China people, immersed in the cultural atmosphere of Tang poetry and Song poetry, are caught in a fast pace and have little leisure to savor its charm. Yuwen Suoan, a famous sinologist (honorary professor of James Bryant Conant, Harvard University, whose research fields are China classical literature, lyric poetry and comparative poetics), recreated "China characters from 1 1 century to1century" for us in the way of "knowledge archaeology", and won the award of American Association for Asian Studies in 20021year.
This book describes in detail how Ci first developed from a banquet song into a serious and elegant literary genre. During this period, it experienced great poets (Yan Shu and his son, Ouyang Xiu, etc. ) and a leader of slow words (Liu Yong), and then Su Shi moved into new content. However, the generation of poets Qin Guan and Zhou Bangyan under Su Shi continued to develop and surpass, and Xin Qiji became Su Shi's rare successor. Yu Wensuo 'an especially pointed out that "bold and graceful" should not be used to distinguish between words and poets. He reminded readers that the whole atmosphere of the Song Dynasty was advocating rationality, paying attention to practicality and having a strong sense of moral self-discipline.
The lecture hall specially edited the "Qin Guan" section, and gained a lot of charm from the close reading, which also helped to calm the mood and enrich the spirit in the fight against the epidemic.
Yuwen Suoan is studying at home in America.
It is a special responsibility to discuss Qin Guan (1049- 1 100) because he was active at the moment when the "words of nature" appeared. "True colors" is what words should look like. Qin Guan has also been properly embedded in the long history of Ci. Ci seems to become a formal "literary" style after Qin Guan and Su Shi: Qin Guan represents one side of this change, while Su Shi represents the other side.
Qin Guan is a member of Su Shi's charming circle of friends. He benefited from this identity. In the era of Su Shi's active friends, until the next century, there are still a lot of anecdotes about them in the society. Around Qin Guan, there are rich and fascinating love stories.
The truth and complexity of the world of Song Ci vs graceful/bold;
Independent space in Dagong's life
We talked about the opposition between "graceful" and "bold" styles before. The former is represented by Qin Guan, while the latter is represented by Su Shi and his master. This is a very problematic division. Some words are neither bold nor graceful; The so-called graceful school not only includes most words, but also contains too many completely different poetic interests. The fundamental problem of the opposition of "bold and graceful" lies in that they only belong to the world of Ci, which makes people not realize that Ci develops interactively with other forces in Song Wenhua. When a word explicitly or implicitly declares that it is an independent field, this assertion itself just shows that there is a world outside it.
Please allow me to consider discussing this problem with rich English vocabulary. Perhaps we can regard writing as a "perceptual" discourse system. Similar to Ci, this is a discourse system that describes delicate feelings and appeals to both refined and popular tastes. It is strongly related to femininity, but it is also a common field for men and women. This style and indulgence can be understood in a broader ideological atmosphere: people at that time advocated rationality, paid attention to practicality, and had a strong sense of moral self-discipline. It was this opposition that produced Jane Austen's Sense and Sensibility. Perhaps Su Shi's sin and charm lies not in his "boldness", but in his pollution of the closed "small world" of ci at that moment. His discourse pattern and the questions he raised were rejected by the poets.
Ci is an independent space in the life of literati in Song Dynasty.
The real word world is much more complicated. 165438+In the second half of the 20th century, many "new words" were created for banquets, either to congratulate an upcoming official or to celebrate the birthday of a prince and a noble. But after singing a few new birthday speeches, they probably don't have to sing birthday speeches written for other princes and nobles months or years ago. The world of words continues to run. Song Dynasty, a larger cultural world, still showed rational, practical and moral values in its own way after accommodating Ci. Words create such a divergent closed territory within it, and anything outside the territory is irrelevant.
Ci is often just a perceptual discourse system-love, loss, memories, sadness, tea tasting and chrysanthemum appreciation-it is often an independent space in larger public life, and sometimes it explicitly rejects the world of "thinking far away" and opposes the camp of officials and businessmen. For most people, the discourse system of writing is an alternative space. Sometimes you visit when you need it and leave when you need it. These people strive to pass the scientific examination, move to different positions, and strive to be a good official. If colleagues are involved in political struggles or their party is purged, they will be exiled to places with extremely bad environment-this is the final fate of Qin Guan. But as far as words are concerned, nothing outside is important. The charm of this genre is self-evident.
In this sense, the word as a whole is defined from the opposite side. It should do everything possible to explain that human experience does not belong to the public domain, rational world or traditional ethics. Knowing this, we can understand all kinds of complex values existing in "natural language". These values are very different from each other-there are many different "good". In this way, Su Shi's ci can also be understood as a unique possibility, rather than the opposition of "natural words".
The word is no longer "just a song";
The transcendence of "Wei Yun" is similar to that of "ecstasy"
The Artistic Conception of Qin Guan's Man Fang Ting in Modern People's Eyes
Qin Guan Ci was very popular in the Southern Song Dynasty. The most famous singer Fang Ting usually wrote in 1079:
The mountain is painted with Wei Yun, the sky is sticky with rotten grass, and the horn is painted to break the door.
Suspend the collection, and talk about * * * leading away from the statue.
How many Penglai past events, empty looking back, misty.
Outside the sunset, Western jackdaw in the west counts, and the water flows around the lonely village.
Enchanting, at this moment, the sachet is hidden and the ribbon is light.
You deserve a brothel and a poor fortune.
When can I see you here? There are tears on the sleeves.
At the scene of the injury, the high city was in ruins and the lights were dim.
* Su Shi pointed out that Qin Guan's "forget me, this time" is to learn from Liu Yong.
There is a famous rumor closely related to this word. In this unlikely anecdote, Su Shi told Qin Guan that his "Mountain Mill Wei Yun" was sung in the capital at that time. Then Su Shi commented: "After the farewell, Liu Qi wrote lyrics." Qin Guan replied: "Although some people don't know, it's not true. What Mr. Wang said is nothing too much? " Su Shi said: "ecstasy. On this occasion', what about non-willow words? "Finally, the story is that" Qin shame "has spread and can't be changed. "
The value of this anecdote is obviously not true or false. Let us know what is acceptable and what is not. Su Shi, an ultimate opponent of "sensibility", appeared as an authority in this story and picked out two sentences with the most obvious "sensibility" in this poem. Qin Guan was described as "ashamed". An important fact that we need to realize is that Qin Guan and Zhou Bangyan were regarded as outstanding representatives of poets in the Northern Song Dynasty during the Southern Song Dynasty (Su Shi was a special case), while Liu Yong was regarded as an early poet with defects (this is quite different from the situation when Qin Guan wrote this word, when Liu Yong was indeed the only slow word creator among the previous poets).
According to Qin Guan's view of the times, this word is indeed strikingly similar to Liu Yong's travel notes. When he wrote, he lamented the lover who was left behind. This is inherited from Liu Yong, but Su Shi singled out two sentences to criticize in this anecdote. In other words, this story shows that except for these two sentences, other parts have perfectly absorbed and utilized Liu Yong, and there is no trace of Liu Yong.
Portrait of Dongpo, painted by Zhao Mengfu, is located at the front and back of the Red Wall, and is now in the Palace Museum.
* The word "wipe" blurred and stained Liu Yong's straightforward expression.
How did Qin Guan turn Liu Yong's unique travel notes into his own works? How to hide the source of his own works and replace Liu Yong as the ancestor who created the mainstream of Ci in the late Northern Song Dynasty?
"The shame of Wei Yun". The most elegant word in the sentence is "wipe", which is usually used to describe makeup, meaning "smear" or "wipe off"; It can also refer to a painting technique, that is, "washing", that is, covering the shape outlined by another color with one color to blur and soften the contrast and boundary at the intersection of colors. First of all, we should realize that this artistic "wiping" of the whole sentence that attracts people's attention because of its application is itself a skill and decoration: it transforms the natural scenery-Wei Yun on the mountain-into a deliberate ingenuity. Secondly, we should pay attention to the fact that "wiping" is only a cover, that is, things that are too vague and direct cast a poetic "mist" on the landscape. Moreover, because the mountain has always had the saying that moths throw fire and eyebrows, "wipe" is also a verb suitable for describing mountains.
Liu Yong created the voice of men's love. Like a singer in Dunhuang music, he poured out his feelings in his own words. This frankness also overflowed into his description of other aspects, such as scenery. Su Shi praised Qin Guan for adding ink to Liu Yong's landscape, but also pointed out two short sentences that made Qin Guan ashamed: it was a cloud seam. Unfortunately, this word has been circulated and Qin Guan can't erase it.
* Du Fu's poems are translated into words, presenting a poetic image.
In Shaoyou Village, Sanduo Town, gaoyou county City, Jiangsu Province, Qin Guan's hometown, a poetry meeting is held every year.
At the beginning of the word, the sound of the corner painting suddenly stopped, indicating that night is coming and travelers have to stop their journey. This passage is carefully worded and enters the language of "poetry" Even in a slightly looser drinking line, there is a poetic sentence "quote" (meaning "raise" or "raise a glass"). Du Fu used this word in his own poems; Qin Guan borrowed this authoritative usage to make the whole line elegant. The only way to appreciate this sentence is to know Du Fu's precedent.
With the historical evolution and stylistic status of words in 1 1 century, existing things are replaced more and more often. Su Shi can sail in his dream and overlook the building, where there are other people's feasts. However, when Qin Guan recalled "The Past", he only said, "Looking back is in vain, and dusk returns to dusk." With more and more layers of washing, wiping and atomizing, almost no one can say "the color of the mountain is there and not there" like Ouyang Xiu-the color of the mountain is there and not there. Now there is only fog left.
Uptown ends with a poetic image, and there are many quotations in the sentence. The personal experience described by the poet is obviously presented by a set of technical language rules. We can see that he sometimes uses poetic images and sometimes uses poetic language. Of course, all artistic reproduction is basically done through something, but what is important is that Qin Guan used this intermediary language structure here, and he used it obviously.
The transition between the upper shovel and the lower shovel is usually inward: he expects, he recalls, and he suffers. Qin Guan completely slipped into Liu Yong's routine and was caught by Su Shi. Xia Tan of Qin Guan struggled between Liu Yong's mode and Shantan's new "elegant" slow word mode.
* towards "elegance", which is not "just a song"
After a brief slide to Liu Yong's wording, elegant "poetic nature" won again. At the end of the whole article, the lover put aside Gao Cheng, and Gao Cheng was put out of sight. There is a striking contrast at the end of the word, and the image in the last sentence of Shangcheng is reversed at this time: there are crows in the sunset, but now it is the "negative film" of the photo-the sky is getting dark, and the black spots in western Western jackdaw are replaced by lights on shady scenery.
This is the era when Jiangxi Poetry School prevailed, and every sentence should have its source and be used by predecessors. Qin Guan and the scholars who realize his allusions will be honored. This material shows us what power is behind Song Ci as literature. The artistry of ci is not only the creation of Qin Guan, but also the participation of readers.
In short, more than 900 years after Qin Guan wrote this poem, the readers who come here are trying to explore the skills of this poem, its creative background and the sources of those "poems" that have no obvious source. Words are no longer "just a song".
Praise the "looking at the tide" in Yangzhou and Hangzhou;
Qin Guan pays tribute to Liu Yong's previous work
In a changing system, the style that was popular when a person was young will have a unique influence on him. That's the way words are. Qin Guan's Ci is the result of his familiar reading of Liu Ci when he was young. This spontaneous growth is not only because he is infatuated with Liu Yong's love words, but also because he is infatuated with all Liu Yong's works, including the most amazing words.
Liu Yong was a master of slow words in 1 1 century, and his style influenced the following pronouns.
Liu Yong may be the first person to write ci about other big cities in the Northern Song Dynasty. For example, he wrote the famous "Watching the Tide" in Hangzhou. This work was written around 1053, looking forward to the Qiantang River hole in the south of Hangzhou:
Southeast shape wins, Sanwu city, Qiantang has been prosperous since ancient times.
Smoke willow painting bridge, wind curtain and green curtain, interlaced with 100 thousand people.
Clouds and trees surround the bank and sand. The raging waves roll with frost and snow, and the natural hazards are endless.
Pearl in the city, luxury in every household.
Thick lakes are stacked on top of each other, forming the Ting Anne. There are Sanqiu cassia seed and Shili Lotus.
Qiang tube clear sky in Wan Li, night, enjoy the lotus.
A thousand riders have high teeth. Drunk to listen to the flute and drum, enjoy the haze.
Different yen will be good, back to Fengchi boast.
This word replaces the previous capital symbol and is completely a compliment to Hangzhou. Liu Yongshi mentioned in the previous discussion that this is an advertisement to stimulate people's interest in visiting and entertain themselves. When Qin Guan visited Hangzhou on 1080, he meaningfully chose the word "looking at the sea tide" to write the city's ode. This is obviously a tribute to Liu Yong's previous work. It is worth mentioning that Liu Yong's Wang Haichao is the earliest extant poem with the inscription "Wang Haichao". Liu Yong wrote lyrics for the song "Looking at the Tide of the Sea".
The artistic conception of Qin Guan's "viewing the sea" in the eyes of modern people
The following are Qin Guan's words of praise for Yangzhou:
The stars are divided into bulls, and the border connects Huaihai and Yangzhou.
Flowers are fragrant, warblers are singing, and Pearl is miles east. The heroic spirit is like a rainbow.
According to spring, gold and purple, flying cover follows. Lane into weeping willows, painting bridge north and south smoke.
Cherish the memory of countless heroes of the motherland. There is a fan building hanging bucket, and the moon is empty.
Sailing on the brocade, pearls splashing rain, it is better to talk about horse ichthyosaurs. The past drives away loneliness.
But the turbulent clouds and flowing water are lingering at the palace. A glass of wine is a thousand words.
Qin Guan's concluding remarks used a sentence from Ouyang Xiu's Zhong Chao CuO, which read "A Thousand Words at a Time". This is an obvious hint. At the same time, this work is also inlaid with various dictionaries of Tang poetry. Qin Guan obviously put himself in the tradition of literati poetry, not Liu Yong's pedigree. However, although Liu Yong's influence is not obvious, there are still traces to follow. Qin Guan not only chose the same epigraph as Liu Yong, but also used the same word "you" as Liu Yong in the second sentence. This is not an allusion; It's just that when a person is composing music, another similar work with the same tune appears in his mind.
The last paragraph of Qin Guan's "Looking at the Tide of the Sea" is purely a hymn to the city of Hangzhou, without a trace of nostalgia. Su Shi's Niannujiao Chibi Nostalgia was first written on 1082. However, as mentioned above, Liu Yong had similar works before Su Shi. Compared with Hangzhou written by Liu Yong, Yangzhou (or Huiji) has a deeper sense of history. Qin Guan also has a poem "Looking at the Tide of the Sea" (written a year ago, namely 1079), which is about Yangzhou.
Qixi Ci: The same skills,
Cultural value has changed, and parting reproduces value.
Qin Guan's Queqiaoxian Qixi is a good case to study the interaction of various forces in 1 1 end-of-century ci culture. Altair and Vega are lovers in the sky, separated on both sides of the Milky Way. They are only allowed to meet once a year on Qixi (the seventh day of the seventh lunar month). Women in the dust room will make sacrifices on Qixi Festival, so that the Weaver can bless herself and gain knitting skills.
The artistic conception of Qin Guan's Quexian Bridge Tanabata in the eyes of modern people.
Words with the theme of Tanabata are very common. However, in the Qin Dynasty, in more and more Tanabata discourses, lovers in the sky are considered luckier than those on the ground-although they can only meet once a year, they can do so forever. Although this is not the first of Qin Guan's works, his masterpiece "Queqiaoxian Qixi" expresses this meaning more clearly than any of his predecessors:
The thin clouds in the sky are changing, the meteors in the sky convey the sadness of acacia, and the endless galaxy I quietly crossed tonight.
When you meet, you will win, but there are countless people in the world.
Common complaint against acacia, tender feelings like water, meet each other as if it were a dream, when it is hard to see the bridge.
If two kinds of feelings last for a long time, they are still there, day and night.
When we read the last sentence of Uptown, we must take into account a couplet in another Tang poem about Qixi (this poem was written by Zhao Huang or Li Ying):
It's hard to see in the sky, so it's better to go back to earth.
Annotators look for the "source" from obscure Tang poems-of course, poets also absorb the auspicious feathers in Tang poems-but these poems are usually swallowed up by the tradition of Ci, leaving only the "meaning" that has been reshaped. Chen Shidao's "Bodhisattva Man's Tanabata" just helps us discuss this issue:
The clouds in the Milky Way are rotten. The smoke of the stove is not broken, but the spider silk is full.
I want to frown. Stop needles and remember people far away.
Heqiao knows the way. I don't understand.
In the coming year, the world will be separated for a long time.
A Collection of Poems by Yuwen Suoan and China
On a certain level, Chen Shidao's Ci also implies a similar meaning: immortal couples don't have to endure the pain of separation like mortals-whether because of death, relocation or just "parting ways". Qin Guan copied this meaning, but pushed it further. At the end of Xia Gan, Qin Guan clearly expressed his disdain for the lovers who stayed together all day.
The last article talked about how Qin Guan learned from Liu Yong. However, great changes have taken place in the cultural value of the Qin Dynasty. Although the speaker in Liu Ci always yearns for a lover far away, he wants nothing but to get along with each other day and night. What Qin Guan cherishes is the yearning itself when he is far away. Even at the moment when the Cowherd and the Weaver Girl met briefly, he still mentioned the subsequent parting in a negative way.
It is true that the deep pain of parting is the legacy left by the Tang and Five Dynasties. 1 1 words in the middle of the century had some short and sporadic joys. In the era of Qin Guan, the theme of "parting" returned, and its significance transcended the actual encounter. The world doesn't want women to stay, and their value is reflected in loss and nostalgia.
Li Lian is excerpted from chapter 10 of Qin Guan, the third part of Su Shi Times. Original 12000 words.
Author: Yu Wensuo An
Image: Network
Editor: Li Lian
Editor: Li Lian
* Wen Hui's exclusive manuscript, please indicate the source.