Studies on Modern Jiang Chunlin (1868- 1907)
The modern times mentioned here mainly refers to the 40 years from the death of Jiang Chunlin to the publication of Wang Guowei's "The Thorn on Earth". During these 40 years, Jiang Chunlin's research is still in its infancy. The so-called "research" mainly refers to the preface made by his friends for his ci collection, such as the preface made by Zong, He Yong and Xu Nai for "Yun Shui Lou Ci" and its sequel. The authors of these prefaces are all friends of Jiang Chunlin, so they have a personal understanding of Jiang Chunlin's life experiences, experiences and creative hardships. Zong Xuyun:
Lu Tan's name is Chunlin, and he is from Jiangyin. Less responsibility for my talents, not limited by the rope ruler, often can not aspire to have a division, but condescending to the salt official, enjoying the power of Dongtai field, taking care of the advantages of the stove, preventing the class from invading, and the people are virtuous. After he was dismissed from office, he still provided food for several years, which meant to calm the congestion and shock. Rhyme, with profound thoughts and clear words, was first carved into Yun Shui Lou Ci in Dongtai. At the same time, the author had to stop. (Preface to "Poems of Cloudy Water Building") [1]
Xu Xu said:
Jiang Sheng Rutan, who inherited his misfortune, was an official in Huaidong and lived in Zaobei. The clothes are covered with fur, and the Qiang people can cultivate their self-cultivation, and the jade is beautiful, which means that they have been immersed in the depths for a while. One night of lovesickness, eight tricks to hide. Who sings loneliness and anger, answers rabbit's meditation. Singing the same song on the river, blowing unevenly. In addition, the curtain is raining, and I miss my hometown mountain after it is broken; Wave after wave, I was disappointed that Pei Huan was late. How painful! Look at his bitter nose and lip blowing, three good natures, proficient in ten people, and can be called the author class who relies on sound and sincerity! (Word order of Shuiyunlou) [1]
They pay more attention to Jiang Chunlin and sympathize with his rough experiences and misfortunes. The evaluation of his ci is often related to his life experience. They think that Poems about Clouds and Waters contain his meaning of "settling down", so it presents an aesthetic style of "thinking deeply, speaking clearly", "singing lonely and angry in the sea, and meditating in ghost language".
In addition to the above research methods, some researchers also try to analyze the creative characteristics of Jiang Chunlin's Poems of Cloudy Water Building from the perspective of literature itself. For example, Li Zhaozeng started with the analysis of Jiang Chunlin's poetry creation, trying to find some similarities between his poems and his ci. He said, "You are a gorgeous and dirty poet. If there are twenty Tao Dong's Za poems, it will not reduce Qin Zhou's works. But it is easy to make short sentences, love and hate, and turn between Thai baht and millet, straight, deep, brilliant, and tireless. Oh! Your words are also working. " (The Preface to the Poems of Yunshuilou [1] He thinks that Jiang Chunlin's poems are close to Du Lao, which became the basis of his poems and made him an outstanding poet. This view had an indirect influence on Tan Xian's later regard of Jiang Chunlin as an "expert" Du Lao. What is more noteworthy is that Du Fu not only commented on his ci by his temperament, but also summarized the creative characteristics of Lou Ci, which was devoted to emptiness and imitated the gods of the Song Dynasty. In addition, according to Jiang's creative thought of "trying to adopt quatrains in the middle and late Tang Dynasty", it is pointed out that Lou Ci also has the disadvantages of "light color" and "touching melody occasionally". (Qu Yuan Volume 4) [1] Du has direct life contacts with him, and he knows the gains and losses better than others. The above viewpoints are based on his profound understanding of Jiang Chunlin.
Later, Tan Xian, a famous poet of Changzhou Ci School, also spoke highly of Jiang Chunlin. He selected and recorded 23 Jiang Chunlin's ci poems in the book "China's Ci Studies" compiled in Guangxu four years (1878), which was second only to Nalan Xingde's (25). Originally, Jiang Chunlin's works were somewhat close to those of Jiang Kui and Zhang Yan in the Southern Song Dynasty, which was contrary to Tan Xian's position of Changzhou Ci School. So why did Tan Xian value Jiang Chunlin's ci so much? This is because, in his view, Jiang Chunlin's ci truly reflects "Xianfeng military affairs", and Jiang Chunlin is also known as "Du Jia is old all his life":
The Poem of Clouds and Waters consolidated the voice of merchants' rebellion, but the flow direction was quite correct, and the number of families was quite large, which was in a three-legged relationship with Rong Chengruo and Xiang Lian during the two hundred years. Xianfeng military affairs, Japan is quite talented. Musician Du Lao. The significance of sighing in the late Tang and Song Dynasties is negligible! (This episode of "Ba Song Ci" Volume 5) [2]
As we all know, Du Fu is called "Poet Saint" in the history of China's poetry. Judging from Tan Xian's evaluation of Jiang Chunlin's "musician Du Lao", his affirmation and high evaluation of Jiang Chunlin is self-evident. Tan Xian's evaluation of Jiang Chunlin also influenced Chen Tingzhuo. Chen Tingzhuo's theory of ci is very important to Tan Xian. He also selected 65,438+06 poems by Jiang Chunlin (8 poems of elegance and 3 poems of songs) in Ci Examples compiled in the 16th year of Guangxu. This is because Zhang Qian's "excellent sentence-making, everyone is amazed" (Bai Yuzhai's Thorn Volume II) [3], while Jiang Chunlin's "wonderful sentence-making, without losing his smile" (Bai Yuzhai's Thorn Volume V) [3], but he did not elevate Jiang Chunlin to the height of "relying on the voice of Du Lao", but thought of Jiang Chunlin. [3] This evaluation of Jiang Chunlin is more realistic than Tan Xian's excessive praise.
Jiang Chunlin wrote "history" with "pen", which created a new situation in the late Qing Dynasty. His Poems on Clouds and Waters have also been well received by critics, so that some people regard him as an important figure in "revitalizing the Ci world" or revitalizing Xianfeng's Ci studies. For example, Zhou Zengjin said: "After reading the two characters of Jiang (Chunlin) and Du (), I feel that Baishi and Meixi are not far away, and the days are quite the same as those of Yu Xian, which is also the resurgence of ci." [4] Jin Wuxiang even said, "Since Gan Yong. Sound-based research is considered to be very prosperous in our state. Mr. Zhou from Yixing, Mr. Yang Hu, said that he wanted to change, and at the same time satirized that Britain was the leader and depression was two major events. Jue's boudoir is broken, his purpose is good and interesting, his family is dazzling and he is a little tired. The deer altar rises and falls, and the genre has not kept up with its old neighbors. However, for more than a hundred years, the Yunshui family, together with Mingke and An Zhi, have stood firm. " (Jiang Chunlin biography) [5]
Second, the study of modern Jiang Chunlin (1906- 1949)
1908 ~10 ~12, Wang Guowei's "thorns on earth" was published in China Cuisine, which marked the beginning of the transformation of Ci from tradition to modernity. In this far-reaching human ci, Wang Guowei questioned Tan Xian's "three-legged theory" and pointed out: "Lou Ci is quite realm, and its long tune is only vivid." "Yi Yun" is a little more refined and a little less detached, which can't be compared with Rong Ruo. However, this view of his did not have a wide impact in academic circles like his theory of realm. In the 1920s, the academic evaluation of Jiang Chunlin still followed Tan Xian's viewpoint. 1925, Zhu Zumou wrote "Looking at the south of the Yangtze River, miscellaneous questions, and then I will go to the noun collection" to comment on Jiang Lutan: "I hate the road, I mourn. How many tears hurt the spring and worry about the country, the musician is very talented. Hard thieves come. " During this period, academic circles also gave a high evaluation to Jiang Chunlin's Shuiyunlou Ci. For example, in 1925, Zhou Nianyong wrote a postscript for the reprinted "Shui Yun Lou Ci", saying: "Shen Bo is a unique talent, and it is a lingering body. Yan chai cicada temples, hate empty; Jinse lyre, bosom friend. Throughout his life, he was worried about chaos when he was worried. ? Encounter, and a sound. So the language needs to be changed, and the body is also a rumor. In attracting businessmen to carve feathers, there is melancholy and desolation. The best in a generation. " [1] 1926 Liu's "History of Ci" also said: "Following Changzhou people into Zhejiang School, Lou Ci has two volumes, all of which are sentimental articles. Celebrities in Tang and Song Dynasties, all in one hand. This word is a great achievement for the Jiang family. " [6] It is said that it is a "master of a generation" and it is said that it is a master of Ci studies in the late Qing Dynasty. Thus, the academic circles at that time highly affirmed Jiang Chunlin's important position in the late Qing Dynasty.
In 1930s, most researchers of Ci expressed their views on Ci, and agreed that he was a gifted scholar who was not bound by the Chang-Zhe school. Nonsense: "He is a talented writer who can stand on his own feet. ..... His Poems on Clouds and Waters are rich in emotion and profound in description, which is called "the history of Ci" by critics [7]. However, Hu's comments on them are not many, and they are not macroscopic theories. Wu Mei and Sister Liu wrote a lot of ink, and the discussion was also very accurate. Wu Mei said: "Before Jiaqing, poets were generally imprisoned by years and bamboo slips ... They went to Lutan to sweep kudzu vine instead of going to the portal, and they regarded elegance as their religion. The style of the cover is more elegant and noble. There is a deer pond in the word, which is endless. ..... The exquisite rhythm of the deer altar is unparalleled, and the excellent writing style is outstanding. But elegant and graceful, there is no state of scratching your head. There is a Qing dynasty, and it is innocent to take "Water Cloud" as the crown. " [8] Sister Liu deeply agrees with Wu Mei's point of view, and also makes the following comments on the words according to her own experience and feelings: "Jiang Yisheng was a pioneer and her feelings were unusually sharp. What he saw and heard about the times and the suffering of the people in exile all originated from his poems, which were desolate and exciting, and he was extremely sour. ..... His creative attitude is extremely serious, and he never wastes his works on moaning and tasteless entertainment. Almost every song shows the shadow of society and the sorrow of the people. The grass, trees, bright moon and willows, small pavilions and pavilions in his works are all covered with a layer of interest from chaos. He doesn't flaunt his own Bixing sustenance, but has his own Bixing sustenance. He doesn't flaunt Baishi and Tian Yu, but his long tune can really be on a par with Jiang and Zhang. He didn't admire the Southern Tang Dynasty, and his poems really won the charm of two masters. It can be said that Jiang Chunlin is not only a great poet in the Qing Dynasty, but also a great poet in the whole history of China's ci. " [9] The view of "Summary of the Continuation of Siku Quanshu" is similar to that of Sister Liu. The article said: "(Jiang) Chunlin was middle-aged, which coincided with the rebellion of Hong and Yang, and his life experience declined, so he was more concerned about things. The aftermath is deep, alert, heroic and tortuous. There is a setting of Jialing without coarseness, elegance without coarseness, profundity without exclusiveness, luster without weakness when drinking water, works with symmetry without feeling flesh and blood when remembering clouds, and the combination of British schools. ..... Don't underestimate the poets in the Qing Dynasty, even in the Song Dynasty, they are outstanding. "
In the 1940s, Jiang Chunlin and Nalan Xingde were two "hot spots" in the study of Qing Ci. In the past ten years, Jiang Chunlin's research papers have been published, including his biography (Tang Guizhang), Jiang Lutan (Sting Ren), the postscript of Shui Yun Lou (Long Yusheng), Jiang Lutan's life and his poems (Zhang Shishi). According to Feng Qiyong's textual research on Jiang Chunlin chronology, he wrote the first draft of Jiang Chunlin Chronology in 1948, but it was not published that year. At that time, all kinds of Qing Ci anthologies or anthologies were concentrated on Shuiyunlou Ci Anthology. For example, there are 65,438+04 copies of the Collection of Qing Ci, 5 copies of Hu's Collection of Qing Ci, and a volume of Shui Yun Lou Ci is included in Chen Naigan's Collection of Qing Ci Masters. Wang Yu's Notes on Eleven Ci Poems in Qing Dynasty selected and recorded the famous and representative poets in Qing Dynasty, among whom Jiang Chunlin was one, and there were as many as 64 poems of Shuiyunlou. One of the important reasons why Jiang Chunlin can attract people's attention is that it is closely related to people's suffering from war at that time, because the description of war in Jiang Chunlin's Poems of Water Clouds can easily arouse people's attention.
Jiang Chunlin's ci is called "the history of ci" by Tan Xian because it truly reflects the corruption and incompetence of the Taiping Heavenly Kingdom and the Qing army. Long Yusheng thinks that among the three poems of poets recommended by Tan Xian, Yun Shui Lou's poems can best represent the spirit of the times. [1 1] Zhang Shicheng further pointed out that Nalan Xingde's and Tingji Xiang's ci have the same shortcoming, that is, what they express is based on personal intuition about the flowers of the sun and the moon, and the joys and sorrows they encounter, while Jiang Chunlin does not. "Because he was born in the Red Sheep Rebellion, the brutality of long hair, the feelings of the Qing army, and the situation that people are homeless and struggling on the hunger line because of years of war, some of which he heard with his own ears, some of which he saw with his own eyes, and some of which he tasted. Therefore, while he is eulogizing, on the one hand, like Rong Ruo and Lian Sheng, he tells his personal joys and sorrows. On the other hand, he set his sights far, looked at the society and painstakingly expressed the feeling of the rise and fall of his home country. " [ 12]
With regard to the content of Jiang Chunlin's ci, Tang Guizhang divided it into three categories from the lyrical point of view [13], and Zhang Shicheng expanded it into four categories: feeling the time, feeling different, nostalgia and homesickness, especially highlighting the emotional connotation in the wartime. For example, farewell: "seeing off guests at random, I wonder if it is life or death?" Even if I travel abroad, I don't know when I will meet again. Where shall we meet? This is even sadder than usual. Compared with Tang Guizhang, he emphasized the importance of the word "sense of time": "In all likelihood, Shuiyunlou's ci is of this kind, with sincere feelings and profound descriptions, which established his position in the ci world." "Sometimes he uses euphemistic words to convey a very painful artistic conception in twists and turns, such as the weeping dew of autumn insects, the crying moon of lonely geese, and even the vanilla beauty of Lingjun and the sunset smoke tree of Jiaxuan, which can't be beautiful. " [ 12]
Regarding Jiang Chunlin's creative characteristics, Zhang Shi admitted that he took a road from Baishi and Tian Yu and took its essence. "At the same time, the consciousness of life enriched the content of his words, so what he showed at the bottom of the pen was not a bunch of empty and piled-up good words, but something with sustenance, spirit and life." [12] Tang Guizhang further summed up some characteristics of Jiang Chunlin's writing techniques from the rhetorical point of view, saying that he could get the truth of White Stone from words and expressions. "When we read, we only feel clear but not slippery, thin and healthy but not born." [13] On this basis, Tang Guizhang further analyzed the artistic conception and style of Jiang Chunlin's Ci, and pointed out that the realm written in Yun Shui Lou Ci includes mountains and rivers, sandbanks and ponds. Zhang Shicheng summarized the style of Shuiyunlou's ci as melancholy, graceful, sad and ethereal. He analyzed the causes of Jiang Chunlin's style with his temperament, fate, times and artistic personality, which is quite meaningful. For example, the style of grief and indignation is because "he is poor and depressed, and he is tortured into a melancholy person ..... It can be seen that his inner sadness and resentment are cast". Another example is sadness, because Jiang Chunlin was "born in the Red Sheep Disaster, exiled to Jiangbei, climbed the mountain near the water, left in sorrow, and then sent out a tragic and desolate mood." Another example is emptiness, because Jiang Chunlin's words are "born out of white stone and Yutian, so they can't be stagnant or rough, and they are extremely rich and elegant." [ 13]
On the historical position of Jiang Chunlin. Zhang Shicheng highlighted his own uniqueness, saying that when the atmosphere in western Zhejiang and Changzhou enveloped the ci circle, "most ci poets do not belong to Chang, that is, they belong to Zhejiang, and only he can be independent and not restricted by that school". [12] Long Yusheng thinks that he took a road from Baishi to Yutian, and he lived in troubled times. His life consciousness is inspired by many things, and his words are meaningful, which makes him respect, and his use can combine the advantages of Zhejiang School and Changzhou School, which makes Chu desolate. It seems that Jiang Chunlin is a master of Tongguang Ci. [1 1] Tang Guizhang even thought that he should be the first person to study Qing Ci. "His words, overstepping the southern Tang and Song Dynasties, are even more disdainful of being confined to the barriers of Zhejiang School and Changzhou School. He only knows how to express his spirit and explore his coquettish legacy, and his feelings, scenery, blood and tears gush out. "
Seen from the above aspects, the modern study of Jiang Chunlin has not only stepped out of the traditional study of Ci, but also emerged as a modern research expression with long papers as the main writing method, which has made great progress in the more modern "pre-research" stage in terms of research methods, research contents and research means. Of course, there are also some scholars who have a preference for Yunshuilou Ci, and then evaluate Jiang Chunlin's position in the history of Ci in Qing Dynasty beyond the actual level.
Iii. Contemporary Jiang Chunlin Studies (after 1950)
With the passage of time, Jiang Chunlin's Ci, which was praised by academic circles in 1930s and 1940s, experienced a "great decline" in 1950s. The History of China Literature published by Chinese Department of Peking University 1959 totally negates and criticizes Jiang Chunlin's ci. This literary history uses the method of class analysis, criticizes Jiang Chunlin's words from the standpoint of peasant revolution, curses the Taiping Heavenly Kingdom, and clearly expresses his hatred and hatred for the Taiping Heavenly Kingdom. "His words are very reactionary and should be completely denied." [14] This attitude of replacing literary analysis with class analysis is certainly not desirable. After 1980s and 1950s and 1960s, the criticism of Jiang Chunlin gradually faded, and the idea of affirming the artistic achievements of Jiang Chunlin's ci gradually rose. All kinds of new literary history pay more attention to Jiang Chunlin. In recent years, a large number of fruitful academic achievements have been published, including Chronicle of Jiang Lutan, Poems of Shuiyunlou, Textual Research on Poems of Shuiyunlou (edited by Zhou Mengzhuang above), Textual Research on Chronicle of Jiang Lutan and Collection of Poems of Shuiyunlou (edited by Feng Qiyong above). In recent ten years, some poems have been selected from Selected Poems of Qing Dynasty published by Shen and Fu Shousun (10), Three Hundred Poems of Qing Dynasty published by Qian Zhonglian (5 poems) and Selected Notes of Qing Dynasty published by Wang Tailing (6 poems), and Yan's Modern Ci Banknotes contains as many as 66 poems of Shui Yunlou. These works pushed the study of Jiang Chunlin in 1930s and 1940s to a new height.
In modern times, people have a high opinion of Jiang Chunlin's ci, among which Tan Xian's theory of "Le Ren Du Lao" is the most influential. For this statement, contemporary scholars have basically formed two schools of opinion for and against it. Xu Huagen, Liu Yonggang and others agree. Xu Huagen thinks that Jiang Chunlin's creative attitude is serious, and his works mostly describe his feelings of life experience, with few flowers and birds and meaningless entertainment. "Du Fu suffered an Anshi rebellion, and the poems he wrote were a history of poetry. Jiang Chunlin suffered from the war, and his words can be called' the history of words'. " [15] Liu Yonggang thinks that Jiang Chunlin should be evaluated with the attitude of knowing people and discussing the world, and it is not appropriate to measure ancient works with today's size. Poems of Cloudy Water Building is a work with unique emotional experience and artistic pursuit in a specific time and space. Jiang Chunlin and his Ci must be viewed from the historical and aesthetic perspectives. It doesn't matter whether Lutan can enjoy the thatched cottage or not, but "Yun Shui Lou Ci" undoubtedly has the value of "Ci History". The opponents are Guo, Xie Xiaoping and Zhou Mengzhuang. Xie Xiaoping believes that Jiang Chunlin's time, experience, life experience and ending are similar to those of Du Fu, but they are quite different. This is the era when Du Fu lived up to expectations and wrote immortal poems such as Three Officials and Three Farewells. Du Fu issued the strongest voice of the times from the standpoint of the people. Du Fu's position and influence in the history of China's poetry, and the image of a poet saint are much higher than Jiang Lutan's. [17] Zhou Mengzhuang also said: "Jiang Lutan is too high for people to accept, which is beyond the reality." [18] Guo also said: "Jiang Ci can't compare with Du Fu's poems, mainly because Du Fu is at the top of the advanced thoughts of the times, reflecting the' all difficulties' era of 20 years before and after the Anshi Rebellion, depicting the disasters of the country and the nation, and revealing the class opposition of' Zhu Men's wine stinks and the road has frozen bones'; However, in Jiang Chunlin's works, he was hostile to the booming peasant revolutionary movement at that time, and branded the peasant army as a "thief" ... His works were full of fear of peasant revolution, which made Tianjin at that time gloomy and horrible, which was a distortion of reality. It is also the limitation brought by the author's orthodoxy and class position. " [19] Regarding the attitude towards the peasant uprising army, he holds a different view from Guo, and thinks that it should be analyzed from a historical perspective: "As government officials, we cannot ask for judgment beyond their class status. Moreover, his words mainly reflect sympathy for the people's suffering, and there is no accusation of' atrocities'. " "He opposes war and longs for peace, not for the benefit of a certain class, but for a wide range of love. He also reflected on this catastrophe and even criticized the ruling group that misunderstood the country. " [20] Such an objective and peaceful attitude should be a more scientific attitude of historical materialism in the study of ancient literature.
However, in the understanding of the artistic achievements of Yunshuilou Ci, supporters and opponents are unified, that is, they agree that Yunshuilou Ci has high aesthetic value. For example, Xie Xiaoping said, "Although poets don't deserve to enjoy the thatched cottage, it's no exaggeration to be a first-rate poet since Xian Tong. This is because he inherited Changzhou Ci School, but he was unique and did not become a retainer of Changzhou Ci School and Zhejiang Ci School. [17] Zhou Duwen summarized Jiang Chunlin's artistic achievements into three points: first, writing the experience of "poverty and fatigue" with the thought of "soft resentment" is the realm that his ci strives to achieve; Second, the colors are bright and diverse; Third, the theme is melancholy and bitter, and there are many fresh and natural works, which are also ingenious in composition and structure. [20] Yan's analysis is more representative, which can be said to be the further development of Xie Xiaoping's point of view: "The achievement of Lou Ci is to express the deep affection from chaos without losing purity and implication. Jiang Chunlin specializes in Jiang Kui, Zhang Yan and other schools in the art of Ci, but because of the cold world and real feelings, he avoided the disease of' Zhejiang School' painting style. At the same time, the sad feelings and the narrative on the disk must have a stirring force, and there is no need to make a gesture of sleeping or rely on objects to express it, thus getting rid of some disadvantages of the' regular school'. In short, he created it with the help of some aesthetic pursuit and artistic skill, so although it is extremely meticulous, it is not blunt and steep, and its appeal is naturally strong. " [2l] Guo also talked about the achievements of Ci from two aspects: content and artistic skills. From the content, it vividly describes the war scenes and tense atmosphere at that time, truly describes the desolation brought by the war and records the traces of war trauma. In terms of artistic skills, one is lyrical and vivid, and the other is to pay attention to words and sentences. The language is clear, fluent and meaningful.
Comparatively speaking, Yan's analysis is not only profound, but also sympathetic to people's feelings and grasps the spiritual essence of Lou Ci. Because of the particularity of space and literary history, Guo's analysis is somewhat brief.
Regarding the theme of Shuiyunlou's ci, people pay more attention to its war words expressing Xianfeng's military affairs. Zhou Duwen believes that Jiang Chunlin's Ci can be divided into two stages: the early Jiangnan period and the late Jiangbei period. In the early stage of his ci, he failed to seek an official position in the capital, returned to his hometown, and went north to Yangzhou to get a job as a salt official in Huainan. "The content of the works at this stage is mainly manifested in the sigh of the fleeting time and the sadness and hatred of its talent." In artistic style, it is also consistent with later ci works. It was not until around 3 1 a.d. that Yangzhou began its 20-year journey to the north. The ci of this period is a war word that people appreciate and reflect Xianfeng's military with a lot of space, "Ci people have no land". [20] Based on the analysis and statistics of the printed Datura Flower Pavilion, Xie Xiaoping divided the theme of Yun Shui Lou Ci into nine categories: (1) In the Warring States Policy, what is sleepless and worrying about the country and the people? (2) What are the sad life experiences when the world comes to an end? (3) Farewell and pay tribute. (4) I think of my hometown and want to return to nothing. (5) What are the reasons for detaining guests and worrying about them? (6) What is implied when reciting things? (7) What is the burden of the journey? (8) What is slush in a romantic field? (9) sitting in the autumn sky, thinking about the loss of a woman. [17] Zhou Mengzhuang thinks that Jiang Chunlin's colorful works reflecting social life have a keynote, that is, "reflecting the war". "He can't have a correct understanding of the nature of war. He can only observe and explain the war by his own subjectivity and intuition, but the social unrest he reflects is true. He longs for a peaceful social environment and a quiet life. His vision for life and the future is simple and positive. ..... Jiang Lutan used his words to reflect the war, that is, the times. Naturally, he didn't moan. Jiang Lutan integrated the new theme of war into Ci, which opened up the realm of Ci and made great contributions to the development of Ci. " [18] Liu Yonggang's article "Mourning is greater than dying in the heart, singing in the fog-a probe into Jiang Chunlin's war words" specifically discusses Jiang Chunlin's description and expression of war. The author thinks that Jiang Chunlin's war words mainly focus on the Taiping Heavenly Kingdom Movement. It truly describes the chaotic scene left by the war and reflects the confusion of literati. Because he viewed the war on the opposite side of the Taiping Army, he sketched Nanjing under the Taiping Army as a gloomy world composed of "trees", "owls" and "wildfires", which truly reproduced the turbulent scene at the end of last century and had a strong spirit of the times. Finally, the author concludes that Jiang Chunlin's war words are mainly written in two ways: one is the figurative style, which, although not expressing his hopes, has entrusted his profound thoughts, making him extremely warm and deeply resentful; The second is to use fu style, that is, positive description, and strong ability to speak frankly. "The combination of touch and dye, full of movement and strength, vividly describes the tragic scenes and disasters of war. If you see that man, you will hear his voice, and there will be no noise and rudeness. " All these accurately reveal the artistic communication skills of Yunshuilou Ci.
In a word, the study of Jiang Chunlin in this period mainly focused on the title of "musician Du Lao". The collision of different academic standpoints and academic thoughts in the discussion not only helps researchers to deepen their understanding of Jiang Chunlin, but also urges researchers to deeply reflect on their own research ideas and methods, that is, whether they should adopt a preconceived attitude towards Jiang Chunlin's Ci, or should make a reasonable evaluation according to its ideological content and artistic characteristics. From this point of view, although contemporary scholars have different attitudes towards Jiang Chunlin, we can see that contemporary academic research is becoming more and more mature. Of course, the contemporary study of Jiang Chunlin is still insufficient in many aspects, and it still stays in the primary research stage of the writer's class position and text analysis. The future development direction will be to extensively explore his life research, psychological analysis and cultural analysis, and then expand the study of Jiang Chunlin to the study of Huaihai Ci group and the study of the change of Ci style in the whole late Qing Dynasty.