Xin Qiji and Su Shi are both powerful pioneers of ci language skills. The predecessors said that Su Shi took poetry as his ci, while Xin Qiji took prose as his ci. Of course, this is somewhat simplistic, but it does point out that the language of words is more free and liberated in Xin Qiji's hands, and there is no reason to change it, so there is no rule. In Xin Qiji's poems, there are very popular and naive folk languages, such as "some bottom things lead to misunderstanding." You can't really be homesick "("Partridge Day ")," You have been so worried recently, as if it were coming. Who can help each other? There are also some classical Chinese sentences mixed with many function words, such as "those who don't know the clouds are rain, and those who rain are yin" (Han Gongchun), "I don't hate the ancients for not seeing me, and I hate the ancients for not seeing my crazy ears" (He Xinlang); There are lively dialogues, self-questioning and self-answering, and even yelling, such as "Who is the hero in the world?" "(Nanxiangzi)," Cao Liu, the cup before you came! "There are also quite strict antitheses (Qinyuanchun), such as" Eight Hundred Li-Shao Li, Fifty Strings Over the Great Wall "(Broken Array). To sum up, one of the characteristics of symplectic words in language skills is loose form, coherent semantic flow and long sentences. The way of dense image linking and escaping linking, which are widely used in literati ci, has been completely broken in Xin ci. But it doesn't mean that Xin Qiji's so-called "taking words as words" no longer has musical rhythm. He uses prose sentence patterns extensively to keep a vivid tone, and at the same time, he can create the rhythm of change through various means. For example, in Hidden Dragon, "The sunset is on the roof, and in the sound of a broken rainbow, you are wandering in the south of the Yangtze River. After reading Wu Gou, no one will meet him. He will come to the scene. "This is a long sentence in the word, but it is striking and powerful. It is by no means just putting an article out in the form of a word.
Another major feature of Xin Ci in language skills is that it widely quotes words, sentences and historical allusions from classics, history books, sub-books and previous poems, and melts or embeds them in its own words. It is easy to cause blunt and difficult problems, but with Xin Qiji's talent, most of them can be used properly, naturally, or with other interests, as A Qing and Liu Xizai said in "Introduction to Art": "Once used, you will get romantic." Take the article "Le Jing Kou Gu Bei Ting Nostalgia in Yongyu" as an example. 100 words describes the deeds of five historical figures, namely Sun Quan, Emperor Wu of Song, Liu Yilong, Tuoba Tao and Lian Po, which is closely related to the author's subjective feelings and ideas. Not only is the connotation extremely rich, but also the tone is flying and the expression is exposed, which is really not easy.
Of course, Xin Qiji's ci often has the defects of scattered culture, too much discussion and so-called "book bag", that is, he uses too many classical sayings, but in any case, he did greatly transform his ci. His words are not only "everything can be said unintentionally", but also that any "meaning" and "thing" can be freely and fully expressed. In this way, the creation of ci completely got rid of the fetters and entered the realm of freedom.