu Poems of the Han, Wei and Six Dynasties are combined with music and can be sung. "Yuefu" was originally the name of the government music organ in Han Dynasty. Five-character poems and seven-character ancient poems after the Han Dynasty, as well as modern poems after the Tang Dynasty, began to be poems rather than songs. Imitating the ancient theme of Tang Yuefu, it is no longer in tune with the new Yuefu, but actually an ancient poem. There are also quatrains in the Tang Dynasty that can be sung with music, or "Tang Yuefu", sometimes mixed with words, such as Yangguanqu and Yang Liuzhi. And are also used as the names of tunes.
Poetry in Tang and Song Dynasties is the lyrics sung with new music, which can be said to be a variant of Yuefu folk songs in the previous generation. At that time, the emerging music was mainly folk music and tunes imported from frontier ethnic minorities and foreign countries, and its chapters were very different from the traditional music dominated by "neutralization". The sentence patterns of lyrics are also long and short, patchwork and odd-even. Compared with the general neat traditional ancient modern poems and songs, they have developed greatly and have special expressive power. The names of Quzi Ci, Modern Yuefu, Poetry, Long and Short Sentences are all derived from this. Lyrics are usually written according to the score of a song. The names of songs such as Bodhisattva Man, Butterfly Lovers and Niannujiao are called Quzi or epigraph, and the words written according to the songs are called Yishen or Lyrics. Although the singing method of Song Ci has long been lost, readers can still feel the beauty of music rhythm between the lines, which is sentimental, elegant, impassioned, depressed, thrilling and has a unique appeal.
According to the number of words in each tone, predecessors called it "Xiao Ling", "Middle Tone" or "Long Tone" respectively. Some take small notes of less than 58 words, middle notes of 59 to 90 words, and long notes of more than 9 1 word; Some people argue that it is a small order within 62 words, and the outside is called "slow word", but they have not reached a conclusion. Except for a few minor tunes, most of them are divided into two sections, even three sections and four sections, which are called "two tones", "three folds" and "four folds" respectively. The academic language of Duan Ci is "piece" or "dry" and "piece" means "all over", which means that the music has been played once. "Kan" originally meant "happy ending". Two paragraphs of a word are called upper and lower paragraphs or upper and lower paragraphs respectively. Although the words are fragmented, they still belong to a song. Therefore, the relationship between the upper film and the lower film must be divided and combined, broken and continued, inherited and started, and there are similarities and differences in sentence patterns. The author's ingenuity and skill are particularly evident in the film (or the change of head). We can see that many poets in the Song Dynasty managed poorly here, creating an artistic wonderland that opened and closed suddenly, returned to their homes and repeated, adding layers, depth and ripples to a word.
The sentence patterns of most participles are uneven in length and changeable in rhyme. For example, Bodhisattva Man, a song commonly used by poets in the Tang and Song Dynasties, was made in the Tang Dynasty according to music imported from Southeast Asia. According to this song, Mrs. Wei in the Northern Song Dynasty filled in the words:
The mountains are hidden in the sunset and the balcony is moving. Two or three families on the other side have an affair. Green Di Yang left the road and went to the stream in the morning and evening. Third, see Liu Mianfei, not from the people.
This piece of music consists of eight sentences, each of which rhymes. The first two sentences of the last movie rhyme with seven words, and the words rhyme with the sound of paper; The last two sentences are rhymed with five words, and this word is rhymed with "hemp" in the sound. The last four sentences are all five words, the first two sentences rhyme, and the words use the rhymes of "encounter" and "imperial" in the rhyming sound; The last two sentences are rhyme, and the word is rhyme. Modern poetry usually has eight sentences, all of which are seven or five words. Every other sentence rhymes, and the first sentence rhymes. Compared with the two, the tone of the text is obviously not intricate. The first part of this word describes the scenery, and the second part describes the actions and psychological activities of the heroine, the environment and characters, the actions and hearts of the characters. Through the alternating iteration of five or seven words, the rhyme of "horse", "guard", "Shang" and "Qu" has reached the wonderful realm of multi-angle and multi-level scene blending.
Pingyi rhyme has sound beauty and emotional beauty respectively. Generally speaking, the flat tone is long, and it is suitable for singing slowly to express endless affection and abundant charm. Also known as "side", it means uneven. In poetry, intonation includes three tones: up, down and in, all of which are very short. The upper voice is the upper voice, the falling tone is the falling tone, and the entering tone is particularly short. It rhymes with the short snoring on the side, and it is easy to contain strange and uneven feelings, which is exciting. In many words, even and flat tones are repeated, that is, the long and short tones are repeated, and the flat tones are raised, lowered or raised repeatedly, which not only suppresses Yang's frustration, but also stirs up harmony, and contains more rich and tortuous feelings. This is what we should pay attention to when reading Song Ci.
The tone of a word has one or two words, or eight words or even a long sentence with more than one cross, which is rare in general poetry. For example, Cai Shen's "Cangwu Ballad" (sixteen-character order): "Oh, my God! Facing the full moon, alone, where is she in my heart? Where are people? Guiying is self-sufficient. " The first sentence of the whole article vibrates, followed by seven sentences, three sentences and five sentences, and the aftertaste is swaying. Look at Xin Qiji's Biography of Tanghe again;
Spring water, thousands of miles. The stormy waves beat on the shore, and the dream contained learning words. The setting sun in Juelai Village Lane is slanting. How many/much?
Short-walled apricot flowers. Do some rain in the sunset glow and fold the flowers. Whose daughter is on the shore? This is crazy!
Over there, catkin cotton, blown into the sky by the wind.
Two sentences, three sentences, four sentences, five sentences, seven sentences, flat and even, middle and upper rhyme, silent, are used intricately, like pearls of all sizes pouring on a plate of jade, depicting the infinite business in spring and the innocence of girls. The whole word seems to draw lessons from Mrs. Wei's previous Bodhisattva Man, but it is more fresh and lively, ups and downs, and also different from what she wrote. Relatively speaking, the sentence pattern of Bodhisattva Man retains many traces of five-character and seven-character poems. Long sentences in words can also make feelings more endless and magnificent:
How much sadness can you have? Like a river flowing eastward. (Li Yu "Yu Meiren")
Facing the rain from the sky, a piece of washed autumn scenery on the river is particularly cold. The frost wind is getting colder and tighter, and the river is cold.
Sunset is architecture. (Liu Yong's "Klang Ganzhou")
The word "gradually" in Liu Ci is followed by three four sentences, which are actually thirteen sentences. Another example is Liu Kezhuang's "Qinyuanchun", "Sighing that the years have passed and the merits have not been established; When the scholar is old, the opportunity will come. " It is also a long sentence of 17.
Long and short sentences provide more flexible conditions for choosing words than other seven-character styles. The application of Li Qingzhao's "slow voice" is a famous example:
Looking around, lonely and sad. ..... It is raining in Mao Mao on the Indus River.
Little by little at dusk.
The predecessors spoke highly of this: "This is Gong Sundaniang's master of sword dancing" and "amazing, incredible". Wang's On Ancient and Modern Ci briefly said: "Poets in the late Tang Dynasty, especially those who can use overlapping words, are extremely poor." "For example, the Preface to Chrysanthemum Poetry:' Stealing the purple and melting the yellow.' Not good either. "Li Qingzhao" slow voice "and" law seems to be based on this, and it is strange to be released from prison. These words are suitable for lyricists. Li Shangyin, a poet in the late Tang Dynasty, was a master of language-making, but Li Qingzhao was more capable of winning by surprise and getting out of prison. In addition to her unparalleled talent, she was able to fully display her stunts because there was a modern stage with multi-functional equipment. The word begins with fourteen reduplicated words, which is full of twists and turns. There is no such syntax in the poem. "Twilight Little by Little", seven poems are difficult to read, but it is natural to read with words with uneven syntax, and the sad sound of intermittent drizzle is completely and endlessly conveyed.
Of course, there are also words with the same tone. For example, the first and second parts of Raw Tea Son are actually two five-character quatrains, and the first and second parts of Yulouchun are actually two seven-character quatrains. The style of words has not completely lost the beauty of neatness.
Gracefulness and Boldness —— Two Main Artistic Styles of Song Ci
Zhang Mingwan: "The less you travel, the more graceful you are, and the more graceful you are." In the Qing Dynasty, Wang Shizhen also said: "Servants are graceful and restrained, taking Yi 'an as their religion, being bold and unrestrained and being young and safe first". (See Flowers and Plants) These generally summarize the main artistic styles of Sichuan in Song Ci, with Qin Guan, Li Qingzhao, Su Shi and Xin Qiji as the representative authors respectively. This has almost become a general theory in the study of Song Ci. In the previous generation, most of the ci theorists advocated graceful and restrained, taking bold and unconstrained as another keynote. In modern times, bold and unconstrained is the right and graceful is the low. Those who stubbornly divide the poets of the Song Dynasty into two opposing factions and distinguish the advantages and disadvantages between them are bound to be one-sided or mechanistic. Some scholars completely deny the existence of these two styles and schools, which seems to be overkill. The bold and graceful words belong to the category of artistic style. Yan Yu's poetic theory "probably" in the Southern Song Dynasty includes "leisurely journey" and "leisurely pleasure". Yao Nai's prose style in Qing Dynasty is divided into masculine and feminine. In modern times, Wang Guowei's aesthetic theory is grand and beautiful. These two concepts are rather vague in themselves, and the relationship between them is dialectical, not distinct. With reference to the main features of the representative works of poets in the Song Dynasty, later generations roughly summarized the ownership of poets in the Song Dynasty. It does not mean that all their works are the same, which does not prevent them from creating or appreciating a variety of artistic styles. In particular, great writers are often generalists, not to mention graceful and unrestrained, and there is no other artistic style in the ci field.
The word "graceful and restrained" appeared in the ancient book Guoyu Wuyu in the pre-Qin period, and was used by Jin as a literary rhetoric: "Or graceful and restrained, and every time you eliminate evil, you abuse it." According to various exegesis, "Wan" and "Yue" both mean "Beauty" and "Qu". In other words: "Wan" means softness and elegance. The original meaning of "about" is tied up, and its extension is refined, vague and subtle. So "graceful" and "disgusting" are opposites. On the occasion of the Northern and Southern Song Dynasties, there was a fairy poem in Xu Yanzhou's poem: "The lake was surrounded by night and set off by green trees and red flowers. The Beidou is dry, and it seems that the ceremony is often uncertain. " And commented on the cloud: "It is also graceful and lovely." The artistic conception of this poem is like a small word. The name "graceful and restrained" can quite summarize the characteristics of a large class of words. Wen Tingyun, Feng Yansi, Yan Shu, Ouyang Xiu, Qin Guan, Li Qingzhao and a series of famous poets from the late Tang Dynasty to the Song Dynasty can all be classified as graceful and restrained. Its content mainly describes the love between men and women, the emotional parting, the sad and touching scene in the Spring and Autumn Period; Its forms are mostly graceful, gentle, implicit, harmonious and harmonious. So I formed an idea that the text should be like this. In the mid-Northern Song Dynasty, people once said: Su Shi's "poetry like ci" is "the most true" (see Chen Shidao's Comments on Houshan Poetry); Qin Guan's poems are like poems, while Su Shi's "poems are like poems" (see Wang Zhi's poems). The theory of "true colors" and "small words" is the proposition of the graceful school. Li Qingzhao's theory of "don't be a family" holds that only Yan, Zhu He, Qin Guan and Huang Tingjian can "begin to know" (on ci), which reflects that what she advocates is also graceful, although Zhu He and even Li Qingzhao have works that are not graceful. At the end of the Song Dynasty, Shen Yifu's Yuefu Fan Zhi marked four criteria for writing lyrics: "The melody should be coordinated, and if it is not coordinated, it will grow into a short poem; The next word is elegant, but indecent is close to the body. Don't expose the text too much. Dewdrops are straight and have no deep taste. Don't be too ambitious. If you are tall, you will be crazy and lose your softness. " It can be said that it is a summary of graceful and restrained artistic techniques.
Song people also expressed their patriotic wishes and feelings of the times in graceful ways, such as Xin Qiji's "Fishing" (which can eliminate several storms) and some lyrics of Song Weiming and Zhang Yan. However, its expression mostly adopts the symbolic means of "Bi Xing", which is obscure and needs readers' appreciation. Some commentators are also deeply concerned about euphemisms and vagueness that may not be entrusted specially. For example, Zhang Huiyan, a poet in the Qing Dynasty, commented on Ouyang Xiu's "Butterfly Loves Flowers" (how deep the courtyard is) and Su Shi's "Divination Operator" (the moon is short and the trees are sparse), and every sentence carried out current affairs and satirized politics. These words will inevitably overlap, but it will narrow the emotional scope of these words and make it difficult to name them.
Graceful words have their own ideological value and artistic value, which has been seen above. However, some poets regard it as a solidified procedure, which is not allowed to be overstepped, so that it is uniform, or the pursuit of twists and turns is puzzling, leading to the end of creation.
The word "unruly" is self-evident. In the early Song Dynasty, Li Yu's "Golden Sword Buried, Powerful" ("Langtaosha") has seen heroism. Fan Zhongyan's "Fisherman's Passion" (the scenery in Qiu Lai is different) is also "bold and heroic as a five-character tour". Officially holding high the banner of the powerful and unconstrained style is Su Shi, and his "Answering Chen Ji Shu Chang" says:
It is also beneficial to new words. Every sentence is a warning. Poets are heroes, not small words. But it's too bold,
I am afraid that the creator will not allow people to be so happy.
And its "Qingxin Zijun Book" cloud:
It's a small word recently. Although it doesn't taste like Liuqilang (forever), it is also a family. Ha ha!
I hunted in the suburbs a few days ago and gained a lot. That's a shovel, so that the strong men of the Eastern Zhou Dynasty can stretch their hands and stamp their feet.
Gezi, with flute and drums as its festival, is quite spectacular.
This shows that he consciously created a new scene in the word world where the wind prevailed at that time. The latest work mentioned here is his "Hunting in Jiangchengzi Mizhou" (the old man talks about juvenile madness). His lofty ideal of "shooting a tiger to see Sun Lang" and his ambition of "holding a bow like the moon and looking at the northwest to shoot a wolf" are all reflected in Xin Qiji's brave words such as "A horse flies like a thunderbolt" (Breaking the Array) and "Trying to mend the sky" (He Xinlang).
Bold and unconstrained works aroused brilliance in the ci world, injected a strong patriotic spirit into ci, and sang the strongest voice of that era. However, we can see that Su Shi's aesthetic concept holds that "short, long, fat and thin have their own characteristics", "light makeup is always appropriate" and "dignified and elegant, elegant and luxurious". He advocates freedom and does not stick to one pattern. He advocates boldness, which is a manifestation of advocating freedom, but it is not limited to boldness. For example, the work "Die Lian Hua" (flowers wither, red and green apricots are small) is called "Fear of Wasteland (Liu Yong)" in Wang Shizhen's "Flowers and Plants Pick Up", which may not pass. What do you mean by the river of no return? "Some authors of bold words are bluffing because of their lack of tolerance, clamoring for things, or piling up too many allusions, which are also missed.
In a word, there are two schools of Song Ci, graceful and unrestrained, and the poets of the two schools have different personality characteristics. In addition, poets who combine the two styles, such as Jiang Kui's "ethereal and elegant", make the ci world present an atmosphere of competing for beauty and beauty. It should also be noted that there are differences and complementarities between these two styles. Excellent ci works are somewhat superior in style, often bold and profound, rather than shouting; Graceful, fresh and smooth, hiding heroism, not swallowing and spitting, weak. Xin Qiji's "Qinyuanchun" said: "Green mountains and green waters are full of vitality, and it seems that I am charming." Dong said Qin Guan said, "Because we are approachable, we can't reach those who work hard." (Quoted from "Miscellaneous Poems in Jiecunzhai") Feng Xu's "Sixty-one Selected Poems" said: Qin Guan and Yan "all have a taste, and shallow words are good." Liu Guo's ci is a "vassal" of Xin Qiji's "bold but not euphemistic". It can be seen that vigorous and charming, simple and simple, and deep into the eternal interest are the extreme thoughts of bold and graceful words such as Xin Qiji and Qin Guan.