Boyaqin, Zhuang Yuan Junior High School, Rudong County, Jiangsu Province
Abstract: The combination of poetry and music produces characters. It belongs to both music and poetry. However, the combination of poetry and music is not balanced. Their combination forms often conflict. This paper tries to analyze Su Shi's "Poetry as Ci" from the historical origin of Ci and Poetry. Su Shi's reform greatly developed the literary attributes of Ci and improved its status. This inevitably involves another aspect of the problem, that is, the musical attribute of words. This paper analyzes Li Qingzhao's "Ci is not a Family" with the blood relationship between Ci and music. Li Qingzhao's viewpoint of "Ci is different" improves the musicality of Ci and makes Ci more perfect.
[Keywords:]: the combination of poetry and music, Su Shi, "Poetry as a word", Li Qingzhao, "Different words"
Ci is a new metrical poetic style with the spread of Yan music in Sui and Tang Dynasties and the combination of poetry and music. It has both musical and poetic attributes.
The combination of poetry and music is obviously dominant in the early stage of music. From the Five Dynasties to Liu Yong, Ci is a colorful subject, with harmony as the main theme, elegance as the Sect, and Ci attached to music. To create words, the author must first rely on the sound to enter the tune according to the beat length of the song. By Su Shi's time, ci gradually broke away from music and became "reciting without singing". In particular, Su Shi's "Poetry as Ci", from the perspective of the origin of Ci, strives to get rid of the shackles of melody on Ci, make the style of Ci abrupt, liberate the style of Ci, open up the realm of Ci, improve the character of Ci, and make Ci get rid of its vassal status and become a big country and independent lyric style.
The artistic features of Su Shi's "Poetry as Ci" are mainly manifested in the following aspects:
First, the expansion of words.
Su Shi innovated the style of ci, expanded the content and theme of ci, broke through the old barrier that ci was "colorful", and made ci move from "flower" to "respect for the former" and to a broad social life. Su Shi not only wrote traditional themes such as the love between men and women, the hate of parting, and the worries of traveling far away, but also brought all the themes and contents written by poets in the past into the field of ci creation, such as nostalgia, mourning for the world, mourning for friends, living in seclusion and talking about Zen, singing about history and immortals, reasoning about politics and so on. Anyone who can be a poet can enter ci, and ci has achieved the purpose of "unintentional entry"
Ci in the Five Dynasties and the Early Song Dynasty is narrow in subject matter and poor in content. In Su-style view, the territory of poetry is the sea, air and unrestrained freedom. In this case, the words that are descendants of poetry should be the same. Therefore, when he was dissatisfied, people took "Ke Yan" as a rope, and imposed various constraints on word division. Many people think that the theme and content of poetry should be contained in Ci, which completely breaks through the cage of "Ke Yan", liberates Ci from the narrow fence of yearning for love and keeping sadness and not hating, and leads to a broad social life. It opens up an infinite artistic world for the creation of Song Ci, and endows Ci with fresh blood and vitality.
The second is the change of ci style.
Su Shi broke the traditional concept of "poetic rhyme", swept away old habits, and wrote poems with fresh and elegant words, bold and vigorous brushwork and wonderful weather, which made his poems look like "the sea is full of storms" (flowers and plants are picked up), full of vigor, frustration and passion, and formed a style similar to Su Shi's poems. For example, "Basheng Ganzhou", "Affectionate wind comes from Wan Li", and the brushwork seems to be "sudden snow mountain, coming from the ground" (Dongpo Fu). Su Shi not only entered the ci with poems, but also absorbed more poems and words, and used historical biography and oral English to break through the rhythm constraints of the ci, fully expressing his feelings and making the ci written as a text, not as a song.
Since the Tang and Five Dynasties, Ci has been devoted to the creation of graceful and restrained Ci. From Wen to Liu Yong, the ci works of many poets in this period tended to be graceful and charming on the whole, although there were some differences between elegance and vulgarity, and the content and form of ci were attached to music. Su Shi was quite dissatisfied with this. Breaking through the shackles of the rhythm of words, introducing poetic style into words has promoted the pursuit of pure literature in content and form. This important change is the beginning that the literary life of ci is more important than the musical life, which greatly improves the expressive power of ci. This is also a great contribution of Su Shi to Ci.
Third, the style is diversified.
Graceful and restrained words have been the mainstream style since the Tang and Five Dynasties. Su Shi believes that the style of ci should not be biased towards a graceful corner, but should be as flexible as poetry, colorful and colorful. Su Shi was extremely dissatisfied with the charming style in the Ci Garden, and set up another school besides Liu Yong and Graceful Ci School, becoming an outstanding pioneer of bold and unconstrained Ci School in Song Dynasty. Su Shi's ci is not only bold, but also changeable, showing a variety of styles. For example, "Die Lian Hua" (flowers wither, red and green apricots are small) is written about the beauty laughing and stirring the spring sorrow outside the wall, with charming style and dignified and honest in sincerity and delicacy. Wang Shizhen's Flowers and Plants Picked Up commented: "I'm afraid I may not be able to make it, but I don't know if it means' gone forever'."
Creating bold and unconstrained style is indeed an important aspect of Soviet-style innovation of ci style, but its purpose and achievements are not entirely here. Su Shi's innovation of ci style is not simply against graceful school, but to change the situation that graceful school unified the ci world, make the ci style develop from centralization to diversification, and form a situation that graceful school, bold school, glamorous school, graceful school and broad-minded school are all in the same style.
Fourth, write love in words and pottery.
He injected the emotional interest of scholar-officials into his ci, and combined it with popular literary forms that citizens loved. It gives full play to the lyrical function of ci, which makes ci have enough literary value to stand on its own feet besides harmony. Improve the taste of words, but also enhance the vitality of words. In addition, he also started from people's emotional needs, with the main purpose of reflecting the subject's emotions. This is different from the traditional poetry's emphasis on social and political utility, and it is attached to the literary life of ordinary literati and the reality of lyrics creation. It is a humanized revision of traditional poetry and has been widely recognized.
To sum up, Su Shi advocated the poeticization of Ci, and made a series of innovations in the subject matter, content, style, lyrical function and application of Ci, which came down to one aspect: attaching importance to, developing and upgrading the literary attributes of Ci, making Ci get rid of its subordinate position attached to music and return to poetry. This is bound to involve another aspect: how to treat the musical attributes of words?
Su Shi advocated the poeticization of ci, and attached importance to the literary attributes of ci, instead of ignoring the musical attributes of ci. However, Su Shi's emphasis on the musical attributes of ci does not mean that he is faithful to the melody of music. When the strict requirement of music melody conflicts with the need to express the meaning of lyrics, he often pays more attention to the literary attributes of words rather than being strictly bound by melody.
Su Shi's practice was ridiculed by some scholars who emphasized melody at that time and later. "Wang Zhifang's Poetry Talk" ("Tiaoxi Fishing in Conghua") says: "Dongpo is not to blame for what he did, and Qian Wen said,' Why did you swim a lot?' They said to the cloud,' A poem is like a poem, and Mr. Xiaoyan is like a poem.' "Here," Mr. Xiao's words are like poems "is not a compliment. More sharply, "Houshan Poetry Talk" said: "Retreat to poetry by writing, and Zi Zhan to poetry by words, such as teaching thunder to make dance, the work of counties and counties is extremely world-famous." It is pointed out that the reason why Su Ci is "not authentic" lies in "taking poetry as ci", which confuses the boundaries of poetry and makes fierce and bold criticism. It is in this atmosphere that Li Qingzhao wrote On Ci, which is a model of "other schools of Ci".
If Su Shi's understanding of Ci is based on literature, he emphasizes the historical origin and communication between Ci and poetry. Then, Li Qingzhao emphasized the consanguineous relationship between words and music and the difference between words and poems based on the principle that words should conform to the law, so as to understand and maintain the uniqueness of words and strictly divide the boundaries between poems.
The first is that words must be in tune.
Li Qingzhao believes that since the birth of the Tang Dynasty, Ci has formed an indissoluble bond with music. Although since the Tang Dynasty, the new tune of Ci has emerged one after another and the style of Ci has changed day by day, the nature of Ci as a "lyric" has never changed. Therefore, conforming to the rhythm is the primary feature that distinguishes words from poems. She used this as a rope ink to measure the gains and losses of her predecessors' ci, and thought that although Liu Yong's ci was "under the dust of words", it could "change the old sound into a new sound" and "harmony", so it was "so loud that it was the best in the world"; Ouyang Xiu, Su Dongpo and others are literary giants and scholars, but their words are often out of tune, so they become "poems that don't read or repair". Li Qingzhao's requirements for the conformity of ci are far stricter than those of his predecessors. In her view, Su Shi's words of "being outstanding horizontally, naturally unable to be bound to the music" are not up to the requirements, that is, Yan Shu's words of "left palace and right sign, harmonious and bright, the ancestor of the Northern Song Dynasty" are also irregular. Because Li Qingzhao has a set of specific and even nuanced standards for whether words conform to the rhythm:
First, the lyrics should be divided into five sounds. The so-called five tones refer to the five tones of ancient music: Gong, Shang, Jiao, Zheng and Yu. Also known as pentatonic scale. Since Shen Yue and others in the Southern Dynasties discovered that Chinese characters have four tones: ping, Shang, Qu and Ru, critics have tried to match the four tones of Chinese characters with the five tones of music. In the Tang Dynasty, there were Liu, Liu, Xu Jing 'an and so on. I told you this. Li Qingzhao's so-called ci is divided into five tones, namely, flat, up, down and inside, and pursues the palace, business, angle, sign and feather of music, so that the tone of ci matches the tone of music. Li Qingzhao believes that the rhythm of poetry is flat and even, and the rhythm of words is subdivided into flat, upward, downward and inward, which is in line with the palace merchants of music and far stricter than poetry. Especially in the case that the rhyme and pronunciation are indistinguishable and the usage is not cut, "then you can't sing."
Second, we must distinguish six methods. The so-called six laws is the abbreviation of twelve laws in ancient music laws. There is a unified system of ancient music in China: starting from a certain standard pitch, a sound level is divided into twelve semitones in an octave according to the gain and loss of three points, which is called the Twelve Temperatures. They are: Huang Zhong, Lu Da, Tai Qun, Jia Zhong, Gu Xi, Zhonglu, Yan Bin, Lin Zhong, Yize, Nanlu, Wushe and Ying Zhong. Among them, Huang Zhong, Tai Cong and other odd laws are called laws, collectively referred to as six laws; Even numbers such as Zhong Lu and Zhong Lu are called Lu, and together they are called Liu Lu. Li Qingzhao believes that the five tones in music melody are not fixed and static, but move and change with the different palace words to which music belongs. Therefore, in order to make the words and sounds of the lyrics conform to the rhythm, we can't just draw a gourd ladle, which mechanically corresponds to the palace, the merchant, the horn, the sign and the feather. Instead, we should master the five tones flexibly according to the different palace tunes to which the music belongs, and use words to judge the sounds, so that the lyrics are consistent with the melody of the music.
Thirdly, the lyrics should be divided into five tones and six rhymes, and they should also be divided into five tones. The so-called five tones refer to lip sounds, dental sounds, throat sounds, tongue sounds and nasal sounds distinguished according to the pronunciation position of initials; The so-called voiced degree refers to whether the initials are aspirated or not, and whether the voiced sound causes the difference between yin and yang. Clear and light word yin sound; Turbid, heavy words raise their voices. This is another strict requirement of Li Qingzhao on the pronunciation of lyrics.
Li Qingzhao's requirement for the harmony of ci style is the yardstick she uses to distinguish the differences between words, and it is also the main cornerstone of her theory of "harmony without difference". These strict requirements reflect her full attention to the musical attributes of words. Li Qingzhao put forward the specific requirements of "being different from one family" and "being divided into five tones, five tones, six rhythms, and turbidity", which made people's understanding of the rhythm of ci clear and theoretical, provided a standard for distinguishing the difference between ci and poetry in stylistic form, and made it Fiona Fang according to the rules, thus maintaining the true colors of ci. This indicates that the musical attribute of words has entered a new stage.
Secondly, keywords should have their own aesthetic characteristics.
First, use words gracefully. As for Liu Yong's ci, although she is sure to be good at "changing old sounds into new ones" and "blending melodies", she is dissatisfied with her "vulgar words" and vulgar style. It is advocated that ci should be "elegant" like the monarch and ministers in the southern Tang Dynasty and have the lofty taste of literati.
Second, the words should be muddy, pay attention to the integrity of the image and the overall beauty of the whole article. Li Qingzhao thinks that Zhang Xian, Song Qi and others "always have a punch line" when practicing sentences artificially, but their words are often wordless and fail to achieve success.
Third, words should pay attention to emotion. In the Northern Song Dynasty, poetry expressing ambition and words expressing feelings each had their own specialties, which became * * * knowledge. Li Qingzhao's affection here refers to tenderness and so on. This can be known from her works before she crossed the south. Qin Guan's words are "elegant and affectionate, with flowers beside the wine and deep feelings", and so is Li Qingzhao.
Fourth, emphasize words and advocate truth. Although Qin Guan's ci poems have feelings, they are addicted to them, and their tolerance is quite weak, because "less is true." This is also the shortcoming of He Zhu's ci. However, the use of old facts in words should be smooth and smooth, so as to be elegant. For example, Huang Tingjian's ci, which blindly advocates old facts, is actually flawed.
5. Ci should be described, which refers to slow ci. The method of ci writers' description began when Liu Yong and Li Qingzhao said that Yan was "beyond words", and he did not have all the skills to be an expert.
Sixth, we should not take poetry as a word, literature as a word, and talent as a word. Such as Ouyang Xiu, Su Shi, Wang Anshi and Ceng Gong. , are "heaven and man in the scholar" and "articles such as the Western Han Dynasty". Some universities ask generously, but if they regard it as a "small word", people will be completely defeated because it does not conform to the aesthetic characteristics of words.
Li Qingzhao's views on the creation of ci style are revealed through comments on many nominalists. In her works, they always have some unsatisfactory places, so we should seize this point to comment, and we should treat the cognitive problems comprehensively and fairly. What's important is that she wants to make people know the aesthetic characteristics of words by criticizing the advantages and disadvantages of nouns, so as to clarify why words are "different". Therefore, we should see that her bird's-eye criticism of the ci circle in the Northern Song Dynasty is to explain the specific connotation of the ci, rather than to comment on the merits of each ci. These aesthetic standards put forward by her are of guiding significance for future generations to understand and master the artistic characteristics of traditional ci style and carry out the artistic creation practice of lyrics. However, Li Qingzhao's requirements for ci, such as heavy code, truth, elegance and simplicity, are also traditional aesthetic norms of poetry. On the contrary, we can see the close relationship between words and poems.
Thirdly, words and poems are suitable for their respective themes and requirements.
This is one of the connotations of Li Qingzhao's "other family". In the era of Li Qingzhao, poetry expressing ambition and words expressing feelings have become people's knowledge at that time. As long as you compare Li Qingzhao's words, you can't find obvious differences. In her poems, we will find that she lashed the rulers of the Southern Song Dynasty who were in a corner of peace, hated the invaders and deeply missed her hometown elders. For example, the poem "Wujiang" says: "Life is a hero, and death is a ghost friend. I still miss Xiang Yu and refuse to cross Jiangdong. " However, in her poems, we can't see such generous and tragic sentences. In the early stage, "Always in my heart, a young woman" was written more and the style was fresh, such as "A Dream". Later words turned to sadness and profundity, such as "slow voice" and "Changle". The theme, content and even style of his poems are completely different. The reason is nothing more than the concept that words are different from each other.
In a word, the combination of poetry and music is always contradictory, and it is in this contradiction that words become mature and perfect. Su Shi's innovation of "taking poetry as ci", starting from the historical origin of ci and poetry, developed the literary attribute that ci was buried and covered by harmony singing, injected the soul of traditional poetry into ci, a popular literary art form, and made ci move from restaurant to study desk, from the mouth of geisha to the depths of literati's heart, and become a lyric poem. Su Shi doesn't want to obey the strict constraints of temperament. He not only has the literary attribute of praise words, but also has the positive intention of returning words to poetry, and he also has the disadvantage of not paying enough attention to the musical attribute of words. Li Qingzhao's theory of "Ci is different from others" first proposed that Ci should be in harmony with music. On the basis of predecessors, it is proposed to divide words into five tones, five tones, five laws, etc. to distinguish words from poems, so as to improve and perfect the musical attributes of words. Secondly, distinguish poetry and words from the literary point of view. However, it is not difficult to see that Li Qingzhao advocates "different words" and maintains the traditional style of words, aiming at explaining the boundaries of poetry. As a literary form, Ci has a special expression and unique style. It is rich in various sentence patterns, syntax, temperament, Ye Yun and so on. , which closely fits the advantages and disadvantages of music, is not the whole of poetry, so it is more suitable for expressing twists and turns than poetry. Therefore, Li Qingzhao advocates the word "other family", which should not be regarded as equivalent to poetry and has its own reasonable side. However, from the origin of ci, we can easily find that ci is inextricably linked with poetry. On the contrary, she seems to have gone too far. We should admit that words and poems are not exactly the same in style and style, and we should also admit the fact that words and poems are not completely different. As a happy poem, Ci has dual functions endowed by both the poem mother and the happy mother. It should not only express feelings, impress people with rich ideological content, but also conform to the rhythm and delight people's eyes and ears with perfect artistic form. The combination of beads and walls is an ideal situation for lyrics creation.
Bibliography:
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② The Word East China Normal University Press 1986
③ History of Ancient Chinese Literature Ma Huangjun Hunan Literature and Art Publishing House 1996.
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