(1056-1121) The courtesy name is Meicheng, and the name is Qingzhen Jushi. A native of Qiantang, Zhejiang (now Hangzhou City, Zhejiang Province). Poet of the Northern Song Dynasty. He was an unruly young man, and later studied in Taixue. During the reign of Emperor Shenzong of the Song Dynasty, he presented "Bianjing Fu" to be the official of Taixue. At that time, Zhezong was a professor in Luzhou, the magistrate of Lishui County, the chief registrar of the Imperial Academy, and the secretary of the provincial government. During the reign of Huizong, his official career was relatively open. He served successively as a school secretary, a librarian and a librarian, and promoted to the Dasheng Mansion. He also made rites and music for the imperial court. In his later years, he was promoted to Shunchang Prefecture, Chuzhou Prefecture, and Hongqing Palace in Nanjing. After his death, he presented it to Dr. Xuanfeng. The Yazheng Sect of the Southern Song Dynasty regarded him as the leader, making him the "holy hand" connecting the origins of Ci studies in the Southern and Northern Song Dynasties. He is proficient in melody, and has indeed made great achievements in the collection, textual research, review and creation of melody. He first used the four tones in his lyrics, and the lyrics he created have a clear and elegant rhyme and a strict rhythm, which have been regarded as the standard by all the lyricists of the past dynasties. His poems have the essence of Huajian, Southern Tang, and Xijiang schools, as well as the physical style of Liu's poems, the splendor of Zhang and He's poems, and the clearness and softness of Qin's poems. They are deeply composed, meticulous, elegant, and harmonious. artistic features. He was better than He Zhu at incorporating previous poems, which further enhanced the literary color of his poems. He is good at the technique of writing words to convey meaning, and his writing skills are smooth and smooth, and he has become a guide for future generations to write lyrics.
He created many new lyrics and tunes, such as "Worship the New Moon Slowly", "Lizhi Fragrance Near", "Linglong Four Offenders", etc. There are more than 200 existing poems, mostly about the love between men and women and the sorrow and sorrow of separation. The content is relatively thin and the tone is very low. His poetry is inherited from Liu Yong but has many changes, less market style and more court style. His style of writing is also more elegant and implicit than Liu Yong's, and he is good at narrative. He is good at casting ancient poems, with gorgeous words and harmonious rhythm, and is rich, elegant and meticulous. features. Such as "Auspicious Dragon Song" (Zhangtai Road), "Xihe" (Beauty Department), etc. His short poems describing scenes are full of fresh and elegant mood, such as "Su Muzhe" and so on. He is the representative of Dasheng poets and the master of the graceful and metrical schools. He pioneered the poetry style of Jiang Kui and Zhang Yan in the Southern Song Dynasty and had a great influence on later generations. Wang Guowei's "Renjian Cihua" said: "The beauty is far-reaching, not as good as that of Europe and Qin, only the words, emotions and objects, and extremely skillful, so he can be regarded as a first-rate author, but he hates that there are many creative talents and few creative talents. "In his life, Xiang saw Volume 4 of "History of the Song Dynasty", which contains "Pianyu Ci". This book selects his poems "Auspicious Dragon Song" (Zhangtai Road), "Man Ting Fang" (Feng Lao Ying Chu), "Su Mu Zhe" (Liao Agarwood), "Six Ugly" (Zheng Danyi Tasting Wine), " Six poems: "The King of Lanling" (Liu Yinzhi) and "Xihe" (Beautiful Land). (1155-1221) named Yaozhang, also known as Baishi Taoist, also known as Shibhu. 9 people from Poyang, Raozhou (now Boyang County, Jiangxi). Poet of the Southern Song Dynasty. He was lonely and poor when he was young, failed in many examinations, remained in office all his life, and moved around the world throughout his life. He had a literary reputation early on and was highly praised by Yang Wanli, Fan Chengda, Xin Qiji and others. As a guest of the Qing Dynasty, he had contacts with famous officials such as Zhang Fan. There are more than 80 poems in existence today, most of which record travels, chant objects, express personal life experiences, and miss lovesickness after farewell. Occasionally, they also express emotions about current events. His poems are sincere in emotion, have strict rhythm, gorgeous language, and quiet and cold style. They use a thin, hard and strong style of writing to soften the words and make them charming and weak. He is versatile, proficient in music, able to compose his own music, and his lyrics have strict rhythm. His works are known for their ethereal and subtle nature. His poetry had a huge influence on the rhythmic development of the poetry world in the late Southern Song Dynasty. There are relatively few works with practical significance. It is characterized by concise words and not vulgar style. He is not only a pioneer poet of the Jiangxi Poetry School, but also the founder of the Jianghu Ci School.
The representative works "Secret Fragrance" and "Sparse Shadows" use the chant of plum blossoms to express sentiments about one's life experience and express gloomy and uneven feelings. Wang Guowei's "Human Words" said: "The ancient and modern poetry has a high personality and tone, which is not as high as that of Bai Shi. It spares no effort in artistic conception, so the party has no meaning beyond words and no sound beyond the strings." His "Yangzhou Man" (named by Huaizuo) "All" is a work with more realistic content. It depicts the dilapidated scene of Yangzhou after the Jin soldiers looted it, expressing the sorrow for the decline of the Southern Song Dynasty and the hatred for the Jin soldiers' atrocities. In the poem, "Twenty-four bridges are still there, the waves are swaying, and the cold moon is silent. Reading the red medicine beside the bridge, you will know who you are born for every year!" These lines are highly praised by people. In his later years, under the influence of Xin Qiji, his style of writing changed, such as "Yong Yu Le" (Clouds Separate the Lost Tower), "Han Gong Chun" (Yun Ri Returns), etc., showing a bold style. "Songs of Taoist Baishi" contains 17 self-titled songs with side scores. It is the only complete music score of Song lyrics that has been handed down to this day. Jiang Kui was the successor of Zhou Bangyan and descended from Wu Wenying and Zhang Yan. He was a representative writer of the Metrical School and had a great influence on later generations. His poems were first learned from Huang Tingjian, and later from Lu Guimeng in the late Tang Dynasty. Although the words and sentences are carefully crafted, there are few traces of delicacy, and the style of poetry is clear and far-reaching, such as "Returning to Tiao River from Shihu Lake on a Big Night" and so on. His "Shi Shuo" is quite original. For details of his life, please see Xia Chengtao's "Jian Baishi's Chronicles and Notes" and so on. There are "Songs of Taoist Baishi", "Collected Poems of Taoist Baishi", "Poetry", "Jiang Tiping", "Sequel Book Pu" and the Qin music "Ancient Resentment". This book selects six of his poems: "Dian Red Lips" (Yan Yan Wu Xin), "Partridge Sky" (The fat water flows eastwards endlessly), "Qitian Le" (Geng Lang Xian recited a poem about sorrow), "Nian Nujiao" (Nao Nuojiao) Red Yige), "Slowness of Yangzhou" (the famous capital of Huaizuo), "Secret Fragrance" (moonlight in the old days); one poem: "Returning from Shihu to Tiaoxi River on the Great Night (Part 1)". (1248-1320), named Shuxia, nicknamed Yutian, and later named Lexiaoweng. The ancestor of Fengxiang (now the name of Shaanxi County) lived in Lin'an (now Hangzhou, Zhejiang). Zhang Jun, the sixth generation ancestor, was a hero of the southern crossing and was granted the title of King Xun. His father, Zhang Shu, was good at music and rhythm, and he was a lyricist with Zhou Mi. Zhang Yan spent the first half of his life in a noble family.
After the fall of the Song Dynasty, his family fell into decline and he was poor and self-sufficient. He once traveled north to Yan and Zhao to seek officials, but was frustrated and returned to the south, where he ended up languishing. There is "Baiyun Ci in the Mountain", which contains about 300 poems. His creations and lyrics had a profound impact on later generations. Many poets in the Qing Dynasty respected Zhang Yan and called him the best successor and theorist of the Jiang School together with Jiang Kui. Zhang Yan advocated "clearness" and "elegance" in his poetry. He admired Zhou Bangyan and Jiang Kui but despised Wu Wenying. His poems mostly write about personal sorrows and are good at chanting objects. He often writes about the sadness of decline with a clear pen, which has a clear mark of the times. Because he is proficient in melody, he is very careful about the pronunciation and rhyme, and his choice of words and sentences is fluent and clear, and he is always vigilant. However, due to his excessive pursuit of local poetic and artistic conception, the overall conception is inevitably sparse, so it is rare to see someone with a broad realm and high intentions. Zhang Yan is the earliest word theorist and author of the book "Etymology". In the section on music rhythm, the book contains a wealth of information about music lyrics, making it an authoritative theoretical monograph. His creative ideas emphasize artistic feelings, artistic imagination and artistic forms. He has many empirical opinions that can still be referred to today, but his views are sectarian and are inevitably biased.
Zhang Yan summarized the creation theory of lyrics, music and lyrics in the entire Song Dynasty. His thoughts on poetry and lyrics singing theory have the trend of the times in the late Southern Song Dynasty that the poetry circle returned to "elegance" and avoided vulgarity, reflecting the Southern Song Dynasty. The aesthetic concepts of scholar-bureaucrats in the late period. He constructed his own unique drama concepts based on his thoughts on lyrics and lyrics singing theory: dramas must have rich and tortuous storylines and a "joking" attitude; actors must have special looks and talents; drama actors' performances should Only by "knowing the beats, Dao characters, correct voice, clear rhyme, and not being crazy" can we achieve the best state of performance. This in turn reflects the changing trend of the aesthetic taste of literati from elegance to vulgarity. Therefore, Zhang Yan's drama concepts had special value during the Song and Yuan Dynasties.
Zhang Yan was also inspired by Fang Hui's theory of one ancestor and three sects, and constructed a decent system of Ci studies in the Song Dynasty. Zhang Yan connected the Zhengpai series with Zhou Bangyan, a poet of the Northern Song Dynasty. The reason is: "Scholars say that carving swans cannot be compared to ducks." ("Ci Purpose") This is the reason why Huang Tingjian emphasized the study of Du's poems. Said: "Studying Lao Du's poems, the saying is that carving swans is not as good as ducks. Learning the poems of other people in the late Tang Dynasty, they say, 'If you do things in the cold, you will still be greedy; if you do things in greed, what will your generals be like?'" You need to read it. It is understood by people. For hundreds of years, poetry is not without its benefits, but it does not need to be learned, just like calligraphy. It needs to be taught by King Zhong." (Wang Zhengde's "Yu Shilu. Book with Zhao Bochong") Zhang Yan quoted this sentence, This means that Zhou Bangyan's poems, like Lao Du's poems and Zhong Wang's calligraphy, are elegant and methodical, easy to learn and not out of shape. And he compared Zhou Bangyan to Du Fu, setting a creative example for the Zhengzheng series. The essentials of Zhang Yan's Ci Ci also highlight Jiang Kui's actual contribution to the Jianghu Ci School. Jiang Kui had the lofty status of founding a sect and teaching the Dharma to future generations in this school, which is equivalent to Huang Tingjian in the Jiangxi Poetry School. However, the shortcomings of Jiang Kui's poems, which are full of enthusiasm and meaning, and whose words are blunt, have been corrected by Shi Dazu's syntax and Wu Wenying's writing. Shi and Wu Wei played a certain supporting role in the formation of Jianghu Ci style. The key points of Zhang Yan's Ci theory are the same as Fang Hui's theory of one ancestor and three sects, pointing out that there is actually a decent sequence in Tang and Song Ci: Zhou Bangyan - Jiang Kui - Wu Wenying - Zhang Yan. Representative works: "Nanpu", "High Balcony", "Moonlight Flute", "Jie Lianlian", "Ganzhou".