Graceful and restrained school is one of the styles of Song Ci. Another relative school is the liberal school.
It is generally believed that the poet Zhang Wan is the author of Biography of Poems and Poems of Nanhu Lake. Wang Shizhen, a poet in A Qing, wrote in Flowers and Plants: "There are two schools of Zhang Nanhu's ci theory: one is graceful, the other is bold." The same is true of the words quoted in Wang's On Ancient and Modern Ci. Xu Shizeng (born in Jiajing period of Ming Dynasty), a little later than Zhang Wan, also pointed out in the preface to Stylistics: "As far as his ci is concerned, there are graceful and unrestrained people.
Elegant people want their words to be meaningful, while uninhibited people want their weather to be magnificent. Although the cover is touching because of its quality and expensive words, it is based on Grace. "Xu Shizeng statement is similar to Zhang Wan. Gracefulness and boldness are not enough to summarize the rich and varied styles of Song Ci, but they can show that there are two basic tendencies in Song Ci, either feminine or masculine, which is helpful to understand the artistic style of Song Ci.
Graceful and restrained means implicit. This word first appeared in the pre-Qin Dynasty, and people used it to describe literary rhetoric in the Wei, Jin and Six Dynasties, such as Chen Lin's For Yuan Shao and Gongsun Zan: "I have enough words to write, and my words are graceful." Lu Ji's Wen Fu: "Or empty is graceful." In the history of ci poetry, femininity has become a habit for a long time. The lyrics were originally written for concert singing. At first, the purpose of singing was to entertain guests, and the occasion of singing was nothing more than your home in the palace, the Chuge in Qin Lou. Therefore, the content of the lyrics is nothing more than leaving your thoughts and feelings, forming a "sweet and soft" word style represented by Huajian Collection. Yan Shu, Ouyang Xiu, Liu Yong, Qin Guan, Zhou Bangyan and Li Qingzhao in the Northern Song Dynasty inherited the rest. Although they have developed in content and are more exquisite in brushwork, they all have their own charm and have their own families, but they have not deviated from the gentle track. Therefore, the predecessors often used the words "graceful beauty" (the afterwords of Tiaoxi Echoes), "gentle" (etymology), "take precautions" (preface to wine) and "tortuous euphemism" (Yuefu Yu Lun) to describe the style of his works. It should be said that it has been brewing for a long time to summarize this kind of ci style with the "graceful school" in the Ming Dynasty.
Graceful ci school is characterized by its emphasis on children's customs. The structure is profound and meticulous, paying attention to the harmony of melody, the language is round and fresh, and there is a gentle beauty. Narrow content.
For a long time, characters tend to be gentle and graceful, so people have formed the concept that grace is authentic. For example, Li Houzhu, Liu Yong, Zhou Bangyan and other ci writers regard "the authenticity of ci" as "the authenticity of ci" in Comments on Yi Zhou Shan Min Ci, which represents this view. Graceful words once dominated the ci world for a long time, until a large number of poets such as Jiang Kui, Wu Wenying and Zhang Yan in the Southern Song Dynasty were influenced by graceful words in different aspects.