According to previous views, Jiang Kui should not be regarded as a pivotal figure in the history of China literature. People who went to middle school, if they like classical poetry, probably still vaguely remember Jiang Kui's Yangzhou Slow, and their understanding of him is only at this level. Apart from China's classical literature lovers and lyricists, how many people know about Jiang Kui? Objectively speaking, Jiang Kui's influence is almost worse than that of Liu Yong, whose words are catchy and easy to understand, but Jiang Kui's words are bookish after all. Subjectively and boldly, ordinary people who like Liu Yong's ci probably prefer Jiang Kui. However, in recent years, an upsurge of studying Jiang Kui has quietly arisen at home and abroad. Unwilling to be lonely, a group of retired old people in Hefei made Jiang Kui's research vivid, published books, held seminars, and set up their own non-governmental mass organization-Jiang Kui Research Association. There is a saying that carrots and vegetables have their own tastes. Jiang Kui certainly has the characteristics of Jiang Kui, and Jiang Kui also has fans. As a literary master and musician in the Southern Song Dynasty, Jiang Kui has been evaluated more objectively and fairly with the deepening of research in recent years.
Jiangkui art
It should be said that Jiang Kui is famous for his ci. Although not many new words were written, almost every capital worked hard. Just take out a word, there is something worth tasting, just like pearls, which are delicious and valuable. As a commoner, his ci is extremely talented, and he is meticulous in criticizing and refining words, carving chapters and making sentences. But it is so natural and appropriate that there is no trace of axe chisel. The predecessors spoke highly of Jiang Ci, and Zhang Yan, a contemporary poet, said, "Ci flies like a wild cloud, leaving no trace." ("Etymology" Volume II) A Qing Liu Xizai said that Jiang Kui's "Ci of a Scholar" and "Leng Xiang's Elegant Rhyme" are endless. To describe it, there is music in the piano and beauty in the flowers. "("Art Outline "Volume 4)
In my eyes, Jiang Kui's ci works win with emotion, which is different from Xin Qiji's Heroic and Galloping (preface to Zhou Ji's Selected Poems) and Liu Yong's Shallow Vulgarity (Wang Zhuo's Biji Manzhi Volume II). The love of home and country is on the paper. Liu Yong has a bad career and smells like a broken jar. He just entered the article with shallow and vulgar words, which does not hide that he is staring at many women's quirks with the "narrow evil" eyes of the prodigal son. As for Jiang Kui, there is no such life mentality as Liu's "only a hollow name but not a light chant", and there is no such life course as Xin's wholeheartedly serving the country, asking for help and expressing loyalty and anger with words. Although, he also longed for the official position and worked hard, when all his efforts went up in smoke, he finally resigned himself, running in the officialdom by his own talent, making a living by being an adjutant and relying on the emotional support of his friends. This kind of life makes Jiang Kui very concerned and attaches great importance to this feeling in the world. His ci still follows the road of "lyricism stops at emotion", and his ci works mostly express people's value, meaning of life, people's behavior, people's psychology and spiritual world. He paid little attention to state affairs, which became the reason why many people criticized him later. In fact, in an era when Xin Qiji could hardly die of depression, how much limelight could he make as a civilian? Therefore, he turned his attention to his own life circle and his own emotional world, and devoted himself to the modification of words to dispel his inner feelings. Take his masterpiece Xiang Yue as an example. Watch a movie:
In the Old Testament, I asked the end of the Bible. Long-term negative scenery? Into the western hills, gradually called, a leaf is still in love. Tired of collecting the net, it is cold in Tingzhou on the month. Flow and tolerance, draw a radial mirror.
Jiang Kui painted a very beautiful picture with delicate pen and ink: in the evening, twilight gradually enveloped the distant mountains. The hazy and quiet dusk scene contains the unfathomable essence of beauty, calling the poet to travel in a big ship. It's getting dark, and the fishermen who have worked hard all day have also closed their nets and gone home. The sound of casting nets, the sound of fresh fish jumping, and the sound of splashing waves on the water all became silent. The afterglow of the sunset showed a silver dot on the water to bid farewell to several waterfowl that were about to return to their nests in a hurry. On the moonlit night, all the tents fall, and the occasional birdsong gradually disappears. A bright moon rises quietly and shines on the river. The oars stopped and the boat was drifting. The distant mountains are chilly near the water, and the moonlight permeates the river through the thin fog, making it even more hazy. Although it is midsummer, looking at the small and medium-sized continents in the river and the grass trees at the water's edge not only makes people feel that the summer heat has completely disappeared, but also makes people feel a chill. It's not autumn cold, but it's better than autumn cold ... It's a holographic morning, and the river is like a mirror. Let a "leaf" float in the river, no one will break the river in the mirror with an oar and cut the quiet beauty of nature ... what a beautiful moonlit night floating in Hunan!
However, such a beautiful artistic conception is achieved by the author through "one leaf" (painting a boat), "one quiet" (carefree) and "Zhou Ting" (Ting, level; Continent, land in the water), "middle stream" (referring to the lake), "capacity" (comfortable, talking about ups and downs), "drawing radius" (drawing paddles) and other elegant words. If it weren't for a little ink on his chest, he would never understand the meaning. When Jiang Kui wrote this word, he was about thirty years old and lived with his wife Xiao Dezao. Poet Xiao Dezao attached great importance to his literary talent and married his niece to him. The opening p "Five Lakes Old Testament, asking about the end of the year, clearing the scenery and making a long history" means that I have worked hard for many years and have no time to get close to the mountains and rivers. Now I'm going to travel to Xiangjiang River with my friends, which is also in heaven. Of course, Jiang Kui's poems and sentences are different from Li Shangyin's obscurity, and Jiang Kui is still relatively subtle in deliberately using allusions to show his talents. His words and poems are so elegant and elegant, like thin stones and lonely flowers, still so delicate and charming. "Free from vulgarity, free from vulgarity, belongs to elegance" (Song "Ci Summary"), the previous evaluation is extremely accurate.
In any case, as a member of the graceful ci in the Southern Song Dynasty, Jiang Kui's achievements in ci are not of milestone significance, although his "empty" ci style influenced Zhejiang ci writers in the late Southern Song Dynasty and the Qing Dynasty, and produced Du Li in the Prosperous Tang Dynasty (Bobby Zhai by Chen Qingrui) and Ci Sheng (selected poems of seven schools). In fact, Jiang Kui's contribution to music is epic. In this lyricist's mind, perhaps he didn't want to leave anything outstanding in history for future generations, but his own lyrics left precious music materials for today. On the side of his word 17, he even marked music next to the ruler, which made us lucky to enjoy his beautiful melody with high rhyme and harmony after nearly 900 years. More importantly, he showed great talent in the art of music, skillfully using seven tones and half tones to make the tune look more beautiful, which was seamlessly combined with his unique poetic style. Song of Taoist Baishi is a rare book with an author in history, and it is also the only collection of Song songs with music scores, which is considered as a rare treasure in the history of music. Jiang Kui has his own theory. He wrote to the imperial court "Da Le", "Archaeological Map of the Harp" and "Song Qu", commenting on the gains and losses of ancient and modern music systems, music pieces and musical instruments, pointing out some unreasonable and discordant phenomena in music at that time, and putting forward a series of suggestions such as establishing a unified pitch measurement, hoping to revive court music. "Memories of Da Le" represents the highest achievement of folk music art in the Song Dynasty and provides valuable information for future generations to understand the music situation at that time. He has also made great achievements in calligraphy. His works, Continued Book Score, Jiang Tieping, Wang Xizhi's Preface to the Lanting Pavilion and Wang Xianzhi Nanny Postscript, have always been valued by calligraphy circles and calligraphy lovers in China. People call "Jiang's calligraphy, defatted powder, washed away the dust and customs, like a hermit." (Tao Jiucheng's Book History Society) His achievements are unmatched by his peers and even people before and after. In this sense, it is not too much to call Jiang Kui a "generalist".
Jiang kui's love
There are many famous articles about love in the history of literature and art, but in Song Dynasty, there are Jiangchengzi written by Su Shi to his wife Wang (Ten Years of Life and Death), Xijiang Moon and Mei written by my concubine Chaoyun, Hairpin Phoenix written by Lu You to Tang Wan, Partridge and Half-dead Child written by He Zhu to his wife, etc. There is an unforgettable sincere emotion between the lines. For Jiang Kui, we saw Xiao Dezao's record as a niece's wife, but in the following days, we couldn't even find a word about this Xiao woman. Jiang Kui didn't write about his beautiful love with his wife Shi like He Zhu did, nor did he write about his weeping for his dead wife like Lu You did. We don't know whether that Xiao girl lived with him for a long time, divorced him halfway, or died before or after him. Jiang Kui can write his love for Hefei women and Xiaohong with pen and ink. None of his more than 80 poems is love or even hate for his wife, which is really incomprehensible. One day, couples will be grateful for a hundred days. Judging from the eyes of ordinary people today, a good dancer would not be so rude to his wife, would he? Why is pen and ink not stingy with prostitutes at all, but dismissive of wives? Looking at that year, he was moved by the life experience of an unfortunate woman in Tiaoxi, Zhejiang Province, and wrote this poem "Partridge Sky": "Luo Jing is a peerless beauty, why did she fall to the Western Jin Dynasty?" Cage shoes are shallower than crow's head socks, knowing that they are Ling Bo's ethereal body. When the red one smiles, the green one grows. Who will accompany the poor spring? Yuanyang used to be alone and turned into a cloud in the west building. "This woman is like a bosom friend. He writes about her with a heart full of tears. There are some such words, and he is more famous for writing Xiao Hong's poems.
"Self-innovation rhyme is the most charming, Xiaohong sings and I play the flute; At the end of the Song Dynasty, I crossed Songling Road and looked back at Yanbo Fourteenth Bridge. " (Over the Rainbow)
Look, how comfortable and happy he is!
I think maybe Xiao's daughter is not the woman he wants. Before Jiang Kui married Xiao, she had an unforgettable love in Hefei. This kind of love, he described it heartily in his poems. No matter whether the object he loves in Hefei is a pair of sisters or the person he loves is a brothel woman, there is no doubt that this woman plays an extremely important role in Jiang Kui's emotional life. He has been thinking about her all his life and attached to her.
Flowers are all over the city, the moon invades clothes, and juvenile affairs are always sad. (Partridge, it's time to enjoy the scenery in the alley)
The bright moon in Huainan and Qian Shan are cold and nobody cares. ("Tanfloxacin Yanyan Lightness")
I remember Zeng * * *, the elegant collection of the West Building, and I want to return to thousands of silk gold. I'm afraid of going back to the saddle. ("A calyx is red, the ancient city is cloudy")
When the jade statue is swept away, the door is closed and I can't see you again. ("The flute under the moon and the pot bearer")
With a wave of his hand, spring is like wine. Write Wu Si's own play. Ask who knows, the center of music, friends before flowers. ("Jiao Zhao Weichun's Hand")
In the endless period of water flowing eastward, acacia was not planted that year. Who teaches red-violet moon, the two know each other thoughtfully. ("Gu Tian Yuan Youmeng")
His thoughts are endless and lingering. When the lamp of life went out, the worries in his heart disappeared. A melancholy, a little helpless, a little lovesickness, infinite sadness. Jiang Kui's love for Hefei women is so deep that it is fascinating. And that little red, just gently sang, slightly relieved Jiang Kui's worries. Hefei women will always be his unforgettable memory. Tired all the way, running around all my life, wandering around and relying on others, I never abandoned my love for a moment. His love is hot and so restrained, and his love is tough and so long. The water flows eastward, trickling. Is it the dust that he bumps all the way to make a living during the day, or the tears that he hangs alone at night? Jiang Kui's love is as pure, profound, ethereal and Gu Zhuo as his ci style. He doesn't like to show off or indulge himself. If Liu Yong's attitude towards love is mocking and playing games, then Jiang Kui's love is melancholy and cautious. It's not that he can't play, but that he can't afford it. Renzong period was still somewhat prosperous, while the Southern Song Dynasty in Gou 'an was gradually setting. Probably he has never had Liu Yong's mood and Liu Yong's chance in his life. However, Jiang Kui is not willing to be equated with Liu Yong. His ci style is Gu Zhuo, affectionate and touching, which is different from Liu Yong's vulgar ci. Probably, this is the most dazzling brilliance that gushed out at the end of the Southern Song Dynasty, that is, the day when the West Mountain was thin!
When reading Jiang Ci, I often read about his helplessness. Love a person, but can't get her, or get the body but can't get the heart, or get the heart but can't get the person, all of which are the sore points in Jiang Kui's chest. Sometimes I don't understand why Jiang Kui loves Hefei women so much and why he doesn't marry them. In the song "Song of Cuilou", that kind of helplessness is particularly obvious, and look at Bian Que:
Here, there should be a fairy, a Suyun Yellow Crane, playing games with you. Looking at the jade ladder for a long time, sighing that the grass is thousands of miles long. Tianya Wei Qing. It is heroic to spend money on wine and worry. Outside the western hills, weariness comes late, and there are curtains in autumn.
After all, there is no such thing as "fit"! As far as the world is concerned, Wei Qing, you can only drown your sorrows in wine. Jiang Kui is a pessimist, servile and humble. He was born a lifeless old man. In his poems, it is difficult to find his heroic spirit of rushing to the crown and shooting at the railing everywhere. After all, the weather we expected to eliminate dark clouds did not appear. What we see is an old man facing the sunset glow in the western hills, leaning against the curtain!
Jiang kui's hatred
Indeed, when you read Jiang Kui's ci, you will always feel that it lacks a penetrating power, no goal, no hope and no heroism. The lyrics have changed from a poem to a long tune, which is just suitable for the expression of Jiang Kui's feelings. Probably only slow words and long tones will have enough space for him to lay out slowly and take stock of his emotional world. One of his poems, Linglong Four Offenders, is full of vicissitudes, with heavy words and miserable sentences:
The night is cold, the lights are hanging in the spring, and current affairs are urgent! Tired of swimming and without joy, the stadium is sad for the time being. Jiang Yan also sang "Hate Fu", remembering to bid farewell to Nanpu. Wan Li Gankun, a hundred years' life experience, is the only bitter feeling.
Yangzhou willow hangs down the official road, changing horses lightly, and is looking after the family. The moon wakes up after drinking, and dreams drift with the tide. The article believes in beauty and knows what it is for. It has won a trip to the end of the world. Teach talk, spring comes, and find flower companions.
The sadness of a piece of cloth is far more than some sadness written in words. In fact, there are thousands of kinds of joys and sorrows, and ninety-nine kinds are one kind, which is nothing more than the sentence "The article believes in beauty and knows how to do it, and it is slower than the journey to the end of the world"! Throughout his life, during his 60-year life journey, Jiang Kui has always been trapped in poverty, wandering in the lake and sea, "drinking all his worries and spending all his heroic spirit", depressed and frustrated, wandering among powerful friends to make a living, and sometimes living a poor life. However, Jiang Kui is not a man without a career. His life was clean and lofty, and he was "like a man in Jin and Song Dynasties" (Chen Yu's Hidden Words). Since ancient times, the nature of literati is brilliant and unsuccessful. Scholars, officials, bureaucrats and ministers are always very few, and most of them have become "ministers in white" as Liu Yong said. Sometimes I feel that if a person doesn't do whatever he wants in society like Julien in Red and Black, or doesn't have a good father, he will only be at the mercy of fate. Jiang Kui lost his father before he was an adult and has been living with his sister. Without the protection of his father, who is a small official, he seems to have suddenly fallen into the lower class of life. But he is not good at making money. He just wants to make a living by being a diner and an aide by his own talents. Look at the first 17 in A Dream of Red Mansions. At that time, all the people were buttering up Nuo Nuo. Honest and kind people can't control their conscious contempt. However, you are humble, lofty, narcissistic, you can't tear off your face, you don't be a pug, and in the dark times, you have to fight against the low quality of life.
In fact, Jiang Kui had a chance to enter the mainstream society, but he gave up. He has contacts with many bureaucrats and scholars, including many dignitaries. Zhang Jian, who once relied on him, is a descendant of Zhang Jun, a general in the Southern Song Dynasty. This gentleman and Jiang Kui hit it off very well. He had intended to pay for a top hat for him, but Jiang Kui refused. What Jiang Kui yearns for is to get the rank through normal channels and rely on his own ability. "You can only take it from the middle, not from the middle" still affects the life orientation of a scholar like him. Later, Zhang Jian tried to cede the West Mountain to Jiang Kui, but in the end he failed. This incident made Jiang Kui sigh. "I am sorry for Pingfu (Zhang Jian's word) in my next life, but I am lost today." Life is only a few hundred years, and the subject and object are as different as people with equal feet. They don't care about things. "I really don't worry. A few years later, Jiang Kui was at the end of the road, suffering from poverty and illness. When he died, he didn't even have a few coins in his pocket for his funeral. Fortunately, several good friends got together and buried him.
"Meditate on a glass of wine, and the sky is vast." (Three Poems in Mourning the Stone Lake) A Mourning Poem Written by Jiang Kui to Fan Chengda. Now I can take it to mourn and commemorate him. Today, 900 years later, it seems that we can still see a stooped figure, a beautiful domestic prostitute, a newly cast song, a boat on Taihu Lake, and a low flute. The song came with the wind and echoed in the sky of 2 1 century.