Xu Shizeng's Preface to Stylistics says: "Be bold and want its magnificent weather." Although the number of Su Shi's poems was small, and there were not many people who studied Su Ci at that time, he was naturally respected because of his pioneering spirit. Zhang Yan's etymology compares "grandiose words" to "elegant words". "Yuefu Finger Fan" said: "Modern lyricists don't know the rhythm, so they are bold and unrestrained, so they blame themselves on Dongpo and Jiaxuan sages." This shows that people in the Southern Song Dynasty have clearly regarded Su and Xin as the representatives of the uninhibited school. It will be used in the future.
The characteristics of the bold school are, in general, broad creative vision, majestic atmosphere, love to write words with poetic techniques, syntax and typology, wide use of words, many uses and eclectic temperament. However, sometimes it is rude and straightforward, even involving crazy shouting. In the Northern Song Dynasty, Huang Tingjian, Chao, He Zhu and others all had works of this style. Later, due to the great changes of the times, tragic and generous tenor development came into being, and Chen, Ye Mengde, Zhang, Liu Guo and others took the lead in setting an example. Xin Qiji became a master and leader of a generation who created bold words. The uninhibited school is not only "unique" (the catalogue of Sikuquanshu), but also greatly influenced the ci circle in Song Dynasty. From the Song and Jin Dynasties to the Qing Dynasty, there were always schools that praised the banner of the unconstrained style: Su Shi's "Water Tune Song Tou" (when is the bright moon) and "Niannujiao" (No Return to the River). He expanded the subject matter and enriched the content of ci.
Xin Qiji's "Xijiang Moon" (the bright moon surprises the magpie), "Broken Array" (looking at the sword in sin) and "Unfortunate happiness" are mostly based on the theme of the country and the nation, expressing impassioned patriotic feelings.
Zhang's "He Xinlang" is desolate in artistic conception and heroic in style.
Zhang Xiaoxiang's Song of Six Kingdoms and other styles are close to Su Shi's, tragic and desolate, showing the feeling that it is difficult to recover lost land.
Chen Liang's "Nian Nu Jiao Deng Duo Lou Jing" and "He Xinlang sends Xin You An to see Huai Yun" are bold in style and bold in brushwork. (a few words belong to the graceful school)
Graceful school: Liu Yong's Lin Yulin is clear and popular, mostly spoken, with sad feelings and harmonious melody, but some vulgar words.
Qin Guan's "Que Qiao Xian" has a gentle style and is good at depicting vivid images.
Li Qingzhao's early words, such as Chanting in a Slow Voice, Pruning a Plum, Dreaming Like a Dream and Drunk Flowers, mostly express a leisurely life, charming and romantic, while her later works express a sense of life experience, with bitter and low feelings. Elegant poets generally pay more attention to the form of words. Regard the rules of musical rhythm (such as "five tones" and "six tones") as statutes, and regard the strict rules and regulations of language (such as "pearls are round and smooth" and "there are no words everywhere") as magic weapons. As mentioned above, their works are old and poor in content and narrow and monotonous in subject matter, so they are even more obsessed with homophonic, deliberately carving chapters and chiseling sentences to cover up their empty content in a gorgeous form. I'd even rather cut my feet to fit my shoes than cross the line. Take Li Qingzhao, the most accomplished graceful and restrained school. Obviously facing the harsh reality of poverty, she clung to the artistic prejudice of "different words" for fear of revealing a little in her own words. It is full of "sadness and sorrow". Although it makes people cry, it lacks the power to arouse people to rise. This greatly weakens the ideological significance of the work. Her poems of the same period (such as "I miss Xiang Yu so far and refuse to cross Jiangdong") were praised as bold and provocative.
In this way, the content defines the form, which in turn frames the content, and the elegant poet firmly binds his hands and feet. At this point, the school of metrical words represented by Zhou Bangyan and He Zhu reached its peak.
Liu Yongli Qing Zhao Yan Yan Shu Dao Ji Jiang Kui Qin Guan is the representative!