Qin Guan’s literary creation activities have been decades away from Liu Yong, but he was deeply influenced by Liu Yong’s style of poetry and followed the creative path opened by Liu Yong. He also made outstanding achievements in his slow poetry creation . After Qin Guan was demoted, he still wrote about the sorrow of parting, but at this time, his connection with "erotic love" became more distant, and the "sense of life experience" was highlighted. His poems reflected more the life and mentality of the exiled official, and the poet also Hence the path to the abyss of pain. Qin Guan not only accepted the influence of Liu Yong's Ci, but also comprehensively inherited the achievements of Tang and Five Dynasties Ci, especially the influence of Li Yu, Yan, Ou, Zhang Xian, Song Qi and others. In terms of content, Qin Guan's poems follow the tradition of graceful poems since Huajian, mainly describing love, lovesickness, parting and sorrow, and sorrow and relegation. However, his poems are no longer moaning about illness, nor are they about wine. Yingge plays with words, but is full of personal true feelings. Not only that, the love affairs and love affairs in his works are often intertwined with his personal unfortunate life experience, finally forming a kind of deep sadness unique to Qin Guan. In this respect, he is very similar to Li Yu. It is not accidental that he uses more of Li Yu's words in his own words. He learned from Liu Yong and made further progress in slow poetry creation. But he did not follow Liu Yong's footsteps, but inherited and abandoned some. He inherited Liu Yong's narrative techniques and developed the expression skills of blending scenes in the narrative. At the same time, he paid special attention to weaving in the regret of his abnormal life experience, and deliberately avoided the vulgarity and vulgarity that appeared in some of Liu Yong's words. This makes Qin Guan's poetry form an elegant, solemn, smooth and graceful style. Later generations are full of praise for Qin Guan's Ci, largely because he drew on the strengths of others and developed his own style. Zhang Yan said: "Qin Shaoyou's poems are elegant in structure, strong in spirit, clear and beautiful, and keep the pulse of thought. He chews without leaving anything, and the taste becomes clear over time." (Volume 2 of "Etymology") Liu Xizai said: "Qin Shaoyou's poems are best known as "Flower Room" , "Zunqian" left behind, but it can come out fresh on its own." ("Yi Gai·Ci Ming Gui") Kuang Zhouyi said: "Shaoyou has made his own way, and he is a famous artist, so he can draw out the secrets and shine in the world. In addition to the ordinary moistening, it is the hibiscus in the early morning and the willows in the morning breeze." (Volume 2 of "Hui Feng Ci Hua") Zhou Ji said: "Shaoyou is the most gentle and pure." "Summary of the General Catalog of Sikuquanshu·"Summary of Huaihai Ci"" says: Qin Guan's Ci "has both emotional and rhyme qualities, surpassing those of Su and Huang. Although it is rarely circulated, it must be written by the Yisheng family."
Qin Guan was one of the four scholars of the Su family. He had a close relationship with Su Shi and was his teacher and friend. Political setbacks implicated them together, which made Qin Guan unhappy throughout his life. However, Su Shi and Qin Guan have completely different personalities and styles of writing. In the face of setbacks, Su Shi was optimistic about fate, open-minded and uninhibited, and still full of confidence in life and the future. Although he also had negative thoughts, he was not depressed. Qin Guan is different. Although when he was young, he was once "strong-willed and vigorous, and he was so big and surprising", but judging from the poems and lyrics he wrote, his character was on the weak side. As his poem goes: "A night of light thunder falling on thousands of silk threads, the lightning floating on the tiles and the green jade are uneven. The loving peonies contain spring tears, and the powerless roses lie on the late branches." ("Spring Rain") The style is similar to the graceful words. Ao Taosun's "Zhen Weng's Poetry Commentary" said: "Qin Shaoyou is like a girl walking in spring, but she is weak and fragile in the end." "Shiyu" cited in "Houshan Poetry Talk" also says: "Qin Shaoyou's poems are like words." He repeatedly said After being hit, because he lacked Su Shi's broad mind and firm belief, he was surrounded by deep sorrow for a long time and it was difficult to escape. There is often a desperate sadness in its lyrics. Therefore, in the creation of lyrics, he followed a different path from Su Shi. He was more influenced by Yan Shu, Ouyang Xiu and Liu Yong. He was particularly good at writing sad and sentimental romance poems, and was good at writing a delicate and subtle emotional realm. In terms of developing the euphemistic and vague realm of poetry, his creative artistic skills have entered a new stage, and he has become a master of euphemistic poetry. Qin Guan has three volumes of "Huaihai Collection" and 72 poems. Modern people have added 28 poems from the reprinted edition by Wang Jingzhi of the Qing Dynasty and "Hua Cao Cui Bian". Among the preserved poems, Xiaoling still constitutes the majority, and the pieces are beautiful, exquisite and moving. Although the number of slow Ci poems preserved by Qin Guan is far less than that of Liu Yong, it has still reached a new height in terms of euphemistic romance and narrative development. To discuss Qin Guan's Ci, it is necessary to combine his slow Ci with Xiaoling's achievements.
Due to the influence of his life experience and the weakness of his character, Qin Guan could neither make bold innovations in the content and style of Ci like Su Shi, nor make any innovations in the form or artistic skills of Ci like Liu Yong. Bold discussions and new attempts. This makes Qin Guan only explore the aspect of reflecting inner life in a relatively narrow scope of life under the traditional influence of graceful words. Therefore, although Qin Guan's poetry has its own characteristics and has made progress in art, in that era when the old and the new changed and famous writers emerged in large numbers, he could only become a distinctive and influential poet, but he could not become a first-rate master.
As for the creation of Ci, Qin Guan first has two characteristics worth noting. First, sincere emotional investment. Qin Guan is a lyricist who is rich in emotion and willing to devote his emotions. Whether it is to highlight love and lovesickness or to highlight the "feeling of life experience", he can devote himself wholeheartedly to it. He himself was moved first, and when these emotions are expressed artistically, they can also move the readers. Feng Xu called Qin Guan "the saddest person in ancient times" ("Sixty-one Poems of the Song Dynasty"), and he was deeply moved by Qin Guan.
This is different from Liu Yong's attitude towards geishas who mostly just joke and play. Liu Yong's poems tend to be superficial and erotic, while Qin Guan's works with similar themes appear to be much more pure, dedicated and profound. "If you want to send your secrets to a brothel, you can't resist the ruthless river that won't flow westward" ("Yu Meiren"), "Everyone's heart is broken at the beginning of their journey, and the heart is gone" ("The Return of Ruan Lang"), "How many sunsets are there on the green lotus" Among them, we know that he is the one who condenses his hatred and turns to the west wind" ("Poppy Lady"), "the water flows empty when people leave, and the door is ajar with flowers flying" ("Nan Gezi"), "the water flows at sunset, and the tears are full of red" ("Lin Ge Zi") "Jiang Xian"), etc., are all Shen Zhi's touching "naturally good words" and the true and implicit expression of the poet's emotions. Therefore, although Qin Guan inherited Liu Yong's poetry style and was influenced by Liu Yong to varying degrees in terms of subject matter, form, and style, as an "innocent" poet, Qin Guan is far better than Liu Yong. The works cited above all have the characteristics of "pure love". However, Qin Guan's "pure love" is the "pure love" that indulges in his own emotions. Whether it is the lingering feelings towards the geisha or his friends, the end point is self-pity, self-sentiment. "The Poppy" says: The green peach planted and dewed in the sky is not an ordinary flower. The water lingers deep in the chaotic mountains, but it is a pity that there is only one branch like a painting, for whom does it bloom? What's the limit to light cold and drizzle? It's hard to control spring if you don't know it. What's wrong with getting drunk on you? I'm just afraid that when I wake up from alcohol, my heart will be broken! The poet appreciates and pities himself, and the "Bitao" in the "heaven" in the poem is integrated with the poet on earth. This "green peach" planted alone in the "deep mountains", blooming "picturesquely" with no one to appreciate and cherish it, and having to withstand the invasion of "light cold and drizzle", isn't it just that the poet's talent was in vain? Is it a symbol of not being able to be used, but being demoted again and again, and experiencing many ups and downs in the official career? At this point, readers can understand why the poet did not hesitate to "get drunk" and why he "broke his heart when he sobered up". He shed tears, got drunk, and broke his heart because of his own life experience! "Incorporating the sense of life experience into erotic feelings", the "feeling of life experience" is where the poet's emotions are realized. "Amorous feelings" and the like often become the background for the poet's lyricism. This kind of "pure love" indulged in oneself becomes even more radiant when expressed in the form of fantasy or idealism. The expression of ideal love in "The Fairy of Magpie Bridge" is a good example. Qin Guan's "Good Things Are Near" records dreams, which is about describing the world of illusions. It is natural, real, and very touching. The lyrics say:
The rain on the spring road adds flowers, and the flowers move the spring scenery of the mountain. Walking deep into the creek, there are hundreds of orioles. Feiyun turned into a dragon and snake in front of his face, and turned into an empty sky. Drunk and lying under the shade of an old vine, I don't know north or south.
The realm of dreams is written in a colorful yet fantastic and confusing way. The poet in the dream is cheerful: the spring rain moistens things, the creek gurgling, the mountains are full of flowers, and the orioles are singing; the poet in the dream is also melancholy: flying clouds are morphing, dragons and snakes are immature, frightened, and at a loss. Only in dreams can scenes and emotions undergo such huge and instantaneous changes, and the "flying brushstrokes" (Volume 1 of Chen Tingzhuo's "Bie Tiao Collection") are breathtaking. Dreams are a continuation of real emotions. The dreams that appear in the first film are what the poet longs for, and the dreams that appear in the second film are what the poet actually suffers. The two sentences at the end of "lying drunk" point out that all the above is an illusion in a dream. This poem was written during the period when he was demoted to a state, and what it still reveals is a feeling of self-pity and self-complaint. This poem therefore deeply moved Qin Guan's friends. Huang Tingjian wrote in a postscript: "When I was young, I was drunk and lying under the old vines. Who could sing a cup with the frowning eyebrows?"
Secondly, he was deeply impressed by the characteristics of the lyrics. beautiful. Ci was developed in front of flowers and under the moon, during banquets, and was sung by singers and dancers. Even male authors imitated the female tone in their creations, all of which destined the strong female literary characteristics of Ci. Qin Guan is sentimental and has a strong feminine temperament. These character traits help him to understand more deeply the essential characteristics of female literature in Ci, making it easier for him to appreciate the subtle characteristics of Ci that "need to be read and cultivated". Qin Guan's poetry is sensitive and delicate, subtle and beautiful, gentle and euphemistic, and has reached the highest level in expressing the feminine beauty of poetry. Feng Xu praised and said: "Others' words are the result of their talent; the less they travel, the more they show their heart. They are acquired from within and cannot be passed on." ("Examples of Selected Poems from the Sixty-One Family of the Song Dynasty") Qin Guan's personal temperament and Stylistic features have merged into one. Qin Guan's poem "Huanxi Sand" is a classic work that expresses the unique beauty of poetry. The lyrics say:
Going up to the small building in the desert and cold, the dawn is like a rogue in the poor autumn. Light smoke and flowing water paint a quiet screen. The flying flowers are as light as dreams, and the boundless rain is as thin as sorrow. Small silver hooks hang on the treasure curtain.
The emotion expressed in this poem is very subtle and vague. The poet does not express it directly, but reveals it euphemistically through the constantly changing pictures. It is a kind of helpless "sorrow" caused by the passage of time, the departure of lovers, and the boredom of spring. The vivid pictures give people a broad space for imagination. This poem is famous for its lyrical lightness, smoothness, elegance and elegance. There is no heavy use of words in the whole poem, no cry of pain, no affectionate talk, no self-indulgent pride, no unbearable dwelling on the past. There is only a subtle feeling of the "indifference and coldness" of the natural world, a keen observation of the "rascals of dawn and darkness", and an infinite feeling of the painting screen of "light smoke and flowing water". What kind of emotion is the poet expressing? The first two sentences of the next film answer with novel, exquisite, natural and appropriate couplets: "Flying flowers are as light as dreams, and boundless raindrops are as thin as sorrow." Here, two sets of images are linked together: "flying flowers" and "dream", "Silk Rain" and "Sorrow".
Through the poet's wonderful metaphor connection, we discovered that "the spring dream has no trace", the "dream" does have the characteristics of being light and erratic like "flying flowers", and is fleeting; the inexplicable "sorrow" is indeed like a mist. The "silk rain" is not so fierce, but it is endless and everywhere. The two sets of images share the same characteristics of lightness and melancholy. Qin Guan is very successful in expressing extremely abstract emotions through very vivid pictures. The last sentence, "The treasure curtain hangs with small silver hooks" is another picture. It is the environment where the lyrical protagonist lives, which is integrated with the previous scene. In the boring scene, the thoughts are leisurely, and a touch of resentment constantly seeps out of it. . Judging from the light emotion expressed in this poem, it should be written in the early stage. Zhou Ji said: "The meaning of Shaoyou is implicit, like a flower's first embryo, so it is less important to write." ("Preface to the Catalog of Selected Ci Poems of the Four Masters of Song Dynasty"), he was particularly aware of the lightness and softness of Qin Guan's Ci.
From the perspective of writing, Qin Guanci has three noteworthy characteristics in art. The first is the successful use of the traditional artistic technique of scene blending in Chinese poetry. His poetry is more accustomed to using the techniques of borrowing scenery to express emotions and embedding emotions in the scenery. There are almost no directly lyrical words in this type of words. The poet's emotions are shown through the description of the scenery and the atmosphere. They are fresh and timeless, implicit and profound, and are chewable, such as "Eight-Six Sons", "Ru Meng Ling", etc. . There is also a type that combines reality and reality, with both scenes and emotions, and a blend of scenes. This type of words not only describes scenery, but also directly expresses emotions. The two are in harmony with each other and blend without leaving a trace, such as "Man Ting Fang", "Treading on the Shasha", "Magpie Bridge Immortal", etc. The other type is those who express their feelings directly and express their feelings without being good at describing objective scenery and details of life. Such as "Thousand Years Old" and so on. This word is quoted below:
Qin Guan's Ci has had a far-reaching influence in the history of Ci with its own distinctive artistic characteristics. Qin Guan directly influenced later Zhou Bangyan, Li Qingzhao and the elegant writers of the Southern Song Dynasty. Zhou Bangyan inherited the creative tradition of Liu Yongman's Ci. He also intended to abandon the slang and customs of Liu's Ci, and promoted the aspect of Liu's Ci that "does not reduce the height of the Tang people" and devoted himself to the elegance and craftsmanship of Liu Yong's Ci. This obviously accepted Qin's view influence, and on this basis consolidate the achievements Qin Guan has achieved in his creation. Chen Tingzhuo said: "Qin Shaoyou was the master of his own work, and he pioneered the beautiful achievements in the near future." (Volume 1 of "Bai Yuzhai Ci Hua") Li Qingzhao, a distant teacher Li Yu, studied Qin Guan in recent times, although she criticized it in her "Ci Lun" Qin Guan "specializes in emotion but rarely in truth", but the traces of her learning from Qin Guan are very obvious. The clear and elegant style of poetry of the elegant poets of the Southern Song Dynasty obviously inherited Qin Guan's achievements.