First, its vulgar character attribute. Liu Yongti itself contains elegant words, but vulgar words are its essential attribute. Liu Yong himself has two attributes. He should be said to be a member of the literati and naturally has an elegant culture. But his ci works are more for the citizens, and the latter is his essence. Ci originally originated from folk ci, which has vulgar attributes. Compared with Ci, the poetic and elegant Ci has changed from vulgar to elegant since the literati intervened. Early literati words, such as Taibai style, Zhang style and so on, unconsciously accepted the literati's ideological interest and imitated the folk tone with the literati's words. When I arrived at Fei Qing, I began to write lyrics deliberately. Huajian Style, compared with folk ci, is a large-scale writing movement of literati ci from the author's main body, and it is a kind of sublimation and elegant significance compared with folk ci writers. However, in terms of ci writing, compared with early literati ci such as Taibai style, it is a vulgarization return to folk ci. Compared with Taibai style, Huajian style has more attributes of ci style. That is to say, in the stage of Taibai style, when scholars learn ci, they can't let go of the figure of scholars when they still hide half their faces behind the guitar from us. Huajian style was pacified by literati for the first time, and various characteristics of folk words were fully brought into play. Only in this way can the style of ci writers be truly produced. The Southern Tang Style was the first elegance movement after the birth of Ci, and the middle style and the latter style refined the ontology of Ci from different aspects. In the Chinese style, the erotic theme established in the flower style has become a diluted and weakened female theme, and the latter style has gone further, simply writing the emotional embrace of the literati in the word style. At this point, the vulgarity and elegance of ci have undergone great evolution, but this is only a preview of the life course of ci ontology, and the two genes of elegance and vulgarity in ci ontology life are far from mature and powerful. There were Liu and Su in Song Dynasty, which was the continuation and expansion of these two types. The vulgar attribute of Liu Ci is the basic feature of Liu Yong's style. Li Qingzhao's criticism of Liu Ci "under the dust" is undoubtedly accurate. Therefore, most other features of Liu Ci can be taken as the concrete content of this basic feature.
Secondly, it is the portrait attribute of Liu Ci. Poetry expresses the author's real life and true feelings, which is natural and has been so since the poem Sao. But the style of ci is originally imitated by literati, which makes it have the nature of imitation and imitation. The Taibai style "Qing Ping Le" should have words, mostly imitating maids and palace grievances. The flower style is "one person making a boudoir sound", mostly creating scenery, feelings, words and statues. In the middle of the style, the text of the scene is diluted, still creating a hazy sadness. Only the latter theme is the first time to write a personal biography in the style of words, which has a breakthrough significance. However, the life as an emperor written by my ancestors did not have the commonness of a scholar-bureaucrat. In this sense, Liu Yong is the first person to write the author's personal real life and true feelings in ci style, which has the significance of ordinary literati. That's why Liu Yong's influence is so great. The portrait attribute of Liu Ci includes two aspects. First, Liu Yong's personal life and feelings as a member of the scholar-bureaucrat class are mainly manifested in his sadness that he cannot be accommodated by the scholar-bureaucrat class in wandering words; Secondly, Liu Yong, as a rebellious scholar-bureaucrat, voiced on behalf of the citizens, wrote Liu Yong, who "strayed into Pingkang Lane" and indulged in the brothel Chu Pavilion, and wrote his true love and various desires as a man.
Third, it is Liu Yong's modern cultural attribute. The above two attributes can further enhance the modern cultural attributes summarized by Liu Yong. The word "Ke Yan" was originally created by a scholar-bureaucrat, which was a natural agreement hundreds of years later. China culture attaches importance to etiquette and morality, and the love between men and women is an important theme of poetry, which is a reasonable solution to the contradiction. However, for a long time, the literati class and Confucian culture have been an important constraint to accommodate the colorful theme of Ci, which is the feature of creating feelings and landscapes, that is, the joke that "men make boudoir sounds", that is to say, the literati's writing of men's and women's feelings in Ci style is not a true record, it gives all imagination or real love writing, and can make a reasonable explanation to the traditional vanilla beauty, monarch and theme, so as to be reasonably accommodated in Confucian culture. Liu Yong, on the other hand, not only writes about the life and mood of the city, but also his true love, and his universal love with prostitutes inevitably overflows the scope of traditional scholar-bureaucrat culture and has the nature of modern culture. The writing characteristics of Liu Ci, such as slow words, long tune, description and vernacular, are actually the concrete expression of this attribute and the inevitable result of this attribute of modern culture.