There is a historical inheritance between Tang and Song Ci poems and Yuefu poems of the previous generation, but there are significant differences in content, form, style and expression techniques. It is not directly produced and developed from the previous Yuefu poems. It was a new kind of poetry at that time, which maintained its own characteristics in all aspects of the development process and formed its own independent tradition. Musically, it belongs to a different system from the previous Yuefu poems.
There are three systems of music in Sui and Tang Dynasties. Shen Songkuo's Notes on Meng Qian (Volume 5): "Since the imperial edict and Hu Bu began to play together in the 13th year of Tang Tianbao (AD 754), music has completely lost its ancient method. In the past, Wang Zhile was elegant music, the new voice of his previous life was pure music, and those who joined Hu Department were feasting. " Elegant music is ancient music before Han and Wei dynasties; Le Qing is the abbreviation of Qu, and there are many "street ballads" since the Han, Wei and Six Dynasties. Banquet music (or "Bridge Music" and "Le Yan" played at the banquet at that time) was mainly composed of western music, brother music in western China, Central Asian and Indian music.
As early as the Northern Wei Dynasty and the Northern Zhou Dynasty, western music was introduced into the Central Plains from India and Central Asia via Xinjiang and Gansu. During the Sui and Tang Dynasties, due to the smooth development of international transportation and trade, extensive and frequent cultural exchanges and the prosperity of commercial cities, this kind of Hu music was widely spread and popular. Le Yan is a new music with this kind of Hu music as the main body, which naturally contains some elements of folk music. This is a new kind of music that combines Chinese and foreign music. The introduction and prosperity of Yan music is a great progress in the history of China music, which indicates that China music has entered a new era.
This word is "Song of Okoyi and Li Xiang" (Musical Records of Old Tang Books), and its music is mainly Le Yan. Le Yan's main musical instrument is the pipa. The main accompaniment of Tang Dynasty is pipa, and that of Song Dynasty is cymbals. "The Etymology of Zhang Songyan" rolled up and said: "Only slow, melodious, leading, close and different. If you call it a small singing, there must be a clear and round voice, which is combined with the dumb, and its voice is very positive, while the flute is full of harmony. " ) Pipa is a 28-tone stringed instrument, which is complex and changeable and has made great progress in melody. Can be used to create countless touching beautiful and fresh music. Many poets in the Tang Dynasty, such as Bai Juyi. Yuan Zhen and others all have poems describing pipa music and marvel at its artistic charm. Yan music was once popular in society, which had a great influence on literati poetry and folk music. The generation and creation of words are mostly to match the tune of this popular new music.
Ci originated in the Sui Dynasty. Wang Songzhuo's "Bi Ji Man Zhi" Volume 1 said: "Since the change of the year, the so-called composer has gradually prevailed today." Song Zhangyan's Etymological Volume also said: "Since the Sui and Tang Dynasties, there have been long and short sentences between Guangdong's rhythmic poems." Poems of Yuefu compiled by Guo Maoqian, a Song Dynasty poet, and To Liaodong written by the Emperor and He are the pioneering works of modern music studies. Its sentence pattern, pronunciation and rhyme are no different from those of later generations. According to Sui Shu's music, Yang-ti ordered Yue Zheng to make a new sound in Bai Mingda, and wrote songs such as Fight a Hundred Herbs and Pan-Dragon Boat. There are lyrics of Pan Dragon Boat in Volume 47 of Yuefu Poetry, which are very similar to the works contained in Dunhuang Quzi Ci.
Ci originated from the folk. Biography of the River and Yang Liuzhi are probably the folk songs of the Sui Dynasty. The discovery of Dunhuang Quzi Ci provides rich materials for the study of Ci history. With sufficient and conclusive evidence, it is proved that folk creation is the earliest source of ci. There are more than 160 Dunhuang Quzi Ci (Dunhuang Quzi Ci Collection edited by Wang Zhongmin), including Lingci, Zhongci and Slow Ci. Most of them were made from Xuanzong of Tang Dynasty to the end of Tang Dynasty and the Five Dynasties, and there may have been works before Xuanzong. Among them, most of the authors are anonymous, except for 5 articles which were verified to be written by Wen, Ouyang Jiong and Li Jie. Although some of these folk works have been revised and polished by the writers (such as Yunyao Zaqu), most of them still retain their simple and true folk style. Dunhuang Quzi Ci let us see the popularity of Ci among the people, the development of Ci among the people in the early days and the maturity of Ci itself at that time long before the rise of literati Ci. Literati Ci developed gradually after the mid-Tang Dynasty by absorbing and applying the achievements of folk Ci.
In addition to Dunhuang Quzi Ci, the list of songs in Jiao Fang Ji by Tang Cui and Qin Ling is also an important material for studying the music in the prosperous Tang Dynasty. The 278 songs (including 324 titled Daqu * * *) contained in Song List are the tunes used by prostitutes in the workshops in Kaiyuan and Tianbao times. Although the source of Jiao Fang's music is complicated, from the title of the music, many songs come from the people, such as Two Forks of Mai Xiu and Xunzi's Trial: Picking Wheat should come from the countryside; The fisherman's guide, the son of a fisherman and the son of a fiddler should come from a water town. Lying in the sand, complaining about yellow sand, complaining about Hu Tian and so on. It should come from the border guards. Such folk songs account for a large proportion in all teaching workshops. On the one hand, this fact shows that folk songs have rich practical content and profound social foundation, on the other hand, it also shows that folk songs were warmly loved and widely adopted by the ruling class at that time, and were introduced into a large number of teaching workshops for court performances. Their spread in all walks of life has influenced and attracted literati to participate in the creation of tunes and lyrics, and promoted the development of literati ci.
In the early Tang Dynasty, literati's ci appeared occasionally, such as Capriccio, Good Times by Emperor Xuanzong of Tang Dynasty, Fishing Song by Zhang, Song for English by Dai Shulun, and Teasing by Wei. However, at that time, the style of ci was just beginning to shift from folk to literati, and there were few creations. In the mid-Tang Dynasty, Bai Juyi and Liu Yuxi created tunes such as "Memorizing Jiangnan", and many poets also wrote lyrics from time to time, which occupied a place in literary creation and produced some excellent works. In the late Tang and Five Dynasties, literati ci was further established, and a special collection of poets and ci appeared. Ruwen was the first poet to write lyrics vigorously, and 66 of his lyrics were included in Huajian Collection. Hua Jian Ji is the earliest anthology in China, which contains 500 words of 18 poets. From then on, in the history of China literature, Ci became an independent whole and developed in parallel with poetry. After entering the Song Dynasty, famous artists came forth in large numbers and experienced the prosperity of ci, and the creation of ci was greatly improved and developed in the hands of great poets such as Su Shi and Xin Qiji. Song Ci is on an equal footing with Tang Poetry, which is regarded as the victory of a generation of literature by later generations. But at the same time, folk words are ignored or even buried.
Ci reached its peak in Song Dynasty, declined for more than 300 years in Yuan and Ming Dynasties, and re-entered the development state in Qing Dynasty. In the history of literature, Ci has become a popular literary genre with its unique musical beauty, intricate rhythm, uneven syntax and strong and profound emotional expression. Ci is a new kind of folk song and poem in the late Tang Dynasty, that is, lyrics. In the late Tang Dynasty, Hu music in the western regions, especially Qiuci music, was introduced into the Central Plains through the Silk Road, and it was merged with the musicians of the Han nationality, giving birth to a new kind of music-Le Yan. There are many tunes of Yanle, including dance music and songs. The lyrics of the song are the ancestors of later lyrics, which were called "Quzi Ci" at that time. In the course of its development, the lyrics of Yanle in Tang Dynasty gradually formed a remarkable feature, that is, the lyrics were created in strict accordance with the requirements of music, including segmentation according to the movement structure, sentence making according to the beat, word selection according to the music sound, etc., and its glyph became a form with irregular sentence length and fixed frame. After the middle Tang Dynasty, many literati used this method to create poems, which were later commonly known as "Ci".
Many tunes in Yan music are folk songs, including songs and words, which have different lengths or interlining forms. Many notes and lyrics found in Dunhuang in modern times were written for speeches. The structure of these lyrics is long or short. It can be seen that these lyrics are in line with or changed according to the requirements of music singing, which shows that the lyrics of Yanle written for music are an etymology. Another source of ci is the poetry of literati. The beat of some music in the Tang Dynasty and the lyrics of poems, especially Yang Liuzhi, are not much different from metrical poems. However, there are also some inconsistencies between poetry and music. In order to adapt to the melody format, some changes need to be made, such as sentence breaking and overlapping. According to the explanations of Shen Kuo and Zhu in Song Dynasty, "harmony" and "overtone" should be added to sing these songs to match the uneven beat length. This eventually led the literati to write lyrics directly according to the musical beat. Poetry into music has contributed to the lyrical trend of musical words. Judging from Zeng's poems, most of them are five-character quatrains or seven-character quatrains, and the contents are mostly chanting mountains and rivers, expressing feelings, or reflecting friends' friendship and parting feelings, which gradually forms remarkable artistic characteristics: the content is mainly to express daily life feelings, the artistic conception is more delicate, the expression method is more euphemistic, and the language is more concise and delicate.
Popular folk words in the early Tang Dynasty are the embryonic stage of words. The inflectional characters written by the literati in the prosperous Tang Dynasty are basically neat five-character and seven-language forms, and some are long and short sentences. In the mid-Tang Dynasty, literati began to seriously rely on sound to write lyrics. After the end of Yuan Dynasty, the number of literati ci gradually increased, and ci formally became one. However, at this time, the scope of literati's use of tunes is still relatively narrow. As far as the available materials are concerned, they usually use a limited number of tunes, such as Qi Yiling, Yi Chang 'an, teasing and Santai. But in terms of language, they began to introduce the language of modern poetry, which is exquisite, concise and beautiful. In this way, the language, thoughts and feelings of literati poetry began to penetrate into ci, which gradually broke away from the original pure and sincere, simple and vivid but rough primitive state and formed a formal literary genre of literati. By the end of the Tang Dynasty, literary words described images and psychology with rich colors, gorgeous rhetoric and delicate techniques, forming an artistic style of fragrance, softness, density and concealment. This is a sign that literati ci tends to mature. After writing ci, more and more scholars began to write ci. In the Five Dynasties and Ten Kingdoms period, it was even more popular to write lyrics by voice. Xishu and Nantang, which have the most developed economy and culture, have become two bases for poets to gather. Huajian Collection contains most of the words of poets in West Shu. Among the poets in Xishu, Wei Zhuang has the highest achievement; Li Jing, Li Yu and Feng Yansi are the most outstanding poets in the Southern Tang Dynasty.
Ci reached its peak in the Song Dynasty and became a completely independent literary form, competing with poetic style. In the history of literature, Ci is called Song, which reflects the important position of Song Ci as a generation of literature. The mainstream of Ci in the Northern Song Dynasty is still following the late Tang Dynasty and the Five Dynasties, paying attention to the lyricism and musicality of Ci, such as Er Yan and Zhang Xi 'an. They deliberately refined, making the form of words richer, the language of words more refined, the artistic conception of words more profound, the style of words more delicate, especially the rhythm of words more delicate and harmonious. However, there were other poets in the Northern Song Dynasty, such as Su Shi and Liu Yong, who started with the style of ci and focused on the reform of it. In the early years of the Northern Song Dynasty, Fan Zhongyan's "Fisherman's Passion" and Wang Anshi's "Guizhixiang" were dripping, full of pen and ink, broad and desolate in tone, broad and tragic in realm, and depressed in feelings, which opened the prelude to the bold ci works represented by Su Shi and Xin Qiji. After that, Su Shi deliberately used some characteristics of ci in language form to express all kinds of life interests and feelings freely and smoothly. He not only wrote the content of "expressing ambition" that originally belonged to poetry into his words, but also applied the prose sentence patterns and words that had appeared in poetry to his words, enriching the content of his words and changing the formal skills of his words. In addition, before Su Shi, music was the life of ci, and the characteristics of music were more important than those of literature, so harmony and music were the primary conditions of ci. Su Shi liberated Ci from the framework of attaching importance to music for the first time, and initially separated Ci from music, making Ci become a literary genre first, not just a vassal of music, thus making Ci have an independent position in the history of literature. After Ci crossed to the south, the poets wrote in different attitudes and ways on their own creative paths, which played different roles in the continued development of Song Ci. Li Qingzhao's Ci is the transition from the Northern Song Dynasty to the Southern Song Dynasty. Li Qingzhao personally experienced social changes from north to south, and her life experience, thoughts and feelings have undergone great changes. Correspondingly, the content, artistic conception, color and voice of her words have also changed, from bright and fresh to melancholy and deep sorrow, but the true colors of her words have never changed. Her creation set an example for poets in the Southern Song Dynasty to express new content in old forms. After the middle period, a generation of heroes Xin Qiji and Jiang Kui formed another prosperous period of Ci in Song Dynasty. Xin Qiji, in particular, not only represents the highest achievement of Ci in the Southern Song Dynasty, but also occupies a very important position in the whole history of China literature. The failure of Kathy's Northern Expedition was a turning point in the Southern Song Ci. At this time, the theme of ci creation is to lament the feelings of daily life and linger in the natural scenery, and the mood turns to sadness. But this is not just a return to tradition. After long-term development and many poets' explorations in many directions, Ci is facing another opportunity to sum up after absorbing the expressive techniques of poetry and prose. Poets in the late Southern Song Dynasty played a great role in this respect. Although they paid more attention to tradition, they also screened and sorted out the techniques of previous poets, and made a new summary in the form and language skills of words. Although their works are not strong enough and the realm is not open enough, they have made important contributions to the development of Ci.
Although Yuan Ci inherited the legacy of the Song Dynasty, its achievements were unsustainable, but there were many poets, including many famous works. The creation of meta-words can be divided into two stages. The first stage includes the creation of poets born in Mongolia before the unification of Yuan Dynasty. Poets at this stage include Yuan Haowen, Lu Wengui, Zhang Zhihan and Liu Min. Because most of them have the experience of national subjugation and war, the most valuable part of their poems is to express their yearning for the motherland and the feeling of thorns and camels brought about by the change of the world. The second stage includes the works of poets born after the unification of Yuan Dynasty and before the death of Yuan Dynasty. The poets in this period are Yu Ji, Wang Xu, Zhang Yu, Sadulla and Zhang Jian. They were born after Kublai Khan's political reform and did not experience too many wars. The main content of their poems is to explore the origin of the costumes and praise the semi-secluded and semi-vulgar life. In addition, there are a considerable number of Taoist words in Yuan Ci, accounting for about one seventh of the total. This is closely related to the reclusive social nature of neo-Taoists in the Jin and Yuan Dynasties and the fact that Taoists often associate with intellectuals. The achievements of these words are not high either. Generally speaking, the number of meta-words that are perfect in thought and art is very small, and the whole creative situation is declining.
Ci in Ming Dynasty is still in decline. But there are also some poets who are quite influential in the field of ci, leaving some excellent works. At the beginning of the Ming Dynasty, Liu Ji, Yang Ji, Gao Qi and others suffered political setbacks, and their ci became a school of their own, each with its own characteristics, and the legacy of the Song and Yuan Dynasties remained. After the middle of Ming Dynasty, the style of ci declined. Yang Shen, Wang Shizhen, Tang Xianzu and others have created many works, but they are not writers. By the time of Yang Shen's creation, there were many incongruities with the movement, which actually led Ming Ci astray. At this time, the creation of ci has gradually declined. At the end of the Ming Dynasty, due to social changes, it brought a glimmer of life to the creation of Ci. Chen Zilong and Xia Wanchun died in the Qing Dynasty. Chen Zilong's ci is full of coquettish meaning and profound implication. His early works are romantic and gorgeous, graceful and restrained, while his later works are tender and sad, natural and charming. He turned over the nearly extinct words in Yuan and Ming Dynasties, which can be regarded as a master of Ming Ci.
Ci experienced the decline in Yuan and Ming Dynasties and prospered again in Qing Dynasty, which is closely related to the changes of the times. Traditionally, words and Sanqu are more relaxed, close to daily life and fresh in emotion than poetry. Compared with Sanqu, the words are more elegant, and the language of Sanqu is sharp, novel, vulgar and lively, close to spoken language. The decline of Ci in Yuan and Ming Dynasties was actually the result of Sanqu replacing Ci. The language style of Sanqu is not suitable for introverted and elegant literati in Qing Dynasty. On the other hand, although many styles of Qing poetry coexist, from the beginning of Qing dynasty, the trend of emphasizing learning and knowledge is obvious. This has also caused the defect of lyric function of poetry, which needs to be made up from other styles. The prosperity of ci is the compensation for poetry. Among the main poets in the early Qing Dynasty, Chen Weisong and Zhu Yizun were Han poets, and Nalan Xingde was the most famous among Manchu poets.
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