Research on the Origin and Development of Pronouns in Tang and Five Dynasties

Ci is a kind of music literature that shines brilliantly in Song Dynasty. Its rise and development can be traced back to the Tang and Five Dynasties. In ancient times, there was a saying that words originated from poetry, and that words were variations of poetry. However, modern scholars believe that Ci is the abbreviation of "Qu Zi Ci", which is not only in the form of long and short sentences, but also a work of "relying on sound to fill words". The sound written in the lyrics is a new song of Yan music since Sui and Tang Dynasties, and Yan music was originally called popular music in Tang Dynasty. Although its music originated from Yabu, it became noisy and mixed with slang. The discovery of Dunhuang Quzi Ci in the early 20th century proved that Ci originated from the people. Folk songs are mostly love songs, which mainly show the lingering love between men and women. The creation of ci by literati in the middle Tang Dynasty marked a new stage in the development of ci style. However, it was not until a large number of professionals such as Wen appeared in the late Tang Dynasty that Ci began to develop in a direction different from poetry, forming a cross-flower style of "Ci is colorful". During the Southern Tang Dynasty in the Five Dynasties, outstanding poets such as Feng Yansi and Li Yu came into being. Their sad works are full of unspeakable beauty, indicating that the development of Ci has entered a mature stage.

The lingering of Qu Zi's ci

As a new style of music literature, Ci has gone through a long process of brewing and development. Folk songs appeared in the early Tang Dynasty. In Dunhuang Quzi Ci, including "Rhyme Collection Zaqu", except for a few that can be written by scholars, the rest are from the people. However, in the middle Tang Dynasty, lyric poetry of literati became more common and occupied a certain position in the literary world.

The discovery of Dunhuang Quzi Ci "Yun Yao Ji Za Qu Zi" filled an important gap in the history of Ci. The selection time should be at the end of the Tang Dynasty, 30 years before the publication of Huajian Collection. Among them, the creation time of the anthology has been recognized as more than 20 in the prosperous Tang Dynasty. The postscript of Zhu Zumou's "Miscellaneous Songs of Clouds" said: "The words are simple and gratifying, relying on the sound to feel great." The works in this anthology have a wide range of themes, including the Song of Li Xiang from in my heart forever since the Tang Kaiyuan, and the brave words from Loyal Officials and Righteousness. There are both gloomy and magnificent works and gorgeous and profound works, showing a different face from Huajian Collection and Zunqian Collection. His sentimental love songs reflect the unique thoughts, feelings and artistic style of early folk words. Such as "throwing the ball":

The little boy was more grateful because the tears were wet before the resumption. When my sister clearly said, don't be sincere to him. I think about it. I don't know how to smell it, okay?

Emotion is true, and language is popular and vivid. Although there is little implied interest, it has a strong flavor of life and is easy to be understood by the people at that time. Other Dunhuang Quzi words also have the simple nature of this folk word, such as Bodhisattva Man:

I made a thousand wishes before my pillow, wanting to rest and wait for the green hills to rot. Fish scales floated on the water until the Yellow River dried up completely. During the day, Beidou returned to the south. You can't rest without rest, and you will see the sun in the middle of the night.

Another example is "Looking at Jiangnan":

Don't climb me, I'm too wide. My name is Liu Linchi, from Qujiang, and I am a climber. Love for a while.

Looking out of the window, the hazy moon is like a piece of silver. The nights are getting longer and longer, and the wind is getting tighter and tighter, blowing away the clouds that circled the moon for slaves. Wind, please blow away the dark clouds on the edge of the moon and let it shine where my heart is broken.

They are all looking for the true feelings of a marriage, with a fresh and simple style, full of life and folk flavor. Apart from the vulgarity and simplicity of the language, these Dunhuang Quzi words still retain the "primitive" state at the beginning of the words, that is, the "instability" of single and double overlapping, indefinite number of words, unlimited phonology and dialect narration, which reflects the general formal characteristics of folk lyrics in Tang Dynasty. However, his excellent works are always novel in imagination, apt in metaphor, full of life flavor and easy to understand in language, which is similar to many Yuefu folk songs in Wei, Jin, Southern and Northern Dynasties, but the difference is that the influence of modern poetry has been clearly seen in style.

With the spread of folk songs, literati words created by poets influenced by them began to appear. The emergence of literati ci in the middle Tang Dynasty marked a new stage in the development of ci. The literati ci in the middle Tang Dynasty mainly absorbed the expressions of folk songs and ci, with short style, generally fresh, clear and lively, and a wide range of subjects. For example, Zhang's Five Fishermen is one of them:

In front of Mount Cisse, egrets fly freely, plump mandarin fish swim happily on the river, and peaches floating on the water are so bright and full. An old man in the bank, wearing a green bamboo hat raincoat and a green raincoat, braved the wind and rain and fished leisurely. He was fascinated by the beautiful spring scenery and didn't even go home in the rain.

This was sung by the author in Huzhou in the eighth year of Dali (773). He wrote the fishermen's life and the scenery of the water town in the south of the Yangtze River in a poetic way, with a lofty and refined seclusion style. Another example is Wei's Play Order:

There is a Hu, far from Yanshan Mountain. It glided on the sand and snow, whining alone. It stopped to look at the east, looked at it and found itself lost. At this moment, the vast grassland is boundless and the sky will be late.

This is a literati word that reflected the frontier fortress customs earlier. At that time, Dai Shulun also had the word "banter order", which seemed to be a chorus.

Bai Juyi and Liu Yuxi were poets who wrote more poems in the middle Tang Dynasty, and the color of folk songs in their works was more obvious, such as the lyrics of "Recalling Jiangnan" they sang:

The scenery in Jiangnan is very beautiful, and the picturesque scenery has long been familiar. When spring comes, the sun rises from the river, the flowers on the river are brighter than red, and the green river is greener than the blue grass. Can you not remember Jiangnan? (Bai Juyi)

Thanks to the people of Los Angeles, spring is over. Weak willows doubt the wind, and shrubs are like towels. Sitting alone also includes swish. (Liu Yuxi)

Write the beautiful and charming scenery of Jiangnan. They also have works describing the lovesickness of men and women, such as Bai Juyi's Sauvignon Blanc:

Bianshui, Surabaya. Flowing to Guazhou Ancient Ferry, Wu Shan felt a little sad. Think long and hate long. I hate not going home to rest, and the moon people lean on the floor.

Liu Yuxi's Xiaoxiang God;

Bamboo branches, bamboo branches, tears of acacia sustenance. Chu Liuxiang, if you want to listen to Yao's hidden grievances, it's in front of the Xiangjiang River on this moonlit night.

Expressing lovers' deep and graceful feelings of parting is very touching, with both fresh and natural folk songs and elegant literati sentiment.

The mid-Tang Dynasty was an experimental stage for literati to write lyrics, and there were no writers specializing in lyrics creation. In addition to the influence of folk songs, the literati at this time also wrote poems to write lyrics. Most of their lyrics were quatrains, and less attention was paid to the characteristics of adapting to the tone of words in art. Therefore, in the early days of literati's lyrics, the boundaries between words and poems were not very clear. Many five-seven-character quatrains and Voices are sung as songs, and some "words" are actually five-seven-character quatrains. During this period, many words were short and pithy, everyone worked hard on poetry, got used to this system, and the syntax of words began to be stereotyped.