What are the styles and schools of Song Ci?

Graceful and unconstrained-The two main artistic styles of Song Ci are clear: "Less travel and more graceful, more bold and more graceful." 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 summarized the two main artistic styles in Song Ci from a macro perspective, 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 humble. 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, but every time you eliminate evil, you abuse it. According to various interpretations, "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 parting of feelings, the sad and lingering scenes 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. When you are tall, you go 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". It is Su Shi who officially holds high the bold and unconstrained banner. His "Answering Chen Jishuchang" says: He also benefits from new words, and every sentence is a warning. The poet is a hero, not a fine print. But if you are too unrestrained, you may not make people so happy. And in the book of Yu Xian, it says: It is a rather small word. Although it has no taste of Liu (forever), it is also a family. Ha ha! Hunting in the suburbs the other day, I got quite a lot. It's a shovel, which makes the strong men of the Eastern Zhou Dynasty stomp their hands to sing, play flute and drum as a festival, which 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 writers who are unconstrained style, because of their lack of tolerance, clamor for things, or accumulate too many allusions, are all bluffing and 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, which seems charming for my return. Dong said that Qin Guan said, "Because we are approachable, we can't reach those who work hard." . "(quoted from Xie Cunzhai Miscellaneous Poems) Feng Xu's" Sixty-one Selected Poems "said: Qin Guan and Yan" all have a good taste, and their 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. Excerpted from: /scgs.htm#5