For example, in Memories of Blowing Xiao on the Phoenix Tower, she said, "I'm afraid to leave my arms and feel bitter", "I want to say a lot", "I'm new here, I'm thin, I'm not sick, I'm not sad about autumn" and so on. Almost all of them are spoken, and everyone can understand them without translation. "One kind of lovesickness, two kinds of leisure worries" in A Cut of Plum. There is no gorgeous language, but the author interprets the love of acacia so intriguing.
Li Qingzhao makes good use of "proverbs" in her ci, but this kind of slang is not slang in Liu Yong and Huang Tingjian's ci, but an expressive language extracted from spoken language. It is precisely because of the infinite charm and emotion contained in these "vulgar" words that her words are easy to understand without losing their freshness and ingenuity, so they have won the favor of people of different cultural levels.
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Li Qingzhao skillfully interprets the melody. All her words are inconsistent with the rhythm and can "turn vulgarity into elegance". Entering the melody with ordinary language is the most prominent feature of "Yi 'an Style". For example, the words and expressions in "Eternal Joy" should not be woven or embroidered as far as possible, and the words "dyed willow" are very meteorological.
However, the words "two", "three-five", "auspicious beginning" and "afraid of seeing" are all "haggard and present" until the end of a few sentences, and they do not shy away from dialect sayings, such as talking about home, being plain but getting into the law, being popular but not ugly, which are really unique in Song Ci. "Li Houzhu for men and Li Yian for women are very fashionable" (Qian's Lyrics Miscellanies) is a clear comment.