Qin Guan (1049- 1 100), Han nationality, was born in Gaoyou (now Gaoyou City, Jiangsu Province) in the Northern Song Dynasty. He was called "Four Bachelor of Sumen", alias Hangou Jushi and Huaihai Jushi, and was known as Mr. Huaihai in the world. Is graceful and restrained, official to Dr. imperial academy, compiled by the National History Museum. Representative works: Queqiao Fairy, Huaihai Collection, and Huaihai Jushi Long and Short Sentences; Quite appreciated by Su Shi. Qin Guan is generous, free and easy, beyond words. At the age of 20, I wrote Fu on Fushan Weir. At the age of 24, he wrote "Riding alone to see Ruff", which was highly respected by the world. His prose is good at argument, and The History of Song Dynasty was rated as "literary and thoughtful". His poems are good at lyricism. Taosun Ao's Poetry Review said: "Qin Shaoyou is like a woman swimming in spring, but she is weak in the end." He was a famous graceful poet in the late Northern Song Dynasty. His poems mostly describe the feelings of men and women and express the sadness of career frustration. His words are skillful and meticulous, and his melody is harmonious and beautiful. Representative works include Que Qiao Xian (Bo Yun is clever), Wang Hai Chao (Mei Ying Shu) and Man Ting Fang (Mountain Wipe). In "The Fairy of the Que Bridge", "If love lasts for a long time, it will be there sooner or later!" A famous sentence called "Turning Decadence into Magic" (see Selected Poems of Starting a prairie fire). In Man Ting Fang, "There is a setting sun outside, there are Western jackdaw numbers in the west, and the water flows around the lonely village" is called "naturally eloquent" (Chao Bu's words are quoted from "Notes on Gaizhai"). Zhang Yan's etymology said: "Qin Shaoyou's ci is elegant, energetic, beautiful, full of meaning, chewing without me, and knowing the taste for a long time." For details of his life, see Volume 4 of History of the Song Dynasty. He is the author of 40 volumes of Huaihai Ji, Huaihai Ci (also known as Huaihai Jushi's Long and Short Sentences), Persuading Good Records and Anti-Travel Ji. He also edited "Yangzhou Poetry" and "Gaoyou Poetry". His Silkworm Book is the earliest extant monograph on sericulture in China. He is also good at calligraphy. Learn from Zhong and Wang in lower case, and be charming, vigorous and lovely. The cursive script has the flavor of the Eastern Jin Dynasty. He really learned from Yan Zhenqing. In the fourth year of Jianyan (1 130), Qin Guan was posthumously awarded the "Bachelor of Zhilong Tuge" by the Southern Song Dynasty court. Gaoyou Wenyou Terrace, Qin Guanyue Terrace, Qin Youtie Stone Carvings, Yangzhou Yunshan Map, and the "First Scene of Huaidong" Stone Carvings have been preserved to this day.
Liu Yong was a poet in the Northern Song Dynasty in China. The first name changed three times, and the word Jingzhuang was later renamed Yong and Ziqing. He was born in Chong 'an (now Wuyishan City, Fujian Province). In the first year of Injong (1034), he was a scholar. He has served as a regimental officer of Zhou Mu, a magistrate of Yuhang County, a supervisor of Xiaofeng Salt Field (Dinghai County, Zhejiang Province) and a judge of Sizhou. After the official came to the wasteland, Yuan Wailang was called "Liu Tuntian" in the secular world.
Throughout the Tang and Five Dynasties, the style of ci was mainly poem, and there were only a dozen slow words. In the early Song Dynasty, it was a poem that poets were good at and used to. Zhang Xian, Yan Shu and Ouyang Xiu, who were a little later than Liu Yong, only tried to write the slow words 17, 3 and 13 respectively. Liu Yong's efforts to create slow ci fundamentally changed the pattern of the world dominated by poetry since the Tang and Five Dynasties, and made the two styles of slow ci and slow poetry keep pace.
The system of Xiaoling is short, ranging from five or six crosses to two or three crosses, with limited capacity. However, the length of slow words is relatively large, ranging from eight or nine words to one or two hundred words. Liu Yong's longest slow word, Seven Stones, is 2 12. The expansion of the length system of slow words has correspondingly expanded the content of words and improved the expressive ability of words.
Liu Yong was a poet who wrote and used the most tunes in the Song Dynasty. He has 2 13 words and uses 133 tones. Of the more than 880 tones used in the Song Dynasty, more than 100 was first used by Liu Yong. Word to Liu Yong, the system began to prepare. Sequence, introduction, proximity, slowness, monotony, disyllabic, trisyllabic and tetrasyllabic are increasingly abundant. The perfection of the formal system provides a premise for the development of Song Ci and the development of its successors in content. Without Liu Yong's exploration and creation of slow words, later generations of Su Shi, Xin Qiji and others may only be able to run around in the world of poetry, but it is difficult to create such brilliant chapters of slow words as "Water Carving Songs", "Niannujiao Red Cliff Nostalgia" and "Shui Long Yin Deng Healthy Yueting Pavilion".
Liu Yong not only changed and developed the singing style of Ci from the music system, but also changed the aesthetic connotation and taste of Ci from the creative direction, that is, changed "elegance" into "vulgarity" and deliberately expressed the secular emotions of citizens' life in popular language. In the Northern Song Dynasty, Chen Shidao said that Liu Ci was "vulgar and admired by the world" ("Poems on the Back Mountain"), and Wang Zhuo also thought that Liu Ci was "shallow and vulgar, unique, especially ignorant of books" ("Bi Ji Man Zhi" Volume II), which revealed the characteristics of Liu Ci facing the public.
Dunhuang folk words in the Tang and Five Dynasties originally sang the voices of ordinary people and expressed their joys and sorrows. In the hands of literati, the content of ci is increasingly divorced from the lives of ordinary people, emphasizing the aesthetic taste of literati. Liu Yong was once a prodigal son in the city because of his frustrated career. He often haunts brothels and prostitutes' homes, and is quite familiar with the life and mentality of geisha and ordinary people living at the bottom of society. He often writes lyrics for geisha at the invitation of geisha and sings for the general public in teahouses, pubs and Goulanwa Temple. Therefore, he changed the creative way of literati ci, catered to and met the aesthetic needs of the public, and expressed their familiar figures and concerns with easy-to-understand language and acceptable expressions.