Early stage: it truly reflects her boudoir life, thoughts and feelings, and the theme focuses on writing about natural scenery and parting lovesickness.
Li Qingzhao's early poems truly reflected her boudoir life, thoughts and feelings, and the theme focused on writing about natural scenery and parting lovesickness. For example, two songs, such as Dream, are lively and beautiful, and the language is innovative. I remember playing the flute on the Phoenix Terrace, a plum blossom, and a drunken flower. By describing my lonely life, I expressed my deep affection for my husband and my love for her, which was graceful and graceful. [Butterfly Hua Lian] "Seeing Sisters Off at Changle Pavilion at Night" is about nostalgia for female companions, and the feelings are extremely sincere. Although most of her poems describe lonely life and express melancholy feelings, she can often see her love for nature and frankly reveal her pursuit of a better love life. This is written by a woman writer, which is much more valuable than Forever in My Heart written by the first-person narrator. Wang Zhuo said: "Li Qingzhao" writes long and short sentences, full of twists and turns, light and sharp, and full of gestures. Lu Xiang's language is dissolute and his writing is casual. Since ancient times, the family of the gentry, those who can have children, have never been so careless "("Monchi of monks ",Volume II). This criticism just shows that the original intention of Li Qingzhao's ci is objectively against feudal norms.
Later stage: mainly expressing nostalgia and nostalgia when injured. Expressed his deep sadness in his lonely life.
Li Qingzhao's poems after crossing the south are also very different from those in the previous period. The political risks and various tragic experiences in her personal life after the destruction of her country made her spirit very painful, so her early ci became beautiful and bright, but full of sad and low voices, mainly showing her homesickness and nostalgia when she was injured. During her exile, she often missed her hometown in the Central Plains, such as "Where is my hometown? Forget it, unless I'm drunk. "Dream of Chang 'an in vain and recognize Chang 'an Road" written by [Bodhisattva Xia] [Butterfly Hua Lian] reveals her deep nostalgia for the lost north. She is more attached to her past life, such as the famous slow word "Ode to Fishing Music", and recalls Luo Jing's "Zhongzhou heyday". [Transferred from Man Fang Ting] Cao Fang Pond recalls the "winning reward" of that year, compares the good life of the past with the desolation and haggard of today, and places the yearning for the old country.
In her poems, she fully expressed her deep sadness in her lonely life. For example, Wu Lingchun expressed her uncontrollable and unspeakable sadness by writing the feeling that "things are human beings who are wrong and do everything they can" and "the voice is slow" by writing the situation of "searching and searching". Another example is the sadness of "and heaven remains our neighbourhood this year" in Qingpingle, and the sadness in "The Lonely Goose" is based on the tragic life of the country, so her participle is an artistic summary of the suffering and personal unfortunate fate of that era.
In her early years, Li Qingzhao also wrote an essay "On Ci" and put forward the word "other schools", which was an important theory of Ci in the Song Dynasty and also became the theoretical basis of her creation of Ci. She wrote Shu Yu Ci, and Li Qingzhao's ci style is graceful and restrained, which is called "graceful ci school". In Shen Qian's Miscellanies of Ci, Li Qingzhao and Li Houzhu are mentioned together: "Li Houzhu is a man and Li Yian is a woman, which is very true."
Yi 'an Ci is unique in the Song Dynasty, which is called "Yi 'an Style". The name "Yi 'an Style" began in the Song Dynasty. The title of Hou Yin's Eye-catching is: Xiao Yi Antioch. Xin Qiji's "Ugly Slave Close" title: "Boshan Road is easy to be safe." Ci has its own system, which shows that it has formed a distinct personality. Its characteristics:
First, dump sincere feelings.
True feelings are the bones of words, and the feelings of words are really expensive. Before Li Qingzhao, most graceful ci poets wrote about all kinds of amorous feelings and deep feelings with men, and Li Qingzhao was the first person who took women as the standard, wrote about self-love, sadness and joy, and wrote about the great changes in his home country and achieved unprecedented success. His early love stories, such as Pruning a Plum and Blowing the Xiao in the Phoenix Tower, are full of emotion and nonsense, and their natural frankness can best reflect the pure and delicate spirituality of women, which is unmatched by the love stories made by male writers in previous dynasties. Later, he wrote sad and disorderly words, such as Wuling Spring, Slow Voice, Song of Eternal Sorrow, Lonely Goose and so on. Every sentence is full of blood and tears, which is full of sadness and shock. This "sentimental" "load", endless "thousands of tears" and "sad and miserable" are sad songs that blend the changes of home and country and the vicissitudes of the times, coming from affectionate poets and rooted in real life feelings. They are the portrayal of Li Qingzhao's bumpy life, tragic life and disaster times.
Second, smelting household words.
The language of Yu Shu's ci has a distinct personality. Liu Yong is a pioneer in introducing words into the market. His writing is popular and clear, but he is good at expressing himself, occasionally involving butterfly silence. Zhou Bangyan refined slang into elegance and used exquisite words. Li Qingzhao created a literary language characterized by naturalness and truthfulness. As the saying goes, "Use vulgar language to create fresh ideas" (Jin Su written by Peng). This language is an impact on the elegant ci style in the late Northern Song Dynasty. For example, "I'm afraid to leave my arms, so how much do I want to say" ("Remembering Xiao Feng at the Burning Wind Station"). As if inadvertently, blurt out, but carefully appreciate, but the meaning is multi-layered, very fine. Relatives are far apart and have a thousand words to say; Breaking up is fixed and there are many concerns. What's the use of saying it? Hate is hard to say goodbye, but it is hard to say and stings people. I'd rather bear it myself than increase the burden on the walkers. These heavy thoughts and subtle mentality are all expressed in everyday language and contain infinite significance. For example, "Suddenly sunny, suddenly rainy, suddenly windy", "How can it be dark when looking out the window?" Handy, on the basis of colloquialism and popularization, a large number of vivid and vivid sentimental words are added, which do not tend to be dull, loose and weak, because it is the result of ingenuity and refinement on the basis of spoken language. So the pen is refined and alert, and the language is novel. Such as "snow is clear and jade is thin", "smoke is dark and rain is dark", "waves turn red", "Liu Yanmei cheeks", "red is rare and fragrant" and "cloud platform and moon land", which are simple, fresh, subtle and vivid, and are precisely "the strangest rise that seems ordinary, easy to do but difficult to do".
Third, make good use of line drawing.
Shu Yu's ci does not emphasize truth, but uses predecessors' poems, and is good at creating moving artistic conception with lines. Yi 'an's sketch is different from Liu Yong's "smooth" and beautiful and rich classics, but "blurting out proverbs and moving the realm". For example, "Drunken Flowers" writes dignified thinking: "The curtain rolls west wind, and people are as thin as yellow flowers." "Yong Yu Le" writes loneliness and loss: "It is better to listen to people laughing under the curtain." They are all written in plain language with deep feelings, scenes, characters and backgrounds. In front of the stage, I spent my heart on the Iraqi people, thinking of the image of lovesickness, closing the curtains, feeling lonely and bitter, showing my mind of swallowing endless sadness, which is vivid and unforgettable. The sketch of Shuyu Ci is muddy, subtle and graceful, without a trace of simplicity. "hickory" snapped: "sunny, rainy, windy!" Although the astronomical phenomena are described in spoken language, it inevitably reminds people of the changes of the world and the turmoil of love, and its profound meaning is endless.
Fourth, emphasize the beauty of rhythm.
Li Qingzhao attaches great importance to the melody in her poems. The so-called lyrics are divided into five tones and six rhymes, and her creation practices her own theory. This is determined by the characteristics of words as musical poems. Shu Yu's ci pays attention to the combination of sound and emotion, likes to use double rhyme, and pays attention to the beauty of rhyme in choosing words. Xia Zeng cited his "Sound Slow" as an example, in which the pronunciation of tongue is 15 and the pronunciation of teeth is 42, especially the few words. "The overlapping of teeth sounds in the cross should be intended to use the tone of Ding Ning, a rodent, to write his own melancholy mood, which is clear to read and has obvious timbre beauty, which fully shows the characteristics of the movement" (The Art of Li Qingzhao's Ci, Zhang Your Ear Collection praised "How can you keep the window dark?" He said: ... black words are not allowed to be taken by the second person. "The first sentence of" Sound Slow "has a reduplication of 14, which has been praised as a swan song by poets of all ages. Zhang said, "This is the sword dancer. He is not incompetent in this dynasty. He has never had fourteen overlapping words. Xu Fan's Ci Yuan Cong Tan described the beauty of its acoustics as "like pouring pearls, big and small, into a plate of jade". Li Qingzhao is good at measuring people's temperament in popular language. It is extremely difficult to train people in plain language, which is wonderful, harmonious and fascinating. Therefore, Wanshu rhymes: "Its words are strange and horizontal, so it may be melodious, so it is outstanding through the ages. "