Reasons for the rise of Ci in Song Dynasty

The reason for the prosperity of Song Ci in Qing Dynasty, Pan Deyu said: "There are poems in the Northern Song Dynasty, and there are poems in the Tang Dynasty, which are very prosperous." Song Dynasty is the heyday of Ci, from emperors and generals to famous prostitutes who advocate Excellence, they are all competing for new voices. According to Tang Guizhang's "Song Ci", there are more than 1,200 ci poets in the two Song Dynasties, with more than 21,600 ci poems. It can be seen that there are so many poets and rich works in Song Dynasty that they are incomparable in any era. Generally, there are the following reasons: (1) Economic prosperity. In order to consolidate political rule, strengthen centralization of authority, restrain the rise of local forces and make the domestic situation more stable; Songshi also took a series of measures to promote the development of agricultural production, the rise of handicrafts and commerce, and the prosperity of urban economy. In the early Northern Song Dynasty, the Central Plains region was not plagued by military disasters for more than a hundred years, and the art and culture adapted to social and economic prosperity also developed rapidly, especially the words with short forms and singing characteristics, such as poems in the prosperous Tang Dynasty. (2) Jiao Fang and the Gelao nationality are very prominent. (3) In order to meet the needs of the rulers' entertainment and singing and dancing at that time, there were not only Jiao Fang in the palace, but also singing houses and prostitutes in big cities, and there were also many singers and dancers in the aristocratic gentry's homes, which contributed to the more common development of lyrics. (3) The development of literature itself reached the end of the Tang Dynasty, regardless of the length of the system, the ancient style was strict. It is difficult for writers to make new breakthroughs, but another style will flourish, and words are a new form to replace poetry. In the late Tang Dynasty and the Five Dynasties, Ci was devoted to describing boudoir feelings. In the Song Dynasty, Ci became a part of literati's enjoyment. Due to the narrow realm of five pronouns in the late Tang Dynasty, it left a vast world for poets in the Song Dynasty to fully display their talents. They express their sincere and frank feelings in a natural and popular style, and the themes of their words are getting wider and wider. The system of Ci is gradually improved and the artistic style is diversified, which can be said to have entered the golden age of Ci. The Development of Ci in the Early Northern Song Dynasty The upper-class literati in the early Northern Song Dynasty generally inherited the ci style of the two masters, Nan Tang and Feng Yansi, and there was not much new development. The poets in this period were Yan Shu, Ouyang Xiu, Zhang Xian, Yan, Liu Yong, Su Shi and so on. And Liu Yong and Su Shi's achievements are remarkable. The content of Yan Shu's Ci mainly expresses the feelings of singing and feasting and regrets for the passage of time. His words are elegant and affectionate, with beautiful style, skillful language and harmonious tone, which is quite artistic. His "A new poem and a glass of wine in Huanxisha" and "News Agency when Swallows Come" are all masterpieces. Ouyang Xiu's ci has a narrow theme and writes about women. Friends' banquets, etc. Like to use colloquial expressions, fresh and natural, sincere and touching. The most representative of this style is his poem "Walking the Sand". The content of Zhang Xi 'an's ci mainly describes the life of literati, men and women, and also reflects the life of the city. He likes to make slow words, which has played a certain role in the development of ci style. The appearance of Liu Yong's ci changed the style of ci in the Northern Song Dynasty, and he inherited and developed folk ci and literati ci in his creation. With its simple and natural style, it brought a new look to graceful words, developed a slow word system and made important contributions to the development of later words. Su Shi made some innovations in Ci, taking poetry as Ci, which made Ci poetic, scattered and argumentative, expanded the theme of Ci and improved the artistic conception of Ci. Its artistic conception is heroic and magnificent, which has greatly changed the form, content and style of Ci in the Northern Song Dynasty. It opened up a healthy and broad road for Song Ci. At the end of the Northern Song Dynasty, the poetic circles made some progress in artistic conception and temperament. Among them, the most representative writers are Qin Guan, a graceful poet, and Zhou Bangyan, the founder of metrical ci school, followed by He Zuoxiu, whose ci style is similar to Qin Guan. Qin Guan's ci mostly writes about tenderness, love between men and women, parting from sorrow, and some sentimental works, such as Walking to Chenzhou Hotel, which are sincere in feelings, exquisite in style, skillful in language and have strong artistic appeal. Zhou Bangyan is proficient in melody and can compose music by himself. The metrical method of lyrics is extremely accurate, which has a great influence on later poets. He Zhu's lyrics pay equal attention to both content and rhetoric, and his style is graceful and unrestrained. He was an important writer in the late Northern Song Dynasty. Most of his works write about the feelings of men and women and the feelings of parting, and a few write about human vicissitudes and personal troubles. Like the jade case. In the early Southern Song Dynasty and the late Northern Song Dynasty, the northern Jurchen nobles established the Jin State, occupying the vast northern areas ruled by the Song Dynasty. Song Gaozong and Zhao Gou established a small local security court in Lin 'an for the Southern Song Dynasty. In order to maintain the local security situation, he called Jin a vassal. At that time, people and literati with a sense of justice and national integrity showed a high degree of patriotism, which was reflected in literary works. There were many poets in the early Southern Song Dynasty, such as Li Qingzhao, Zhang, Yue Fei, Lu You, Xin Qiji, Liu Guo and so on. Li Qingzhao was an outstanding poet in the early Southern Song Dynasty, with graceful and fresh words. In her later years' works, there are suppressed negative emotions and sentimental tone, as well as strong patriotic thoughts. There is also Wu Lue in Xin Qiji's Where. His words are bold and unconstrained, and he sang a wave of heroism at the time of national crisis, expressing the people's desire to resist the Jurchen invaders at that time. His lyrics are lyrical, descriptive, memorable and reasoning, and he is the most outstanding representative writer at that time. Zhang Ci is good at expressing grief and indignation, which has opened up a broad creative path for patriotic poets in the Southern Song Dynasty. The poem "Slow Rain on a Stone Island, Fast Flying Clouds" is well-known and well-known. His words are tragic and straightforward. Yue Fei was a famous anti-gold star in the Southern Song Dynasty. He was framed by the traitor Qin Gui and died in prison. In a word, his poem "Red with Anger and Rushing to the Crown" is an immortal heroic poem full of strong patriotic feelings. Yue Fei's poems are rough in style, intense in tone and sincere in feelings, and some are like Xiao Zhong. Lu You was a famous patriotic poet in the Southern Song Dynasty, and he was also good at Ci. Most of his ci poems show strong patriotism, ambition to kill the enemy and serve the country, and dissatisfaction with the decadent court, such as Confession of Love and Merchant Yongmei. In the late Southern Song Dynasty, due to the relative stability of the confrontation between the North and the South in Song and Jin Dynasties, the ruling group was more accustomed to seeking peace and enjoyment. At that time, there were more and more works in the literary world that carved chapters and made sentences to escape from reality. The school of metrical ci, represented by Jiang Kui, Shi Dazu and Wu Wenying, came into being under this background. Jiang Kui, an important writer of graceful and restrained ci school in the Southern Song Dynasty, founded the school of metrical ci with his neat and cool style. His ci has a great influence on later generations, especially in the Ming and Qing dynasties. Shi Dazu's ci is poor in content, writing more leisurely and carefree, carving words and pursuing form. He is good at describing delicate things, such as "Shuang Yan sings Yan". Wu Wenying's lyrics are harmonious and refined, but he pays too much attention to form and likes to use allusions, which makes the meaning of the lyrics obscure. His lyrics are poor in content, and he writes more about the luxurious life of the rulers, or expresses decadent and sentimental emotions. A few of his works have certain social significance and high artistic conception, such as Basheng Ganzhou Lingyan Accompanied by Curtains. Song ci Fifty-nine to ninety words are alto; Above 9 1 is a long tune. At the beginning of the Song Dynasty, this poem was called Soul Music. Literati' poems in the Tang and Five Dynasties are mostly short, ranging from 16 words, such as the Sixteen-character Order, to 2 15 words, such as the Victory Order. In the early Northern Song Dynasty, Ouyang Xiu, Yan Shu and others all wrote some short notes. The middle tone is longer than the poem, and there are generally "quotation" and "proximity". As a lyric poem, Yin Ge is longer than Xiao Ling's. "Jin", also known as "Jipai", is also a lyric poem longer than Lingqu. Generally, words such as "Yin", "Jin" and "Several Schools" are added to light tone words, such as Boeing, Cui Hua Yin, Litchi and "Several Schools" in Qing Dynasty. Later, a large number of light tone and slow tone words appeared. There are also some long-tune works in pronouns of Tang and Five Dynasties. Although long-tune words appeared in the Tang Dynasty, they were rarely copied by literati. From the mid-Tang Dynasty to the early Song Dynasty, the literati's ci was still dominated by small-voiced words, and it was not until the appearance of Zhang Xian and Liu Yong that the situation of small-voiced words was broken. Liu Yong created a large number of long-tune poets in the early Northern Song Dynasty. They liked to write slow words, which played a certain role in the form of words. Liu Yong was the first scholar to create a large number of long-tune words. Since then, poets such as Su Shi, Qin Guan and Huang Tingjian have also created a large number of slow words. With their efforts, the Northern Song Ci developed from a poem to a mature stage of slow ci. Because of the appearance of slow words, the expressive force of words has been enriched, and complex feelings can be expressed more twists and turns, which not only affects the graceful style of words. It also influenced the style of bold and unconstrained words. Zhou Bangyan's examination and approval system of metrical words entered the integration stage in the late Northern Song Dynasty, with Zhou Bangyan as the representative poet. With Liu Yong's efforts, there were more long tunes, but the long tunes at that time were not rigorous enough in terms of words and melodies, so the textual research and reconciliation of concepts were finally left to Zhou Bangyan. Zhou said: "Good music can make you adjust yourself." Therefore, his accomplishments are unparalleled. He used to work in Dashengfu, sorting out and composing lyrics, especially composed lyrics such as Flower Offender, Inverted Offender and Taekwondo, which contributed to the development of the Song Ci system. In the late Southern Song Dynasty, poets represented by Jiang Kui, Shi Dazu and Wu Wenying pursued the elegance of words, the accuracy and harmony of rhythm. Ci follows the graceful and restrained style in the late Tang Dynasty and the Five Dynasties, represented by Yan Shu, Ouyang Xiu and Yan. Their words are mostly about love between men and women, or the feelings of leisure and parting in the upper class. Their works are ethereal and gorgeous, which is a continuation of the style of Flowers Collection, and most of them are poems with fewer words. With the rise of the Poetry Cultural Revolution, Fan Zhongyan, Wang Anshi and others opened up a new realm for Song Ci. They wrote lyrical lyrics on the spot, breaking the situation that Huajian poets entrusted women to write eroticism. Liu Yong opened the content of the word to Liu Yong. He devoted himself to "changing old sounds into new ones" in the city's karaoke bars, which reflected the prosperity of the city. With different aesthetic concepts and artistic tastes, he created a large number of slow words, which enriched the content of the words and formed profound meanings and feelings. Simple and fluent artistic style. In this way, Liu Yong became an early representative of the graceful ci school in the Northern Song Dynasty. Su Shi created a bold style of ci which was different from graceful and restrained school. In the style and content of ci, he expanded the field of ci, got rid of the "beautiful pool" of ci at that time, and made ci reflect both social life and poetry, which opened the way for Xin Qiji, a patriotic poet in the Southern Song Dynasty and had a far-reaching influence on later generations. Qin Guan absorbed the advantages of many graceful poets in the late Northern Song Dynasty and developed in artistic conception and temperament. Among them, Qin Guan took the road of graceful and restrained ci school and learned a lot. He has made great achievements in artistic skills. His works are simple and subtle, and his writing is elegant and gentle. Although he and Liu Yong's ci belong to the graceful school, he is not as talkative as Liu Yong. Zhou Bangyan is the founder of Zhou Bangyan's metrical school of Ci. He is good at blending ancient poems into Ci skillfully and naturally, paying special attention to the carving of Ci, the rigor of composition and the harmonious beauty of melody, thus forming implicit implication. A neat and elegant artistic style. Li Qingzhao, a poetess in the Southern Song Dynasty, is recognized as an authentic graceful and restrained poetess. On the basis of written and spoken language, she can exercise beautiful and vivid literary language and create creative artistic images. She is another graceful school after Qin Guan, but she has formed a graceful and unrestrained artistic style, which is incomparable to Qin Guan. . . .