Source: China Rhyme Magazine.
Original name Xiangtan
The original issue number was 19960 1.
Original page number 59-67
Classification number J2
China ancient and modern literature research.
Copy issue number 199703
Author Nie Anfu
Editor Liu Qingyun
In the aesthetic field of ancient literature in China, elegance and vulgarity are two important categories, both of which originated from the musical theory of pre-Qin Confucianism. The Analects of Confucius is divided into Elegant Music and Zheng Sheng. Hui Liang Wang Xia has the theories of "former king's happiness", "secular happiness", "present happiness" and "ancient music". The dividing standard between elegant music and popular music lies in music education, which embodies the Confucian literary enlightenment thought. Confucius once said: "I guard against Lu, and then I am happy, and elegance and praise are in their proper places." ("The Analects? Zi Han ")" Xunzi? "On Music" explains the intention of emperors in past dynasties to write "Elegance" and "Ode": "Happiness comes from a husband, and human feelings are inevitable ... Therefore, an old friend must be unhappy, and happiness cannot be invisible, and intangible is not chaotic. The former king hated his chaos and pretended to praise the sound of pottery, so that his voice was full of joy but not flow, so that his writing was distinguished without slander, so that his straightness, complexity, meanness and rhyme were enough to touch people's goodness and his evil spirits were unreasonable. This is the first way to make fun of Wang Li. " "Yao Zhirong, the voice of Zheng and Wei, makes people feel wretched; The gentry finally danced the songs of Shao and Wu with Zhang Fu, which made people feel relaxed and happy. Therefore, a gentleman's ear does not listen to the voice of lewdness, eyes do not look at women, and does not speak evil words. These three, the gentleman is cautious. " This is also "Zhou Li? Guan Chun? "Lude" ("Neutralization? Only mediocrity? Filial piety "). The theory of elegance and vulgarity in music circles of past dynasties mostly inherited this traditional concept.
After the Han and Wei dynasties, the concept of elegance and vulgarity gradually entered the discussion of art, Wang Chong, on? Four bogeys: "Fu Tianying, a vulgar father; Tian Wen, Masako also. " Liu Xie's Wen Xin Diao Long: "I think about the quality of literature, but when I am hidden in elegance and vulgarity, I can change it with words." (General Compilation) "There is elegance in learning ... elegance in style, and few contrary habits." ("Style") Yin Kun's "He Yueling Photo Collection" in the Tang Dynasty said that the prose "has elegant style, wild style, vulgar style and vulgar style".
It can be seen that before the Song Dynasty, the concept of elegance and vulgarity had been popular in the fields of music and literature. As Liu Xizai said, "Joy is elegance, and more wow is righteousness. Words, movements and elegance are indistinguishable, let alone. " The distinction between elegance and vulgarity naturally became an important topic in the field of Ci in Song Dynasty.
A Song Poem "Song People Call Elegant Words"
At the end of the Qing Dynasty, Shen's "Record of the Past of Quanzhuo Temple" said:
Elegant words spoken by Song people also have two meanings. This elegant word [1] means elegance. If you talk about "elegance is a consonant, never let go of a word", then Xie's music method is elegance. Zeng Duan Bo Gai has two meanings. According to Bi Zhi: "Wan advocates elegant words to customize its collection, which is divided into two parts, namely, elegant words and colorful parties." Another cloud said, "He and Zhou Meicheng always got the legacy of Li Sao. For example, He Zhi's Song of Six Kingdoms, Homesickness and Wu Yinzi, and Zhou's Da 'an, Warrior Lan Ling and Six Ugliness are the strangest. Or' lack of strength and rhyme', which is also difficult for Liu's wild fox to spit out. " [2]
Shen Shi's elegant ci, Yao Zeng's Yuefu's elegant ci, Wang Zhuo's Bi Ji Man Zhi and Zhang Yan's Etymology are all important bases for investigating the concept of elegant ci of Song people. However, Shen Shi's explanation of "what Song people call elegant words" is somewhat neglected. Yao Zeng's Preface to Yuefu Elegance said:
If it involves banter, go there and call it Yuefu Elegant Words. Nine times of communication, with the first title of the text; Gentlemen, turn to step two. Ou Gong's generation of Confucianism is charming and poetic. At that time, villains or erotic songs were mistaken for popular words and have now been deleted.
There is no mention of the law of harmony, let alone the law of harmony and music. Zhu Yizun's Postscript of Yuefu Elegant Ci in the early Qing Dynasty said: "The preface is titled' teasing' quatrains, and the cloud' nine times biography' is the last sound of great music." Shen Shi changed his misunderstanding of Zhu's postscript, saying that Yao Zeng's topic is not only "elegant words", but also "elegant words" and "great harmony in elegance and music". According to Studies on the History of the Song Dynasty (volume 129) and Four Songs of Music, four years of worshipping Ning (1 105) and two years of Zheng He (113) were carried out in the teaching workshop. It is impossible for Ouyang Xiu, Chao and others' words recorded in Yuefu Ya Ci to coordinate the grand melody.
Let's talk about Zhang Yan's concept of elegant words. Shen Shi's quotation that "elegant characters are in harmony, and every word does not leak" can be found in the etymological volume "Sound Spectrum":
This word is homophonic first. What's the sound? Spectrum also. ..... ancestors have a smooth melody, ... every lyric must be pressed by the singer, and any discrepancy will be corrected immediately. Zeng Fu wrote the word "Rui and Xian" ... According to its score, the pronunciation and characters are related, but the word "Pu" is slightly different, and the word "Shou" is related. I didn't know the harmony of elegant words until now, although I didn't let go of a word. Believe it or not, harmony is hard to come by.
Zhang Yan emphasizes homophonic, which belongs to the traditional consciousness in his ci-poetry concept. The objective trend of the separation of words and music made him really feel that "harmony is not easy." "There are 60 old periodicals, and those who can sing and recite don't have much meaning" ("Etymology? Preface) is empirical. Therefore, when it comes to creation, Zhang Yan is not "harmony first":
Characters must be written according to law. But the law is not easy to learn, so you can only teach it by hand. If a poet doesn't write a poem, he will want to conform to the law, but he is afraid that it is unreasonable. Just like Fang becoming a monk, he must meditate and obey the law. If he is ill before he meets the Tao, how can he enter the Tao? When studying melody, the lyrics should be carefully considered. Once the sentence is fluent, then the sound spectrum is right, and the combination of the two can create the realm of metaphysics.
"Miscellaneous Theories" in Etymology
This is undoubtedly a certain degree of affirmation of dissonance. Accordingly, when judging the elegance and vulgarity of words, Zhang Yan is not limited to homophonic or not. For example, the "Rui He Xian" by truffles (red face and red pillow) [3] was praised by him as "the scenery is affectionate and elegant" and changed to "to be returned, first refer to the flower tips to teach you". The word "first finger" is completely different from Zhang Ci's. Then truffle's works must be discordant, and Zhang Yan was rated as "Sao Ya", and his view of elegant ci is mainly in the chapter of ci. This is exemplified in etymology:
Beauty has become synonymous with negation, and the words created are rich and elegant, and they are good at blending poetry. However, there is disharmony between sound spectra, which shows that it is difficult.
Etymology? foreword
If you want to be elegant and upright, you have a purpose. If they are served by emotions, they will lose their elegance and correct voice.
"Miscellaneous Theories" in Etymology
Therefore, the joy of parting, the sorrow of parting, the palindrome title of Ye Zhisi and the tears of Zhou, in a word, if we can screen out its floating, happy but not lewd, it is also the legacy of Han and Wei Yuefu.
"Emotion" in Etymology
The so-called "being good at melting poetry", "doing whatever you want" and "being happy without being slutty" all discuss elegant ci from the aspect of ci chapters. Another example is that longevity words are "rich and vulgar" (etymological comments), "heroic words written by Xin Jiaxuan and Liu Gaizhi are not elegant words" (ditto), and "if function words are used to the best of their ability, words are vulgar and untrue, but they may be covered up" (etymology). Perhaps it can be said that elegance and vulgarity of words have little to do with harmony or not, and critics can treat them separately. Zhang Yan said that "in the past, there were not many people chanting festival preface, and those who paid for it were vulgar" (the preface of Etymology), and Shen Yifu said that "elegance and indecency are almost an entanglement when writing a word" (Yuefu refers to the fan), and the comments on elegance and vulgarity obviously belong to the aspect of ci chapters.
It is necessary to further explore the specific connotation of Zhang Yanya's view of ci. In fact, the introduction of Ambition, Screen is not flashy, Music is not lewd, and Love is the voice of losing elegance and integrity has already shown the poetic factors in zhangyan's view of elegance and orthodoxy. The etymology of Zhang Yan? The preface said, "Ancient music, Yuefu and Yuege are all out of elegance." He also said that his etymology aims at reviving ancient elegant words. Shang Ya's view of restoring ancient ways can't get rid of poetry teaching, and the theory of Ci under the wind of restoring ancient ways in the Southern Song Dynasty fully proves this inevitable trend. If you say Zhang Xian's words, "I don't know people by eyes, but go to Yuanxi Bridge", what about "poetry"? Hurricane? Comment on Chao's "Man Jiang Hong" (Lace Feng Chun), "Kindness, resentment and resentment are like Li Sao" [5], while Yang Jushi called Su Shi's divination operator "very similar to the poem of examination" [6], and Zeng Feng called Huang Gongdu's ci "clear but not exciting, harmonious but not flowing, and it is appropriate to have feelings. Escape and convergence, kindness and Zhuang ... The so-called joy without lewdness, sadness without injury, is also out of the poet's meaning "(preface to Hu Ji's ancient Yuefu), and Lin claimed that his words were" graceful and reasonable, and joy without lewdness "(preface to Elegant Legacy) and so on.
"Joy without lewdness, sorrow without injury" (The Analects of Confucius? Eight uncles ")," Love is in accordance with the ceremony "(preface to Mao's poems)," Gentle, respectful and frugal, poetry teaching "(Book of Rites? The prevalence of moral function theory in traditional Confucian poetics in the Southern Song Dynasty is related to the concept of moral enlightenment literature advocated by Neo-Confucianism. Zeng Feng's Preface to Supporting Jia Weng mentioned earlier commented on the text from the perspective of the author's moral cultivation, but he did not agree with Huang Tingjian's comment on Su Shi's "Bu Operator": "The people who don't eat fireworks are probably just foreign languages, and they are based on etiquette! "It is also said that Huang Gongdu's theory that" the beauty of virtue is rooted only in China and must be a word "is obviously the theory that" a man with virtue must have a word "(The Analects of Confucius? Xianwen "). Zhan Xiaozhi, a contemporary of Zeng Feng, called Cao's article "the legacy of six meanings, elegant and upright" in Ci Postscript. ..... Harmony without flowing is enough to arouse people's kindness, and poetry collectors will broadcast it to make up for the deficiency of Yuefu and help enlightenment. How shallow! " "Stimulating people's kindness" has the same purport as what Neo-Confucianism said [8].
The poet's creation of "moral beauty" and "lyricism stops at propriety and righteousness" and the enlightenment function of "touching kindness" can be summarized as the artistic characteristics of Ci, which are "clear but not exciting", "harmony without flowing", "escape but convergence", "graceful and elegant". This is the style connotation of Zhang Yanya's orthodox view in the Southern Song Dynasty and the end of the dispute between elegance and vulgarity in the Song Dynasty. Looking back on the development history of Ci in Song Dynasty, there are two main trends: elegance of emotion and elegance of emotion.
Two words and emotional elegance
Ci formed a tradition of expressing men's and women's affairs in the Tang and Five Dynasties, but it can be divided into two categories in style: elegant and popular. Ouyang Jiong's Inflorescence is divided into Poet Qu Zi Ci and Lotus Boat Preface. The author's preface to Poet Qu Zi Ci in the middle Tang Dynasty also reveals two trends of the development of Qu Zi Ci, such as Liu Yuxi's Zhi Zhu Preface, which is contained in Jianping's Li Lian Ge and contains many sick sentences. After listening to Barbie, I know how to change the wind direction. "Lu You called Wen" the originator of Huajian Collection "and" eight songs of Nange ",which means ingenious, almost comparable to Liu Mengde's bamboo branches, and I believe it is a masterpiece for a while". [9] The 500 "Poet Qu Zi Ci" in Huajianji is not vulgar, but the overall style can be regarded as the representative of elegant ci in Tang and Five Dynasties. Among the elegance and vulgarization of Song Ci, Huajian Collection (to be precise, Huajian Ci) was well received. By combing the relevant comments, we can see the norms of the Song people about the feelings of words (expressing the feelings of men and women).
(A) Song people's so-called "Huajian" ci style
In the Northern Song Dynasty, the colorful style (unique style, number style) and European style words, which were opposite to Liu Yong's vulgar words, were recognized as the legacy of the Southern Tang Dynasty. Liu Ban's "Zhong Shan Shi Hua" said "Yan's favorite lyric poetry. It is made by itself and will not be reduced. " Luo Yuan's New Records in the Southern Song Dynasty has been published for ten years. Later generations of Feng used Yangchun Record to show that Yan Yuan was a public servant, and the public thought it was a real reward. They also quoted the postscript of Yangchun Record written by Cui Gong of Yuanfeng: "There are also poems written by Ouyang Yongshu, which have lost their roots recently." Yan, on the other hand, clearly calls himself "the continuation of the sages in the south" (Preface to the Mountain). There is not much difference in style between Huajian Ci and Southern Tang Ci. Luo Dajing praised Ouyang Xiu as "a small word, but it is worthy of picking flowers in the Tang Dynasty" [10], and Chen commented sternly that "you can only climb high or pass it along the flowers" [1 1]. In the eyes of Song people, Huajianji and the style of southern Tang poetry were regarded as models of lyricism without splashing water:
Feng Gong, Prime Minister of Southern Tang Dynasty, extended his life ... He is a new term for Yuefu ... His thoughts are profound and beautiful, and his rhythm is novel, which is really unique and elegant. [ 12]
Long and short sentences are the most difficult to choose words and sentences, and they have their own style. If they are a little inferior, they will feel uncomfortable ... Generally speaking, they are based on the contents of the flower collection, but they are much smaller. When I arrived in Liu Qing, I began to tell and spread this story, and I made full preparations ... Compared with "Picking Flowers", it has endless rhyme. [ 13]
Today, this pronoun is powerless, but Huang Jiu-Er, Tang and others are neither arrogant nor impetuous. [ 14]
My friend Huang Zaiyu's poem, titled "Yue Fu Guang Bian Feng", is rich in knowledge, profound in thought and far-sighted, which is comparable to the famous poets in the Tang Dynasty, supplemented by gorgeous rhyme, and is hard to find. [ 15]
Hua Jijian consists of ten volumes, all of which are long and short sentences of literati in the late Tang Dynasty. Feelings are true and easy to adjust, and thoughts are deep and gentle. [ 16]
Hua Shi Juan, ... the originator of this modern lyric poem. [ 17]
It's hard to create music with words ... Take Wei Zhuang and Wen Feiqing in "Picking Flowers" in the Tang Dynasty as examples. [18] The greetings of "profound thoughts, beautiful words" and "sincere feelings and profound thoughts" are certainly comments on the pronoun style of the Tang and Five Dynasties, but strictly speaking, they can only be the word style of "Huajian" in the eyes of the Song Dynasty, including the concept of elegant words in the Song Dynasty, and all of them can be classified as "gentle and sincere", "happy but not obscene" and "harmonious but not harmonious"
However, when the pronouns of the Tang and Five Dynasties were put into practice, the literati's poems showed the characteristics of simple meaning and sincere feelings. On the other hand, there are also gaudy elements in folk songs. Songs sung lightly for entertaining guests at banquets are inevitably beautiful and lack rhyme. In view of the latter, the Song people also belittled the pronouns of the Tang Dynasty, or said that the pronouns of the Tang Dynasty lacked high rhyme [19], or said that "picking flowers in the Tang Dynasty was just the words of the fragrant organization" [20], or said that "the literate people expressed their feelings at once and were obscene and indecent. As for Su Shi's postscript "Li Zhuci", he accused him of "mourning outside the nine halls, thanking him for his trip", but "mourning for the male and female, listening and leaving". Li Qingzhao's "On Ci" said that after Tang Kaiyuan and Tianbao, "the voice of Zheng Wei became more and more intense, and the ebb and flow of the tide became more and more annoying ... Five generations of fighting, gentle. Li's courtiers in the south of the Yangtze River are all elegant, so there are words like "the small building blows through the jade cold" and "wrinkles a pool of spring water". Although the words are very strange, the so-called "the voice of national subjugation mourns its thoughts", Lu You said in "The Postscript of Huajian Collection" that in the late Tang Dynasty and the Five Dynasties, "the world was in danger, the people were in dire straits, and the literati were in such a state of decline that it was regrettable". Although luxury is not beneficial to the world, it can be described as merit! "
Correcting the vulgar ci style in Tang and Five Dynasties from the perspective of Confucian education can also be seen from the phenomenon that scholars falsely accused Ouyang Xiu of vulgar ci in Song Dynasty. Qian's private record (Talking about Money in Shantang), Cai Tai's Xiqing Poetry (quoted from Siku Summary (198) and Yao Zeng's Yuefu Elegant Preface) are all absent today. Today, the Postscript of Ouyang Wenzhong's Yuefu and Chen's Xie Zhizhai's Title all deny Ouyang Xiu's colourful words, or say that "many people compose a number of obscene songs to shoot them and destroy them" (language), or that the last juror (Cai) actually Ouyang Xiu inherited the pronoun style of Tang and Five Dynasties, and it is inevitable that there are frivolous works. When Ouyang Xiu was an official in Xijing in his early years, his poems were full of alcohol [22], and his poems such as Jade House Spring, Spring Mountain Gathering and Wearing Low Songs, I want to go back to my hometown to worship, Luoyang Festival, Night Boat Walking, Recalling the Past and Rejoicing the West all reflected this life. Some colorful words were probably written at this time, and the seven poems of Imitation Jade Terrace written by Ming Dow in the second year (1033) seem to be useful for reference. Chen Tingzhuo called Ouyang Xiuyan's ci "the pen and ink of youth" in Conghua of Ci. As for the theory of libel, volume 17 of Chen's "Solving the Problem of Zhi Zhai" has been proved:
It has been handed down from generation to generation that Ouyang Gong is resentful and slanderous, which is a obscene word. Looking at the tomb of Yang Jie today, it is said that his grandmother passed away. Although there are uncles, they help to care for clothes, help Sun shoulder the heavy burden, and buy hundreds of acres of land to gather his family, and pay the price for it. So are Gaiduhou's men. What's the pity of being willing to drown it at a try?
Chen Dui's dialectical view is based on Liu's "sincerity" character. This is the same as the starting point for the above scholars (including Chen himself) to defend Ouyang Xiu's cigarette ci, which indirectly reflects the Song people's rejection of the gaudy elements in the pronouns of the Tang and Five Dynasties.
To sum up, the "Huajian" ci style highly praised by the Song people is a kind of ci style after being refined in the ci style of the literati in the Tang and Five Dynasties, which embodies the Shang Ya tendency of the concept of ci in the Song Dynasty. As far as pronouns in Tang and Five Dynasties are concerned, there is a folk style of shallow vulgar words besides the literati words represented in Huajianji. At the beginning of the Song Dynasty, Liu Yong, who was contemporary with Yan and Europe, wandered around prostitutes' restaurants, "making a new Yuefu and following the customs" [23], mainly inheriting the folk songs and customs of Tang and Five Dynasties. Therefore, the evaluation of Liu Yong's vulgar ci became an important part of the dispute between elegance and vulgarity in Song Dynasty.
(B) the reversal of Liu Yong's vulgar words
Hu Zai's "Tiaoxi Fishing Hidden from Conghua" (Volume 39) introduces Yi Yuan orpiment;
Liu Sanbian, word Jingzhuang,No. Ayong, word Qing. I like to write small print, but I am thinner than character. Japan and Xunzi wandered around the brothel restaurant without a second interview appointment, claiming that they said "Liu Sanbian was ordered to write lyrics." Oh! It is also right for a gentleman to abstain from small talents and have no virtue. The movement of willow is called by many people. However, it is probably not the word wandering around and worrying, but the word boudoir is obscene. If compared with Ouyang Yongshu, Yan Shuyuan, Su Zizhan, Huang Luzhi, Zhang Ziye and Qin Shaoyou, it is absolutely different. People who are famous for their words are close to the world, and ordinary people are easy to please.
Song people's derogatory comments on Liu Ci are related to their "being thinner than character". Wang Dong, a close friend, once said: "At that time, the famous doctors were quite restrained and disdainful of praise, which was originally out of ignorance." (Comment on Selected Poems of Tang and Song Dynasties, Second Series of Ci Studies) As far as Liu Ci is concerned, there are many life experiences in his traveling and worrying works. For example, Zheng praised Liu's ci for writing Jing, "and people in Jing have their own infinite sadness, which makes people laugh." The Song people mainly discussed Liu Yong's vulgar words: one reprimanded him for "the dust under words" (Li Qingzhao's words); Secondly, they criticized his style as soft and charming, but not high. Su Shi called it "Liuqilangwei", Chao called it "high rhyme, lacking of clear qi" (A Random Record of Cangaizhai 16), while it was natural to say that Shen Gongshu and other six people "fell ill from the Liu family and had no rhyme" (Bizhi, Volume 2), and the rejection of Liu Yong's vulgar ci was an advocate of elegant and upright ci. Europe, the Soviet Union and others mentioned in the above-mentioned Art Garden Huang Er were rated as "elegant in system" by Xu Du's Queqiao Compilation: Liu Yong's ci is extremely skillful, but mixed with vulgar language, so vulgar people especially like it. Later, Prince Ousu came out, and the style was changed to lyrics, and the system was elegant. "
"A change in writing style" and "elegance" can only be attributed to the concept of elegance (intellectual circle) in the creation of ci style, so as to win the title of "Ousu". As far as the style of Ci is concerned, Ouyang Xiu still belongs to Huajian School and Nantang School, and his true colors are deep and elegant. Compared with Liu Yongmiao's vulgar words, the words of public officials in Europe and the Soviet Union can be described as "elegant", but the word "elegant" should be different in terms of the differences in the styles of public officials in Europe and the Soviet Union. In connection with the ci styles of Europe, the Soviet Union and others, "elegance" can be roughly divided into two categories: one can be called elegance, and Ouyang Xiu, Yan and Qin Guan all belong to this category; One can be called elegance, and Su Shi can be a representative. Among all the arguments that many scholars reject Liu Ci, Chao's so-called "wild rhyme is high" and his comment on Su Ci "laughing in the mirror is elegant; Li Zhiyi's Postscript of Wu Si's Knife Cutting Ci refers to the elegance of Liu Ci, which is "a collection of flowers". This difference exists under the understanding of opposing Liu Yong's vulgar ci, and also reflects the different attitudes towards the traditional ci style of Tang and Five Dynasties represented by Huajianji. Wang Ruoxu's "Su Shinan Hua" Volume II has a comment on Su Ci:
Wu Chao complained: "The words of Meishan Gong are shorter than feelings, and the cover is even less impressive." Chen Houshan said, "Song Yu doesn't know the witch mountain goddess, but she can give it. Want to know in the future? " Love is better than putting the public first. Oh! Charm like Dongpo, but not as good as love, right? He is superior, and in this way, he overflows into fine print and reaches between powder and powder. Is it fair and elegant to enter the bone marrow, such as Tian Zhongxing and Liu?
The words of Chao and Chen cited in this paper can be found in Chen's After Old Words (Houshan Collection, Volume 19). On the attitude towards Liu Yong's "gaudy" words, Chao and Chen are consistent. In Ba Sheng Gan Zhou Liu Ci, Chao praised the sentence "True for Tang dialect, don't lower its height" (volume 16), which is precisely the vulgarization of Liu Ci. However, in the concept of Ci-poetry, Chao and Chen tend to the traditional style of Ci-poetry, while they inherit Su Shi's thought of Ci-poetry, and advocate that "poetry is the same, and there is no room for differences" (Xunnan Shi Hua, Volume II). Therefore, they have their own opinions on the emotion of ci: Chao and Chen regard the love of their children as the true nature of ci, and the high sentiment and elegance of literati as the truth of ci. Chen Shidao claimed that his ci was "no less than that of Chyi Chin and Huang Jiu" ("After Old Words in Books"), and Chao Buzhi said that "in modern times, the author was not as good as Qin Shaoyou" ("Can change Zhai Mang Lu", Volume II). Judging from the traditional mood, Su Ci and Qin Ci have different styles: Su Shi broke through the limitation of traditional mood and brought literati into the realm of Ci, so he was called "taking poetry as Ci"; Qin Guan, on the other hand, basically maintained the tradition of Ci poetry, and the difference from Liu Yong was mainly manifested in the elegance and vulgarity of words and the thickness of emotions, thus forming two trends of inheriting and changing the traditional style of Ci poetry with Su Shi. This is also the source of Su Shi's pride. His lyrics "have no taste of Liu Zhi" ("Suixian") accused Qin Guanxue of Liu Ci.
Chen Xun's Hai Gan Shuo Ci says: "Dongpo only worships and praises Liu and Qin. The respect of ci style began in Dongpo. " Although Qin Guan's ci style is also elegant to Liu Ci, in Su Shi's view, both are equally feminine. "Therefore, the cloud is often played:' The mountains brush Wei Yun and Qin Xueshi, and the flowers reflect the fields.' From Su Shi's Jade Fairy Jun, we can see that his fine print should be fresher than poetry, and he said that fresh poetry is "bleak and ancient", instead of commenting on Yao Chen's "Every sentence is a poet hero" (with Chen Jichang) and Cai Wei's words. The phrase "poems with long and short sentences" has been transferred to Su Shi's own ci works, such as Li Qingzhao's so-called "poems can't be read" (on ci), and Wang Zhuo quoted people to evaluate Su Shi's ci as "poems with long and short sentences" and "poems with long and short sentences turned into poems" (Biji Manzhi, Volume II). Accordingly, "long and short sentence poems" are different from Shen Yifu's view that "short sentence poems grow without harmony" at the end of Song Dynasty.
Su Shi's introduction of poems into ci from concept to creation is undoubtedly the refinement of Liu Yong's vulgar ci and traditional colorful ci, and at the same time it is essentially different from Qin Guan's elegance of Liu Ci. Qin Guan's ci style can really belong to the so-called "Huajian" ci style of Song people; The poetic style advocated by Su Shi is an innovation of the style of "Huajian". Hu Yin's Preface to Wine Prescription takes Hua Jian and Liu Ci as the objects of Su Shi's reform, which is very insightful. If the former is called "emotion", the latter can be named "ambition".
The elegance of three-character ambition
As far as the combination with music is concerned, Ci is consistent with Three Hundred Poems and ancient Yuefu. In the mid-Northern Song Dynasty, the revival of Confucianism influenced the ci world through Confucian scholars and poets at that time, and the traditional Confucian poetic theory of "expressing ambition through poetry" became the theoretical basis for the elegance of ci.
Selected poems of Hu Shi? The preface puts forward "the poet's words" and says: "This kind of" the poet's words "originated in Gong Jing and Dongpo and reached Jiaxuan." "Poet's Ci" is also a creative embodiment of the concept of "poetry expressing ambition". Wang Anshi and Su Shi are pioneers in changing the traditional romantic ci style, and both of them have the consciousness of reviving Confucian traditional poetics. "Backstreet Record" contains Wang Anshi's words for seven years: "All ancient singers have words first, and then they have sounds, so they say,' Poems express their aspirations, songs are eternal, sounds are eternal, and laws are harmonious'." Now write the music first and then the lyrics are' forever voice'. Although the combination of ci and music criticizes today's ci with ancient ci before music, it shows a new creative concept based on ci, which echoes Su Shi's comments on "The Rhythm of Not Being Infatuated" (Volume II of Bi Zhi) and Zhu He's "Full of Hearts" (Preface to He Fanggui's Yuefu). As for Su Shi and his disciples Huang Tingjian and Zhang Lei, etc. They imitated Ci in Poems, Sao and Ancient Yuefu, which further reflected the consciousness of expressing ambition in the concept of Ci.
After inheriting the above schools, Wang Zhuo explicitly and systematically discussed Ci with the optimism of traditional Confucian poetry. From the perspective of traceability, his Bi Ji Man Zhi is an imitation of Wen Gu Shangshu. Shun Dian Shi Mao Xu Li Ji? Based on the theory of poetry and music in Yue Ji, it is put forward that "there is poetry if you have a heart, there is song if you have a poem, there is song if you have a song, and there is music if you have a song". In Wang Zhuo's view, Three Hundred Poems is essentially the same as Ancient Songs, Ancient Poems and Ancient Yuefu. He thinks that "poetry and Yuefu come out together, so should we distinguish them?" Therefore, he agrees with Su Shi's poems and often comments on the poems of Chen Wuji, Chen Qufei, Xu Shichuan, Su and Lu.
The so-called "expressing ambition by poetry" of pre-Qin Confucianism is closely related to political education. For example, the "ambition" mentioned in the Analects of Confucius is to cultivate one's morality and govern the country. As far as the Book of Songs is concerned, there are 12 places where the intention of writing poems is * * *, but only three places are called "poems", and the rest are called "chanting" or "songs". This shows that the political and religious function of "poetry expressing ambition" is realized through chorus. Wang Zhuo has a clear understanding of this:
The ancients collected poems and ordered the Lord to exercise, which was used for sacrifice, banquet shooting and drinking in rural areas. So they said, "gain and loss, moving heaven and earth, feeling ghosts and gods, are nothing like poetry." The former king was a husband and wife, filial piety, care, education, and changing customs. " As for the poem "moving heaven and earth, feeling ghosts and gods, moving customs", why? It is said that playing all kinds of music songs has this effect. (Volume I)
Wang Zhuo inherited Wang Anshi's and Su Shi's view of expressing ambition, and put forward that "music should be based on emotion, and melody should follow", and at the same time standardized ambition from the aspects of "educating beauty, changing customs" and so on. On this basis, Wang Zhuo comprehensively inspected the creation of Ci in the Northern Song Dynasty, and distinguished the elegant Ci school represented by Su Shi, Zhou Bangyan and He Zhu from the vulgar Ci school represented by Liu Yong and Cao Zu. This marks the beginning of the debate between elegance and vulgarity after the concept of "expressing ambition" entered the ci world. A comprehensive investigation of the distinction between elegance and vulgarity of words caused by the concept of "expressing ambition" can be carried out from two aspects: sentiment and form of words.
(A) the elegant and popular feelings of Ci
Traditional love mainly refers to the ambiguous relationship between men and women. Fan Zhongyan and Wang Anshi appeared in the ci circle in the Northern Song Dynasty, especially after Su Shi, and the ci sentiment was greatly expanded. As Yuan Haowen said, "Since Dongpo came out, I don't know that there are words besides feelings." Ci has become a new lyric style, which can express the feelings of men and women, express the sense of life experience and write humorous interest. As far as traditional poetry teaching is concerned, the pure feelings and humorous tastes between men and women are vulgar and harmful to moral education. Wang Zhuo's admiration for Su Shi, Zhou Bangyan and He Zuoxiu, and his reprimand for Liu Yong and Cao Zu show the distinction between elegance and vulgarity. Su Shi, with the lofty sentiments and elegance of a scholar-bureaucrat, wrote elegant words at the end of his pen, needless to say; The funny and playful writing style represented by Cao Zu is also obvious. What needs to be discriminated is the elegance and customs of Liu Yong, Zhou Bangyan, He Zhu and others. Wang Zhuo's Bi Ji Man Zhi (Volume II) says:
The predecessors said: "Lisao has been lonely for thousands of years, and the Qi family is finally sad." "The Family", written by Liu. Liu He dared to know about Li Sao, but he and Zhou Meicheng always got what they wanted. Congratulatory songs Song of Six Kingdoms, Looking at the distance and Wu Yinzi, among which Zhou's Big Sword and Warrior Lan Ling are the most exotic. It is still "strong but not rhyme", which is also the person that Liu's wild fox can't spit out. Quoting Zhou and He Ci means "Lisao", while Liu Yong's Ci means "the saliva of a wild fox". The former appeals to both refined and popular tastes. In fact, Wang Zhuo's theory of human nature is inevitably biased. Qu and Song Ci Fu, represented by Li Sao, mainly expresses the sense that the scholar-officials are poor and know the source, that is, "Fu of the sage who lost his ambition" (Han Shu? The Preface to Art and Literature is the development and extension of the original connotation of irony and praise in poetry. In artistic expression, the method of expressing the feelings of life experience with vanilla beauty provides a useful reference for the combination of the new trend of "expressing ambition" and the tradition of "lyric". Wang Zhuo himself and the "predecessors" he mentioned had some feelings about this, but Wang Zhuo denied that Liu Yong's Qi Baishi meant "Li Sao", which was limited to prejudice. This work by Liu Yong and the words such as Zhu He and Zhou Bangyan praised all express the author's sense of life experience, which can be said to be far from the meaning of Li Sao. As far as Zhou Bangyan's ci works are concerned, the expression of men and women is as frank as that of Liu Yongzhe. Zhang Yan's etymology has a cloud of "miscellaneous sayings":
Words should be elegant and correct, and where they yearn, if they are served by emotions, they will lose their elegant and correct voices; You don't have to talk about Bo, although beauty is inevitable. For example, "I shed tears for Iraq", such as "the most bitter dream, I can't go to Iraq tonight", such as "God will teach people, why not meet each other in an instant", ... The so-called honest day has become a pouring wind.
Shen Yifu's Yuefu Fan Zhi also pointed out that Zhou Bangyan's writing is "impossible to learn". Wang Zhuo, Zhang Yan and Shen Yifu are the representatives of the Song Dynasty's concept of elegant and correct ci. Zhang and Shen's criticism of Zhou Bangyan's gentle and charming ci can be regarded as a supplement to Zhou's ci criticism. Generally speaking, the distinction between elegance and vulgarity of Zhou and Liu Ci by Zhang Qian and others is reflected in the emotional appeal of the Ci, that is, the literati's sense of poverty is elegant, and the love between men and women is vulgar. However, Zhang Yan, who has studied Ci for forty years, has a profound understanding of the romantic tradition of Ci and its corresponding artistic characteristics. He can reconcile the relationship between expression and emotion from the artistic point of view of words, so that expression will not be generous and feelings will not be poured into thoughts. This is a question of vocabulary.
(B) the elegance and vulgarity of morphology
There were five poets in the Northern Song Dynasty, namely Liu Yong (Qi Baishi), Yan, Chao (Man Jianghong), He Zhu and Zhou Bangyan, whose works were imitated by critics at the same time or later. This, of course, focuses on the life experience in his works, but it also contains the characteristics of lexical comparison and sustenance. Wang Zhuo called He Zhu and Zhou Bangyan "outstanding self-reliance,