The Tang, Five Dynasties and Northern Song Dynasty were the periods of emergence and growth of Ci. From a large number of folk creations to literati's imitation and learning of "making sentences according to the rhythm of music", until it became a major form of lyric poetry creation in the literary world, the emergence and development of lyrics have gone through a mature process of elegance and refinement. The following is described in stages.
1. Dunhuang tune lyrics
As an emerging poetry style, it was initially widely circulated among the people. To be sure, there must have been many words circulating among the people at that time. Unfortunately, due to various reasons, most of the folk words have been lost. In 1900, by chance, hundreds of copied folk lyrics were discovered in the 288th Grotto (Sutra Collection Cave) in Mingsha Mountain, Dunhuang, which provided extremely precious information for studying the development of lyrics and music. Dunhuang music lyrics have been compiled into a collection. The authors include: Wang Chongmin's "Collection of Dunhuang Songs and Lyrics", which compiled 164 lyrics; Rao Zongyi's "Dunhuang Songs", which compiled 318 lyrics; Ren Erbeichu compiled "Dunhuang Songs", including "Wugengzhuan" and other popular tunes The number of Buddhist songs was expanded to 545. After serving in the Second Northern Dynasty, he compiled the "Collection of Dunhuang Songs and Ci", which was expanded to include all those who participated in the music, totaling more than 1,200 songs. However, generally speaking, those who discuss Dunhuang tunes and lyrics still focus on those that have tune names and conform to the style of lyrics, that is, the tunes and lyrics collected by Wang Chongmin are used as the research object, in order to distinguish them from Yuefu lyrics and other folk song lyrics. Judging from the Dunhuang folk words discovered now, their content is quite broad. Among them, "there are the moans of travelers, the heroic words of loyal ministers and righteous men, the joyful feelings of hidden gentlemen, the enthusiasm and disappointment of young students, as well as the praises of Buddhists, and the songs of doctors, all of which are in tune. They talk about the love of a girl and the flowers and willows. , less than half." (See Wang Chongmin's "Collection of Dunhuang Songs and Narratives") The most prominent among them are works that praise patriotic unity. Such as "Bodhisattva Man" ("Dunhuang has produced magical generals in ancient times"), "Xian Zhongxin" ("Life and Death in the Tang Dynasty"), etc. These words express the suffering suffered by the people in the frontier areas after the "An-Shi Rebellion" and their sincere hope that the country will be strong and the Tang Empire will be unified again. In addition, some folk poems also reflect the journeys and hardships of merchants and wanderers, the love lives of singers and dancers and their desire for a happy life, and some poems also express the tiredness of fighting for a husband, missing a wife, and the unjust war, etc. wait. The existing Dunhuang tunes and lyrics not only have broad themes and rich content, but also retain the simplicity and freshness of folk works in art, and their styles are also relatively diverse. It is this kind of folk poetry spread among the lower class people that nurtures literati and promotes the creation and development of literati poetry. At the same time, the tune lyrics discovered in Dunhuang also preserve some long tunes that are rarely seen in the existing literati lyrics of the Tang Dynasty.
It is worth noting that the best and most written Dunhuang lyrics are still works about the love between men and women. The tunes and lyrics that match the popular Yanle singing in public and private banquets and other entertainment venues will inevitably be affected by the creative environment and atmosphere, showing a general creative tendency, that is, talking more about the erotic love between men and women and drinking wine to cheer them up. It is conceivable that in the environment of banquets, singing and dancing under the moonlight, the young singers singing ditty to encourage wine and cheer suddenly sang "I am born with talent, I will be useful, and I will come back after all the money is gone", or sang slowly and solemnly "To Jun Yao and Shun, If the customs are "pure", it will be so inconsistent with the surrounding atmosphere that it will definitely destroy the scenery. At this time, if you sing erotic tunes to cheer up the wine, it will be very harmonious with the atmosphere. Therefore, although less than half of the Dunhuang lyrics talk about the love of a boudoir, it is the most frequently expressed. If we classify and summarize the "Collection of Dunhuang Songs and Lyrics", we can find that works about boudoir love and flowers account for more than one-third, accounting for the largest proportion. The civil class likes to talk about vulgar topics. The Dunhuang tunes and lyrics, which have been revealed from the beginning, have a creative tendency of talking about the erotic love of men and women, which caters to their appreciation tastes and aesthetic habits. Such works are also the most lively and artistic. Highest achievement. Let’s take two poems as examples:
Luo Qi is wet with tears, and the young master is unfaithful. At the beginning, the sister knew clearly that she should not take her sincerity more seriously than him. Zi thought about it carefully, is it okay to know and understand it lightly? ("The Music of Ball Throwing")
The moon in the sky looks like a ball of silver in the distance. As the night progresses, the wind gets stronger and stronger, and the clouds around the moon are blown away by the slave, revealing the unfaithful person. ("Wang Jiangnan")
"The Joy of Throwing Balls" is a "confession" of a brothel prostitute. It writes about a woman's experience of being toyed with and abandoned, as well as the inner pain and subsequent consequences caused by it. regret. She regrets her true devotion and regrets that she should not have listened to the well-intentioned advice of her sisters. It is so profound and touching. The truth of his feelings, the depth of his experience, and the pain of his words are only among those who can express them this way. "Wang Jiangnan" is also a song of resentment in the boudoir. When I think of "the betrayed person", I can't suppress the bitter hatred in my heart. "A passionate woman betrays her heart" is a common theme in ancient folk. The novel and unique conception of this poem increases the lyrical artistic expression. This is the charm of folk songs.
As the initial form of lyrics, Dunhuang lyrics are also obviously different from the later lyrics. The characteristics of its early form are summarized into six points in Mr. Wu Xionghe's "General Theory of Tang and Song Ci": there are lining characters, the number of characters is uncertain, the level is informal, the rhyme of the leaves is uncertain, the chant names have many original meanings, and the tunes and styles are rich and diverse. At the same time, in terms of artistic expression, many works are too vulgar and crude, often making them unreadable. The pearl of music and lyrics is still buried in the sand and needs literati to dig, wipe and polish it.
2. Literary Ci of the Mid-Tang Dynasty
In the process of folk communication, its lively form, distinctive rhythm and rich and colorful musicality have not only been loved by the majority of the lower class people, At the same time, it will inevitably attract the attention of the majority of literati. Literati may have relied on sound to compose lyrics very early. Some people believe that the earliest extant literati poems are Li Bai's "Bodhisattva Man" ("The plain forest is full of smoke like weaving") and "Recalling Qin'e" ("The sound of the flute swallows"). Huang Sheng of the Song Dynasty believed that these two poems were "the ancestors of lyrics and music for a hundred generations" in "Selected Poems of Sages of the Tang and Song Dynasties". However, most people believe that these two poems are forgeries, and there is no conclusion yet. We can draw this conclusion: During the early and prosperous Tang Dynasty, both folk and literati had begun to create "ququci", which is acceptable to the academic community.
In the mid-Tang Dynasty, more and more literati wrote lyrics. Among them, the famous ones include Zhang Zhihe, Wei Yingwu, Liu Yuxi, Bai Juyi, etc. Zhang Zhihe's "Fishing Song" ("Egrets fly in front of Xisai Mountain, peach blossoms flow in the water, mandarin fish are fat. Green bamboo hats, green coir raincoats, the slanting wind and drizzle do not need to return.") had a great influence. It has clear words, vivid descriptions and a folk song flavor. The image and sentiment of the fisherman in the poem is actually a hermit escaping from the dirty officialdom. Therefore, this poem was highly appreciated by scribes. Wei Yingwu's "Tiaoxiao" ("Huma, Huma, far away at the foot of Yanzhi Mountain. Running in the sand and running in the snow, neighing, looking east and west, looking at the lost road. Lost, lost, endless grass on the edge of the sun.") describes the scenery and weather of the northwest grassland. It is open, vigorous and picturesque, and the style is vigorous, which is different from the general style of poetry at that time. Bai Juyi and Liu Yuxi were great poets who wrote more lyrics in the mid-Tang Dynasty. Bai Juyi's "Recalling Jiangnan" ("Jiangnan is good, the scenery is familiar to me in the past. When the sun rises, the flowers on the river are as red as the fire, and when spring comes, the river is as green as blue. How can we not remember Jiangnan?") depicts the beautiful and charming natural scenery of Jiangnan, showing his affection for the rivers and mountains of his motherland. His passion, fresh and bright style, spread widely. When Liu Yuxi was in Luoyang, he also sang in harmony with the lyrics and tune of "Recalling Jiangnan", and wrote in his own annotation: "He Le Tian Chun's lyrics are based on the beat of "Recalling Jiangnan" as a sentence." The idea of ??"taking the beat of music as a sentence" summarizes the Tang Dynasty The experience of writing lyrics to music has consciously raised the writing of lyrics to a new stage of echolographic lyrics. The great development in the creation of poetry in the late Tang and Five Dynasties was the inevitable result of the accumulation of experience in poetry creation in the mid-Tang Dynasty and the theory of "making sentences based on music and beats".
The creation of literati lyrics during this period was the result of learning from folk songs. Therefore, it still maintains the natural and clear characteristics of folk songs. From the early and prosperous Tang Dynasty to the mid-Tang Dynasty, relatively speaking, the creation situation of "ququci" was still relatively quiet. Since the mid-Tang Dynasty, Bai Juyi, Liu Yuxi and others have "made sentences based on music and beats", but there are only a few responders. On the one hand, at this time, the creation of Tang poetry was reaching its peak, taking the lead in the literary world; on the other hand, the literati and officials' will to actively use the world, which had been prevalent since the early and prosperous Tang Dynasty, was still inconsistent with the melodious and downbeat style of "ququci". It is not very coordinated, and a social environment suitable for the growth of "quci" has not yet emerged.
3. Literary Ci of the Late Tang and Five Dynasties
The late Tang and Five Dynasties were the first climax of lyric creation in the history of Chinese poetry. "Ci of the Tang and Five Dynasties" edited by Lin Dachun contains 1,147 poems; "Complete Ci of the Tang and Five Dynasties" edited by Zhang Zhang and others contains more than 2,500 works; "Complete Ci of the Tang and Five Dynasties" edited by Zeng Zhaomin and others contains 2,641 works ( There are 1,963 poems in the main part and 678 in the supplementary part), of which there are 689 poems with five pronouns in the main part. It can explain the prosperity of lyric creation since the late Tang Dynasty and the Five Dynasties.
The late Tang Dynasty and the Five Dynasties were a period of great social turmoil, with warlords separatist rule and frequent wars. The vast Central Plains region was in dire straits. However, on the other hand, the rulers lived an extremely luxurious and decadent life. After the violent death of Xianzong, the power to abolish and establish emperors was in the hands of eunuchs. The eight emperors Mu, Jing, Wen, Wu, Xuan, Yi, Xi and Zhao were all supported by eunuchs and succeeded to the throne. In order to control the emperor and the government, the eunuchs deliberately supported mediocre people to succeed to the throne and guided them to play and enjoy themselves. Emperor Muzong of the Tang Dynasty fell ill and died of fright because of playing polo with eunuchs. His son Jingzong reigned for three years. He also played excessively and kept close quarters. In the end, he was killed because of drinking with the eunuch Liu Keming and batting general Su Zuoming. The one who lived an even more extravagant and extravagant life was Yizong of the Tang Dynasty. History says, "The death of the Li family was decided here." Yizong liked music and banquets. "There were often nearly 500 musicians in front of the palace, and there were no less than ten banquets every month." , both land and water are available, listening to music is good, never tire of it, and is given moving and thousands of strings." (Volume 250 of "Zi Zhi Tong Jian") The youngest son of Yizong succeeded to the throne and became Xi Zong. Under the inducement of the eunuch Tian Lingzi, he became a master of music. He is good at everything in gambling, and he is also good at Cuju, cockfighting, and batting. He even said to the actor Shi Boar: "If I should be admitted to the imperial examination by batting, I must be the number one scholar." (Volume 253 of "Zi Zhi Tong Jian" Volume 253 )
The self-indulgence of emperors and courts induced a change in social atmosphere. From the central to the local governments, pursuing sensuality and feasting has become a common behavior. At the same time, with the decline of the Tang Empire, the majority of intellectuals were disillusioned with their political ideals and could not see the prospects for their official careers. This further prompted them to retreat into the narrow circle of their own lives, enjoy themselves in time, indulge in self-indulgence, and kill time with wine and beautiful women. . The poetry style of the late Tang Dynasty tends to be beautiful and sad, showing an artistic style similar to that of late Tang poetry. Wen Tingyun, a famous poet together with Li Shangyin, is also the originator of the fragrant "Huajian Ci". This series of aesthetic phenomena with characteristics of the times are closely related to the changes in the social environment since the middle and late Tang Dynasty.
In other words, the arrogant and extravagant world style since the middle and late Tang Dynasty has provided a good opportunity for the maturity of "ququci", and ultimately promoted the formation of the euphemistic and romantic style of Ci.
Five Dynasties and Ten Kingdoms, "You finish singing and I will appear on stage." In this chaotic historical farce, most of the monarchs of various short-lived small dynasties were short-sighted and had no political foresight. Apart from fighting fiercely and bravely, they only wanted to enjoy the sensual pleasures of sex and indulge in singing, dancing and wine. In the later Tang Dynasty, Emperor Zhuangzong favored court officials and even appeared in court, and finally ended up in ruins. Wang Yan, the lord of the former Shu, and Meng Chang, the lord of the later Shu, were both famous in history as dissolute, shameless, mediocre and incompetent emperors. Wang Yan boasted about his life of excessive drinking and debauchery in his "Drunken Zhuang Ci", saying: "The emperor is walking while walking." , Walking that way, you are just looking for flowers and willows. Walking that way, you will never be tired of the golden cup of wine. "Li Yu, another small monarch of the Ten Kingdoms who made outstanding contributions to the development of Ci, was in decline when he came to the throne. , precarious. Li Yu didn't want to cheer up, and indulged in the gentle countryside of wine and beautiful women day and night, paralyzing himself with sound and color. His poems also reveal a gorgeous and decadent life atmosphere. "Huanxi Sha" says: "The red sun is already three feet high, and the golden furnace adds fragrant beasts. The red brocade lichen wrinkles with every step. The beauty dances with gold hairpins, and the wine is bad. At that time, I picked up the flower stamens and smelled them. "I heard the flute and drum playing in the distance." "Spring in the Jade House" said: "The snow has begun to shine on the skin in the evening, and the concubines and fish are lined up in the spring palace. The flute blows through the water and the clouds are played again." "Who is more fragrant in spring? When I return home, I will light up the red candles and wait for the horse's hooves to clear the night." These little emperors who are drunk and dreamy have closely integrated their literary creation with their indulgent life. .
The glamorous world style during the Five Dynasties and Ten Kingdoms period continued to provide the most favorable environment for the development of Ci. At this stage, due to geographical separation, two groups of poets gradually formed: Western Shu Huajian poets and Southern Tang poets. Since Western Shu and Southern Tang maintained a relatively stable political situation at that time, their economic life even showed temporary prosperity, which provided favorable conditions for the development of Ci. The terrain of Xishu is dangerous, and it is known as "one man can guard the pass, but ten thousand men cannot open it". Compared with the vast areas of the Central Plains, the situation was relatively stable, with fewer wars and disasters. A large number of literati took refuge in Western Shu and formed a creative group. "Huajian Collection" is one of the earliest collections of poems in the history of literature. It was compiled by Zhao Chongzuo of the Later Shu Dynasty and was published in the third year of Guangzheng (AD 940). It contains 500 poems by 18 poets. Ouyang Jiong (a poet of the Five Dynasties, who first went to Shu, was a member of Zhongshushe, and later Meng Zhixiang, who became prime minister, and finally was demoted to the Song Dynasty) once wrote a preface to "Huajian Collection", saying: "The golden carvings are carved with beautiful flowers, imitating the chemical industry. And return to cleverness; cutting flowers and leaves to capture the beauty of spring to compete for freshness. "There are young masters of Qiyan and beauties in embroidery, handing over flowers and leaves, drawing beautiful brocades; holding up slender jade fingers, patting the fragrant sandalwood." . The words are pure and charming, and the style of the palace in the Southern Dynasty is very beautiful. It is more than just words, and it is so-called beautiful but not true." The characteristics of the selected works and the process of producing these works. It can be seen that works describing lovesickness and love between men and women account for a considerable proportion in "Flower Room Collection", which is no accident. Of course, there are also some works in the collection that reflect the social outlook at that time, such as Sun Guangxian's "Dingxifan" ("Ride in front of Jilu Mountain"), Mao Wenxi's "Ganzhou Bian" ("Tight Autumn Wind"), which reflects frontier life; Lu Qian Ke's "Linjiang Immortal" ("The Golden Locked Gate is Quiet in the Desolate Garden") reflects the grief of the country's subjugation; Li Xun's "A Cloud in Wushan" ("The Ancient Temple Is on the Green Mountains") describes the sorrow of the Zhouzi traveler; The ten poems of "Nanxiangzi" describe the scenery of southern China, among which the works about life in Lingnan are particularly distinctive and unique.
Among the "Huajian poets", the most influential ones are Wen Tingyun and Wei. Zhuang.
Wen Tingyun is a famous poet and lyricist in the late Tang Dynasty. He does not belong to the scope of "Huajian", but he is called the originator of "Huajian" by later generations. There are 66 poems in his poems. He is the first great poet in the history of Chinese poetry, with a unique artistic style. His poems are implicit and full of meaning. Later generations also have different opinions on his poems. The reason for this is that the emotions in his poems are relatively deep and the artistic conception is hazy, which is not easy to understand. For example, in "Bodhisattva Man": "The hills overlap and the golden light disappears, and the clouds on the temples want to cover the fragrant snow on the cheeks." Too lazy to paint my eyebrows, too late to put on makeup and wash up. Looking at the flowers in the front and rear mirrors, the flowers reflect each other. The new post is embroidered with Luo Ru and both have golden partridges. "Also: "The glass pillow in the crystal curtain, the warm fragrance arouses dreams of mandarin duck brocade. The willows on the river are like smoke, and the wild geese are flying in the waning moon sky. The autumn color of lotus root silk is light, and it is better to cut it unevenly. The temples are fragrant red, and the jade hairpin is windy. " has such characteristics, and the interpretations of predecessors are very different. The reason why Wen's Ci is hazy and obscure is that his Ci mainly relies on naming names and objective images, such as "Little Mountain" in the first poem ", "Clouds on the temples", "Fragrant cheeks", "Emei", "Hua Jing", "Xiu Luo Ru", "Golden Partridge", etc., rather than relying on the direct expression of subjective feelings. His words are dense and picturesque, and they are very jumpy. Strong, coupled with the gorgeousness of the words, this constitutes an artistic style of deep elegance and beauty. Of course, Wen's poems are not all hazy and obscure. He also has some clear and clear poems, such as "Dream". "Jiangnan": "After washing up, I leaned alone on Wangjiang Tower. All the thousands of sails that have passed are not the same, the slanting light and the flowing water are long, and the heart is broken by Bai Pingzhou. "However, it is not the latter that represents the style and characteristics of Wen's Ci, but the words mentioned above. The feelings expressed by Wen Tingyun in his Ci are all sensory, superficial, and just an expression of his hedonic life. However, its method of listing exquisite famous objects and the sentiments of the boudoir it expresses "often coincide with the tradition of using women as metaphors in classical Chinese poetry."
This not only provides space for future generations to have multiple understandings, but also suggests an alternative path for the development of words. Wen Tingyun has made indelible historical contributions in the history of the development of Ci. This is mainly reflected in: 1. Through his creation, the influence of ci has been expanded, the literary status of ci has been improved, and ci has begun to become one of the new poetic forms; 2. The creative path of ci has been opened up and the graceful ci has been formed. The sect had a profound influence on future generations.
Weizhuang lived in the turbulent period between the late Tang Dynasty and the Five Dynasties. He was a Jinshi at the age of 59, and entered Shu at the age of 66. At the age of 72, King Jian of the former Shu Dynasty proclaimed himself emperor, and he became the prime minister. He died at the age of 75. Wei Zhuang was not only a famous poet in the late Tang Dynasty, but also a famous poet in the Five Dynasties. In the history of Ci, Wen and Wei are both called together, and some people even put them into the same school. In fact, the words of Wen and Wei are obviously different. Wei Zhuang's poetry is characterized by its passionate subjective lyricism, showing a straightforward, energetic and distant style. Such as "Sidi Xiang" ("On a spring trip, apricot blossoms are blowing all over the head. There is a young and romantic family on the street. I plan to marry him and live in peace for the rest of my life. Even if you are ruthlessly abandoned, you can't be ashamed.") and "Nv Guan." "Zi" ("April 17, it was today last year when I said goodbye to you. I pretended to lower my face while holding back tears, and half-browed my eyebrows in embarrassment.") etc. His five famous poems "Bodhisattva Man" also have the characteristics of being frank and revealing. The second one says: "Everyone says that Jiangnan is good, and tourists only like Jiangnan. The spring water is green in the sky, and the boat is painted and sleeping while listening to the rain. The people beside the fire are like The moon is bright with frost and snow on your wrists. You should not return to your hometown before you are old, for returning home requires breaking your heart." Wei Zhuang changed his words to Wen Tingyun and expressed his feelings directly, which is completely different from the vagueness and depth of Wen's poems. Wei Zhuang's Ci has a great influence on Li Yu, Su Shi and Xin Qiji.
Besides Xishu, another creative center of the Five Dynasties Ci poems was the Southern Tang Dynasty. The Southern Tang Dynasty had 35 states and was known as a great power at the time. It relied on the natural dangers of the Yangtze River to keep a distance from the war in the Central Plains. During the war period when small countries in the Central Plains were fighting against each other, the Southern Tang Dynasty did not suffer too much damage from the war, and its economy actually developed. In this environment, the monarchs and ministers enjoyed themselves and created their own creations, forming a creative group of poets in the Southern Tang Dynasty. Most of the works of poets of the Southern Tang Dynasty are still products of the singing and dancing banquet environment. Chen Shixiu of the Northern Song Dynasty wrote the preface to Feng Yansi's "Yangchun Collection", describing the creative environment at that time: "The Duke said: "When Jinling was in full bloom, there was nothing going on inside or outside, friends and colleagues were close to each other, or there were banquets, and many ideas were used to write new Yuefu lyrics and songs. The person sings while leaning on the silk and bamboo, so it is to entertain the guests and entertain them." The content of the lyrics written to "entertain the guests and entertain the guests" during the banquet must be personal and hedonistic, and the style must be relaxed, as shown above. Two examples of Li Yu's poems. However, in the face of the power of the Later Zhou Dynasty, and then the rise of the Zhao and Song dynasties, the Southern Tang Dynasty was in danger. The monarchs and ministers had a premonition that the country's inevitable demise was approaching day by day, but they were unable to stand on their own feet, and there were psychological problems that they could not get rid of. A heavy feeling of decline. So they sought spiritual sustenance and temporary escape in singing, dancing and banquets. The heavy feeling of decline also penetrated into the creation of lyrics, obviously beyond the scope of "Flower Room". The situation in the Southern Tang Dynasty was different from that in Western Shu. No one in the Southern Tang Dynasty compiled and compiled Ci poems, so not many works have been preserved. Only a few poets such as Li Jing, Feng Yansi and Li Yu were influential. Most of the poets in Western Shu were literati from the Qing Dynasty, but the authors of poetry in the Southern Tang Dynasty were mainly emperors and powerful officials. Therefore, the poets in the Southern Tang Dynasty paid more attention to the fate of the country, even if it was subconsciously.
Li Jing was the central lord of the Southern Tang Dynasty. He succeeded to the throne at the age of 28 (943) and reigned for 19 years. In the early days, he could still inherit his father's influence and expand the territory, expanding the original 28 states to 35. But things changed after the thirteenth year of Dabao (955). He declared himself a vassal of Zhou; in the first year of Zhongxing (958), he lost the imperial title and regarded the country as a vassal of Zhou. In the last six years, his situation was very critical. Li Jing was talented and fond of reading, and he had a group of literary ministers gathered around him. Unfortunately, too few of his works have been handed down to this day, with only four poems, two of which are particularly famous, "Breaking Through the Sands of Huanxi". The second cloud says: "The fragrance of the lotus leaves is gone, and the westerly wind stirs up the green waves. It is still haggard and haggard with the time, and it is unsightly to look at! The drizzle dreamed back to the chicken plug far away, and the small building blew through the Yusheng cold. How many tears are infinite "Hate, relying on the lantern stem" links the desolation of autumn with the longing for farewell in the boudoir. The emotion is unreasonable and has profound implications. Wang Guowei said that it "has the feeling of being fragrant and filthy, and the beauty is in her old age" ("Human Poetry"). 》).
Feng Yansi was once a famous lyricist, but his lyrics rarely contained joyful singing. His works often reveal a touch of sadness or even affectionate lamentation. He was good at expressing the desolation of the times with clear and beautiful pen and ink. He should have realized that the country was bound to perish but could not escape the tragic fate of destruction. From an artistic point of view, Feng Yansi's poems not only have the colorful and objective image descriptions of Wen Tingyun, but also have the direct expression of inner emotions like Wei Zhuang's poems. However, because what he writes is no longer just a love song about personal feelings, but also a lament about the rise and fall of his family and country, his words are more comprehensive and general. For example, "The Magpie Steps on the Branches": "Who knows that leisurely love has been thrown away for a long time, and every spring comes, the melancholy is still the same. I often get sick and drink in front of the flowers every day, and I don't hesitate to look thin in the mirror. Willows on the green bank of the river, in order to ask for new sorrows, What happens every year? The wind fills the sleeves of the independent bridge, and the new moon people in Pinglin return." It can be seen that this kind of words is different from the previous ones Wen Tingyun and Wei Zhuang. This marks that the poetry of the Five Dynasties has taken a great step forward in terms of artistic conception and artistic techniques after Wen and Wei. Feng Yansi had a great influence on Yan Shu, Ouyang Xiu and other poets in the Song Dynasty. Wang Guowei said: "Feng Zhengzhong still retains the style of the Five Dynasties, and the veranda is extremely large, which is the style of the Northern Song Dynasty.
" ("Human Words")
Li Yu was the sixth son of Li Jing, the central lord of the Southern Tang Dynasty, and the last young emperor of the Southern Tang Dynasty. The year before Li Yu succeeded to the throne, Zhao Kuangyin had established the Song Dynasty in the Central Plains. During the 15 years of his reign, Li Yu continued to implement his father Li Jing's policy and paid tribute to the Song Dynasty in an attempt to maintain peace. Of course, this was a dream that was bound to be shattered. In the eighth year of the Song Dynasty (AD 975), the Song Dynasty was destroyed. In the Southern Tang Dynasty, Li Yu was captured and lived as a prisoner in Bianjing for three years before being poisoned. Most of Li Yu's early poems described the court life indulged in pleasure, and some of his works could no longer conceal his inner feelings. Sadness and heaviness, "Qing Ping Le" said: "Don't come in the middle of spring, I will feel sad and heartbroken. The fallen plum blossoms are like snow, and they are still full after being brushed. There is no evidence of the arrival of wild geese, and it is difficult to realize the dream of returning home after a long journey. Leaving hatred is like grass in spring, we can travel farther and still be alive. "The style of these words is similar to that of Feng Yansi, with a sense of irreversible decline. After the fall of the country, the little emperor was reduced to a prisoner. He could not protect himself, and his emotions were in extreme grief. The tone was sad and painful. In real life In the world of art, he has to put on a mask to deal with the outside world, but in the art world, he is extremely sincere. The great changes in life have caused a huge gap in his heart, and the pain he has experienced has been extremely deep. When associated with the experience of the country being destroyed and the family being destroyed, it has a unique and soul-stirring artistic charm. Therefore, Li Yu's later works are broad in artistic conception, profound in emotion, full of power, and highly contagious. For example:
When will the spring flowers and autumn moon come, how much do you know about the past? The east wind blew again last night in the small building, and the old country cannot bear to look back. The carved jade bricks should still be there, but I wonder if you can change them. How sad, just like a river of spring water flowing eastward! ("Yu Meiren")
The rain is gurgling outside the curtain, and the spring is fading. In the dream, I don't know that I am a guest. Greedy for joy. Don't be alone. It's easy to see the world. It's hard to see the flowers when they are gone. ("Lang Tao Sha")
Li Yu's poems are natural in style. He uses ordinary people's emotions to experience, observe and reflect the life he feels, so his words can arouse the excitement of a wide range of readers. , no polishing, no embellishment, it just reflects the true character of the poet. Although the predecessors thought that Li Yu's poetry did not have the boundaries of elegance, the artistic conception of his poetry is his frankness. Lyrically, his elegant, unrestrained and unrestrained style cannot be limited by the word "graceful". His influence on later generations is not only that of graceful poets, but also writers who are called bold poets. , such as Su Shi and Xin Qiji, were also influenced by Li Yu to varying degrees.
From Wen Tingyun to Li Yu, the creation of poetry shifted from the deep expression of emotions to the direct expression of the pain of national subjugation, and the content of poetry became richer and more colorful. The techniques became more diverse and artistically mature. Therefore, the poetry of the Tang and Five Dynasties not only created conditions and made artistic preparations for the development of Song poetry, but also won the love and high praise of later generations of readers.