1. In the late Southern Song Dynasty, the artistic spirit of Ci changed and became "poetic" (following Xin Qiji's "Xin School"
B
Analysis of test questions: Ci It prospered in the Song Dynasty, but the style of poetry in the two Song Dynasties was very different. After the Song Dynasty moved to the south, the style of poetry changed. In the early Southern Song Dynasty, poets mostly accepted the influence of Su Shi's "poetry as lyrics" and used poetry as a form of poetry. Expressing one's aspirations and feelings can inspire people and boost morale. In the middle and late period of the Southern Song Dynasty, the Qingya Ci School emerged, and Jiang Kui was the founder of the Ci Ci School. Artificial art was used to capture the ingenuity of nature, but it also harmed nature. It was transformed from an elegant and popular song into a pure literati chant. Although the wording was skillful, it lacked freshness and aura. During the two Song Dynasties, the lyrics flourished and experienced development and maturity. Even the process of transformation. After the Song Dynasty, although the style of poetry was not dead, it was at the end of its life. In this special artistic territory, the artists of the Song Dynasty developed Song poetry into a representative writer of literature in the late Southern Song Dynasty. (), representative works ()
1. Zhang Yan--"High Balcony", "Ganzhou", "Desolate Prisoner", "Pavilion Resentment", "Moon Flute", "Remembering the Past", etc.
2. Wu Wenying--influenced by Zhou Bangyan and Jiang Kui, has the characteristics of the graceful school and is represented by "Meng Chuang Ci", "Dian Jiang Lip", and "Huanxi Sha" 3. Wang Yisun--Style It is close to Zhou Bangyan's representative works of implicit, profound and graceful chanting about things, such as "Qi Le·Cicada" and "Water Dragon Song·White Lotus". Bishan Yuefu said that "Huawai Collection" contains more than 60 poems
4. Jiang Jie - his poems express old thoughts, sorrows about mountains and rivers, his style is sad and handsome, Xiao Liao is refreshing, and he mainly creates language with ingenuity. He is the unique style of Ci in the Song Dynasty, "Zhushan Ci", his representative works "Yu Mei" and "Congratulations to the Bridegroom" < /p>
In the history of the development of Chinese literature, the literary style of Ci was unprecedented in the Song Dynasty. There were many great writers and famous writers, and Jiang Kui was one of them. , Jiang Kui's status is second only to Xin Qiji. Not only did he stand out from the traditional graceful and bold style of poetry, but he also started the elegant style of poetry in the middle and late Southern Song Dynasty. However, due to historical and conceptual reasons. , Ci scholars have not yet formed an objective and comprehensive understanding and evaluation of the Fengya Ci School represented by Jiang Kui, Shi Dazu, Wu Wenying, Zhou Mi, Wang Yisun, Zhang Yan and others. 3. Describing the poetry of the Southern Song Dynasty
Name: Title ① Lin'an Residence ②
Genre: Seven-character verse
Era: Song Dynasty
Author: Lin Sheng
Original text< /p>
Outside the Qingshan Tower, when will the singing and dancing in the West Lake stop?
The warm breeze makes tourists drunk, and they call Hangzhou Bianzhou.
Translation
Beyond the green hills there are green hills, and beyond the tall buildings there are tall buildings. The tourists in the lake are all high-ranking officials. They stay up all night to have fun with the singers, and they are intoxicated. I don’t know when will this situation stop? The warm spring breeze was like the idleness and idleness of people at that time, which made those who fled forget about their own affairs and only wanted to enjoy the West Lake. They were so intoxicated that they actually regarded Hangzhou as Bianzhou, the once prosperous capital of the Song Dynasty. It writes about the author's shame and resentment towards the rulers of the Southern Song Dynasty who only cared about eating, drinking and having fun, but forgot about the country being torn apart and shattered to pieces. 4. What are the schools of poetry in the Southern Song Dynasty?
1. Different characteristics of the poetry of the Northern and Southern Song Dynasties. By the time "History of Ci Poetry of the Northern Song Dynasty" was written to the end, the creations of the poets of the Southern Song Dynasty were already vaguely visible.
Here we should make a review and summary of the different characteristics of Northern and Southern Song Ci, as a transition to reading "History of Southern Song Ci". First of all, the difference between Northern and Southern Song lyrics comes from the evolution of music.
Ci, in its essence, is a kind of music literature, and many changes in Ci are closely related to the evolution of music. In ancient society, there was a lack of scientific methods for recording music scores, and the teaching or teaching of music was also very arbitrary. Many beautiful tunes relied on oral transmission by geishas and musicians.
As a result, the constant emergence of new music scores and tunes will inevitably submerge a large number of old tunes, and many popular music that were popular at that time will eventually disappear in the river of history. Although many lyrics in the Southern Song Dynasty can still be sung with music, "the old scores are scattered and one cannot sing by relying on the sound" has become an irreversible trend.
Zhang Yan, a poet in the late Southern Song Dynasty, said in "Guoxiang · Preface": "Shen Meijiao is also a prostitute in Hangzhou. I suddenly saw her in Kyoto and drank wine with her.
Still able to sing Zhou Qingzhen The two songs "Unforgettable" and "Taicheng Road" were written by Luo Pa because of his instructions. Those who can sing a few songs are rare. "Poetry always borrows the appropriate rhythm from the song first, and directly inherits its lyrical character.
After adapting to this rhythm, the poem and the song enter a state of ambivalence, and finally become Poetry that is recited without singing. "Poetry writers in the Northern Song Dynasty often responded to the request of singers during banquets and wrote lyrics to be sung at the banquet.
The lyrics written by poets of the Northern Song Dynasty were casual entertainment, amateur entertainment and pastime, a play on occasion, a true description of private life, and an unabashed expression of temperament. The lyrics of the Southern Song Dynasty were increasingly separated from the fetters of music, embarked on the path of independent development, and gradually became elegant literature on the desks of literati.
On the other hand, the huge changes in the social environment of the Southern Song Dynasty forced lyric creation to step out of the ivory tower and focus on the broader social reality. The lyrics of the Southern Song Dynasty were often the result of literati and poets singing to each other or forming a poetry club to entertain each other. Sometimes they were also a clarion call for the War of Resistance and a tool that served reality.
The writing of lyrics by Southern Song poets was an elegant artistic activity, a careful organizational arrangement, and even a solemn emotional expression. Therefore, "Jie Cunzhai's Miscellaneous Works on Ci" says: "In the Northern Song Dynasty, there were meaningless words to echo the songs, and in the Southern Song Dynasty, there were meaningless words to echo the society."
Secondly, it is related to the evolution of this musical background. Related to the changes in the creative environment, most poets in the Northern Song Dynasty wrote expressive works, often expressing their inner emotions based on the scenery in front of them, which were natural, vivid and touching. The poets of the Southern Song Dynasty took great pains to conceive, ingeniously arrange, and are wonderful and rich, with obvious methods, remarkable syntax and rules, and moving warnings.
Zhou Ji said: "The main movement of the Northern Song Dynasty is based on the current situation, and has infinitely higher and deeper interest. In the Southern Song Dynasty, literati wrote and competed with each other for fame, so there were more changes and richer materials.
However, in the Southern Song Dynasty, there was a gate, so it seemed deep but became shallow. In the Northern Song Dynasty, there was no gate, so it seemed easy but actually difficult."
He also said: "There are many poems in the Northern Song Dynasty. The scenery is used to describe emotions, so the pearls are round and jade-like, and the four lights are exquisite. When it comes to Jiaxuan and Baishi, they are transformed into immediate descriptions of scenery, making the dark ones look light and the curved ones straight. The poems of the Northern Song Dynasty clearly show the temperament and are easy to arouse the general excitement of readers; the poems of the Southern Song Dynasty show clever arrangements and are worthy of repeated chewing by readers.
This fundamental change in the way of writing lyrics began with Zhou Bangyan in the late Northern Song Dynasty. This aspect has been widely seen in the creations of Dasheng poets. The third volume of "Bai Yuzhai Ci Talk" discusses the development and decline of Ci from this perspective: "In the Northern Song Dynasty, when Wen and Weiyuan were gone, ancient meanings were often seen.
By the Southern Song Dynasty, it had become extremely abnormal. The abnormality was extremely extreme. , then the work has been completed.
So the poets who came after him had to deliberately seek surprises, and the situation worsened, which was also the case in Du Ling.
p>And the secrets of heaven and earth have been vented, and the ancient meaning has gradually faded away. "This kind of "ancient meaning" is probably the result of "natural feelings".
Thirdly, the poems of the Northern Song Dynasty were written with emotion, rich and round, and expressed personal enjoyment, with few unexpected intentions; the poems of the Southern Song Dynasty were skillfully crafted, conveying both inner and outer meanings, conveying the twists and turns of the poet's mind. , use Bixing sustenance technique more often. Zhou Ji said: "The inferior ones in the Northern Song Dynasty are inferior to those in the Southern Song Dynasty because they cannot be empty and do not know what to rely on.
The superior ones are in the Southern Song Dynasty because they can be practical and have no sustenance. The Southern Song Dynasty is inferior to those in the Southern Song Dynasty. If he does not suffer from the clumsiness of the Northern Song Dynasty, he will not be as good as Hun Han in the Northern Song Dynasty. ”
② In this aspect, the poetry of the Southern Song Dynasty was most highly praised by the poets of the Qing Dynasty. The works that best reflect the Southern Song Dynasty poets' devotion to Bixing are the works of chanting things. When forming associations, poets also like to write titles to chant things.
Because the ancients chanted things, "In borrowing things to express one's temperament, all the feelings of one's life experience and the worries of the kingdom are hidden in them. This is a far-reaching and profound thing, and it is not possible to chant something." ( Volume 3 of "Funduli Shi Ci Hua" written by Shen Xianglong of the Qing Dynasty ("Essays on Ci") said: "Ci originated from poetry, which is a small chant about something, and it is also so valuable that it has the purpose of being popular among people.
Tang, The poets of the Five Dynasties and the Northern Song Dynasty did not praise objects very much, but they all had their sustenance in the poems about Baishi and Shihu, which were all about discussing peace affairs in the south and south.
And Bishan, Caochuang, Yuqian, and Ren. Recently, in the "Yuefu Supplement", the chants about ambergris, white lotus, water shield, crab, and cicada all embody the infinite feeling of their home and country, and they are not just tributes to things. If you know this, then "Qitian Le·Yong Cicada". , "Moyu'er·Yong Shunshi", all can be discontinued.
Even if there are chants, the author can become famous without having anything to rely on. "Major social and political themes are pinned through Bixing. The technique is reflected in the lyrics, and the realm of Southern Song poetry is naturally different from that of Northern Song poetry.
The Qing people changed their views on Southern Song poetry based on this point. 2. On the Advantages and Disadvantages of Northern and Southern Song Dynasty Ci Poems The different creative characteristics and comparison of the advantages and disadvantages of Northern and Southern Song Dynasty poems are issues that poets and lyricists of all ages have been enthusiastic about.
This kind of attention first comes from the perceptual understanding of the lyrics of the Northern and Southern Song Dynasties. Many writers, depending on their personal preferences, either immersed themselves in the Northern Song Dynasty Ci, or carefully studied the Southern Song Ci. They each had their own experiences and opinions, and sometimes they even formed conflicts and arguments.
Generally speaking, by the time of Zhu Yizun in the early Qing Dynasty, Northern Song poetry was more liked and respected by people, and Northern Song poetry was more studied and imitated in creation. "Pin Zao" in Volume 8 of "Ci Yuan Cui Bian" says: "Rong Ruo has been smart since he was a child, has a photographic memory of reading, is good at poetry, and is especially good at ci.
I like the works of the Northern Song Dynasty, but I don't like them. The poets who traveled to the south were fresh and elegant, and all the famous poets in the country were attracted by them."
It was a common situation in the Ci world at that time. After Zhu Yizun, he became the poet in the Qing Dynasty.