Appreciation of Song Ci (urgent)

During the golden age of writing from the Five Dynasties to the Northern Song Dynasty, although there were many famous writers whose works were like clouds steaming in Xia Wei, no one ever divided them into factions, named them and labeled them. The works of the Five Dynasties came from at least four different regions: Xishu, Jingchu, Nantang and Dunhuang, but later, perhaps for the convenience of discussion, the name of "Huajian School" was put forward, that is, the genre was determined by the name of Huajian Collection compiled by Zhao Chongzuo of Xishu, which was of course incorrect, because the selected articles in this collection were very different from Wei Zhuang's works. However, in the Northern Song Dynasty, flowers were the epitome and model of this new literary genre at that time, and they were the standard and authenticity of poets. Generally speaking, praising someone is "true colors" rather than "flowers", which is a high evaluation. Chen praised Yan's words, "among all the scenic spots, flowers are the only thing that can be chased." . Higher or higher than it. "It can be seen that connoisseurs, collectors or catalogers in the Southern Song Dynasty regard Huajianji as an original, and lyricists regard Huajianji as a routine. The style of "Huajianjie" has become a yardstick to measure the works of poets in the Northern Song Dynasty, and people who are not as good as "Huajianjie" are bound to be ridiculed as "lower than themselves". What is the truth? We look at several famous poets in the Northern Song Dynasty, such as Ouyang Xiu, Fan Zhongyan, Yan and his son, He Zhu, Qin Guan, Zhao Lingzhi and Zhou Bangyan. Liu Yong is a little different from them, but the difference between him and them is nothing more than writing about his personal feelings of staying away from hate. What he feels is still his close friend and mistress. For these works, there was no division among the ci theorists or critics in the Northern and Southern Song Dynasties at that time. They just looked for chapters to talk about their personal appreciation of a certain word.

It is not surprising that most of the great poets in the Northern Song Dynasty have similar styles, because they are all handed down from Huajian. Their works can be "confused" with each other, with Huajian's works, and even with Southern Tang's works, because of the living environment, cultural level, and so on. The obvious example is Fourteen Magpies Tread in Feng Yansi's "Yang Chun Ji" (that is, "Die Lian Hua"), in which "Looking Back" is found in Ouyang Xiu's "Liu Yici" and renamed "Die Lian Hua". Another example is to use "Liu Yici" as a raid, but there are more problems. There are 22 articles in Old Seal Carving and Die Lian Hua, and only 17 articles are left in this book. Golden retriever gambles on clouds in the title of recent flowers;

Twenty-two old paintings. Jong Li's main work is A Night Pavilion, and "six songs are tired of leaning on the green trees" and "the curtain is light and bilingual" are all found in Zhu Yu's ci. "Alone in a dangerous building, the wind is fine" and "under the curtain, outside the Quqing curtain" are all seen in the collection of movements. Delete today.

Here, Jin Mao deleted five named songs and two unnamed songs. Besides, Jin Mao knew that the word appeared in two books, but he didn't seem sure who wrote it, so he recorded the original word and noticed that it also appeared in other people's collections. There are four songs about this situation: "How deep is the courtyard?" In a song, Shi Mao wrote: "I saw Yangchun Road. Yi Lee Ann called it "June 1st Word". "That he thinks this is the reason why Ouyang Xiu's works are also well-founded. A poem entitled "Pear Blossoms Bloom and Cicada Rest" says: "For a while, I will be with my uncle (Yan Shu) and my son (Su Shi). "Song's" Abandoning Idleness for a Long Time "Note:" Yangchun Record is also recorded. " "Where will the cloud go in a few days?" The title is gambling cloud: "Also recorded in Yangchun. "

There were many other poets in the Northern Song Dynasty who wrote the same poem in the collections of two or three poets, so there is no need to remember it in detail here. I don't give these examples to study the authors of these words, so as to study the value of someone's work. It is to illustrate a historical phenomenon: from the Tang and Five Dynasties to the Northern Song Dynasty, the styles of words are very similar, and everyone's works are similar enough to "confuse leaves" with each other. One person's words fall into other people's collections, and it is almost impossible to distinguish them, so it is impossible to divide factions. In fact, people in the Northern Song Dynasty never realized which school his works belonged to. If someone divides them into factions and labels them, they will definitely be unhappy. Generally speaking, all schools of writing characters in the Northern Song Dynasty originated from "Huajian". There is nothing wrong with saying that they are all "flower schools", but there is no need to reinvent the wheel, because all intellectuals at that time knew it and took it for granted. You should especially point out that some people's works in the Northern Song Dynasty are close to the "Flower School", just like saying that the sea water is salty. Therefore, it is more in line with historical facts to say that there were no ci schools in the Five Dynasties and the Northern Song Dynasty than to insist that someone belonged to a certain school at that time.

So someone put forward different opinions. They said: "Obviously, there were" unrestrained "and" graceful "schools in the Northern Song Dynasty. Isn't Su Dongpo "uninhibited"? Isn't that what almost every literary history and ci theory say? The point of the question is: what is the basis for them to say this? The answer should be their works. So, the first question is, what are Dongpo's "bold" words? So I opened every book on the history of literature or ci, and quoted several poems as usual, such as Gone for Never, Old People Chatting About Teenagers, When Will the Bright Moon Come. How can these words be called "unruly"? Examples of "bold and unconstrained" works are Li Bai before Dongpo and Xin Qiji after Dongpo. Comparing the works of these two poets with those of Dongpo, who is often quoted, we can see that these works of Dongpo can only be said to be broad-minded, not even generous, not to mention "bold". I don't know when the theory of "unruly" began. Chen Deng ignored Xu Li, who said that he was "a Jianghu person, and his heroism had not been removed." Obviously, Chen Deng is arrogant, not flattering. The word "Fang" seems to have originated from the word "Waitui" in the Wei and Jin Dynasties, and the combination of the words "Hao" and "Fang" probably began in the Tang Dynasty. The Book of the Tang Dynasty called Li Yong "wild and unruly, unable to control his own behavior". Lu You defended others' saying that Dongpo Ci "can't sing", saying: "The public can't sing, but they are bold and don't like to cut it to suit their temperament." That is to say, Dongpo's character is "bold", not that his ci belongs to the bold school. Because the poets in the Northern Song Dynasty did not form any genre at all, and their works were not divided into "graceful" and "bold". Of course, Su Dongpo has some long tunes. Compared with the early Ou, Zhang and Er Yan, it is slightly different in the choice of theme and expression, but it can only be said that Su Dongpo, a prolific poet, has written more than 300 works similar to the "Flower Collection" poet, which is slightly different from other poets. It can be said that Su Dongpo contributed some unique works in the treasure house of Ci in the Northern Song Dynasty. His achievement is to increase the number of words instead of changing the atmosphere of the word circle.

Su Dongpo didn't "wash away beauty and fragrance" as Hu Yin said, except adding some words with different contents. It was just nonsense. Among the more than 340 poems of Dongpo Yuefu, more than 50 poems are devoted to the beauty of women (the so-called "beauty Luo Xiangze"), and the most concentrated poems are nearly 100 poems that bid farewell to friends and entertain officialdom. Almost every capital will praise geisha ("beauty"), because there is singing and dancing wine at the banquet as usual, and sometimes it is the master's geisha who comes out to sing and dance (for example, among all Dongpo's words, the words that don't wash "Luo Qi Xiang Ze" account for more than half, and there are more than 30 songs (especially flowers), so you can't write the image of "beauty" without thinking about it in your mind. Even reading and painting should have "black tea to add fragrance". It is said that Su Dongpo, a romantic genius, can, in his words, "wash away beauty and fragrance". Who will bully the sky?

In terms of Dongpo's life experience, the character and talent caused by the environment can only be broad-minded and not daring. Dongpo's experience of his own experience can make him sad, can make him sad, can make him broad-minded, can make him generous, but can't let him be "bold" alone. It is fundamentally wrong to say that ancient words like Nian Nujiao and Dongpo Don't Return to the River are "bold" words. Dongpo once wrote all his poems during Tao Yuanming's imprisonment, and wrote the Complete Collection of Tao Poems by himself. Taoist poetry itself is perfect, so how can reading and being in harmony with Taoism be unaffected by it? Those who can make such efforts have already restrained their "bold and unconstrained" spirit. A person's poetry is bold and unrestrained, and he must have a proud pen in his life experience, and then he becomes bold and unrestrained. Li Bai is an uninhibited poet. I'm afraid I can't write "uninhibited" poems when I come back, not to mention Dongpo's experience is much worse than Li Bai's!

As for the word "graceful", it was first seen in Guoyu Wuyu: "Therefore, it is graceful to follow the king's ambition." It means humble and let nature take its course. In ancient times, women took obedience as a virtue, so they borrowed it as a way of female education. The preface to Yu Tai Xin Yong says: "Reading poems and paying tribute is not the media of the east neighbors;" Graceful and romantic, different beauty education. "Flower Collection" Volume 7 Sun Guangxian's "Huanxi Sand": "Half a step of long skirt wants to go, and the night curtain is bright. At this time, I hate it. "Nine Mao Xizhen's" Huanxisha "another volume is" pretending to be ethereal and graceful, laughing and charming words are too rampant. "forbear to teach and hate the dark shape." Ibid. Linjiang Fairy: "Slim waist and graceful steps."

As can be seen from the above examples, this word has different meanings in different times, but when it is used as an adjective, it seems to refer to the implicit and restrained expression of the so-called "beautiful translation" and beautiful scenery. Once used in the position of contrast with "bold and unconstrained" words, graceful words are considered to be conservative, progressive and conformist. Sometimes they even write beautiful words about relationships, especially the relationship between men and women, to leave their sadness and not hate their dissolute lives, and even say that their thoughts are empty and pale. Obviously, this mechanical division does not conform to the reality of the Northern Song Dynasty, and it is difficult to justify itself. Therefore, sometimes we can't strictly abide by the portal boundaries of these two factions, and sometimes we can't help but ask the spirit to change from unrestrained to elegant. For example:

Su Shi is also good at graceful writing of traditional love themes. However, graceful poets (without this name according to Su Shi's fashion) generally focus on the sincerity and delicacy of lyricism, and their words are particularly dignified and sincere in sincerity and delicacy, such as "Butterfly Love Flowers": "Flowers wither, red apricots are small, and when swallows fly, people are surrounded by green water. There are few willows blowing on the branches, but there are many herbs in the sea. Autumn in the wall? Outside the wall. The layman in the wall, the beauty in the wall laughs. Laughter dies in silence, but passion is mercilessly annoyed. (See Yan Wen Institute's History of China Literature, Volume II, pp. 594-595).