By the time the History of Ci Poetry in the Northern Song Dynasty was written, the creation of Ci poets in the Southern Song Dynasty was faintly visible. Here, we should review and summarize the different characteristics of the two Song Ci poems in order to make a transition to the reading of the history of the Southern Song Ci poems.
First of all, the difference between North and South Song Ci comes from the evolution of music. Ci is essentially a kind of music literature, and many changes of Ci are closely related to the evolution of music. In ancient society, there was a lack of scientific methods for recording music scores, and music teaching was also very casual. Many beautiful tunes are passed down by geisha and musicians. Therefore, the constantly emerging new music scores inevitably drown out a large number of old tunes. A lot of pop music that was very popular in those days finally disappeared in the long river of history. Although many words in the Southern Song Dynasty can still be sung in chorus, it has become an irreversible trend that "the old music is scattered and cannot be sung by sound". Zhang Yan, a poet at the end of the Southern Song Dynasty, said in Preface to National Incense: "Shen Meijiao, a prostitute in Hangzhou, suddenly met in Kyoto and worked hard for wine. It's ok to sing Zhou Muslim. "It can be seen that there are very few people who can sing some Zhou Bangyan songs. "Poetry always borrows appropriate rhythms from songs and directly inherits its lyrical character. After adapting to this rhythm, poetry and songs entered a state of being at arm's length, and finally became apprentice poems without songs. " Poets in the Northern Song Dynasty should be between banquets and at the request of singers and dancers. It is an amateur pastime, an accidental amusement, a true description of private life and an undisguised expression of temperament. Ci in the Southern Song Dynasty broke away from the bondage of music more and more, embarked on the road of independent development, and gradually became the elegant literature of literati's desk. On the other hand, the great changes in the social environment in the Southern Song Dynasty forced the creation of lyrics to go out of the ivory tower and look at a broader social reality. Many times, it is the result of mutual singing or friendship between literati and poets, and sometimes it is the horn of the war of resistance and a tool to serve reality. The ci creation of poets in the Southern Song Dynasty is an elegant artistic activity, an elaborate organizational arrangement and a solemn emotional expression. Therefore, "Miscellaneous Works of Jiecunzhai Ci" said: "There were nonsense words in the Northern Song Dynasty and nonsense words in the Southern Song Dynasty."
Secondly, in connection with the evolution of this musical background and the change of creative environment, poets in the Northern Song Dynasty often express their inner feelings on the scenery in front of them, which is natural and vivid. Poets in the Southern Song Dynasty painstakingly conceived, cleverly arranged, wonderful and rich, with remarkable syntax and instigated by the police and the people. Zhou Ji said, "Because of the movement of the Northern Song Dynasty, the scenery is infinitely profound." Rich in materials. However, there were doors in the Southern Song Dynasty, so it was deep and shallow. In the Northern Song Dynasty, there was no city gate, so it seemed easy, but in fact it was difficult. "He added:" There are many ways to describe scenery in the poems of the Northern Song Dynasty, so the pearls are round and beautiful. When I arrived at Jiaxuan and Baishi, I immediately changed to describe the scenery, which was very profound. The ingenious arrangement of Ci in the Southern Song Dynasty is worthy of readers' repeated chewing. This fundamental change in the way of writing Ci began in Zhou Bangyan at the end of the Northern Song Dynasty, and was widely reflected in the creation of Ci writers. The third volume of Baiyuzhai discusses the development and rise and fall of Ci from this angle: "When you go to the Northern Song Dynasty to hear, Wei is not far away. When you see the ancient meaning, the Southern Song Dynasty is extremely abnormal. If it is extremely abnormal, it is possible to complete it. " The result went from bad to worse, and the reason was still covered. For Ling Du, this is still poetic, but it is impossible to continue later. When heaven and earth are exhausted, the ancient meaning fades from now on. "This kind of" ancient meaning "is probably the feeling of expressing feelings, that is, the feeling of nature. "
Thirdly, the Ci in the Northern Song Dynasty was written with emotion, rich and mellow, expressing personal pleasure with little accidental meaning; The Southern Song Dynasty's ci is unique and conveys the twists and turns of the poet's mind. Zhou Ji said, "The Ci of the Northern Song Dynasty is inferior to that of the Southern Song Dynasty. I don't know how to dispose of it because it can't be empty. The words of the Southern Song Dynasty, because they can be true, can have nowhere to put them. The Southern Song Dynasty did not commit the disease of the Northern Song Dynasty and could not reach the meaning of the Northern Song Dynasty. " (2) the southern song dynasty ci in this respect. Poets also like to praise things in association. Because the ancients praised things, "when expressing temperament by things, all the feelings of life experience and the worries of the country are hidden in them and deeply attached to them." (In the Qing Dynasty, Shen Xianglong's Theory of Ci, Volume III, Comments on Fan Tori's Ci, said: "Ci comes from poetry, that is, the small chanting of things. Inscribing the North-South peace talks, Bishan, Caochuang, Renjin adherents, Mao, Crab and Cicada in Yuefu Addendum all expressed infinite feelings of home and country, not just simple gifts. Zhihu's works include Qi Tianle Chanting Zen and Touching Fish Chanting Mao.