Heavenly Fairy (Northern Song Dynasty. Zhang Xian)
Listen to the water tune several times while holding wine, and you will wake up after being drunk in the afternoon and worry about not waking up. When will you send Chunchun back?
Looking in the evening mirror hurts the scenery, and the past events will be forgotten later.
It is dark on the sand and on the poultry pond, and the clouds break through the moon and the flowers make their shadows.
Heavy curtains and densely folded lights, the wind is unstable, people are still at first, and the path will be filled with red sunset tomorrow.
Because of this poem, Zhang Xian was called by Song Qi as "the doctor who makes flowers and shadows when the clouds break and the moon comes"
Zhang Xian (990～1078)
Poet of the Northern Song Dynasty. The word is Ziye. A native of Wucheng (now Huzhou City, Zhejiang Province). My father, Zhang Wei, was fond of reading and enjoyed reciting poetry. Zhang Xian became a Jinshi in the eighth year of Renzong Tiansheng's reign (1030). In the first year of Ming Dynasty (1032), it was Suzhou. In the first year of Kangding (1040), he was appointed secretary-general to Wujiang County, and the following year he was appointed magistrate of Jiahe. In the second year of the emperor's reign (1050), Yan Shu learned about the Yongxing Army and was appointed as the general judge. In the fourth year, he became known to Yuzhou as a garrison member. In the fourth year of Jia □ (1059), he learned about Guozhou. In the first year of Emperor Yingzong's reign (1064), he became an official and became an official and a doctor. After that, he often traveled between Hangzhou and Wuxing, amusing himself with fishing and composing poems. He also went up and down mountains and rivers with celebrities such as Zhao □, Su Shi, Cai Xiang, Zheng Xie, and Li Chang, singing and returning. Until the year of his death, he still wrote lyrics.
Zhang Xian’s poems are as famous as Liu Yong’s. In the early Song Dynasty, Xiaoling's poetry was mainly composed. Zhang Xian was not only good at writing poetry in Xiaoling, but he was also an earlier writer who created a large number of slow poetry and long tunes, and he made a certain contribution to the development of the form of poetry. Chen Tingzhuo of the Qing Dynasty even exaggerated and said: "Zhang Ziye's Ci is a major shift from ancient to modern times." ("Bai Yuzhai Ci") In fact, Zhang Xian's role in the development of Song Ci cannot be compared with Liu Yong's. In terms of content, most of his poems reflect the lives of feudal literati and the relationships between men and women, and are not as wide-ranging in subject matter as Liu Yong's. In terms of form, Zhang Xian's long tunes are not as used as much and well as Liu Yong's. He lacked narrative ability and organizational structure. He wrote long tunes and "mostly used Xiaoling techniques" (Xia Jingguan's hand-censored "Ziye Ci"). Ci writers praised his poems for their charm, which mainly refers to some short poems with fresh and lively moods and subtle and euphemistic styles. For example, [Magnolia] "Yi Mao Wuxing Cold Food": "The dragon heads are competing with each other, and the women are playing on the swings. Fangzhou is picking up greenery and forgets to return home at dusk, and it is uncertain whether to go for an outing in the beautiful fields. After the clouds have gone, the distant mountains are dim, and Sheng songs are already playing. The pond is quiet. The moonlight in the courtyard is clear and bright, and countless poplar flowers are passing by without a shadow. "This poem was written by the author during the Cold Food Festival in his hometown of Wuxing. There are people in the scene in the first part, and it is full of life interest; the last two sentences in the second part describe the scenery. His work has been praised by commentators. The whole poem is full of the vitality of spring. If it were not for the time of writing, it would be difficult to believe that it was written by an 86-year-old man. Although his short poems about the love between men and women contain many clichés, there are also works with sincere and healthy feelings and delicate and novel techniques. For example, "Bodhisattva Man" writes about a singer who "fingered thirteen strings, and conveyed her deep hatred carefully" and "when she played until her heart was broken, her eyebrows dropped low"; Thinking is not as good as peach and apricot, but it still explains the psychology of "marrying the east wind", which is especially "unreasonable and wonderful" ("Wrinkle Water Xuan Ci Quan" by He Sang). At that time, it was known as "the doctor who married the peach and apricot to the east wind" ("Guo Guo" Court Records").
An important feature of Zhang Xianci's art is that he is good at expressing a hazy beauty with skillful brushwork. He is famous for his good use of the word "shadow". These "shadow" words often show stillness in movement, reflecting the cold and tranquil artistic conception with hazy and erratic scenery. Song Qi admired his "Heavenly Fairy" "The clouds and the moon come to the flowers and make shadows" and called him "the doctor of 'the clouds and the moon come and the flowers make the shadows'" (Volume 37 of the first volume of "Tiaoxi Yuyincong Hua" Quoted from "□Zhaixianlan"). He himself is also very proud of "the clouds break through the moon and the flowers make shadows", as well as "the delicate and lazy people rise up, the curtains roll up the shadows of flowers" in "Gui Chao Huan", and "the willow path is empty, and the catkins fall without a shadow" in "Peony Cutting" ", so he calls himself "Zhang Sanying". Li Tiaoyuan of the Qing Dynasty thought: "There is still a word (i.e. [Magnolia] in "Yimao Wuxing Hanshi") for 'countless poplar flowers have passed without shadow', so it should be called 'four shadows'." ("Yucun Cihua") Others include "The moon is shining brightly, and the shadow of the swing is sent across the wall" (Qingmen Yin), which is also well written. Zhang Xian's poems were also famous in the Song Dynasty. Su Shi said after inscribing the collection of Zhang Xian's Ci: "Ziye's poetry is exquisite, and the lyrics are Yubo'er. ... But the world only calls them lyrics." (Postscript to "Zhang Ziye's Ci" in Zhiquzhai Series) Ye Mengde also said , Zhang Xian "can write poetry and music, and he will never fade into old age. ... However, there are many folk customs that praise the music of Xian, thus covering up the sound of his poetry, and those who know him think he hates it." ("Shilin Poetry Talk" Volume 2) His poetry collection has been around for a long time. It is lost, and the surviving ones are scattered among the notes of various families and local chronicles, less than 10 pieces. Except for a few chapters, which are slightly impressive, the rest are too delicate. It is impossible to comprehensively comment on Zhang Xian's poetic achievements based on these lost poems alone.
Wu Xingzhi of Jiatai said that "there are a hundred volumes of Zhang Xian's collection, but only Yuefu has been handed down to the world". Chen Zhensun's "Ten Odes of Zhang's Illustrations and Postscripts" recounts a poem by Jia Cangzi's wild poems, which is called "Anlu Collection". However, there is no description in "Zhizhai Shulu Jieti". Volume 47 of Fang Hui's "Ying Kui Lü Sui" mentioned that "Zi Ye's collection of poems existed in Huzhou, but its origins have recently disappeared." "History of the Song Dynasty·Yi Wen Zhi" records 20 volumes of "Zhang Xian's Poems", but it has not been passed down. The collection of his poems was also lost in the Ming Dynasty. During the Kangxi period of the Qing Dynasty, Hou Wencan began to engrave one volume of "Anlu Collection" and included it in "Collection of Ci Poems of Ten Famous Writers". During the Qianlong period, Ge Mingyang carved one volume of "Anlu Collection", and the eight poems he compiled were the first. Later, Bao Tingbo obtained Lu Feixuan's manuscript "Zhang Ziye Ci" in 2 volumes and 160 poems, which were classified into palace tunes and still belonged to the Song Dynasty.
After re-according to Hou's version, eliminating the duplication, and compiling it with other books, it was divided into two volumes of "Supplement", which was engraved into "Zhiquzhai Series". Zhu Xiaozang's "□ Cun Series" is based on the Bao version.
Reference materials: Art China Home Page - Figures of the Past - Poems