One of the artistic techniques of this word is a euphemistic but superficial description.
Li Qingzhao wrote ci, emphasizing the importance of narration. In On Ci, she expressed her dissatisfaction with Yan, a famous poet whom she admired. She commented on Yan's words as "unspeakable suffering". She benefited from the delicacy of strict words, supplemented by the beauty of narration, which greatly improved the creative level of her words.
Let's look at the first part of Ci, three groups of four-character dialogues, Sunset, Dyeing Willow and Lantern Festival, which depict the joyful scene of Lantern Festival night in Lin 'an. The beauty of the author is that it is not just a scene, but only the foreshadowing of the following three questions, which seems to be asking the truth. It is not that there is no "luxury BMW", but that the owner "thanks him for drinking".
Expressing feelings by telling stories, vaguely revealing the grief of family destruction and deeply expressing one's lonely feelings, is completely different from the old acacia's "helpless about this situation, only hanging down her eyebrows and raising her heart" (Li Qingzhao's "Pruning Plums"), and is also different from "Immortality, curtain rolling west wind, people are thinner than yellow flowers" (Li Qingzhao's "Drunken Flowers").
In the following film description, the poet rendered a happy picture of the past three or five nights for us, described the grand occasion of the Lantern Festival in the past, and recalled the past. From "chasing after Chu" to "surging clouds", the sadness naturally emerged from his chest.
"It's better to listen to people laugh under the curtain", which is unremarkable, without any whitewashing, but contains many life insights! Among them, the pain of home and country is not like the symplectic word "Who asks, can Lian Po still eat when he is old?" (Xin Qiji, "Yong Yule? Gubeiting in Jingkou is bold, desolate and tragic; Among them, loneliness is not a stone word, "every year is expected to be heartbroken, and the moon is bright and the mountains are short" (Su Shi's "Jiangchengzi? "Remembering Dreams") solemn vitality, romantic confusion.
Because of Li Qingzhao's unique desperate psychological feelings of women losing their homeland and being helpless, it is more thought-provoking for her to express her feelings in such a subtle, euphemistic, simple and popular way than to express them in a generous and sad way. No wonder Liu Chenweng, a patriotic poet in the Southern Song Dynasty, was "ashamed to hear this word" and "wept for it" (Liu Chenweng's Xu Xi Ci).
Extended data:
"Yong Yu Le" doesn't write "only the running water in front of the building, you have to read me and stare at me all day. Seeing the place, now I have added new worries (Li Qingzhao's "Recalling the Flute on the Phoenix Terrace"), and I don't want to write "Learning poetry is full of surprises, and 90,000 Li Fengpeng is moving" (Li Qingzhao's "Pride of Fisherman"); It is not a direct expression of "I am afraid that the ship will sail in two streams, unable to move, and preoccupied" (Li Qingzhao's Wuling Spring).
Different from her masterpiece "Slow Sound", which is based on temperament and wins by overlapping words, it is unique, combining the pain of the mountains and rivers of the old country with the feeling of personal life, blending straightforward and profound contrast with simple and popular description, and writing a strong sense of ups and downs in the past and the present and the sadness of personal life in extremely expressive language, forming a unique artistic charm, which remains in Yi 'an Ci volume and is passed down to future generations.