In the past, poets rarely set up topics other than tune the name, and many of Su Shi's poems not only began to use titles, but also were tied. The expressive force of Ci poetry is expanded. Su Ci poetry has a distinct ideal color. Some works are imaginative and soaring, such as "When is the bright moon?" (Nian Nujiao) "Looking at the distance from the height" and (Man Tingfang) "Going back and coming to Xi". These chapters are spiritual inheritors of Qu Yuan and Li Bai, and open the next chapter to Xin Qiji. Being famous for being a clear-cut hero has changed the previous style of poets' extravagant use of gold. He attaches importance to the melody, but does not stick to it. Su Shi's ci style presents diversified characteristics. Apart from the magnificent words such as "river of no return", other works, either clear and magnificent, fresh and beautiful, or charming and lingering, all have their own charm. For example, (Jiang Chengzi) mourns his dead wife and is deeply attached to it. (Shui Long Yin) Singing Yang Hua, lingering with bitterness; The laughter of beautiful women stirs up the spring worries of laymen, and the amorous feelings are charming and moving.
Ci is a new metrical poetic style which is produced by the combination of poetry and music with the spread of Yan music in Sui and Tang Dynasties. It has the dual attributes of both music and poetry.
The combination of poetry and music obviously dominated the music in its early days. From the Five Dynasties to Liu Yong, Ci was Yanke. Ci is attached to music. In order to make Ci, the author must first rely on the beat length of the tune to enter the tune. By Su Shi's time, Ci gradually broke away from music and became "reciting without singing", especially Su Shi's "taking poetry as Ci". From the perspective of the origin of Ci and poetry, he tried to get rid of the constraints of melody on Ci, make the style of Ci abrupt, liberate the style of Ci, open up the realm of Ci, improve the character of Ci and make Ci. Become an independent lyric poetry style.
The artistic features of Su Shi's "taking poetry as ci" are mainly manifested in the following aspects:
First, the expansion of ci poetry.
Su Shi innovated ci poetry style, and the content and subject matter were constantly expanded, breaking through the old barrier that ci poetry was "colorful" and making ci poetry move from "flowers" to "respecting the former" to a broad society. Westbank > Moreover, all the themes and contents that poets used to write are brought into the field of ci creation, such as nostalgia for the past, criticizing the world, traveling on a journey, mourning for friends, living in exile and talking about Zen, singing about history and immortals, reasoning and discussing politics, and so on. Anyone who can be a poet can enter ci, and ci has reached the situation of "unintentional entry, nothing can be said" (Art Outline). It's an open and unfettered freedom. In this case, poetry, as a descendant of poetry, should be the same. Therefore, when he was dissatisfied, people took "Yanke" as a rope and imposed various constraints on the word points. Many subjects and contents that people thought should be expressed in poetry were included in the word one by one, completely breaking through the cage of "Yanke" and leaving the word from acacia. Leading to a broad social life, it has opened up an infinite artistic world for the creation of Song Ci, giving fresh blood and vitality to Ci.
Secondly, the reform of Ci style.
Su Shi broke the traditional concept of "poetry is charming", swept away old habits, and wrote Ci with fresh and elegant words, bold brushwork and fantastic weather, making Ci seem to be "carrying the wind and waves on the sea" It has formed a style similar to that of Su Shi's poems, such as [Bashengganzhou], "Affectionate wind comes from Wan Li", and the brushwork is like "Sudden snow mountain comes from the ground" ("Yi 'an Shoupi Dongpo Ci"). Su Shi not only entered the ci with poetic syntax, but also absorbed more poetry and fu vocabulary, and adopted historical biography and spoken language to break through the rhythm constraints of the ci, so as to fully express his feelings and make the ci more expressive. Ci is gentle and graceful in style. From Wen Tingyun to Liu Yong, many ci works by many ci writers during this period are elegant and vulgar, but the overall style of ci tends to be graceful and charming, and the content and form of ci are attached to music. Su Shi is quite dissatisfied with this. He broke through the constraints of the rhythm of ci, introduced the style of poetry into ci, and promoted the pursuit of pure literature in the content and form of ci. This important change is precisely the word. It has greatly improved the expressive force of Ci. This is also a great contribution of Su Shi to Ci.
Thirdly, the style is diversified.
Since the Tang and Five Dynasties, Ci has been graceful and restrained, with a single style. Su Shi believes that the style of Ci should not be biased towards a graceful corner, but should be as rigid and flexible as poetry, colorful and brilliant. Su Shi is extremely dissatisfied with the flamboyant and charming atmosphere that permeates the Ci Garden. He became an outstanding pioneer of the bold and unconstrained ci school in the Song Dynasty. However, Su Shi's ci is not only bold, but also changes at will, showing a variety of styles. For example, "Butterfly Love Flowers" (the flowers fade and the red and green apricots are small), which writes that beautiful women laugh and stir up the spring worries outside the wall, and the style is charming and touching, and it is dignified and honest in sincerity and delicacy. Wang Shizhen commented on "Flowers and Plants are Picked Up": "I am afraid of the fate of wasteland.
It is true that creating bold and unconstrained style is an important aspect of Su Shi's style of ci-poetry, but its intention and achievements are not all here. Su Shi's style of ci-poetry innovation is not simply against graceful and restrained, but to change the situation that graceful and restrained style dominates the ci-poetry world, so that the style of ci-poetry develops from centralization to diversification, forming graceful and restrained, bold and unrestrained, beautiful, elegant and broad-minded styles. Writing emotion with ci pottery.
He injected the emotional interest of literati into ci, and combined the emotional interest of literati with popular literary forms favored by citizens, which opened up the lyrical function of ci, made ci have enough literary value to stand on its own feet besides singing in harmony, improved the taste of ci, and enhanced the vitality of ci. In addition, he also set out from people's emotional needs and took the embodiment of subject emotion as his main purpose. This is different from traditional poetry. Sticking to the reality of the literary life and lyrics creation of ordinary literati, it is a human-friendly revision of traditional poetry, which has been generally recognized.
To sum up, Su Shi advocated the poeticization of ci, and made a series of innovations in the fields of theme, content, style, lyric function and application of ci, which can be summed up in one aspect: paying attention to, developing and enhancing the literary attributes of ci, so that ci can get rid of its subordination to pleasure.